THE BRAZILIAN

PIANO BOOK
Progressive method

Songs, grooves, piano solo and comping

TURI COLLURA

© Copyright 2019 Terra da Música. All rights reserved.

ACKNOWLEDGMENTS

Many thanks to my students and to everyone that followed the development of this work since the
beginning. In particular, I would like to thank Léo de Paula, the percussionist who, with his vast
knowledge about the Brazilian rhythms, influenced and inspired me in the making of this book. Also,
I would like to thank Thiago Veríssimo, a friend, and Neusinha Escorel, my wife, for exhorting me,
with their examples, into always giving my best. To my friend, Michael de Souza, for his dedication
during the recordings. To the Terra da Música team for the video production and for this book.

SPECIFICATIONS
Production assistant: Neusinha Escorel
Cover art: Gustavo Binda
Eletronic diagramming and finalization: Terra da Música
English translation: João Victor Schmicheck, Fernanda Cristina Lopes
Recordings and audio treatment: Michael de Souza
Pandeiro and percussion instruments: Léo de Paula
Flutes (unit 6): Weber Marely
Guitar (unit 6): Giovanni Malini
Filming and video processing: Terra da Música

Video and Audio files accompanying the book contain practice demonstrations
and provide opportunities for the learner to play along.
To download these files please go to www.terradamusica.com.br/mylibrary

Copyright © 2019 Terra da Música - Vitória (ES), Brazil. All rights reserved.
No part of this book can be reproduced in any form or by any means without the publisher’s or author’s permission.

www.thebrazilianpianobook.com
FOREWORD

Listening to performances of pianists such as Ivan Lins, João Donato, Egberto Gismonti, André
Mehmari, César Camargo Mariano, Tom Jobim, Tânia Maria, Hermeto Paschoal — some of the
most known names — we can observe the rhythmic richness that characterizes the Brazilian
music. However, when it comes to the study/learning of "Brazilianness" at the piano, we generally
observe a certain lack of publications that aim to teach people "how to play" genres such as the
baião, choro, frevo, samba, among others.

Since the piano’s invention, at the end of the 17th century, piano studies have evolved regarding
its technique, the practice of scales, the exercises for the development of speed and articulation.
We may consider that European music has greatly evolved when it comes to harmony, yet it has
given little emphasis on the rhythmic element. The highlight of this last element is a current issue.

This book is a didactic proposal to work with Brazilian rhythms at the piano, using rhythmic studies,
exercises and songs that present different complexity levels. The goal is encouraging pianists to
play what we call the "Brazilian piano", helping to develop coordination, independence between
hands and rhythmic awareness.

In this method I present fifteen songs drawing the typical Brazilian grooves, illustrating their
peculiarities with the help of videos, which are part of this work.

This study is the result of broad research and work developed throughout the years with many
students. The results led me to write a didactic proposal to present it to a wider audience. I hope
that this can contribute to your musical growth and that it can open new doors that will allow new
achievements!

Have a nice reading and good studies!

INTRODUCTION

I happily introduce the work The Brazilian piano book: progressive method. The book is intended
for piano teachers and also for all of those who wish to study — or deepen the study — of Brazilian
rhythms and popular repertoire, including the baião, frevo, marcha-rancho, choro, bossa nova,
samba and partido-alto.

Starting by the peculiar elements of each rhythm, the method helps the pianist to develop his skills
studying songs, rhythmic patterns and coordination exercises.

Through fifteen songs with different difficulty levels, we study rhythmic patterns, clichés, harmony
and melody elements. We also learn comping techniques to play duo and piano solo. Piano teachers
can use the method to play 3 or 4 hands with their students. They can also stimulate duo practice
among students, that can learn to perform both the comping and the songs’ melodies (and, why not,
have fun improvising).

Play-along tracks are a great resource for both teachers and for those that want to study alone.
The videos help to illustrate, in a practical way, how to perform the content — the examples, the
exercises’ and songs’ realization.

The rhythmic exercises shown can also be practiced far from the piano keyboard. It is interesting
to learn to "beat" the rhythmic exercises and the grooves on any surface. I invite the reader to first
"think" about the rhythmic drawings consciously to memorize them. Once that is done, go there and
start beating! This way, you can study and develop your rhythmic skills even when you are away
from your instrument.

For the coordination development, independence between hands and rhythmic and pulsation
consciousness, it is important to repeat many times each exercise, until the movements can flow
freely. But remember, always respect your body when playing. Do not overload your muscles. This
is a "tip" that holds true for all of us pianists.

In unit 1 we give an overview on the chords’ types (triads and four note chords) and their respective
chord symbols. This knowledge is a prerequisite for the popular music pianist. I propose some
exercises for those who need it.

Following the studies, in unit 2, we get to know the mother cell of Brazilian music and some other
rhythmic cells typical of the genres that we study in this method. Also, we talk about the concept of
polyrhythmia and the characteristics of Brazilian music’s melodies.
Unit 3 is dedicated to the baião genre. We study three rhythmic comping patterns and how they are
performed, several coordination exercises and three different songs. The songs "Baião da Fortuna"
and "Salve Pernambuco", quite simple to play, are typical examples of this genre. The songs are
presented in duo and piano solo versions. The song "Além Mar" presents a more stylized form of
baião, in the line of Egberto Gismonti. More elaborate, this song requires more technical mastery.

In unit 4, we learn frevo and marcha-rancho. We study three rhythmic patterns and two songs: "O
abre alas" — considered the first Brazilian carnival march, from the songwriter Chiquinha Gonzaga
— and "O sol de Olinda".

The choro is the subject of unit 5. We explore the rhythmic patterns that can be conveniently
performed at the piano. We learn to comp, to perform the so-called baixaria, which means the bass
line playing some counterpoint lines, consisting in semi-improvised idiomatic phrases. We study
three songs, in their solo piano and duo versions. The first song, "Lua Branca", is performed with a
fairly simple arrangement. The song "Pelo Rio Antigo" is a more elaborate composition, built in the
classic tripartite choro form. "Chorinho para Hermeto" is a modern example of a choro song.

In unit 6 we study bossa nova, a very sophisticated musical genre, from an harmonic point of view.
The piano solo is a good challenge for the pianist who must provide all the necessary elements for
the performance. We will learn three techniques to comp and an innovative technique, which I call
the "three-hands technique". The careful reader will know how to transfer the skills acquired here to
other musical styles at a great advantage! In this unit we study five different compositions, putting
into practice the rhythmic patterns and the common clichés presented.

Unit 7 is dedicated to samba and partido-alto. Considered one of the main genres of Brazilian
music, samba is known for its rich polyrhythmia, in which several instruments perform different
rhythmic patterns.
My experience as a teacher and as professional musician led me to draw a step-by-step learning
path. The rhythmic patterns presented are applied into two different songs: "Com que roupa", by the
composer Noel Rosa; and "Por outros sambas", in which we mix samba and partido-alto grooves.
Usually, Brazilian music is written in 2/4. In this book, I maintain this practice.

Online
Access the www.thebrazilianpianobook.com website and stay updated. Download the videos and
audios that are also part of this work.
INDEX

Foreword 3
Introduction 4-5
Make the most out of this method 8

Unit 1: Harmony and its notation

Triads 9
Triads inversions 9
Four note chords 10
Four note chord and its notation 11
The five main four note chords 12
Four note chord inversions 14
The diminished chord: a symmetric chord 14

Unit 2: The Brazilian rhythmic

Base rhythmic cells 16
Polyrhythmia 17
Melody’s syncope 17

Unit 3: Baião
Rhythmic pattern 1 18
Exercises from 3 to 6 18-19
Baião da fortuna - melody 20
Baião da fortuna - comping 21-23
Baião da fortuna - piano solo 24-25
Exercises 7 and 8 26-27
Rhythmic pattern 2 28
Exercises from 9 to 11 28-29
Rhythmic pattern 3 29
Exercises 12 and 13 29
Salve Pernambuco - piano solo 30-31
Salve Pernambuco - comping 32-33
Além mar - piano solo 34-35

Unit 4: Frevo and marcha-rancho

Rhythmic pattern 1 and Exercise 14 36
Rhythmic patterns 2 and 3 37
Exercises 15 and 16 37
O abre-alas - comping 38-39
O sol de Olinda - comping 40-42

Unit 5: Choro
Rhythmic patterns from 1 to 3 43
Exercises from 17 to 24 44-46
Bass lines in choro's comping 46-47
Exercises 25 and 26 47
Lua branca - piano solo 48-49
Exercises 27 and 28 50-51
Choro’s harmony, structural forms and modulations 52
The baixaria: a characteristic comping in choro 53
Exercises from 29 to 31 53
Lua branca - comping using the baixaria 54-55
Pelo Rio antigo - melody 56-57
Pelo Rio antigo - piano solo 58-61
Pelo Rio antigo - piano solo 2 62-63
 Pelo Rio antigo - comping 64-65
Chorinho para Hermeto - melody 66-67
Chorinho para Hermeto - piano solo 68-69
Chorinho para Hermeto - comping 70-72

Unit 6: Bossa nova

Rhythmic patterns 1 and 2 73
Exercises from 32 to 36 73-75
Areia e mar (melody) and Exercise 37 76-77
Areia e mar - comping 77
Lembrando de você (melody) and Exercise 38 78-79
Lembrando de você - comping 80-81
First technique for piano solo comping 82
Exercises from 39 to 41 82-83
Lembrando de você - piano solo 84-85
Rhythmic patterns 3 and 4 86
Exercises from 42 to 44 86-87
A influência da bossa - comping 88-89
Left hand comping in open position 90
Exercises from 45 to 47 90-91
A influência da bossa - piano solo 92-93
Enriching the first piano solo technique 94-95
A influência da bossa - 2nd piano solo 96-97
Copacabana 62 melody and Exercise 48 98-99
Rhythmic-harmonic cliche and exercises 49 e 50 100
Copacabana 62 - comping 100-101
Rhythmic enrichment of the bass: exercises from 51 to 53 102
Second comping technique for piano solo 103
Exercises from 54 to 56 104
Copacabana 62 - piano solo using the second technique 105
Third comping technique for piano solo 106
Exercises 58 and 59 106-107
Eu assim tão só - piano solo using the "three-hands technique" 108
Lembrando de você - piano solo 110

Unit 7: Samba and partido-alto

Rhythmic pattern 1 and Exercises from 60 to 65 111-113
Com que roupa - comping with rhythmic pattern 1 114
Exercise 66 116
Rhythmic pattern 2 and Exercises from 67 to 69 117-118
Rhythmic pattern 3 and Exercises 70 and 71 118-119
Com que roupa - comping 120-122
Rhythmic pattern 4 and Exercise 72 123
Articulating the right hand in two parts and Exercise 73 123
Partido-alto: pandeiro grooves 124
Rhythmic pattern 1 and Exercises 74 and 75 125
Rhythmic pattern 2 and Exercises 76 and 77 126
Rhythmic pattern 3 and Exercise 78 127
Por outros sambas - melody 128
Por outros sambas - comping 129-131

Learning assessment and further development 132-133

References 134

About the author 135

MAKE THE MOST OUT OF THIS METHOD

- Watch the videos that integrate this book, absorb each exercise, example and song. Try to play
along.

- Videos and audios are marked with the symbols and

- Be patient during the learning process. You are working on new skills.

- Try to understand each rhythm in a "conscious way".

- Beat the rhythms you learn, even when you are away from the piano keyboard.

- Repeat each exercise many times to activate your muscle memory.

- Always play relaxed without any muscle tension; do not overload your body.

- Take your time with the songs! Study them slowly, try to memorize them.

- If you have the opportunity, play with other musicians. You can practice your comping skills by
comping a melodic instrument. If you play with another pianist, you will both be able to alternate the
melodies’ and comping’ performance and, maybe, you can even try some improvisations.

- If you can, try to record your performances so you can listen them after.

In this book we use a rhythmic writing, as shown in > >

the image on the right. The accent marks on the top
refer to the right hand, while the accent marks on the
bottom refer to the left hand. > > >

In my experience, this type of rhythmic writing allows us to concentrate on the movement of the
hands, regardless of the notes that are being played at the piano.

About the harmony, it is important to establish the concept of voicing: this term indicates a specific
chord structure, that is, a particular disposition of the notes. Take, as an example, the voicing 6-2-b3-5
in three different tones:

5
5 b3 5
b3 2 b3
2 6 2
6 6

At the end of the book there is a section entitled learning assessment and further development.
When you finish to study each unit, you can check this section to evaluate your learning development.
You can also get new ideas to further your studies.
(1) The Brazilian "pandeiro" is a very popular hand-frame drum.
 !
!
!
!
!
Omitted pages
continue reading
Turi Collura - The Brazilian Piano Book

2. THE BRAZILIAN RHYTHMIC

CHARACTERISTICS, RHYTHMIC BASE CELLS. POLYRHYTHMIA AND SYNCOPE.

In Brazilian music, we find some common rhythmic cells. The first of these is often called the mother
cell (or also known as the fork). It appears in all genres that we study in this book:

> > >

Written in another way:

It's important to observe that the interpretation of this cell does not exactly correspond to its notation.
Often, this cell is slightly "tripleted":

Traditional triplet Slightly ahead of the beat Slightly behind the beat

Interpretation:

Notation:

Another common rhythmic cell:

> > > > >

Two important rhythmic combinations:

Writing in two different pitches refers, for instance, to the agogô sound, one of the oldest instruments used in samba.

We can find this cells in the northeastern rhythms such as baião, toada, maracatu, frevo, etc.

16
 The Brazilian Piano Book - Unit 2

POLYRHYTHMIA
A peculiar feature of Brazilian music is the polyrhythmia, which is the simultaneous use of two - or
more - different rhythmic structures. See the following example:

MELODY'S SYNCOPE
In general, syncopation is a traditional element of Brazilian music which directly influences melodies.
In the following example, we can see how a simple rhythmic figure can progressively become more
syncopated.

Rhythmic figure: Melodic example:

a)
From the simpler to the most syncopated

b)

d)

e)

6
f)

17
Turi Collura - The Brazilian Piano Book

3. BAIÃO
RHYTHMIC PATTERNS, EXERCISES AND DUO AND SOLO PIANO SONGS.

Originally from sertão, Brazilian northeast countryside, the baião has some remarkable rhythmic
characteristics. The main traditional instruments are the accordion, the rabeca (a Brazilian type of
violin), the zabumba, the triangle and the voice; however, baião can also be instrumental only. Some
of most well known exponents of this tradition are Luiz Gonzaga, João do Vale, Dominguinhos and
Jackson do Pandeiro. Traditional instruments can be exchanged for others such as the bass, drums,
guitar, piano, etc. Sometimes, the baião can be associated with instrumental compositions slightly
influenced by the jazz language. We can observe this, for example, in compositions by Hermeto
Paschoal, Egberto Gismonti, Sivuca, Tânia Maria, among others.

See the most important rhythmic cell, typically found in baião:

Observe that the accents, within a 2/4 bar, are arranged in 3 + 3 + 2

3 3 2
> > > Normally, this rhythmic pattern is ovarlaid to the regular
pulse of two quarter notes, see below:

RHYTHMIC PATTERN 1
> > > > >
a) b)

> > > > >

In the two images above we find accents placed at the top and bottom. Similar to the pianistic writing,
from now on, we assign the upper accents to the right hand and the lower accents to the left hand. For
example, the rhythmic figure a) can be performed as it follows:

EXERCISE 3
C7 1

The right hand performs the accents in

3 + 3 + 2 while the left hand plays the
strong beat of each pulse.

18
 The Brazilian Piano Book - Unit 3

The rhythmic figure b) of the pattern 1 can be performed as it follows:

EXERCISE 4
C7 1

The left hand performs the accents in

3 + 3 + 2 while the right hand plays
the strong beat of each pulse. This is a
fairly common comping pattern.

In the image above, the bass begins with the chord’s root note, then plays the fifth and the seventh
degree of the chord. This bass drawing (1-5-7) works very well with dominant chords. In other types
of chords we can use these bass lines:

EXERCISE 5
C7 1

In this example, the bass line starts

with the chord’s root note, then plays
the fifth and then the octave.

EXERCISE 6
C7 1

In this example, the bass line starts

with the chord’s root note, plays the
fifth degree, and then the fifth degree
an octave below.

These are the most common bass lines for pianist's left hand comping. We can write these bass
lines in this way:

1 - 5 - b7
1 - 5 - 8
1 - 5 - 5

19
Turi Collura - The Brazilian Piano Book

1 Baião da fortuna (melody)

"Baião da fortuna" has a melody based on a recurrent
rhythmic cell (see the image on the right side). Let's
learn it:

Turi Collura
C7

F C/E

Dm G7 C7 C7

C7

C7

C7

C7
Da Capo

20
 !
!
!
!
!
Omitted pages
continue reading
Turi Collura - The Brazilian Piano Book

3 Baião da fortuna (piano solo) 3

Turi Collura
C7

1
3
5

C7
2 4 3

1
2
5

C7
1 2

F C/E
4

Dm G7 C7 C7
3 1 3 5

24
 The Brazilian Piano Book - Unit 3

C7
4 3 2 4 2

C7
4 3 2 1 3 5 4 2

C7
4 3 2
4
2

C7
4 3 2 4
Da Capo
2

25
 !
!
!
!
!
Omitted pages
continue reading
 The Brazilian Piano Book - Unit 5

5. CHORO
RHYTHMIC PATTERNS, PIANO DUO AND SOLO SONGS.

Born in Rio de Janeiro during the second half of the nineteenth century, the choro came from
the influence of styles such as polka, schottisches and other European waltzes, and successively
from the maxixe and other Afro-Brazilian elements. During the course of time and until our current
days, the choro has undergone some modifications. The typical group consists basically of the
flute, cavaquinho, guitar and seven-string guitar. Other instruments such as the pandeiro, mandolin,
clarinet, saxophone, trumpet, etc. can be added. Two pioneers who played the choro on the piano
were Chiquinha Gonzaga and Ernesto Nazareth. The genre had other important figures like the
composers Pixinguinha, Jacob do Bandolim, K-Ximbinho, Radamés Gnattali, Altamiro Carrilho,
Garoto, João Pernambuco, among many others. More recently, songwriters such as Tom Jobim,
Hermeto Paschoal, Paulo Moura, Hamilton de Holanda, Guinga, and Egberto Gismonti, have helped
to elaborate the choro, each of them in his own way.

Main Choro’s rhythMiC patterns

The following rhythmic patterns are the most used:

RHYTHMIC PATTERN 1

RHYTHMIC PATTERN 2

RHYTHMIC PATTERN 3

(We find the pattern 3 in Ernesto Nazareth and Chiquinha Gonzaga's compositions. It's a maxixe pattern).

43
 !
!
!
!
!
Omitted pages
continue reading
Turi Collura - The Brazilian Piano Book

12 Lua branca (piano solo) 20

Chiquinha Gonzaga

Intro Gm Dm/F

E7 A7 Dm

Em7b5 A7/C# Dm Am7b5/Eb D7 Gm Gm/F

C7/E C7 Dm A7/C# A7 Dm

48
 The Brazilian Piano Book - Unit 5

C7 C7/E F Am7b5/Eb D7 Gm Gm/F

Em7b5 Dm A7/C# A7 Dm

Gm Dm/F E7 A7 Dm D7/F#

Gm Dm/F E7 A7 Dm

49
Turi Collura - The Brazilian Piano Book

COORDINATION EXERCISES
Let's practice two exercises that help us to train the coordination between melody and comping. We
will use in the left hand the rhythmic pattern 2.

EXERCISE 27 Hanon 1 with choro comping (chords in closed position): 21

C Dm Em F

G Am Bdim C

Bdim Am G F

Em Dm C

As we have previously noted, we can adapt the exercises from Charles Hanon’s book "The Virtuoso
Pianist" to practice the Brazilian rhythms with the left hand. If you like, try to adapt some other
exercises from that book.

50
 !
!
!
!
!
Omitted pages
continue reading
Turi Collura - The Brazilian Piano Book

19 Chorinho para Hermeto (comping)

Turi Collura

Use the audio track 20 to play along with the melody:

F7,9 Bb7,9 Eb7,9 Ab7,9 Db7,9 C7,9

F6 Eb7,9 D7#9 G E7 Am7

D7(9) D7(b9) GMaj7 Bbº

70
 !
!
!
!
!
Omitted pages
continue reading
Turi Collura - The Brazilian Piano Book

THIRD COMPING TECHNIQUE FOR PIANO SOLO: THE “THREE-HANDS TECHNIQUE”

We will now study something very special that I call the "three-hands technique". It is extremely
useful to understand and practice this technique, when it comes to piano solo. The idea comes from
the pianist's need to perform the bass, harmony and melody at the same time, while maintaining the
harmony in the central region of the piano, where it sounds the best.
In the "three-hands technique", the fifth finger of the left hand plays the bass; the fifth finger of the
right hand (possibly helped by the fourth and third finger) plays the melody. The comping (both
rhythmic and harmonic) is performed by the two hands' other fingers, which are in charge of the
central part of the keyboard.

Middle C

Harmony region
6
6

Bass Melody

Rhythm and harmony

Imagine a central "third hand" which performs the rhythm and harmony according to the needs of
the musical excerpt. It is important to emphasize that we can use all three techniques described in
these pages throughout a song. Consider them as three different tools for performing in piano solo.
Your choice will depend mainly on the pitch of the melody.

Following, there is an exercise to practice the “three-hands technique”. Observe the highlighted area
that indicates the rhythm-harmony central area:

EXERCISE 58 58

GMaj7 GMaj7

Central area: rhythm-harmony comping Central area: rhythm-harmony comping

106
 !
!
!
!
!
Omitted pages
continue reading
 The Brazilian Piano Book - Unit 7

7. SAMBA E PARTIDO-ALTO
RHYTHMIC PATTERNS, EXERCISES AND DUO SONGS.

Considered to be one of Brazilian main rhythms, the samba is characterized by a rich polyrhythmia, in
which several instruments perform different rhythmic designs. We can play very interesting rhythmic
figures in the piano.

RHYTHMIC PATTERN 1
In this comping pattern, we perform a rhythm in countertime with the right hand. In the left hand,
the first tempo note is played in staccato, while the second is louder and tenuto. We will perform all
samba comping like this with the left hand. See the image below.

> > > >

> >
This note in This note is
staccato is strong and
lighter tenuto

Usually, the bass plays the root of the chord on the first beat, while the louder note is, in many cases,
the fifth or the lower octave. Here is an exercise that uses the fifth.

EXERCISE 60 62

Dm

Chord's notes: 1 5 1 5

In the exercise above, the left hand plays only on the downbeats. It's common to add other notes to
them, as we will study.

111
 !
!
!
!
!
Omitted pages
continue reading
THE AUTHOR

Pianist, composer and arranger, Turi Collura has an extensive career as an

instrumentalist and musical educator. He graduated in Italy, majoring in Music
with emphasis on musical education (University of Bologna) and at the Civica
Scuola di Jazz (Milan).

Turi has an extensive presence throughout several institutions in Brazil (Souza

Lima Conservatory-SP, Music Conservatory of São João del Rei-MG, TKT Mu-
sical-SP, UFES-Federal University of Espírito Santo, CAEM-SP, Márcia Couto
Music Institute in Maringá-PR, Intermezzo in São Paulo-SP, Rafael Bastos Music School in
Florianópolis-SC, Souza & Muzir Musical Institute, in Serra-ES, UFMA (Federal University of
Maranhão), FAMES (Faculty of Music of the State of Espírito Santo), Festivals (Curitiba Music
Festival, International Winter Festival in Domingos Martins-ES) and other foreign institutions (Civic
Jazz School in Milan, Scenario Pubblico-Catania, Campbellsville University in Kentucky, USA)
among many others.

In 2003, he founded the Department of Popular Music at the Faculty of Music of Espírito Santo
(FAMES), in Vitória, which he coordinated until 2012. Throughout this period, he ministered subjects
such as Harmony, Improvisation, Popular Piano, Group Practice, Jazz Aesthetics.

Turi is the author of the two-volume method "Improvisação: práticas criativas para a composição
melódica na música popular", published by Irmãos Vitale, nowadays considered a true best seller
and also a bibliographical reference in several institutions and universities.

In 2009, he published the method "Rítmica e levadas brasileiras para o piano", in book and DVD.

He holds a Master's degree from the Federal University of Espírito Santo - UFES (2011) and a
postgraduate degree from the same institution (2007).

Active as a pianist and a composer, in 2007 he recorded his first CD "Interferências" in Rio de
Janeiro with Nelson Faria, Ney Conceição, Daniel Garcia, Rafael Barata, Daniel Dias, Guilherme
Dias Gomes and João Schmidt. In 2013, Interferências got a Japanese edition by the label Disque
Dessinee.

In 2011, he recorded his second CD, "Conversa na Vila", a tribute to composer Noel Rosa. Conversa
na Vila had the group Arranco de Varsóvia as a special guest.

In 2013, he published the work "Piano bossa nova: progressive method" consisting of book + DVD.

In 2015, he was invited to give a workshop on Brazilian rhythms at the University of Campbellsville,
Massachusetts (USA).

He created, in 2015, the website Terra da Música (www.terradamusica.com.br) with online music
courses where he currently teaches alongside with a team in constant development.

135