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Throughout the song, there is a reocurring pattern of 2 consecutive measures in 4/4. The first measure has 3 consecutive quarter notes in a pattern like F, F#, G with a quarter rest following to complete the measure. The second measure has 3 consecutive quarter notes F, F#, G and is then followed by two eighth notes F# and F. The tempo is fast and I am believe this is a fairly old style. I do not have any song examples, but am hoping this will suffice.

Not sure if this is against the rules, but here is an example:

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  • Welcome to Music.SE. Note that identification questions are off-topic here. I personally find nothing wrong with a question that identifies the genre according to common traits (rather than a specific piece of music), however in this case I doubt your information is enough. – leftaroundabout Feb 6 '20 at 14:21
  • @leftaroundabout yeah I am attempting to identify a genre by its generalized theme. I'll attempt to supply more information. – Jason p Feb 6 '20 at 14:24
  • In classical music the forms passacaglia or chaconne typically exhibit a repetitive bass pattern, but considering you sample I'm not sure, whether this is what you search for. – guidot Feb 6 '20 at 16:35
  • Just listened to your example, and I believe its instrumentation and level of syncopation helped me determine its genre (or at least which genres it probably isn't in) more than your description of its notes and rhythms did. – Dekkadeci Feb 6 '20 at 18:16
  • Although your question is pretty difficult to follow, I listened to the clip and TOTALLY understand what you are getting at. It seems like a kind of Latin (Rhumba?) figure you describe. In more strictly musical terms, this figure moves between the 5th, #5th and 6th above a major chord. It is very idiomatic and recognisable. However, a quick Google search didn’t turn anything up; it might be a little difficult to find information from the way I describe it. Hence a comment and not an answer. – Bob Broadley Feb 6 '20 at 20:24
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It's based on Ary Barroso's 1939 song Brazil - Aquarela do Brasil. Although it doesn't use the melody, the backing is the same. And it's a samba, or strictly speaking an 'exaltation samba', of which style Barrosa was the chief exponent.

At the time, much effort was being expended on projecting a positive image of Brazil: on creating a new identity. Getúlio Vargas's propaganda department exercised tight control over the lyrics of all popular songs, which it saw as the ideal vehicle for spreading the New State's message to the illiterate masses.

While Noel Rosa ('the philosopher of samba', who died two years before Brazil was written) had sought in his lyrics to ridicule the regime and expose its 'positivismo' as hollow and meaningless, Barroso was happy to collude with it, glorifying Brazil as the "land of samba and the pandeiro".

I'm glad to see it ended up in Pajama Sam!

[Source: São Coisas Nossas: Samba and Identity in the Vargas Era (1930-45), by Lisa Shaw. Portuguese Studies Vol. 14 (1998),]

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