Without the element and energy of music, Capoeira would not be Capoeira. The music tells the Capoeirista how to play (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. But most of the time, the meaning is unique depending on the situation. Of course, there is much more to this. This is why you should join a Capoeira school - to get the inside scoop on the true meanings of the music.

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 vaqueata - 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

Ahhhh - The game of deception and malandragem (trickery). It is the most historical and "traditionally-based" game. It involves much self-expression, deviousness and playfulness- which involves teasing, taunting and mocking the opponent within the boundaries of the game. It is played slow and low to the ground almost 90 percent of the time. 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 3-4 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 also 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.

This is the fast game... also created by Mestre Bimba. The rhythm is technically Sao Bento Grande de Regional, which is a contemporary version of capoeira regional. In Ondas-Mandingueiros, 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-- 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 hit. Any person can hit, but it takes one with self-awareness and control to demonstrate such discipline over one's actions in the roda.

Can you believe it - YET another game by Mestre Bimba (He was the man - say it with me!!). This is the elegant advanced game, reserved for Graduated students (7 years of experience) and instructors for special occasions. One needs a complete, solid background in Capoeira in order to play this game efficiently.

This is the rhythm/game unique to Grupo Ondas. This is our fastest game. It is a mixture of Benguela and Regional. One must play both cooperatively and within the fighting mode. The intention is not to hit (i.e. punches), 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; 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. 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 is the easiest of the three instruments to play. The beats for the "regular," more popular games (Angola and 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].

Originally from East Africa, the Pandeiro is a larger version of a tambourine. It is a third and completes the contemporary Capoeira orchestra. 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.

This instruments is made of iron and/or steel. The sound is generated by striking a stick against the instrument's two or three bells.

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