Instruct: Given a question, retrieve relevant documents that answer the question.
Query: What drums are traditionally used in Samba?
A samba band normally consists of Tamborims , Snare drums (Caixa), Agogo bells, surdos, Ganzás / Chocalho (shakers), Cuíca, Timbal, Pandeiro, and the Repinique (often played by the leader for calls) whistles (at the beginning to give the samba a beat). The Apito is often used by the leader to signal breaks and calls. Other instruments have been added in many samba bands such as frigideira, 4 stringed guitars, 7 stringed guitars, trombones and Singers. A small set of samba drums in the UK costs around £300. More expensive sets come with more drums enabling more players to join; a convenience due to how many would usually take place in the orchestra.
The term bateria means “drum kit” in Portuguese and Spanish. In Brazil, the word is also used for a form of Brazilian samba band, the percussion band or rhythm section of a Samba School. It might also mean "battery".
The rhythm section of a samba band consists of drums is called a bateria.
The surdo is a large bass drum used in many kinds of Brazilian music, such as Axé/Samba-reggae and samba, where it plays the lower parts from a percussion section. 
In Brazil, bands traditionally play Samba (carnival rhythms of the samba schools of Rio de Janeiro). In other countries they now play reggae, funk, hip hop and Brazilian folk music. Like other drumming bands the music exceeds 130 decibels but often this attracts listeners. Some samba bands have eccentric costumes whilst others have costumes themed around their religions/ animals.
There are typical 3 or 4 surdo (bass drum) parts in samba-reggae. The surdos are 50 cm deep, shorter drum than the classic Rio size of 60 cm. Surdos in samba-reggae are usually worn quite low on the body with a waist strap; in Rio they are more likely to be worn higher and with a shoulder strap. In samba-reggae, the first (largest-diameter) and second (next largest) surdos keep the beat, typically with the lowest drum hitting beat 2 and the higher drum hitting beat 1. Together, the first and second surdos of samba-reggae are known as the "fundos", the back, presumably because they always stand in the back row of the samba-reggae band. The third surdo plays the classic third-surdo part of samba. The fourth surdo is tuned very tightly and plays rapid 16th-note rolls with two mallets, which gives samba-reggae its unmistakable rumbling sound. Some modern afro blocos are eliminating the third-surdo part or combining it with the fourth-surdo part.
Samba-reggae is a mix of reggae beats created by Samba drums. It is found in popular songs by the artist Daniela Mercury, who introduced the rhythm to the world with songs like "Sol da Liberdade" "O Reggae E O Mar" and "Perola Negra". Samba Reggae is a popular samba style in Bahia, with many followers in various parts of Brazil.
Samba-reggae has birthed a style of African-influenced dance which has been obtained from the styles of Afro-Brazilian and candomble dance. Within social settings, samba-reggae dances are often performed in a follow-the-leader manner, with a small number of advanced dancers initiating steps in a line in front of the crowd, and then the whole crowd subsequently following along. The percussionists of samba-reggae often dance while playing their drums as well. The third- and fourth drummers, known as "surdos" perform short choreographies, utilizing mallets to emphasize sharp arm movements. The "fundos" (the first and second surdos at the lead) often times take center stage to showcase elaborate, deft mallet lifts and throws, and also toss their drums high overhead.
A tan-tan is a cylindrical hand drum from Brazil that is used in small samba and pagode ensembles. It imitates the big Surdo which is played by the famous samba "baterias" (percussion ensembles). But due to its smaller size the tan tan is not as loud as a surdo and so it is played rarely in big samba schools, but rather within closer gatherings of musicians called Rodas do Chôro.
Batala's long-standing link to Cortejo Afro combined with Gonçalves’ close relationships with numerous influential members of the Bahian music scene have enabled members of Batala to work with and learn from blocos and artists such as Ilê Aiyê, Olodum, Daniela Mercury, Magareth Menezes, Didà banda feminina, and the late Neguinho do Samba, who is credited with the development of samba reggae including the shallow drums used specifically in Bahian samba.
Samba de roda ("Samba of roda") is a traditional Afro-Brazilian dance performed originally as informal fun after a Candomblé ceremony, using the same percussion instruments used during the religious ceremony. The typical drum is the atabaque; drummers improvise variations and elaborations on common patterns, accompanied typically by singing and clapping as well as dancing.
The modern samba that emerged at the beginning of the 20th century is predominantly in a 2/4 time signature varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets.[7]
The Music of Carnaval -- samba, march, frevo, trio eletrico, and lots of batucada, or drumming -- now pours out in seamless, driving, ninety-minute sets. This is the euphoria of a real Carnaval, magnified by an arena-style sound system that makes three or four drums sound like a hundred. The key to the samba sound is the heavy boom of the surdo bass drums set against the counter-rhythms and back beats for the smaller percussion.
Samba (Portuguese pronunciation:[ˈsɐ̃bɐ](listen)) is a Brazilian music genre and dance style, with its roots in Africa via the West African slave trade and African religious traditions, particularly of Angola and the Congo, through the samba de roda genre of the northeastern Brazilian state of Bahia, from which it derived.[1] Although there were various forms of samba in Brazil with popular rhythms originated from drumming, samba as a music genre has its origins in Rio de Janeiro, the former capital of Brazil.
Samba TV (formerly "Flingo") is a content recommendation engine and viewer tracking application designed for Smart TVs. The developer, San Francisco, California-based Samba, was co-founded in 2008 by early employees of BitTorrent (company), including Samba’s current CEO, Ashwin Navin. Samba TV develops software for televisions, set-top boxes, smart phones and tablets to enable interactive television through personalization. Through its portfolio of applications and TV platform technologies, Samba TV is built directly into the TV or set-top box and will recognize onscreen content—live or time-shifted—and make relevant information available to users at their request. The software will identify what a viewer is watching, and use that information to deliver targeted advertising throughout the household. Through APIs and SDKs for mobile application software developers, Samba TV is usable on a second screen or the TV itself. Samba TV applications are currently available on over 30 million screens in 118 countries.
Samba-reggae has given rise to a style of African-influenced dance derived from Afro-Brazilian and candomble dance moves. In a social setting, samba-reggae dances tend to be done in a follow-the-leader fashion, with a few skilled dancers initiating moves in a line in front of the crowd, and the whole crowd then following along. In addition, samba-reggae drummers often dance while they drum. The third- and fourth-surdos do short choreographies, using their mallets to emphasize arm moves. Most dramatically, the fundos (first and second surdos) frequently take center stage to do elaborate, showy mallet lifts and throws, and tossing their huge drums high overhead.
The figure of the queen of the drums section appeared in the 1970s when the famous mulatto Adele Fatima led the Youth Independent Drums Section, an unprecedent fact, and gained popularity in the following decade. Today it is one of the most celebrated roles in samba schools. Monique Evans, in Mocidade, Luma de Oliveira, in Tradição and Soninha Capeta, in Beija-Flor, were some notable queens of drum sections. Some schools also introduced the figure of a King of the drums section.
Many other musicians emulated and expanded on Ben's style. Their sound became known as samba rock; it has also been referred to as samba soul, samba funk, and sambalanço (a portmanteau of samba and "balanço", meaning swing or beat in Portuguese). The genre became defined by the drum kit, bass guitar, keyboard, brass instruments, a strong groove, and "tumxicutumxicutum", an onomatopoeia referring to samba rock's distinctive rhythm. According to Clube do Balanço vocalist and guitarist Marco Mattoli, "the song must always be good to dance to, otherwise it does not make sense. It does limit the composing process, but creates a cultural identity to our band. Today, we cannot see it as rock, samba, soul or funk anymore. Samba rock turned into an original thing."
Many other afro blocos were founded shortly afterwards, and all played the same rhythmic pattern. At the time, it was known simply as "the music of the afro blocos" or "the rhythm of Ile Aiye". Musically, Ilê Aiyê's major innovations to samba were the addition of a new 3rd surdo playing rapid rolls with two mallets, the addition of a reggae backbeat played by the snare drums (caixas), and the creation of a new clave pattern that is a blend of samba-de-roda clave with a reggae backbeat. They retained many aspects of samba, such as samba's 3 surdos, and a repinique (repique) pattern that was played with hand and stick.
During the carnival of 1986, this new style of music, known as samba-reggae, made its debut. Olodum had combined the traditional samba with sounds from a number of other Caribbean music genres, including: merengue, salsa, and reggae. The toques, or "drumming patterns", that categorized the samba-reggae beat was composed of "a pattern in which the surdo bass drums divided themselves into four or five interlocking parts. Against this, the high-pitched repiques and caixes filled out the pattern with fixed and repeated rhythms in a slow tempo, imitating the shuffle feel of reggae." In 1986, the phrase "samba-reggae" was used for the first time to describe the music of Olodum, and, by extension, of the other afro blocos as well. Olodum became progressively more well known, and recorded with Paul Simon, Michael Jackson, and many prominent Brazilian musicians. Over time, most afro blocos converted to Olodum's style of playing the repinique. In the 1990s, Ilê Aiyê finally converted to the Olodum two-rod style.
Alicia and Devlin fall quickly in love once they arrive in Rio, and Webb uses tambourines, guitars, drums and Brazilian trumpets swinging into Brazilian dance music to provide "sensuous foreplay for the tumultuous love affair". Numbers include "Carnaval no Rio", "Meu Barco", "Guanabara" and two sambas "Ya Ya Me Leva" and "Bright Samba". Yet understatement and atypical use are everywhere:
The Yoruba have traditionally used Sakara drums for a variety of purposes. They are played during Yoruba wedding ceremonies. The Wéré music was traditionally played using Sakara drums to call Muslims to feast and prayer during Ramadan. 
Fuji music grew from this musical form.
The Sakara drum and the solemn-sounding Goje violin are used in Sakara music, popularized by Yusuf Olatunji, which overlays the nasalized, melismatic vocals of Islamic music on the traditional percussion instruments.
Samba was also mixed with drum and bass leading to the foundation of Sambass. Despite the evolution during the decades, Samba still remains a traditional dance, and cannot be considered a sport.
In the 1990s, the samba-reggae genre continued to evolve with the group Timbalada, which, under the musical direction of Carlinhos Brown, revived the nearly-extinct folk drum timbal (a tall, high-pitched hand drum) and begin to use it in stage shows. Timbalada also developed a rack of 3 surdos and 1 repinique that could be mounted on a stage and played by a single player. This device is known as a "bateria de surdo", a drumset of surdos. (The 3rd and 4th surdo parts were combined in a single drum.) Timbalada is a stage band and not exactly a Carnival street bloco, though they first appeared in the Carnival of 1992. Their music is considered to be a blend of samba-reggae with African elements. Many afro blocos now use the timbal, as well the rack of 3 surdos for stage situations that do not involve parades.
The term chula is often given to the call and response louvação immediately following the ladainha. By comparison, traditionally in Bahia the chula is the free form song text of the Samba de Roda sung between the dances (as in the samba parada) and defines the structures of the various other "styles" of samba de roda, while the samba corrido lasts as long as the singer feels like singing it before moving on to another. The chula is a poetic form based on the quadra (quatrain) form (which may have influenced Mestre Bimba's replacement of ladainhas with quadras) with its roots in Iberia. The word chula comes from the word chulo meaning "vulgar", common, rustic (similarly the Spanish word chulo/chulito is used for peasant Indians in the Americas), being often pastoral and sentimental.