The bass line in the rhythms of Southern Brazil: practical and theoretical proposals and its application on the doublebass

This article proposes an analysis of bass lines in the milonga genre and similar rhythms, characteristic of the southern region of Brazil, applying them to the contrabass. Not only the practical aspect for obtaining an appropriate sound is considered, but also the conceptual aspect behind these genres, which dialogue with the concepts of clave and additive rhythm. A rhythmic analysis was made of the claffs of those genres, which are exactly the same as those found in other styles, suggesting a possible common African origin. This is a work informed by practice, where one of the authors participated as a guest musician in performances with the group Quarteto Coração de Potro, a group specialized in southern repertoire, based in Lages-SC. An interview was carried out with musician João Gabriel Rosa, who also shared his perceptions . This article includes transcriptions and analyzes of excerpts from works from this repertoire to corroborate the conclusions raised.

KEYWORDS:
Southern rhythms; Additive rhythmic; Music; Doublebass