The bass line in the rhythms of Southern Brazil:

practical and theoretical proposals and its application on the doublebass

Abstract

This article proposes an analysis of bass lines in the genre of milonga and similar rhythms, such as chamarra and chamamé, originating from Argentina and characteristic of the southern region of Brazil, applying them to the double bass. It considers not only the practical aspect of achieving an appropriate, modern, and cohesive sound, but also the conceptual aspect behind these genres, which engage with the concepts of clave and additive rhythm. An analysis was conducted on the claves used in these genres, which are exactly the same as those found in other styles like baião and carimbó, suggesting a possible common African origin. This is a practice-informed work, where one of the authors participated as a guest musician in performances with the group Quarteto Coração de Potro, a group specialized in the southern repertoire, based in Lages-SC. In this experience, an interview was conducted with the musician João Gabriel Rosa and other members of the group, who also shared their perceptions and practices. This article includes transcriptions of excerpts from works of this repertoire to support the conclusions drawn.