Bloco

Afoxê is an Afro-Brazilian carnival genre from Salvador, Bahia, rooted in the ijexá rhythm of Candomblé (Ketu) ritual music and performed by street processions known as blocos. It blends sacred Afro-diasporic percussion patterns with call-and-response singing, celebratory melodies, and strong communal participation. Characterized by a gentle, lilting 4/4 groove (often around 90–110 BPM), afoxê features atabaques (rum, rumpi, lé), agogô bells, xequerê/afoxê shakers, and chorus vocals invoking orixás and affirming Black Bahian identity. Modern arrangements may add guitars, bass, and keyboards while preserving the ijexá pulse. The genre lends its name to the afoxê (shekere-like) gourd shaker commonly used in its ensembles.

Axé is a high-energy popular music from Salvador, Bahia, that fuses Afro-Brazilian and Caribbean rhythms with pop and rock songcraft. Designed for massive Carnival parades, it pairs large percussion ensembles with bright electric guitars, brass hooks, and call-and-response vocals to drive dancing crowds along the trio elétrico (truck-mounted sound stages). Grounded in afoxê/ijexá and samba-reggae grooves, axé favors upbeat major-key melodies, anthemic choruses, and lyrics celebrating joy, love, summer, Afro-Bahian pride, and the collective ecstasy of the street party. Its sound is at once percussive and melodic: layered surdos, timbales, repiniques, and atabaques interlock beneath catchy horn lines and pop arrangements built to move tens of thousands of revelers.

Samba-reggae is a Bahian Afro-Brazilian percussion-driven style that fuses the propulsive swing of samba with the off-beat lilt of Jamaican reggae. It is performed by large drum ensembles (blocos afro) whose surdos, caixas, repiniques, timbals, and shakers create a massive, syncopated groove. Typically slower than Rio-style samba and aligned to a reggae backbeat, samba-reggae emphasizes collective energy, call-and-response vocals, and choreography. Its sound became a musical emblem of Salvador’s carnival and a vehicle for Black pride, spirituality, and social commentary, later crossing into pop through collaborations with major international artists.

Samba-enredo is the narrative, theme-based branch of samba written expressly for Brazil’s Rio-style carnaval parades. Each song (the enredo) tells the year’s official storyline chosen by a samba school, meant to guide the floats, costumes, and choreography through a cohesive spectacle. Musically, it keeps the propulsive 2/4 samba groove at an energized parade tempo, led by a large bateria (percussion ensemble) and a lead singer (puxador) trading calls with a powerful community chorus. Harmonies are generally diatonic with bright, singable refrains designed for mass participation and stadium-scale impact. Beyond entertainment, sambas-enredo function as public storytelling—celebrating Afro-Brazilian culture, historical figures, cities, myths, and social themes—turning the parade avenue into a moving stage for musical pageantry.

Batucada is a high-energy, percussion-driven style of samba played by large drum ensembles known as baterias. It is characterized by driving 2/4 rhythms, layered polyrhythms, and a powerful collective groove designed to move large crowds, especially during Carnival parades. The core sound comes from surdos (large bass drums) that mark the pulse and interlock in tuned layers, while caixas (snares), repiniques (high, cutting toms), tamborins, chocalhos, agogôs, cuícas, and reco-recos weave dense rhythmic textures. A whistle (apito) or the repinique section leader cues breaks, call-and-response figures, and dramatic stops (paradinhas). Although mostly unpitched and ensemble-based, batucada is musical, nuanced, and highly arranged, with subtle swing, dynamic contour, and signature "bossas" (precomposed rhythmic figures) unique to each samba school’s bateria.

Pagode is a substyle of Brazilian samba that crystallized in Rio de Janeiro in the late 1970s and became a national phenomenon in the 1980s. The word "pagode" originally meant a backyard party, and the genre reflects that intimate, convivial setting: acoustic instruments clustered around a table, communal singing, call-and-response hooks, and lyrics about love, friendship, bohemian life, and everyday humor. Musically, pagode emphasizes a warm, mid-tempo samba groove driven by hand percussion (pandeiro, repique de mão, tantã) and the bright strum of cavaquinho or banjo-cavaquinho. It favors catchy choruses, tight vocal harmonies (coro de apoio), and short, memorable melodies over virtuosic display. In the 1990s, a smoother, pop-leaning branch—often called pagode romântico—added keyboards, fuller vocal arrangements, and lush production, taking the style to mainstream radio while preserving its samba pulse.

Candomblé music is the sacred musical practice of the Afro-Brazilian religion Candomblé. It centers on polyrhythmic drumming ensembles, call-and-response singing, and dance that invites the presence (incorporation) of the orixás (divinities). The core ensemble features three hand-played atabaque drums (rum, rumpi, and lê), metal bells (agogô), and rattles/shakers (xequerê, adjá), with the lead drummer (alabê) cueing changes in rhythm and energy. Stylistically, it preserves multiple West and Central African lineages—especially Yoruba (Ketu/Nagô), Fon/Ewe (Jeje), and Kongo/Angola—expressed in distinct toques (rhythmic patterns) such as ijexá, alujá, agueré, congo, and opanijé. Chants are performed in liturgical languages (predominantly Yoruba/Nagô, as well as Kikongo/Kimbundu and Fon) and in Portuguese, using a responsorial texture led by a solo cantor with a unison chorus. The music is not entertainment but ritual: every rhythm, melody, and text is tied to specific orixás, colors, dances, and ceremonial moments. Beyond the terreiro (temple), Candomblé’s musical vocabulary has profoundly shaped Brazilian popular music, from afoxé and samba de roda to axé and MPB, especially through the diffusion of the ijexá timeline and call-and-response vocal aesthetics.