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Surdo

The surdo is a large bass drum central to Brazilian samba music, originating from Afro-Brazilian traditions brought by enslaved Africans in the 17th century and evolving into a key instrument in Rio de Janeiro's samba schools by the 20th century.^[1] It features a cylindrical shell typically made of wood or metal, with diameters ranging from 16 to 24 inches, and is played with a mallet on one head while the opposite head is struck with the hand or palm for tonal variation, producing a deep, resonant sound that marks the rhythmic pulse.^[2]^[3] The name derives from the Portuguese word surdo, meaning "deaf" or "of very low sound," reflecting its muffled, bass tone achieved through a high-tensioned construction without snares on the lower membrane.^[4] In samba ensembles known as baterias, surdos are categorized into three types: the first surdo, which establishes the basic beat on the downbeat; the second surdo, providing offbeat responses; and the cutting or third surdo, adding syncopated accents to drive the groove forward.^[1] These drums are carried via shoulder straps during parades, enabling mobility in large Carnival processions that can involve hundreds of percussionists under the direction of a mestre de bateria.^[1] While primarily associated with samba, the surdo also appears in related genres like samba-reggae and axé, underscoring its role as the "heartbeat" of Brazilian rhythmic traditions.^[4]

Origins and History

Early Development in Brazil

The surdo drum's origins trace back to African rhythmic traditions brought by enslaved Africans during the colonial period, particularly from the 16th to 19th centuries, blending with European bass drums introduced by Portuguese colonizers.^[5] Instruments like the atabaque, used in religious and communal rituals in regions such as Bahia, provided foundational polyrhythmic elements, while Portuguese military and folk bass drums influenced the surdo's larger, tunable design for rhythmic projection in urban settings.^[6] This syncretic development reflected Brazil's multicultural fabric, with early bass percussion appearing in Bahia's samba de roda traditions from the 17th century onward.^[1] The modern surdo emerged in the 1920s in Rio de Janeiro as samba formalized, with precursors in street music and Afro-Brazilian practices providing deep resonant pulses for emerging rhythms.^[6] Pioneers like Donga and João da Baiana contributed to samba's early formation through informal rodas de samba in the 1910s, establishing rhythmic grooves that later incorporated larger percussion like the surdo.^[7] A pivotal historical event was the 1917 recording of "Pelo Telefone," composed by Donga and Mauro de Almeida, which marked the early foundations of samba and influenced its evolution toward formalized percussion ensembles in performative contexts.^[7] This track, released by Odeon Records, captured proto-samba elements from Rio's street traditions.^[8]

Evolution in Samba Music

The surdo drum was introduced into samba music through the founding of Deixa Falar in 1928, recognized as the first formalized samba school in Rio de Janeiro's Estácio de Sá neighborhood. Established by composers including Ismael Silva and Alcebíades Barcelos (known as Bide), the group integrated the surdo to anchor the rhythmic structure of samba during Carnival parades, transforming informal street rhythms into a more organized form suitable for competitive displays. Bide, credited with inventing the surdo, designed it to emphasize the steady pulse, enabling Deixa Falar to parade with a cohesive percussion ensemble that distinguished samba from earlier Carnival traditions.^[9]^[10] During the 1930s and 1940s, the surdo underwent standardization as the rhythmic backbone of samba under the influence of key composers like Ismael Silva and Cartola. Silva, a central figure in the Estácio group, advocated for the surdo to play the strong second beat in 2/4 time, which coordinated the entire bateria and solidified samba's teleco-teco rhythm—a foundational pattern that elevated its danceable syncopation. Cartola, through his work with emerging samba schools like Mangueira, contributed to refining the surdo's integration, ensuring it supported lyrical and harmonic developments in samba compositions amid growing official recognition during the Vargas era. This period saw the surdo evolve from a simple bass marker to an essential element defining samba's national identity.^[9] In the post-1950s era, the surdo's role refined further with the expansion of samba schools and Carnival parades, driven by widespread radio broadcasts that popularized the genre nationwide. As samba schools grew into major Carnival attractions, incorporating middle-class participants and larger ensembles, baterias adopted multiple surdo sections—typically first (marcações on the second beat), second (respostas on the first beat), and third (for syncopated variations)—to maintain rhythmic clarity amid hundreds of percussionists. These developments enhanced the surdo's prominence in parades, supporting the emergence of samba-enredo themes and ensuring its foundational pulse resonated in increasingly grand spectacles.^[11]

Design and Construction

Physical Characteristics and Materials

The surdo drum features a large cylindrical shell, typically 20 to 24 inches (51 to 61 cm) in diameter and 16 to 24 inches (40 to 60 cm) in depth, designed to produce deep bass tones as the rhythmic foundation in samba ensembles.^[12] The shell is constructed from durable materials such as laminated wood or plywood for a warm, resonant sound, or lightweight metals like aluminum or steel for easier portability and sharper projection.^[12]^[6] It is fitted with two drumheads—a batter head on top for striking and a resonant head on the bottom—secured by metal counter-hoops and tensioned via rods and lugs, allowing precise tuning adjustments.^[2]^[13] Traditionally, surdo heads were made from animal skins, such as goat or calf hide, which provide a full, warm tone with natural sustain but require maintenance like moistening during installation to avoid cracking.^[12]^[14] In contemporary constructions, synthetic materials like nylon or plastic have become prevalent for their durability, weather resistance, and consistent performance in outdoor settings, reducing overtones and enabling higher tension without breakage.^[12]^[15] Shell evolution has similarly shifted from solid natural woods to fiberglass-reinforced options in modern variants, enhancing longevity while maintaining acoustic integrity for rigorous use in Brazilian carnivals.^[14]^[15] Key components include a central mallet, or baqueta, with a wooden or rubber head for striking the batter side to generate the drum's characteristic low-end boom, and the tension system that directly influences pitch—looser heads yield deeper bass, while tighter tuning raises the fundamental frequency for varied rhythmic roles.^[12]^[13] The surdo's acoustic design emphasizes low-frequency resonance, optimized for outdoor projection in large ensembles, where the shell's depth and head tension create a powerful, pulsating sound that carries over distances.^[6]^[14]

Sizes, Types, and Variations

The surdo is produced in three standard sizes that correspond to their roles in the samba ensemble: the primeiro, the largest at 22-24 inches in diameter delivering the deepest bass, the segundo at 20-22 inches providing mid-range tones, and the terceiro, the smallest at 18-20 inches with the highest pitch. These dimensions allow for distinct timbres and facilitate the interlocking rhythmic foundation of samba baterias, where smaller diameters naturally tune higher and larger ones lower due to their acoustic properties.^[12]^[16]^[17] Surdos are typically tuned in relative intervals, such as perfect fifths, with the primeiro at the lowest pitch, the segundo higher, and the terceiro highest, to provide harmonic support for the ensemble's groove.^[18]^[6] Variations include Baiana-style surdos, which are shorter for use in Bahian samba-reggae traditions, as well as distinctions between marching models—designed for mobility with shoulder straps and balanced weight—and stationary versions suited for stage or studio use with stands.^[12] Regional adaptations reflect local styles, with São Paulo samba schools favoring larger surdos (up to 24-26 inches) for powerful projection in parades, contrasted by more compact versions (14-18 inches in diameter, shorter heights of 40-45 cm) in Bahian axé music for agile, dance-oriented performances. These differences optimize the instrument for specific cultural contexts, such as the energetic street samba-reggae of Bahia.^[12]^[19]

Playing Techniques

Basic Methods and Strokes

The surdo is typically played in a standing or marching position, with the drum suspended from the player's shoulder using an adjustable strap that positions the instrument at waist height for optimal access to the head. This setup allows for mobility during performances, such as in samba parades, where the player maintains an upright posture to support the drum's weight, approximately 4 to 9 kilograms depending on size and material.^[20]^[21] The right hand holds the mallet for primary strikes, while the left hand is used for muting or supplementary palm strikes on the drumhead.^[16]^[13]^[3] The core strokes on the surdo emphasize fundamental bass tones essential to samba rhythms. The open bass stroke involves a full, resonant hit with the mallet on the center of the drumhead, producing a deep "boom" that sustains and provides the foundational pulse. For the muted bass, the left hand immediately dampens the head after the mallet strike or presses against it during the hit, creating a shorter "thud" with reduced resonance for rhythmic definition. Rim shots, used for accents, are executed by striking the rim or hoop with the shaft of the mallet, generating a sharp, higher-pitched crack that cuts through ensemble sounds.^[13]^[3] Mallet types vary to suit tonal needs, with soft-headed mallets featuring plush, felt, or cloth coverings on wooden shafts preferred for controlled, warmer tones in indoor or smaller group settings. Harder mallets, such as those with solid wood or firmer rubber heads, are employed for greater volume and projection in outdoor Carnival performances. Basic maintenance involves periodic replacement of the drumhead, typically made of calfskin or synthetic material, to preserve tension and sound quality, often requiring tools like a tuning wrench for adjustments.^[22]^[23]^[3] To ensure safety and ergonomics during extended performances, players should adjust the strap to distribute weight evenly across the shoulder and back, avoiding slouching by engaging core muscles and keeping feet shoulder-width apart for stability. This prevents strain on the lower back and shoulders, particularly important given the physical demands of marching for hours in hot conditions. Regular breaks and stretching routines focused on the wrists, arms, and posture are recommended to mitigate repetitive stress injuries.^[13]^[16]

Rhythmic Patterns in Performance

In samba performances, the surdo drums form the rhythmic foundation through distinct patterns assigned to each type, creating a layered groove essential for synchronization in the bateria ensemble. The primeiro surdo, the largest and lowest-pitched, typically provides a steady response on the second beat in 2/4 time, establishing the primary pulse that anchors the ensemble's momentum.^[17]^[24] The segundo surdo complements this with a calling pattern on the first beat, initiating the call-and-response dynamic that propels the music forward.^[17]^[24] Meanwhile, the terceiro surdo delivers a foundational quarter-note drive, often emphasizing the second and fourth beats while incorporating syncopated elements for added drive.^[17] Layering these patterns in a bateria results in interlocking rhythms that generate the characteristic samba groove, where the surdos' overlapping pulses create a sense of forward motion and density. For instance, the primeiro and segundo surdos' alternating beats form a binary foundation, while the terceiro's variations—such as cortes (cuts) on off-beats—introduce brief interruptions that heighten tension and release.^[17]^[24] Accents like the surdo martelo, a forceful "hammer" strike, are frequently employed by the primeiro or terceiro to punctuate key moments, reinforcing the ensemble's cohesion.^[25] This interplay ensures precise synchronization, with performers listening intently to maintain alignment across the group. Performances often occur at tempos ranging from 120 to 140 beats per minute, particularly during Carnival settings, allowing for dynamic shifts that build intensity through gradual accelerations or ritardandos.^[26] To achieve this precision, musicians employ practice methods such as metronome exercises to internalize the pulse and group drills that simulate bateria interactions, starting at slower speeds before scaling to full tempo.^[27]^[28]

Musical Applications

Role in Rio-style Carnival Samba

In Rio-style Carnival samba, the surdo serves as the rhythmic core of the bateria, the percussion ensemble that propels the samba school parade through the Sambódromo avenue. Comprising approximately 20-30% of the bateria's members—typically 40-50 players in a group of 250-300 percussionists—the surdos provide the foundational bass pulse that synchronizes the dancers, singers, and floats, ensuring the 82-minute performance maintains unrelenting energy and cohesion.^[29]^[30] The orchestration of surdos is structured around three voices, each contributing distinctly to the samba-enredo's rhythmic framework. The surdo de primeira, the largest and lowest-pitched, marks the primary beat (often on 2 and 4 in Mangueira's style) and signals transitions between sections of the theme, guiding the overall tempo. The surdo de segunda responds with counter-rhythms, filling harmonic layers to sustain momentum during rests in the primeira. The surdo de terceira, the smallest and highest-tuned, anchors accents and cuts (cortes) that emphasize syncopations in the enredo, adding dynamic cuts and responses to heighten the parade's intensity.^[29]^[30]^[16] Iconic examples of surdo integration appear in parades by schools like Estação Primeira de Mangueira and Portela during the 1980s and 2000s, where surdo sections were choreographed into visually striking formations—such as synchronized marches and paradinhas (brief halts for flourishes)—to amplify the thematic narrative and audience engagement. Mangueira's innovative use of only two surdo voices in this era, emphasizing the primeira's deep resonance, became a signature element in their championship-winning displays, blending auditory power with performative spectacle.^[29] The surdo's role has evolved alongside competition judging, with criteria formalized since the 1932 inception of Rio's samba school contests and refined by organizations like AESCRJ (until 1984) and its successor LIESA. Under LIESA's standards, the bateria quesito evaluates surdo precision through metrics like rhythmic regularity, instrumental harmony, and exact execution of accents, penalizing inconsistencies that disrupt the parade's flow; these elements have been pivotal in determining rankings, underscoring the surdo's status as the ensemble's indispensable anchor.^[31]^[32]

Use in Other Brazilian Genres

In pagode, a samba subgenre that emerged in the intimate backyard gatherings of 1980s Rio de Janeiro, the surdo adapted to smaller sizes suitable for compact ensembles, providing a foundational pulse while allowing space for syncopated rhythmic fills that enhance the genre's conversational flow. Groups like Fundo de Quintal incorporated the surdo alongside instruments such as the tantan bass drum, pandeiro, and repique de mão, creating a balanced acoustic texture for unplugged performances that emphasized subtle dynamics over large-scale volume.^[33]^[34] In axé music and Bahian styles, larger surdos became central to high-energy street performances during the 1990s, particularly in the samba-reggae ensembles of Olodum, where they were divided into four interlocking bass lines to drive propulsive, activist-infused rhythms. Founded in 1979 in Salvador, Olodum's percussion section, featuring these deep-toned surdos layered under repique drums, propelled the bloco afro movement and influenced axé's global spread through Carnival processions and recordings.^[35] In modern fusions, the surdo features prominently in Música Popular Brasileira (MPB), as heard in Marisa Monte's productions like the 2000 album Tudo Azul with Velha Guarda da Portela, where its booming tone anchors stripped-down samba tracks amid cavaquinho and cuíca. Since the 2010s, surdo samples have enriched electronic samba remixes, providing authentic bass grooves in tracks that layer digital effects over traditional percussion for dance-oriented hybrids.^[36]^[37]

Importance in Brazilian Traditions

The surdo plays a central role in blocos afro and favela-based samba schools, serving as a foundational instrument for fostering social cohesion and youth education since the 1970s. Emerging during a period of heightened black consciousness in Brazil, blocos afro such as Olodum—founded in 1979 in Salvador—incorporated the surdo into their percussion ensembles to amplify Afro-Brazilian rhythms during Carnival parades, creating communal spaces where marginalized youth from favelas could learn discipline, teamwork, and cultural pride through collective drumming.^[38]^[39] These groups transformed informal street rehearsals into structured educational environments, emphasizing the surdo's deep bass tones to unify participants and instill values of resistance against racial exclusion.^[40] Symbolically, the surdo embodies resistance and joy in Brazilian Carnival traditions, particularly through its prominence in 1980s black pride movements led by blocos afro. Groups like Olodum used the surdo's commanding pulse to lead parades that celebrated African heritage and critiqued systemic racism, turning the drum into an emblem of empowerment for Afro-Brazilian communities amid political repression.^[40] Its booming sound during these events not only drove the energy of collective celebration but also asserted cultural agency, transforming Carnival into a platform for social protest and identity affirmation. Educational programs such as Neojiba in Bahia leverage the surdo within percussion training to advance music therapy and social inclusion for at-risk youth. Since its founding in 2007, Neojiba has engaged approximately 2,360 young participants from vulnerable backgrounds (as of 2025) in orchestral and percussion activities, using instruments like the surdo to build emotional resilience, foster community bonds, and provide pathways out of poverty through structured musical education.^[41]^[42] This approach highlights the surdo's therapeutic potential in promoting personal growth and societal integration in Bahia's diverse urban settings.^[43]

Global Adoption and Influence

The surdo drum's global spread began in the 1970s through Brazilian diaspora communities establishing samba groups in major cities like New York and London, where immigrants and political exiles introduced the instrument as the rhythmic foundation of batucada ensembles. In New York, early Brazilian expatriates formed informal percussion groups amid the growing Latin American community, adapting the surdo for street performances and cultural events that echoed Rio's carnival traditions.^[44] Similarly, in London, samba drumming emerged around 1975 with groups like Robin Jones' ensemble, which incorporated surdo alongside other Brazilian percussion at events such as the Lewisham Carnival, laying the groundwork for formalized schools like the London School of Samba founded in 1984.^[45] The surdo's influence extended into world music and fusion genres during the late 20th century, notably through its integration into Paul Simon's 1990 album The Rhythm of the Saints, where Brazilian percussionist Gordinho played surdo on tracks like "The Obvious Child," blending it with Bahian rhythms from Grupo Olodum to create polyrhythmic layers that popularized samba elements in mainstream pop.^[46] In Latin jazz, the surdo's bass pulse was translated to drum kits and ensembles, influencing subsequent works by artists exploring Afro-Brazilian grooves.^[47] In modern contexts, the surdo features prominently at international festivals, such as the UK's Glastonbury since the 2000s, where samba bands like Bloco B and Dendê & The Banda Bantu have performed batucada sets incorporating the drum's deep tones to energize crowds and highlight Brazilian heritage.^[48] Post-1980s adaptations appear in Japanese samba schools, spurred by the dekasegui migration of Japanese-Brazilians from Brazil to Japan, who established groups in cities like Oizumi and Nara, modifying surdo patterns to blend with local taiko influences while preserving core samba rhythms.^[49] This expansion has sparked debates on cultural appropriation since the 2000s, with critics arguing that non-Brazilian groups often commodify samba drumming without acknowledging its Afro-Brazilian roots, as explored in analyses of global batucada scenes where the surdo becomes detached from its social context.^[50] In response, Brazilian expatriates have led preservation efforts, founding authentic schools abroad—such as in the UK and US—to teach traditional surdo techniques and combat dilution, ensuring the instrument's cultural integrity amid worldwide adoption.^[51]

References

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