Without the element and energy of music, Capoeira would not be Capoeira. The music tells the Capoeirista how to play (Cooperatively, harshly, elegantly, etc.), how to feel, and how to behave in the roda. Through song, Capoeiristas are able to communicate without having to stop the flow of the energy; to complement or reprimand each other. Everything is done through the music. Capoeira lyrics are like proverbs; they often have a specific meaning hidden in a phrase - so it is truly difficult to translate the lyrics into other languages - particularly non-latin based languages.  It is important that the student of capoeira learn the porguguese language.  But most of the time, the meaning is unique depending on the situation.

To the right you will see an attempt to demonstrate the rhythms in written form. The note under the line is known as the open note (dong), the one above is known as the closed note (ding); the triangle is the caxixi (shaker) and it makes the "k" sound, like the letter "c" or "k" phonetically. Also the "x" on the line is the buzz sound ("tch" - sound). The buzz is created when the stone or coin is not pressed completly against the wire while striking with the vaqueta - and it makes a rattling sound. Finally the "x" enclosed in a circle symbolizes a buzz after you hit a closed or open note and then partially press the coin against the wire without striking with the vaqueta.

For example: if you were to sing the Angola rhythm... it would be:

Dong - ding - "k" -- tch - tch - dong - ding "k" --- etc

PLEASE NOTE:  That the "Angola Rhythm" here is conceptualize through the lense of contemporanea.  In mestre Joao Grande's system, for example, the rhythm varies depending on the song. For instance, depending on the song, one could also play "Ding-dong - "k" -- Tch - Tch - ding-dong - "k."  FURTHERMORE, by no means is this an exhaustive list of rhythms. Rather, it is a short list of the first few rhythms you will learn in the group.  With time, we also cover, the history of berimbau rhythms that include Santa Maria, Avisos (which eventually become known as the Cavalarias - and what happeed to those rhythms). Others include, Amazonas, Angolina, Samango, and the various variations of each rhythm, including the rhythms that are no longer used in modern capoeira).

Ahhhh - The game of deception and malandragem (trickery). It is the most historical and "traditionally-based" game. It involves much self-expression, playfulness- which involves teasing, taunting and mocking the opponent within the boundaries of the game. It is played often low to the ground almost 90 percent of the time, and can be played very fast depending on the music. There are different schools of Angola with slight variations, but the main focus is consistent - MALICIA! Although students learn certain elements earlier in class and through watching the intermediate and advanced students play, the game of Angola in our school is not for beginners. This game is introduced at the intermediate level (after 2-3 years of training)...

The medium paced game. This game is played with a mixture of acrobatic and other technical movements. It is often played low to and high off of the ground, with the main concentration being on the beauty and illustration of each movement. There is no hitting in Benguela. This is a game created by Mestre Bimba.

In Benguela the two players complement each other, trying to make each other "look good." This isn't a game of who can come out of top or who is the best player. It is more cooperative in nature. This is the game most often used during public demonstrations, and is a stepping stone towards Iuna, the game of formados.

These are the faster games... created by different mestres through time. The top rhythm is often used in angola and tradition capoeira regional.  The second is the rhythm most often used in contemporanea.  Depending on the group - you will hear either rhythm called simply "Sao Bento Grande." In Ondas, we separate the two rhythms, but Sao Bento Grande de Regional and Sao Bento Grande de Bimba are often used interchangeably in most capoeira contemporanea groups. 

The players must be aware and in the "fighting mode." All movements must be executed with caution and control-- for each time the player attacks there will be a counter-attack, with probably more accuracy and power. This is the game for those who are awake...

The game must be played with one underlying awareness. It is more impressive to show someone that you could have hurt them and demonstrate control of one's self and body, then it is to actually make contact. Any person can hit, but it takes one with self-awareness and control to demonstrate such discipline over one's own body in the roda.

This is the elegant advanced game, reserved for formados students (10 years of experience) at formal events. One needs a complete, solid background in capoeira in order to play this game efficiently.  In Ondas students learn in the Graduado(a)/Monitor(a) levels how to prepare for the game.

This is the rhythm/game unique to Grupo Ondas. This is our fastest game. It is a mixture of Benguela and Tradition & Modern Regional. One must play both cooperatively and within the fighting mode. The intention is not to hit (i.e. no strikes), but the student can take the opponent down; only by a solid takedown (i.e. vingativa, tesoura, cruz). No rasteiras, bandas, etc.

This Arabian instrument is also highly important in Capoeira. It is the drum (often referred to as - the rope drum); the instrument that maintains the beat and pace of the game. Although the berimbau depicts what game one plays, the atabaque shows how fast or slow one should play - and of course, must follow the pace of the berimbau. It is made from cowhide skin, and tightened through an interesting system of rings, ropes and wedges. The looser the wedges the lower the sound.

The instrument usually comes in three sizes. The atabaque can be considered one of the easiest instruments to play. The beats for the "regular," more popular games in contemporanea (Benguela, Regional) are in essence the same with different speeds. It is played with four beats per measure with an emphasis on the third beat [right, left, RIGHT, right].  However, the atabaque can be quite complex with other rhythms - including Macele, Samba de Roda, etc.

Originally from East Africa, the Pandeiro is a larger version of a tambourine. Similar to the atabaque, the beats are generally the same. This instrument basically plays both the beat of the atabaque and some of the rhythm of the berimbau. Traditionally, regional capoeira was played with one Berimbau and two pandeiros.  The stories as to why vary -- but the ones that seems to be most consistent and realistic is that mestre Bimba often traveled for street performances and it was simply easier to carry and more efficient than bringing the massive atabaque.

This instruments may be made of iron and/or steel, as well as coconuts.  Angoleiros tend to use the steel agogo.  The sound is generated by striking a stick against the instrument's two bells.  The three-belled agoro is often used for carnaval samba.

This instrument is used in capoeira angola orchestras. It is a piece of hollow bamboo with groves carved in to help made a scrapping sound with another short stick.