Anagram & Information om | Engelska ordet BERIMBAU

Exempel på hur man kan använda BERIMBAU i en mening

• Max Cavalera – lead vocals, rhythm guitar, berimbau on "Bleed" and "Tribe", backing vocals on "Bumba" and "Umbabarauma", sitar on "First Commandment" and "Soulfly", talk box on "No Hope = No Fear", agogô on "Fire", chains on "Prejudice".
• Max Cavalera – lead vocals, 4-string guitar, berimbau, sitar, bass guitar on "I Will Refuse", percussions on "Brasil".
• Naná Vasconcelos – percussion (2, 10, 12), gourd (3, 5, 8, 9), voice (3), berimbau (8), congas and triangle (9).
• Leonice Shinneman (percussion, pakhawaj, manjerra, African berimbau, melodic rattle, claves on “Empty Time”).
• Capoeira music is the traditional musical accompaniment used in Afro-Brazilian art capoeira, featuring instruments like berimbau, pandeiro, atabaque, agogô, and reco-reco.
• São Bento Pequeno is also sometimes played as a contra-toque (an inversion the gunga) by the medio berimbau.
• Baptista plays alfaia, agogo bells, apito, bandora, bass drum, bell tree, berimbau, bongos, bottles, Chinese bells, cabasa, caja, caxixi, clay drum, conga, cowbell, cuica, cymbals, drums, finger cymbals, gong, kalimba, maracas, mark tree, pandeiro, rototom, repinique, shaker, shekere, snare drum, surdo, triangle, tabla, talking drum, tamborim, tambourine, temple block, timbales, tom-toms, udu, washboard, water gong, waterphone, whistle, and wood block.
• His instruments include tabla, mridangam, kanjira, ghatam, vocal percussion, dholak, naal, bhangra dhol from north and south India; darabuka, req, bendir, frame-drums from the Middle East; congas, bongos, timbales and berimbau from Latin American; as well as the Irish bodhran, Nigerian udu, West African djembe, Japanese taiko, Western drum set, and many custom percussion effects and self-built instruments.
• Vasconcelos played congas, berimbau, gourd, triangle, drums, cymbals, repique, tambourine, gong, caxixi, talking drum, cuica, shaker, palmas, pandeiro, zabumba, udu, cabasa, prato, tambor, hi-hats, bells, water drum, vibraphone, güiro, ganza, cowbell, tabla, xequere, Turkish drum, repique, surdo, shells, African bells, agogo bells, clay pot, timpani, snare drum, flexatone, Tibetan gong and other assorted percussion.
• Adam Rudolph – shekere on 5 7, talking drums on 5, clay pots on 7, caxixi on 7, turtle shell on 7, fra fra bell on 7 8, berimbau on 7, clay drums on 8, angklung on 8, cowbells on 8, rattles on 8.
• As of 2000, the members of Shooglenifty were Malcolm Crosby on guitar, mandolin and sitar, Angus R Grant on fiddle, Garry Findlayson on banjo and a self-invented electrified instrument he named the "banjax," bassist Conrad Ivitsky, who also performs harmonica and berimbau and the percussionist James Mackintosh, an "all-important drummer in a style that generally is done without drums", credited with "drums, percussion, bass, psaltry, programming and samples".
• Jan Marmenout (born in Ghent, Belgium) is a Belgian percussionist and multi-instrumentalist playing such instruments as the berimbau, kalimba, balafon, didgeridoo, shawm, Tibetan trumpet, conch shells, fujara, lithophones, etc.
• Robertinho de Recife – Arrangement on tracks 3, 12, 13, 16, sampler on track 3, electric guitar on tracks 4, 5, 6, 8, 20 vocalise on track 7, charango on track 7, sitar on track 13, on berimbau on track 10, cavaquinho on track 14.
• Tom Wasinger – banjo, bass, berimbau, bowed zither, cajon, chamberlin, cittern, guitar, hand drums, keyboards, lap steel guitar, mandolin, marxophone, mountain dulcimer, mouth bow, percussion, producer, string arrangements, ukulele, zither.
• Jali combined traditional instruments like the drums and flute with less commonly used instruments such as the balafou, berimbau and yidaki.
• Self-taught: Egyptian riq, African tar, Moroccan bendir, Spanish cajón, udu drums, berimbau, Venezuelan maracas.
• Ansuman Biswas - berimbau & ektara & toys on "The More You Ignore Me, The Closer I Get", santoor on "Unfulfilled Desire", cymbals & bells & hi-hat on "Yellow is the Colour of My Cowardice".
• The song features simple downtuned riffs, plus tribal drumming and blabbering; it also plays berimbau to begin the song.
• The first minute of this six-minute song plays a berimbau with a man singing a traditional song in Portuguese about Zumbi and his quilombo Palmares's resistance to the Portuguese.
• It is scored for a choir of minimum 54 voices, out of which 8 must be soloists as well; a very large percussion section, which should consist of a berimbau, caxixi, bongos, guataca, okónkolo, maracas, congas, shekere, itótele, bombo legüero, bass drum, timpani, bell, guiro, gua gua, cuica, quinto, surdo cortador, surdo resposta, surdo marcaçao, repnique, chimes, wind chimes, tamtam, tambourine, sea shells, spring drum, iyà, and cymbal; the rest of the Orquesta La Pasión, consisting of a guitar, a tres, an accordion, a piano, a cajón, a contrabass, and sound effects; finally, a last section which should consist of two trumpets in C, two trombones, 12 violins, 12 cellos, and 4 basses.

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