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https://www.britannica.com/place/Portugal
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en
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Portugal | History, Flag, Population, Cities, Map, & Facts
|
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[
"Portugal",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[
"Harold V. Livermore",
"Walter C. Opello"
] |
1999-07-26T00:00:00+00:00
|
Portugal, country lying along the Atlantic coast of the Iberian Peninsula in southwestern Europe. Once continental Europe’s greatest power, Portugal shares commonalities, geographic and cultural, with the countries of both northern Europe and the Mediterranean. Learn more about Portugal.
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/place/Portugal
|
Portugal, country lying along the Atlantic coast of the Iberian Peninsula in southwestern Europe. Once continental Europe’s greatest power, Portugal shares commonalities—geographic and cultural—with the countries of both northern Europe and the Mediterranean. Its cold, rocky northern coast and mountainous interior are sparsely settled, scenic, and wild, while the country’s south, the Algarve, is warm and fertile. The rugged Estrela Mountains (Serra da Estrela, or “Star Mountain Range”), which lie between the Tagus and Mondego rivers, contain the highest point of mainland Portugal.
In the 1st millennium bce the Celtic Lusitani entered the Iberian Peninsula and settled the land, and many traces of their influence remain. According to national legend, though, Lisbon, the national capital, was founded not by Celts but by the ancient Greek warrior Odysseus, who was said to have arrived at a rocky headland near what is the present-day city after leaving his homeland to wander the world and who, liking what he saw, stayed there for a while; his departure was said to have broken the heart of the nymph Calypso, who, the legend goes, turned herself into a snake, her coils becoming the seven hills of Lisbon. Of course, had Odysseus actually come to Portugal, he would have found the land already well settled by the Lusitani.
Lusitani tribes battled the Romans for generations before acceding to empire, whereupon Rome established several important towns and ports; the Roman presence can be seen in the very name of the country, which derives from Portus Cale, a settlement near the mouth of the Douro River and the present-day city of Porto. Later, the descendants of Romans and the Lusitani would live under Moorish rule for several centuries until an independent kingdom was established.
In constant battle and rivalry with Spain, its eastern neighbour, Portugal then turned to the sea and, after Henry the Navigator’s establishment of a school of navigation at Sagres, in time founded a vast overseas empire that would become Europe’s largest and richest. Much of that empire was quickly lost, but even then Portugal retained sizable holdings along the African coast, in southern and eastern Asia, and in South America. Portugal remained a colonial power until the mid-1970s, when a peaceful revolution transformed the country from a dictatorship into a democratic republic. Long among the poorest countries of Europe, Portugal modernized in the last decades of the 20th century, expanding its economy from one based primarily on textile manufacture and livestock raising to include a range of manufactures and services.
Britannica Quiz
Guess the Country by Its Neighbors Quiz
Lisbon is Portugal’s capital and economic and cultural centre. The city clings to low but steep hills situated on the right bank of the Tagus and is a popular tourist destination. Lisbon is rather more tranquil and reserved than Madrid in neighbouring Spain, but it shares with it a reputation for great food, melancholy and romantic music, dance, and sport. Portuguese traditionally have prized a simple and unostentatious life, favouring the rural over the urban and the traditional to the modern, where a fine meal might consist of carne de porco à Alentejana (lean pork stuffed with clams), thick-crusted bread, and dark wine. Portuguese delight in the countryside, where they gather to hold family picnics, tend to their gardens and orchards, and relax. It is from the countryside that the fado, a form of romantic ballad, is thought to have come (though it is now clearly associated with the cities of Lisbon and Coimbra), and it is in the countryside that the country’s traditional sport of bullfighting takes its finest form, though in Portuguese bullfighting the bull is not killed but rather is retired to the countryside for the rest of its life.
|
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8738
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dbpedia
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1
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https://www.monito.com/en/what-is-the-currency-in/portugal
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en
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What's the Currency in Portugal?
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Planning a trip to Portugal? Learn what is the currency in Portugal: All about the Euro in 2024 with tips and methods for saving while spending money on your trip.
|
en
|
/favicons/favicon-16x16.png
|
https://www.monito.com/en/what-is-the-currency-in/portugal
|
Advertiser disclosure
Links on this page, including products and brands featured on ‘Sponsored’ content, may earn us an affiliate commission. This does not affect the opinions and recommendations of our editors.
Read more
The currency in Portugal is the euro. As the official legal tender in Portugal, the euro is officially recognized by the Portuguese government, meaning you can use it to settle all financial obligations in the country, including paying for goods, services, taxes, and debts.
Besides the euro, no other currency is officially accepted in Portugal, although major currencies like US dollars and pounds can easily be exchanged for euros at bureaux de change in tourist centres like Lisbon and Porto.
There are a couple of reasons why you might be interested to find out the currency in Portugal. Click on the reason that best applies to you below to find out more:
I'm travelling to Portugal
I'm sending money to Portugal
I want to follow the euro exchange rate
I'm just curious
Travelling to Portugal
With its different currency, banking system, and money customs, figuring out the best way to pay in Portugal if you travel there can be tricky. Fortunately, many forms of payments have become ubiquitous around the globe, including:
Credit cards: Cards from VISA and Mastercard are accepted in Portugal, especially in touristy establishments.
Debit cards: Debit cards linked to your bank account let you make purchases at point-of-sale terminals and withdraw cash.
Cash: Having some euro banknotes could help for small purchases, tipping, and emergencies. You can typically exchange currency at a bank or exchange bureau before or upon arrival.
Mobile payments: Mobile payment services like Apple Pay, Google Pay, or Alipay are an increasingly popular way to pay, but you'll need to check beforehand how available these methods are in Portugal.
Prepaid travel cards: A reloadable debit card with a euro balance can give you good value, security, and convenience.
Of these methods, using a prepaid travel card is almost always the best way to pay in Portugal because they generally incur lower fees on euro currency exchange than credit cards or bank debit cards do. Moreover, many prepaid travel cards let you hold multi-currency balances, allowing you to dodge DCCs and other sneaky fees while travelling — all while providing the same level of security and convenience as you're used to from your credit or debit card!
Depending on where you're from, you may be able to find a prepaid travel card from your bank. Still, we recommend using a global provider like Revolut because it offers excellent exchange rates, multi-currency balances, and a travel debit card that allows you to spend on your holiday like a local and enjoy peace of mind after each tap, swipe, or cash withdrawal.
Revolut is only available in the United States, the United Kingdom, the EU/EEA, Australia, Japan, Singapore, Azerbaijan, Sri Lanka, Brazil, and Chile. If you live in Canada or New Zealand, the Wise Account is another excellent option to consider. If you're from any other country, we recommend checking out what multi-currency cards are available in your country or whether your bank offers any similar products.
Sending Money to Portugal
Every year, many people send money to Portugal for all kinds of reasons. These include supporting friends or family, paying for someone's tuition, settling business transactions, purchasing or upgrading property, and many others. If you want to send an international money transfer to a euro bank account in Portugal, then you should be aware of the high fees and exchange rates that go along with global money transfers with your international bank (these fees often constitute more than 10% of your transfer amount — you can read all about this in our dedicated explainer here).
Fortunately, international money transfers are a competitive market with many trustworthy alternative providers jostling to offer you the best exchange rates (rates which almost always far outdo those you'll find at the bank!). However, because the cheapest provider to send money abroad differs depending on factors such as where you're sending from, the amount you're sending, the payment method and others, we recommend skipping the hassle and finding the cheapest provider in real time with Monito's live comparison tool below 👇
Find the best deal when sending money to Portugal:
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Euro Exchange Rates
The euro is one of around 180 currencies worldwide. This means that the euro trades against all other official currencies around the globe, giving us exchange rates: a measure of how much of one currency we can exchange for another.
Exchange rates can fluctuate over time due to various economic, political, and market factors. A higher exchange rate means that the value of one currency has increased compared to another, while a lower exchange rate means the opposite. Exchange rates are essential when travelling to, buying goods and services from, or sending money to Portugal.
With Monito's currency pages, you can follow the live exchange rate to the euro, see which providers offer the best deals, and set up smart email alerts to follow fluctuations:
You can also use the above tool to enter your currency to see its exchange rate with the euro or set up email alerts to be notified when the exchange rate passes a certain value.
Key Facts About the Euro
Currencies and foreign money can be interesting, unique, fun to learn about because they offer a glimpse into a country's culture, history, and economics. If you're just curious the euro and how it's used as the currency of Portugal, here are a few key facts:
Portugal Currency Name
Euro
Portugal Currency ISO Code
EUR
Currency Symbol
€
Banknote Denominations
€5, €10, €20, €50, €100, €200, €500
Minor Unit
Cent
Central Bank
ECB
Portuguese Currency Since
1999
Alternative Currencies
None
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8738
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dbpedia
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1
| 89
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https://taxsummaries.pwc.com/glossary/currency-codes
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en
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Currency codes
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https://taxsummaries.pwc.com/-/media/world-wide-tax-summaries/dev/social-pwc-logo.ashx?la=en&rev=f6d32c4c056f476e9e7308048d5a141d&revision=f6d32c4c-056f-476e-9e73-08048d5a141d&hash=D4CBD9A265BEA84981BB24D6814A24DD53FAD0EA
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https://taxsummaries.pwc.com/-/media/world-wide-tax-summaries/dev/social-pwc-logo.ashx?la=en&rev=f6d32c4c056f476e9e7308048d5a141d&revision=f6d32c4c-056f-476e-9e73-08048d5a141d&hash=D4CBD9A265BEA84981BB24D6814A24DD53FAD0EA
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[
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Description of Currency abbreviations
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en
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https://taxsummaries.pwc.com/glossary/currency codes
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© 2017 - 2024 PwC. All rights reserved. PwC refers to the PwC network and/or one or more of its member firms, each of which is a separate legal entity. Please see www.pwc.com/structure for further details.
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8738
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dbpedia
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0
| 1
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https://wise.com/gb/travel-money/portuguese-currency
|
en
|
Currency in Portugal: A Complete Guide
|
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Heading to Portugal? Find out what currency is used in Portugal, tips and tricks for Portuguese currency exchange, and spending and saving money on your visit.
|
en
|
Wise
|
https://wise.com/gb/travel-money/portuguese-currency
|
The currency in Portugal is the euro. Each euro is divided into 100 cents.
When you’re buying currency for Portugal, look out for the currency code EUR. And once you’re in Portugal, you’ll see the symbol € used to show prices.
You’ll find Euro banknotes in denominations of 5, 10, 20, 50, 100, 200, and 500 - although the 200 and 500 EUR notes are seldom used. There are also 1 and 2 euro coins.
Cents come in coins of 1, 2, 5, 10, 20 and 50.
The Wise euro travel money card lets you top up in your local currency, and switch to euro to spend when you’re in Portugal. You’ll get the best rate for spending in euro - and can also hold and spend 40+ other currencies with the same card.
Get your Wise travel money card online for free, to send and spend money around the world at the mid-market exchange rate.
Simply top up your card and convert to the currency you need in real time using the Wise app.
You’ll always get the mid-market exchange rate with no hidden costs, and you’ll avoid foreign transaction fees while withdrawing from ATMs abroad, paying in restaurants and shops, and buying your accommodation and flights.
Learn more about the euro card
Paying by credit or debit card in Portugal
In Portugal, large, upmarket, and chain shops and restaurants - as well as hotels - are likely to take card payments. However, smaller family run places may prefer cash, so carrying both is a smart move.
ATMs in Portugal
You'll be able to find ATMs - called Multibanco - in cities and towns across Portugal.
However, small villages and remote areas won't have ATM coverage, so carry cash if you're adventuring off the beaten track.
To get the best deal when spending on card or withdrawing money in Portugal, don’t forget to use the Wise travel money card to avoid sneaky exchange rate markups and excessive fees.
|
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8738
|
dbpedia
|
2
| 64
|
https://getgoldenvisa.com/portugal-golden-visa-program
|
en
|
Portugal Golden Visa: Updated Program in 2024
|
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2020-10-12T18:16:40+00:00
|
Portugal Golden Visa new rules and guidelines in 2024: live and work in Portugal, travel in Europe and become a citizen in 5 years. Learn more...
|
en
|
Get Golden Visa
|
https://getgoldenvisa.com/portugal-golden-visa-program
|
Portugal’s Golden Visa program is one of the most popular residency by investment programs in Europe and in the world. The program started in October 2012 and since then more than 12,000 applicants have applied for their Golden Visas.
What You Will Find in This Article:
What Is Portugal Golden Visa
Benefits: What Are the Benefits of Portugal Golden Visa
Eligibility: Who Is Eligible for a Golden Visa in Portugal
Portugal Golden Visa Investment Options: What Types of Investments Qualify for The Golden Visa
Requirements: What Are the Golden Visa Portugal Requirements
How To Get a Golden Visa in Portugal: Application and Process
Fees and Costs: What Are the Government Fees and Legal Costs Related to Golden Visa
Statistics on Portugal Golden Visa
The Updated Portugal Golden Visa Program in 2024
Previous Portugal Golden Visa Changes
Get Golden Visa: Who We Are and How We Can Help You
Your Guide to Portugal Golden Visa
At Get Golden Visa, we helped thousands of investors and families from 41 different countries obtain a Golden Visa in Portugal.
Contact us and speak to our independent advisors who can assist you with all your investment and Portugal Golden Visa Program related questions.
Portugal Golden Visa In a Nutshell
Portuguese Golden Visa provides a range of relatively affordable investment options for you to choose from in obtaining your residence permit,
You are only required to spend a minimum of seven days in Portugal per year,
Portugal Golden Visa Program gives you visa-free access to the Schengen states,
You can become a Portuguese citizen within five to six years,
Portugal is a safe, secure, affordable country with a high quality of life, solid infrastructure, superb climate, and good health and education systems.
What Is Portugal Golden Visa?
The Portugal Golden Visa program, also known as the residence permit for investment activity (ARI), is a residency by investment scheme designed for non-EU citizens.
Portugal launched the program in October 2012. The main objective was to attract international capital into the country, as it was much in need after the 2008 economic crisis. The program proved to be a great success, raising over €7.5 billion since then.
Portugal offers a wide coastline, a great climate, hospitable people, and delicious cuisine. Better yet, it provides this high quality of life at an affordable cost of living. These factors make Portugal a very attractive destination for international investors to invest in and obtain the right to live, work, and study in the country.
Furthermore, the Portugal Golden Visa program provides the opportunity to become a permanent resident or a citizen in Portugal in only five years.
Benefits: What Are the Benefits of the Portugal Golden Visa?
You can qualify for residency by contributing a minimum of €250,000 which is one of the lowest investment thresholds in Europe,
You don’t have to move to Portugal to keep your residence permit. Staying in the country for seven days on average per year will suffice,
You can be eligible to apply for Portuguese citizenship in five years. This is one of the quickest in Europe,
Once you become a Portuguese citizen, you get visa-free access to 191 countries.
1. Visa-Free Travel
The Golden Visa permit registers you in the Schengen Area central system. So, you can freely travel within Europe without an additional visa.
At the end of five years, if you decide to get Portuguese citizenship, you can get a Portuguese passport. The Portuguese passport allows you to travel to 191 countries without the need for a visa.
2. Living, Working, and Studying in Portugal
Portuguese Golden Visa allows you to live, work, and study in Portugal.
If you decide to live in Portugal full-time with your Portuguese Golden Visa, then you will be required to have medical insurance. You will, however, have full access to all public services including healthcare and education.
State schools follow the Portuguese curriculum, though there are numerous private British and American international schools.
The work permit allows you to work anywhere, as well as start and run your own business in Portugal.
3. Family Reunification
As the main applicant, you may extend your Portuguese Golden Visa to your family members. The application process is simultaneous for the main applicant and the dependents.
The following members of the family are eligible to apply along with the main applicant:
Spouse,
Children under the age of 18
Financially dependent 18+ children provided that they are full-time students and not married,
Parents of the main applicant, if over the age of 65 years old.
4. Citizenship and Passport
You may apply for citizenship after five years of holding a Golden Visa in Portugal.
In order to qualify for citizenship, you must have:
No outstanding tax payments in Portugal,
Clean criminal records from Portugal and from your home country,
Obtain an A2 level language certification in Portuguese.
Later in the article, we will touch on the specifics of the Portuguese language requirement.
Important Note: In 2024, the Portuguese Parliament has approved changes to the citizenship law, affecting how the 5-year residency period required for citizenship eligibility is calculated. With the change, the countdown for these five years begins on the day you submit your application, rather than when you receive your residence permit. Check out the details on the Portuguese Citizenship Law Change.
5. Tax Benefits
Portugal Golden Visa Program will not bring any tax responsibility to you unless you spend more than 183 days of the year in Portugal. In case you do, then you become a tax resident in Portugal. The country offers a competitive tax system to those who are tax residents in Portugal.
6. Overall Benefits
As a Portuguese Golden Visa applicant, you have the right to live and work in Portugal, but there is no requirement to do so. With your Golden Visa, you can enjoy free travel within the European Schengen visa zone. After holding a Golden Visa for five years, you can apply for citizenship or permanent residency in Portugal, leading to a passport. The Portuguese passport allows you to live, work, study anywhere within the European Union.
Eligibility: Who Is Eligible for a Golden Visa in Portugal?
Nationalities
Any non-EU/EEA/Swiss national can apply for the Portugal Golden Visa.
Pre-requisites
You’re required to be at least 18 years old and hold a clean criminal record from your home country, as well as from Portugal. The funds for the investment should arrive from outside of Portugal.
Golden Visa Minimum Investment
In order to qualify for Portugal’s Golden Visa, a qualifying investment has to be made. Investment categories include venture capital fund, company formation / employer responsibilities, and donation. Later on in this guide, you can find a list of qualifying investments.
Family Members
Under family reunification, you may extend the Golden Visa to the rest of the family members. A comprehensive list of eligible dependents is listed in the previous section.
American Applicants
US citizens are eligible to apply for the Portuguese Golden Visa. American Golden Visa applicants typically prefer to invest in a qualifying private equity or venture capital fund.
The number of American expats in Portugal surged above 10,000 as of 2024, a big increase over previous years. This rise is often attributed to the affordability, pleasant climate, and safety in Portugal.
British Applicants
In 2021, UK passports lost their freedom of movement in the Schengen Area. British investors had to plan for the mobility repercussions of Brexit. UK citizens target Portugal for three reasons: travel rights across Europe, a desirable lifestyle, and ultimately European citizenship by investment.
The British expats constitute the second-largest expatriate group in Portugal, with over 50,000 British residents residing across the country.
Get Golden Visa: Who We Are and How We Can Help You
Get Golden Visa is a bespoke investment advisory firm. Contact us and talk to one of our experienced team members to help you with any and all your questions in your quest for Portugal Golden Visa.
Portugal Golden Visa Investment Options: What Types of Investments Qualify for the Golden Visa?
Portugal Golden Visa program offers different investment options.
Fund Subscription
Company
Donation
Real Estate Acquisition (no longer eligible)
Capital Transfer (no longer eligible)
Fund Subscription
A minimum of €500,000 subscription in a qualifying Portuguese fund. The qualifying funds include Private Equity and Venture Capital funds in Portugal and exclude any fund that has direct or indirect real estate ties.
Company
Creation of a minimum of 10 new full-time jobs in a Portuguese business that is owned by yourself as the main applicant.
→Create a minimum of eight new full-time jobs in a Portuguese business formed in a low-density area in Portugal, owned by the main applicant.
Invest a minimum of €500,000 in an existing Portuguese business, where the incorporated business must create a minimum of five new full-time jobs for at least three years.
Donation
Invest a minimum of €250,000 in preserving national heritage in Portugal.
Invest a minimum of €500,000 in a research and development activity in Portugal.
Real Estate Acquisition (no longer eligible)
Real estate investments no longer qualify you for a Golden Visa in Portugal as of October 2023.
Capital Transfer (no longer eligible)
Capital transfer no longer qualifies you for a Golden Visa in Portugal as of October 2023.
Are Loans Allowed for the Golden Visa Investment in Portugal?
A common question is if you can use a loan or a mortgage in making your Golden Visa investment in Portugal. Portugal expects you to bring in the minimum required amount from outside of Portugal into the country. So the minimum amount cannot be taken out as a loan from a Portuguese financial institution.
However, you can take the amount as a loan from a non-Portuguese financial institution and then bring it into Portugal. Additionally, if your investment exceeds the minimum amount, there is nothing stopping you from taking a loan for the exceeding amount from a Portuguese bank.
Which Portugal Golden Visa Investment Route To Take
Choosing the best route for your Golden Visa investment can be difficult. In this video, our Regional Partner Werner Gruner explains the pros and cons of real estate and fund investment routes.
Real estate is no longer an eligible investment route for Golden Visas, but the comparison is useful in understanding where the current most popular investment route, the fund investment, stands.
Requirements: What Are the Golden Visa Portugal Requirements?
Minimum Residence Requirement
Portugal Golden Visa program has a low stay requirement. Portugal requires Golden Visa residents to spend a minimum of seven days annually on average in the country.
Important Note: As of April 2020, the initial residence permits became valid for two years (used to be one year) and the subsequent permits became valid for two years each. This was due to a legislative change in the Portuguese immigration law. In case the change is permanent, it is expected that the initial card that is valid for two years will require the cardholder to spend at least fourteen days within that two-year period physically in Portugal. Then the renewal cards will also be valid for two years each and the applicants will need to spend at least fourteen days physically in Portugal within the two-year period.
Make and Maintain a Qualified Investment for Five Years
You’re required to present supporting evidence that you have individually made the investment of the minimum amount required. As the main applicant, you must maintain the investment as long as you and your dependents hold Golden Visa residency status.
If and once you become a permanent resident or a Portuguese citizen, the investment no longer needs to be maintained. You can then liquidate whichever investment you made.
Proper Documentation
You need to provide the following documents in order to apply for Portugal Golden Visa Program:
1) Copy of a passport or other government-issued travel document,
2) Proof of evidence of the qualifying investment made by the main applicant individually:
→ If investment fund; proof of fund subscription from the fund manager.
3) Declaration from a Portuguese financial institution confirming the transfer of funds,
4) Criminal record of the current country of residence,
→ Must be issued within three (3) months of the form submission.
5) A completed form authorizing SEF to access criminal records in Portugal,
6) A sworn declaration of compliance with the minimum investment requirements for the necessary time period of five years,
7) Documents outlining good standing with the Portuguese Tax and Customs Authority & Social Security system,
→ Must be issued within 45 days of the form submission.
8) Receipt of ARI application payment,
Unless otherwise stated, it is best to have the documentation issued within three months of your Golden Visa application submission.
Legalizing Documents
All the above documents issued by a non-Portuguese entity need to be legalized. The legalization must have an apostille if the subject country is part of the Hague convention.
Translating Documents
Any original document that is not in Portuguese needs to be translated into Portuguese and certified. The certification is typically performed by a notary.
Related Fees
Below is a chart of Portugal Golden Visa government application fees;
Bank Account and NIF Number
Portugal requires you, the main applicant, to make the investment from your bank account in Portugal. Accordingly, it is mandatory for you to have an account in a Portuguese bank. You must also have a NIF number, which is a tax identification number in Portugal, to open the account.
Both obtaining a NIF number and opening a bank account in Portugal are pretty straightforward. They can both be done in half a day.
Getting a NIF Number
Get proof of address from your country of residence,
Bring a government-issued identification and your proof of address to a Finanças office in Portugal,
Get your NIF number on the spot within an hour.
You can also provide your lawyer with a power of attorney and they can complete this step without you even being present in Portugal.
Opening a Portuguese Bank Account
Unlike many countries in the world, Portuguese banks make it quite easy to open a bank account for non-residents and foreigners. The banking and maintenance fees are also quite low compared to the rest of Europe. Just follow the below steps:
What you will need:
Passport or government-issued travel document,
NIF number,
Portuguese phone number,
Proof of address from your country of residence,
Proof of income/payslip,
What you will do:
Go to the bank branch and open your account.
Typically, each law firm has one or more banks and branches they work closely with. It is best to get their advice in order to keep things moving quickly.
How To Get a Golden Visa in Portugal: Application Process
The Golden Visa application in Portugal is quite straightforward. If you take the necessary steps, such as investment, legal steps, and the right documentation, you’ll have a successful Portugal Golden Visa application process. Check the steps below for more clarification:
Step One: Speak to Get Golden Visa Team and Decide on Your Investment Type
First things first. You need to analyze the list of available investment types and decide on which investment you will move forward with. Tip: Currently, the fund option is by far the most popular investment method.
↓
Step Two: Gather All Necessary Documents
You need to gather all necessary documents for yourself, the main applicant, as well as all those for your dependents if you have any. This step may get a bit tiring, especially with all the translations, notarizing, apostilles, and certifications. However, a professional advisor like Get Golden Visa will help alleviate the headache.
↓
Step Three: Get a NIF and Open a Bank Account
As mentioned above in the article, getting a NIF in Portugal can practically be done within a day. As for opening a bank account, it may take anywhere from a week to a couple of months, depending on which country you are originally from. This is a task that you can delegate to your lawyers to complete without your presence in the country.
↓
Step Four: Finalize the Investment
Now that you chose which investment type to go with, it’s time to pay up and lock in your investment in Portugal.
↓
Step Five: Submit Pre-Application
With your qualifying investment made and your paperwork ready, you will submit your pre-application online to AIMA (previously SEF). In most cases, your law firm will do this on your behalf and notify you if there is anything missing.
In standard times, it takes roughly two months from the time you submit your documents until your appointment date.
↓
Step Six: Schedule and Attend Your AIMA (previously SEF) Appointment
After analyzing your pre-application, AIMA will provide you with a set of available dates for a biometrics appointment. On the chosen appointment date, you and your dependents need to physically show up at the corresponding AIMA office in order to submit your fingerprints and make your application official.
↓
Step Seven: Get Your Golden Visa and Renew
Bingo! You and your dependents receive your Golden Visa residence cards. Your law firm or your professional advisor will collect the cards and send them your way. Each card is valid for two years and at the end of the validity period, you will renew your Golden Visa card to receive a new one.
It takes roughly six months from your biometrics appointment until you receive your cards.
↓
Step Eight: Become a Portuguese Citizen
Once five years lapse from the day you submitted your application to AIMA, you are eligible to apply for permanent residency or citizenship in Portugal. The citizenship application typically takes anywhere from a year to 18 months. Once you receive your permanent residence or citizenship, you will no longer need to maintain your investment in Portugal.
As Get Golden Visa, we’re committed to assisting you through your Golden Visa journey.
Timeline: What Is the Timeline for the Golden Visa Process?
The initial application and the supporting documents are submitted online to Agência para a Integração Migrações e Asilo (AIMA). AIMA is the official immigration and border services office in Portugal. Once they approve your application, you then need to appear for an interview in person.
There are numerous AIMA offices across Portugal, and you may apply for any of them, regardless of where you made your investment. That way, you can avoid districts with long waitlists such as the SEF office in Lisbon. It can take more than a year for AIMA to approve and provide a biometrics appointment date.
As the main applicant, you and all your dependents can book the AIMA appointment simultaneously. After the in-person interview, you will receive your Golden Visa cards. It typically takes around six months to receive these residence permit cards.
Your residence clock starts ticking on the day your Golden Visa card is issued.
* Note: AIMA used to be called Serviço de Fronteiras e Estrangeiros (SEF) until late 2023. So if you come across the SEF acronym, do not be confused. It most likely refers to AIMA.
Year One and Two
Your initial Golden Visa residence card will be valid for two (2) years. In these two years, you must spend a total of fourteen (14) days in Portugal.
At the end of this period, you need to renew your residence permit. So, between 30-90 days prior to the expiration date of your card, you need to repeat the above AIMA appointment to renew your cards. For the renewal, you need to re-submit the up-to-date documentation (ie. criminal records), biometrics, and necessary application processing fee.
↓
Year Three, Four, and Five
Your renewed Golden Visa residence permit will be valid for two (2) years. Within those two years, you must spend at least fourteen (14) days in Portugal. Your residence permit can then be renewed for another two (2) years, requiring you to spend yet another fourteen (14) days in the country.
↓
End of Year Five
With the recent updates to the citizenship law in 2024, any time that lapses until you receive your first Golden Visa card also counts towards your five year to citizenship.
At the end of the fifth year, you have three options:
Apply for Permanent Residence in Portugal
Apply for Citizenship in Portugal
Continue with the Golden Visa temporary residence program
If you decide to become a permanent resident or a citizen in Portugal, you no longer need to maintain the Golden Visa investment you made in the country.
The above application, stay, and renewal requirements always apply to all Golden Visa cardholders, including the main applicants and their dependents.
The above timeline is based on the assumption that you would receive your first card without a wait.
Fees and Costs: What Are the Government Fees and Legal Costs Related to Portuguese Golden Visa Program?
In addition to the minimum investment you make and the necessary fees related to the transaction of the investment property, you will be faced with legal fees and government application fees. Below, you may find a detailed list of all the associated costs.
Government Fees
Legal Fees
The legal fees depend on the law firm you choose to work with.
The Portugal Golden Visa investment is quite a sizable one, so it is best if you assign an experienced law firm to take care of your due diligence, as well as the application and renewal process. The legal fees can add up to a significant amount, but it is best not to take chances by going with a newbie in the field.
The fees can land somewhere between €10,000 all the way up to €30,000 for a family of four, taking into account the complete five-year span. The good thing is, you will not have to pay this upfront, but in installments depending on the completed tasks within the five years.
We would be happy to guide you to a number of different experienced law firms in the field of Portuguese Golden Visa.
Costs Related to Investment
Depending on your preferred type of investment, the associated costs differ. Below, you can find a table that covers the costs associated with the most popular investment types; real estate acquisition, fund investment, and transfer of capital:
* Varies on the fund, it is typical for the performance fee to be between 20 percent-50 percent above a hurdle on the profit
** Varies on the fund, it is typical for the annual management fee to be between one percent-two percent of the invested amount
*** Legal fees vary widely between law firms, the number of dependents, and other variables; it would not greatly differ between different investment routes
Taxes: What Are the Portuguese Golden Visa Tax Implications?
Tax Implications
Tax residency and legal residency are different concepts. Becoming a Golden Visa holder in Portugal does not necessarily turn you into a Portuguese tax resident.
Even as only a legal resident, however, you will pay taxes related to your investment in Portugal, as long as the investment generates an income.
If you decide to become a tax resident in Portugal, you will need to spend more than 183 days out of a fiscal year in Portugal.
Non-Habitual Resident (NHR) Tax Program
You may have heard of the old NHR program in Portugal, which is discontinued as of 2023. The program used to grant significant tax savings to foreigners of qualifying professions, planning to move their tax residence to Portugal. However, there is a new NHR Program in 2024, designed for high-skilled professionals.
Statistics on Portugal Golden Visa
Below you may find the overall Portugal Golden Visa statistics program between October 8th, 2012, and 2024.
The total number of main applicants reached 12,718 with 20,424 dependents accompanying them. These applications directed over €7.5 billion of global funds into Portugal.
Investment Type
Out of all the applications, the investment types were:
Real Estate Acquisition: 11,181 residence permits
→Real Estate at a minimum value of €500,000: 9,398 residence permits
→Real Estate urban rehabilitation at €350,000: 1,783 residence permits
Capital Transfer: 1,193 residence permits
→Capital Transfer in a Portuguese Bank: 549 residence permits
→Investment Fund: 617 residence permits
→ Capital Transfer + Creation of Jobs: 8 residence permits
→Donation to cultural heritage in Portugal: 13 residence permits
→Donation to research activities: 1 residence permit
Creation of Ten Full-Time Jobs: 22 applications
On October 6th, 2023, Portugal’s government introduced the “Mais Habitação Law,” which significantly alters the Golden Visa program. This new law eliminates the option to invest in real estate or related funds for obtaining a Golden Visa in Portugal.
It’s important to note that
Does the Portugal Golden Visa program continue? The Golden Visa program remains active with certain investment options. However, you are no longer be able to apply for a Golden Visa through a real estate investment or a real estate related fund investment.
What happens to the existing Golden Visa holders? Existing rights, including renewals, family reunification, and permanent residency applications, are not affected by the new changes.
New applications for residence permits related to investments, support for artistic production, or the recovery and maintenance of cultural heritage in the country are still accepted.
Changes in Investment Paths
The amendment means that several investment opportunities are no longer be available:
Capital transfers of €1,500,000 or more.
Acquisition of real estate property
Investment into funds that have direct or indirect real estate investments
Remaining Investment Opportunities
In contrast, the residency program will still be operational through other investment alternatives:
Capital transfers equal to or exceeding €500,000 in qualifying venture capital funds (with no real estate investments or ties)
Creation of at least 10 jobs
Capital transfer equal to or more than €500,000 in research activities conducted by public or private scientific research institutions
Capital transfers of €250,000 or more in supporting artistic production, recovery, or maintenance of national cultural heritage
Capital transfers of €500,000 or more for forming a commercial company based in the national territory with the creation of five permanent jobs
Previous Portugal Golden Visa Changes
The Portuguese Parliament passed a budget proposal in February 2020, which changed the Portuguese Golden Visa program. The objective of the parliament was to promote investment in low-density areas, urban renovation, job creation, and cultural heritage.
Check out our article on the Portugal Golden Visa Changes in 2022.
Get Golden Visa: Who We Are and How We Can Help You
Get Golden Visa is a bespoke investment advisory firm. We help people get an additional residency and citizenship by making a qualifying investment through property acquisition, fund subscription, or other investment vehicles.
With our team of specialists in Lisbon and Porto offices, we offer our clients a tailor-made and transparent journey in their quest for a Portugal Golden Visa through investment funds.
Contact us and talk to one of our experienced team members to help you with any and all your questions.
Frequently Asked Questions on Portugal Golden Visa
Is Portugal Golden Visa ending?
No, Portugal Golden Visa is not ending. It did, however, go through a change in late 2023.
How did the Portugal Golden Visa change in 2023?
Portugal Golden Visa program changed in 2023. According to the Portuguese Parliament’s ‘Mais Habitaçao’ proposal, applicants are no longer allowed to apply for a Golden Visa in Portugal through real estate acquisition, capital transfer, or through investment into funds that have direct or indirect real estate ties. Other investment methods such as investing 500,000€ in a non-real estate related fund continue.
Which Golden Visa program is the best? Comparison: Portugal vs Spain vs Greece
It depends. It really depends on the criteria of the investor and there are many variables that go into answering that question. Nevertheless, for those interested in obtaining European citizenship, Portugal Golden Visa stands out in comparison to Spanish and Greek Golden Visas. You can find out more in our guide comparing Portugal vs Spain vs Greece Golden Visa Programs.
What are the new investment types for a Portugal Golden Visa?
Investing in Qualifying Funds: Investing a minimum of 500,000€ in qualifying Venture Capital or Private Equity funds in Portugal.
Job creation & Company Capital: Allocating 500,000€ of capital in a Portuguese company and creation of at least 5 jobs in Portugal.
Financial contribution: €250,000 contribution to cultural heritage or €500,000 contribution to research carried out by public or private scientific research institutions. Learn more about the Golden Visa Cultural Production route.
Real Estate acquisitions are no longer available
Transfer of capital is no longer available
Who in my family benefits from my Golden Visa?
The main applicant’s spouse, minor children, dependent children, and dependent parents also obtain the Golden Visa through family reunification.
How long is the wait time for the Golden Visa in Portugal?
The wait time for the Golden Visa application changes constantly and it highly depends on the overall wait period at AIMA (previously SEF). Currently, from the moment you make your investment, it takes over a year to receive your Golden Visa residence card.
Can you make the Portugal Golden Visa investment through a company?
The Golden Visa investment needs to be performed by the main applicant as an individual.
Can I apply a Golden Visa in Portugal on my own?
You may. However, you’ll be making a significant investment in order to apply for the Portuguese Golden Visa. So, it’s highly recommended that you use a professional investment advisor and a legal representative in pursuing the program.
Do I need to get a lawyer for the Golden Visa application?
You’re not required to get a lawyer to apply for the Golden Visa, however, it’s highly advisable that you have a local Portuguese lawyer in assisting you with your application process.
What are the Portugal Golden Visa Tax considerations? Do I have to pay taxes in Portugal?
Having a Golden Visa in Portugal doesn’t automatically make you a tax resident in Portugal. Unless you become a tax resident in Portugal, you don’t need to pay any taxes on your non-Portuguese income. Your income within Portugal, however, needs to be declared in Portugal and you need to pay taxes on that income. Thanks to Double Taxation Treaties, you won’t be taxed multiple times on the same income.
What taxes apply to income generated in Portugal?
Most Golden Visa eligible funds in Portugal have significant tax exemptions for investors that are not tax residents in Portugal. As for your real estate rental income in Portugal, it is taxed at a flat rate of 28 percent. Real estate investments that are not rented out or generating income do not lead to any income tax.
Does the investor have to pay taxes in Portugal on his/her worldwide income?
No. If the investor doesn’t spend 183 days or more in Portugal within a year, the investor is not a domicile. In that case, the investor doesn’t pay taxes in Portugal on the worldwide income, apart from that in Portugal.
What is a fiscal number (NIF) in Portugal?
A fiscal number in Portugal is called a NIF. You’ll need a NIF in order to perform any official transaction in Portugal. This includes opening a Portuguese bank account, purchasing real estate, etc.
If I have a Golden Visa, do I need to reside in Portugal or can I live in other countries?
Portugal doesn’t require you to live in the country full time if you have a Golden Visa. You merely need to stay in Portugal for at least seven days per year in Portugal. Besides that, you may live in your country of origin or any other place you wish to live in.
Can I use cryptocurrency such as Bitcoin to apply for the Portugal Golden Visa?
The Portuguese government does not accept the Portugal Golden Visa investment to be made in any other currency than Euros.
Can Americans apply for Golden Visa for Portugal?
Yes, American citizens can apply for Golden Visa Portugal. There is nothing against your country of origin being the United States.
Can people from Hong Kong apply for the Golden Visa to Portugal?
Yes, Hong Kong citizens can apply for a Portuguese Golden Visa. The program has been very popular in Hong Kong in the years 2020 and 2021.
Can UK citizens apply for Golden Visa Program Portugal?
Yes, now that Brexit is complete, British citizens can now apply for Portugal’s Golden Visa as of January 1st, 2021. The program allows British nationals to gain access to free travel across Europe. Read more about Portugal Golden Visa for UK citizens.
Should I avoid certain firms offering Golden Visa services?
Absolutely. Just as in any business, there are many inexperienced individuals and firms claiming to provide services within the RCBI field as well. Make sure that you go on to vet the firm that will advise you in such a significant commitment.
What’s the best way to get a Golden Visa Portugal?
The best way is the way that fits your specific criteria. In other words, it completely depends on the investor and the investor’s needs. So far, the overwhelming majority of Portugal Golden Visa investors have opted to move ahead with a real estate acquisition.
Which investment funds are available for a Golden Visa?
There are a number of different venture capital funds with different investment strategies and features available in the market, which qualify subscribers to apply to the Golden Visa in Portugal. For a comprehensive list of funds and their details, feel free to get in touch with us.
How long does it take before I can apply for Portuguese citizenship and passport?
You are eligible to apply for citizenship in Portugal once five years pass from the day you submit your initial Golden Visa application.
How can I get Portuguese citizenship by investment?
You can invest in a qualifying investment to obtain your temporary Portuguese residency permit through Portugal’s Golden Visa. Once you have your Golden Visa, provided that you maintain your investment for a minimum of five years, you have the right to apply for naturalization in Portugal.
Does Portugal allow dual citizenship?
Yes, Portugal allows for dual citizenship.
Does Golden Visa in Portugal lead to citizenship?
Yes, the Golden Visa Portugal leads to citizenship, indirectly. Once a five-year period lapses with the Golden Visa, you can then become eligible for citizenship.
How much does Portuguese citizenship cost?
Assuming that you will apply for Portuguese citizenship through the Golden Visa Portugal, it depends on which qualifying investment you choose to move ahead with. For a complete list of these options, you can check the above in this article.
Do I need a language test for Golden Visa program Portugal?
No, you do not need to pass a language test in order to qualify for the Golden Visa. You only have to obtain an A2 Level Portuguese Language certification if you decide to become a permanent resident or citizen in Portugal after five (5) years of holding a Golden Visa.
What does “basic knowledge” of Portuguese mean?
In order to prove your basic knowledge of the Portuguese language, you will have to be able to write, read, and speak in Portuguese at a preliminary level. This includes a thorough understanding of common phrases and vocabulary.
Is level A2 the only accepted exam?
No, the A2 level Portuguese language certification can be obtained through a test or through a certified language course.
Where can you learn Portuguese and prepare for the language requirement?
There are many resources online that you can prepare for the Portuguese test. Depending on where you are, the Portugal and Brazil embassies also typically have offline courses available. In order to learn more about the resources, feel free to contact us.
When must the language test or certification be taken?
The Portuguese language certification should only be obtained if and once you decide to apply for PR or citizenship in Portugal. However, you are free to take the test or the certification at any time you wish throughout your golden residence status.
Can same-sex couples also apply for the Golden Visa in Portugal?
Yes, Portugal allows Golden Visa applicants to include their same-sex partners within the program through family reunification.
Is Portugal LGBT-friendly?
Yes, Portugal is among the most LGBT-friendly countries in Europe. There is supportive legislation and a high level of societal acceptance for the community.
What countries are included in the Schengen Area?
The 26 Schengen countries include Austria, Belgium, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Slovakia, Slovenia, Spain, Sweden, and Switzerland.
What happens to the investment after five years? Can it be sold, transferred, etc.?
At that point, you have three options as a Golden Visa holder: (1) to continue with the Golden Visa for Portugal, (2) to become a permanent resident, (3) to become a Portuguese citizen. If you choose to become a permanent resident or a Portuguese citizen, you can then sell or liquidate your investment as you wish. You only need to hold on to it if you decide to continue with the Golden Visa temporary residence program instead.
Can the investor sell the investment at any time if he/she no longer needs the Golden Visa?
Yes, absolutely.
Why choose the Golden Visa in Portugal?
There are many reasons to apply for a Golden Visa in Portugal. These include the right to work and live in Europe, as well as travel freely within the European countries, and particularly the right to apply for EU citizenship at the end of five years.
What is the most common investment route for Golden Visa in Portugal?
The most popular route for the Golden Visa Portugal has been real estate investments so far. You may find the number of applications and their preferred routes in detail in the above Statistics section. As the real estate route is no longer available, currently the most popular investment vehicle is investment in a qualifying fund.
How can I get permanent residency in Portugal?
There are a number of ways to get Portuguese permanent residence. The Golden Visa Portugal is one of the most popular ways of doing so.
How long does it take to get a permanent residence in Portugal?
Five years after you start your Golden Visa scheme, you’re eligible to get permanent residency in Portugal.
What are the shared benefits of Portugal vs Greece Golden Visa Programs?
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https://theculturetrip.com/asia/china/articles/on-the-money-what-is-on-macaus-notes-and-coins
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On the Money: What Is on Macau's Notes and Coins?
|
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"Money",
"Macaus",
"Notes",
"Coins",
"Macau",
"features",
"colourful",
"imagery",
"reflecting",
"unique",
"mix",
"Chinese",
"Asia",
"China"
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[
"Matthew Keegan"
] |
2017-03-07T08:59:09+00:00
|
Money in Macau features colourful imagery reflecting its unique mix of Chinese and Portuguese influences.
|
en
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/img/apple-touch-icon.png
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Culture Trip
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https://theculturetrip.com/asia/china/articles/on-the-money-what-is-on-macaus-notes-and-coins
|
Macau’s notes and coins feature colourful imagery and reflect the city’s unique culture in which Chinese and Portuguese influences have co-existed for centuries.
First introduced in 1894, the official currency of Macau is the Pataca (MOP). It was introduced during the time Macau was a Portuguese colony, and it replaced the previous Portuguese real currency.
Coins
The Macau Pataca (MOP) is divided into 100 avos. Coins are issued by the Money Authority of Macau and take the following denominations: 10, 20 and 50 avos, and 1, 2, 5 and 10 patacas. Of the coins currently circulating, the imagery featured on them reflects Macau’s history as a place where East meets West.
On the smaller value coins (avos), it’s common to find imagery that’s strongly linked to China and Chinese traditions. For example, on the 10, 20 and 50 avos coins, you will see images of a lion dance costume head, a dragon boat and a dragon dance.
For the pataca coins, the mix of both Macau’s Eastern and Western influences becomes more evident. The MOP$1 coin depicts the Guia Lighthouse. Built in 1894, the lighthouse is one of Macau’s most famous landmarks and was the first western style lighthouse on the China coast.
http://instagram.com/p/BPxHnvcFYZy/?tagged=macaucoins&hl=en
Similarly, the other MOP$ coins also reflect Macau’s multicultural influences and feature imagery of both Chinese and colonial Portuguese landmarks. These include the Chinese Temple of A-Ma and one of Macau’s most beautiful colonial-style Catholic churches, Penha Church.
See privacy policy.
The MOP$5 coin features Macau’s most famous landmark, the Ruins of St. Paul’s. In addition, a traditional Chinese junk boat is featured on some of the MOP$5 coins.
For the MOP$10 coin, the historic St. Dominic’s Church is featured. The church was first constructed in the 16th century by Spanish Dominicans and became one of the first and important outposts of Christianity in Asia. Today, the brightly coloured church is still located in the heart of Macau’s city square.
Notes
Owing to Macau’s past as a Portuguese colony in China, banknotes are printed in both Portuguese and Chinese and are issued by two commercial banks, the Banco Nacional Ultramarino and the Bank of China.
The banknotes that are currently in circulation in Macau are the 10, 20, 50, 100, 500, and 1000 pataca notes. The latest banknotes were issued by Banco Nacional Ultramarino in 2005 and by the Bank of China in 2008.
http://instagram.com/p/fJhxRIhCjo/?tagged=macaupatacas&hl=en
Similar to the coins, the imagery featured on Macau’s notes are also reflective of the city’s Eastern and Western influences. Popular Macau landmarks are featured on most notes, like the Statue of Mazu (a Chinese sea goddess for whom Macau’s most famous temple A-Ma was built). More modern landmarks like the Macau International Airport and the city’s most recently constructed bridge, Sai Van Bridge, are also featured. Other famous Macau landmarks like the Macau Tower, the Ruins of St. Paul’s and its famous Portuguese-style town square, Largo do Senado, can also be found.
Competing currencies
Despite the pataca being Macau’s official currency, other currencies are also in wide circulation in Macau and are sometimes even preferred. These include Hong Kong dollars and the Chinese yuan.
Both Hong Kong dollars and Chinese yuan are accepted throughout Macau and can be found in general circulation in the casinos, which drive Macau’s local economy. Often, HK dollars and Chinese yuan are preferred because they are more established international currencies.
http://instagram.com/p/BHTsM8pgvje/?tagged=hongkongdollars&hl=en
Commemorative notes
Commemorative banknotes in Macau are quite common. In recent years these have included a special series of four million 20 pataca banknotes issued by the Bank of China in commemoration of the 29th Summer Olympic Games in Beijing.
In addition, from 2012–2023, the Banco National Ultramarino and the Bank of China are each authorised to issue a maximum number of 20 million special notes with the value of 10 patacas to mark each lunar new year.
Most recently, a MOP$10 banknote was issued to commemorate the Chinese year of the rooster in 2017. The notes feature the Bank of China headquarters building in Macau, children with fireworks outside the temple of A-Ma and an image of a rooster.
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https://www.travelex.com.au/buy-currency/eur-portuguese-currency
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en
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Buy Portugal Euros (EUR) at Our Best Rates
|
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Order Portugal currency online at Travelex. Buy Euro at our best rates exchanging $2,000+ AUD. Collect with our award-winning travel money card.
|
en
|
https://www.travelex.com.au/buy-currency/eur-portuguese-currency
|
The official currency of Portugal is the euro, which is abbreviated to EUR. 1 Euro is divided into 100 cents.
The euro has been used in Portugal since 1999, replacing the Portuguese escudo, which was in circulation prior to this time and until 2002.
Following the gradual inflation of the escudo throughout the 20th century, the euro was introduced at the conversion rate of 200.48 escudos to €1.
The most commonly used bills for the euro are the 5, 10, 20, 50, 100 and 200 notes.
* Rates are subject to change throughout the day. In-store rates vary compared to online.
** The figures provided are indicative only and are there to provide an idea of the amount of travel money you may need during your trip.
*** Business days. Some stores open 7 days. The next available date will be displayed when ordering.
^^Based on mid-market and Travelex Online AUD to FX exchange rates as of the date of the relevant social media post and/or email communication. Rates are subject to change throughout the day. Any rates and savings are quoted as a guide only.
Travelex Limited (ABN 36 004 179 953, AFSL Number 222444) arranges for and sells Online Foreign Currency via its Online Ordering Facility. You should consider the Terms and Conditions before deciding whether to acquire any product.
Mastercard Prepaid Management Services Australia Pty Ltd (ABN 47 145 452 044, AFSL 386 837) arranges for the issue of the Travelex Money Card in conjunction with the issuer, EML Payment Solutions Limited (‘EML’)(ABN 30 131 436 532, AFSL 404131). You should consider the Product Disclosure Statement for the relevant Travelex Money Card and Target Market Determination available at www.travelex.com.au, before deciding to acquire the product. Any advice does not take into account your personal needs, financial circumstances or objectives and you should consider if it is appropriate for you. Mastercard and the circles design are registered trademarks of Mastercard International Incorporated.
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https://wise.com/us/blog/currency-exchange-lisbon
|
en
|
Best places to exchange currency in Lisbon
|
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[
""
] | null |
[
"Adam Rozsa"
] |
2017-01-13T00:00:00
|
In this article, we'll show you the best places to exchange money in Lisbon – plus, a great alternative.
|
en
|
Wise
|
https://wise.com/us/blog/currency-exchange-lisbon
|
"If you're planning a trip to Lisbon, it's important to know how to get the currency of the country you’re visiting. Also, you might want to know the current exchange rate and the best places to withdraw cash.
So, in this article, we’ll show you the best places to visit to exchange currency in Lisbon, and we’ll show you an alternative, Wise – which may be cheaper and help you save the effort of going to a physical location – but more on this later.
Portugal: currency overview
First off, in case you’re wondering something along the lines of “does Portugal use euros?”, the answer is yes. The currency in Lisbon — and the rest of Portugal — is the euro.
You can also find it written as EUR in currency exchange shops.
Check out today’s rate below:
What you should know about exchanging money in Lisbon
Before exchanging money in Lisbon or any foreign city, it's important to be informed to avoid excessive charges and get the best deals. Consider opening a bank account in Portugal for long-term stays or substantial investments like buying property or cars.
Beware of 'zero fee' services
Services claiming 'no commission' often offer poor exchange rates, not reflecting the mid-market rate, leading to hidden profits for them.
Check the exchange rate beforehand
Familiarize yourself with the base rate to identify a bad deal from exchange services.
Avoid exchanging money at airports or hotels
Convenience comes at a price, as airports and hotels usually offer poor rates and high transaction fees.
Use ATMs strategically
Check if your home bank has partnerships with Portuguese banks to avoid extra ATM fees, and inform your bank before traveling.
Opt for local currency
When using an ATM abroad, choose to be charged in euros for a fairer rate and avoid undisclosed exchange rates and additional fees.
Exchange money in just a few clicks with Wise
Say goodbye to overcomplicated currency exchange.
Wise can help you get a better deal on currency conversion in over 40 currencies, with the mid-market exchange rate and low fees.
Open a personal Wise account online or in the Wise app, and order a linked debit card for a one-time fee to spend and withdraw money in 150+ countries.
There’s no fee to spend any currency you hold, and no foreign transaction fee to worry about.
Use your account when you travel or shop online in foreign currencies, send payments in 70+ currencies, and get your own local bank details in 9 currencies.
Get a Wise Account
in minutes!
Please see the Terms of Use for your region or visit Wise fees & pricing for the most up-to-date information on pricing and fees.
Where can you exchange currency in Lisbon?
Well, we’ve already been through some of the options you have and aspects to watch out for. So if you’re still into the idea of carrying cash around and exchanging it, here are some popular foreign currency exchange locations in Lisbon.
One last reminder, though: there’s no such thing as fee-free or 0% commission foreign exchange transactions. So, always check the mid-market exchange rate in advance, so you know how much your money’s worth.
Unicambio
Locations
LocationsPhone Number Unicambio has 13 different locations across Lisbon including branches in the airport and Cruise terminal. Check their website for a full listing.+351 213 429 760 (general help line)
Opening Hours
Varies - check out the website for specific opening hours for each office.
NovaCâmbios
Locations
LocationsPhone Number NovaCâmbios offers 9 locations throughout Lisbon, including several counters in the airport. Check out their website to find the nearest store.+ 351 213 405 170 (general help line)
Opening Hours
Varies - check out the website for specific opening hours for each office.
Real Transfer
Locations
Real Transfer offers three branches in Lisbon.
LocationsPhone Number Estrada de Benfica, 654 B, 1500-109+351 217 601 287 Praça Marquês de Pombal, nº 1 - Galerias, Loja J, 1250-160+351 213 528 065 Lg. de São Domingos, nº 5, 1150-320 (Rossio)+351 213 569 841
Opening Hours
Benfica - Mon-Fri 9-18, Sat 9-13
Marquês de Pombal - Mon-Fri 8-20, Sat 9-16
Rossio - Mon-Fri 10-19, Sat 9-13
Bottom line
As you can see, there’s no shortage of options when it comes to exchanging money in Lisbon. Don't forget to do your research on the exchange rate before converting your money, and check Wise out if you want a fuss-free alternative to exchanging cash.
|
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8738
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dbpedia
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3
| 12
|
https://insider.spink.com/2021/09/14/the-portuguese-banknote-case-the-scam-of-the-century/
|
en
|
THE PORTUGUESE BANKNOTE CASE: THE SCAM OF THE CENTURY
|
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[] |
[] |
[
""
] | null |
[
"Emma Howard"
] |
2021-09-14T00:00:00
|
This is the story about how a small-time Portuguese fraudster carried out one of the most audacious financial crimes in history and in doing so damaged the Portuguese economy and almost definitely hastened the arrival of the Salazar dictatorship.
|
en
|
INSIDER
|
https://insider.spink.com/2021/09/14/the-portuguese-banknote-case-the-scam-of-the-century/
|
Quantitative Easing was never meant to work like this. This is the story about how a small-time Portuguese fraudster carried out one of the most audacious financial crimes in history and in doing so damaged the Portuguese economy and almost definitely hastened the arrival of the Salazar dictatorship. His efforts also created legal history as well as providing material for a classic economic case study. Not least, this is a great numismatic mystery story.
Background
Years of instability and corruption in Portugal brought down the monarchy in 1910 but continued in the years leading up to the events covered in this article. Between 1910 and 1925 the country had seen 9 presidents, 45 ministers, 25 uprisings, 3 short-lived dictatorships and at least 325 bomb incidents. Governments came and went and the economy suffered from terrible bouts of inflation and high unemployment while civil unrest was never far away.
Angola adventures
Artur Virgilio Alves Reis was born into this highly unstable environment in 1896. After spending his early years in Lisbon, he decided, at the age of 20, to head to the Portuguese colony of Angola to make his fortune. He smoothed his way with his first known attempt at forgery: he prepared a “qualification” in engineering from the fictitious Polytechnic University of Oxford and had it notarised. The certificate also stated that he had also qualified in geology, geometry, physics, metallurgy, electrical engineering, palaeography and pure
mathematics.
It was never challenged and he was able to find work with Angolan Railways, ending up as Acting Chief Engineer. He also started his own import/export business and apparently made good money. In 1922 he returned to Lisbon but soon found money running short. This prompted him to break the law in a more serious way – embezzlement. He gained control of Ambaca, a publicly quoted Angolan rail company with substantial cash reserves of about US$100,000, but acquired the shares using postdated cheques drawn on a New York bank. Once he had gained control he used company funds to meet the cheques. Two years later, in July 1924, this earned him a prison sentence of 54 days in a Lisbon cell.
Decisive meeting
Meanwhile, back once again in an Angola he had clearly developed an affection for, Alves Reis met Jose Bandeira, a petty crook who was seeking business on behalf of a Dutch investor. He kept in touch with Bandeira and later visited him in the Hague where Bandeira introduced him to his future fellow conspirators. These included: Antonio Bandeira, Jose’s brother and the Portuguese Minister in the Netherlands; Adolf Hennies, a German war profiteer and spy whose original name was Johann Adolf Döring; Karel Marang van Ysselveere, a struggling Dutch businessman with a dubious background.
The plot is hatched
Shortly after this meeting Alves Reis was jailed for his Angolan fraud. He spent his time in prison planning a much more ambitious scheme targeted at the Banco de Portugal, the privately owned issuer of the country’s currency. He discovered that the bank’s recordkeeping was poor and its note registers incomplete. While they had the exclusive right to issue paper money in metropolitan (mainland) Portugal, it was theoretically only to the value of twice the bank’s capital, though this had been grossly exceeded. Crucially, only the bank had the right to sue counterfeiters and, as a public company, its shares could be openly bought and sold, thus leaving it open to takeover despite a minority government stake.
Alves Reis went on to create a completely fictitious contract in which the State of Angola authorised him to arrange a loan for £1 million (equivalent to Escudos 100 million) in exchange for the right to issue a similar amount of Banco de Portugal banknotes in Angola (ignoring the exclusive right of the Banco Ultramarino to issue all paper currency in Portugal’s colonies). He had the “contract” notarised and then authenticated by the consulates of France, Germany and Britain.
His plan was to find a printing firm that could exactly replicate existing Banco de Portugal banknotes in circulation, delivering those notes to himself and then using them to enrich himself while acquiring majority control of the bank and then hide all evidence of the fraud.
When he next met his fellow conspirators he did not reveal his full plans but won their support. Hennies was asked to approach a German firm to get the notes printed. The notes Alves Reis had in mind were the so-called Poets Notes for Escudos 500 and 1000 featuring Luis de Camoes and Joao de Reus Ramos. These had been printed by Bradbury Wilkinson but without their imprint so he was unaware of which firm had printed them. The German option was not pursued perhaps because of Portuguese suspicions about Germany’s intentions towards its colonies, Germany having lost hers after the First World War. Instead Marang was asked to approach the old established Dutch printing firm Joh. Enschedé en Zonen. They declined to print the notes themselves but did offer to introduce him to Waterlow & Sons who had also printed notes for Portugal.
Meetings with Waterlow & Sons
Marang, thus armed with a letter of introduction, travelled to London in early December 1924 to meet Waterlows. He also took with him a document signed by Antonio Bandeira stating he was an accredited representative of the Portuguese Government and had a visiting card identifying him as the Hon Consul-General of Persia in the Hague. These got him an audience with Sir William Waterlow, the company’s Chairman. Marang, who was obviously persuasive and convincing, explained that he represented a Dutch syndicate intending to invest in Angola and that their contract required them to issue Banco de Portugal notes identical to those already issued in Portugal itself. He confirmed that they would arrange for the notes to be overprinted “ANGOLA” once they had been delivered.
Marang emphasised that this contract had to be treated as highly confidential as it was known only to the bank’s Governor, Camacho Rodriguez, and Deputy Governor, João Motta Gomes, due to opposition from within the bank and from Banco Ultramarino, given their exclusive right to issue notes in Portuguese colonies. In an example of the good fortune that accompanied Alves Reis until the very end, Sir William was remarkably helpful when Marang produced the Poets note. He explained that they had not printed these, but instead had printed the Vasco da Gama notes. If the contract specified those he would be able to proceed. He also said the firm would require the express permission of the Banco de Portugal to use their plates and it was agreed a letter would be written to them to that effect. Sir William then accepted Marang’s offer to deliver the letter on his behalf and gave him a letter of introduction for Jose Bandeira to call on Henry Romer, Waterlow’s representative in Lisbon, who would deliver it. Bandeira never called on Romer who subsequently wrote several times to Sir William raising objections to the proposed plan. He remained convinced throughout that it was illegal but his concerns were repeatedly dismissed.
On 17th December Marang called again on Sir William and produced the documents he needed to see, all duly notarised: contracts between the Government of Angola and Alves Reis and between the Banco de Portugal and the Government of Angola authorising the printing of 200,000 Escudos 500 notes; and a Power of Attorney by Alves Reis authorising Marang to act for him. At no stage did Alves Reis himself ever meet Sir William.
The printing contract is signed
There was still no direct authorisation from the bank to Waterlows but a suitable letter was produced a few weeks later, forged by Alves Reis. Sir William sent all the documents to a City notary for translation and authentication and they passed muster. On 6th January 1925 Sir William and Karel Marang signed the contract for the delivery of 200,000 notes. The firm charged just £1,500 for the order. Contrary to his agreement to treat the contract as highly confidential Sir William also wrote to the Banco de Portugal confirming receipt of their instructions. In either a further stroke of luck or through a skilful interception, the bank never received this letter which would surely have alerted them to the fraud. A further forged letter confirmed the numbering of the notes and which signatures were to be used. This followed some detective work by Alves Reis to determine the correct sequences from Vasco da Gama notes he had examined in circulation. He made a few errors and found that 90,000 out of the 200,000 printed and delivered did not match legitimate notes in circulation so he could not use them. He believed that despite their poor recordkeeping the bank would have spotted notes with the wrong serial numbers on them.
The illicit notes enter circulation
The first notes were delivered on 10th February 1925, in suitcases to Karel Marang at London’s Ritz Hotel. He took them first to the Hague, where some of the spoils were shared out, then on to Lisbon, all as diplomatic luggage. The bulk of the order went to Alves Reis who insisted he had multiple bribes to pay. Alves Reis started to put the notes into circulation by using middlemen to open multiple bank accounts in Lisbon and Porto and buy foreign currencies on the black market. Rumours of forgeries surface almost immediately but the bank could see no evidence for this and in May put out a statement reassuring the public that the notes had not been forged. Alves Reis experimented with some of the unusable notes to try and make them look circulated. To remove the smell of fresh ink he mixed some first with camphor then soaked them in water and lemon juice. This damaged the notes which took on a reddish tinge causing him to exclaim to his assistant “You see what a magician I am? I turn money into shrimps”. Some “shrimp” notes have survived and occasionally come on to the market. Alves Reis, now suddenly a rich man, started to spend heavily: expensive jewellery for his wife, new cars, several properties including a farming estate and the beautiful Palácio do Menino de Ouro (Palace of the Golden Boy) in central Lisbon, now occupied by the British Council.
Alves Reis founds a new bank
The next stage in Alves Reis’ plan now came into effect. In April he started the process of founding a new bank, the Banco Angola e Metropole (BAM), with the aim of using it as a vehicle to invest in Portuguese and Angolan companies. His primary aim was of course to buy control of Banco de Portugal. The new bank received its banking licence in June 1925. It was required to have minimum capital of Escudos 20 million, not a problem for a man who could have his own money printed! There were 23 initial shareholders, including family members and associates of Alves Reis such as both Bandeiras. BAM soon began buying shares in the Banco de Portugal. There were 97,000 in issue and control required at least half to be acquired. However, by the time the plot collapsed they had only bought 10,000 shares, well short of the total they had needed.
Second illicit order
In July Marang visited Waterlows to place a second order, this time for a further 380,000 notes. Count Simon Planaz-Suarez, the Venezuelan Minister in Portugal, was recruited to transport future shipments, given his more prominent diplomatic status. His apartment in Lisbon, which doubled as the Venezuelan embassy, was used to store many of the new notes until they were needed. Sir William finally realised that the numbering was an exact duplication of the bank’s original notes but a further forged letter reassured him this was intended. The new order required delivery to Marang care of the Liverpool Street Station left luggage office (where a storage charge of 1s 6d was incurred for cases of notes worth some £1,900,000). New stronger trunks were needed given the bulk of notes involved but Waterlows’ hefty bill for them of £458 4s 6d somehow remained unpaid! Alves Reis made another mistake in October. He decided that the new notes should no longer be kept in numerical order to reduce suspicions, but this may ultimately have had the opposite effect when new doubts about the notes arose in Porto in late November 1925.
The plot collapses
A teller at a firm of Porto moneychangers which had handled numerous Vasco da Gama notes became very suspicious that all these brand new notes were not in numerical order and that his employers were destroying related paperwork. He reported his suspicions to the Banco de Portugal who in turn contacted the police.
Over the weekend of 5th and 6th December 1925 the substantial volumes of new notes held by the money-changers and the Porto branches of both BAM and the Banco de Portugal were carefully checked by a team led by the Governor himself. Four pairs of duplicated notes were eventually uncovered and things now began to move with considerable speed. BAM managers and staff were arrested and its operations suspended. Alves Reis himself, just arriving back from another trip to Angola, was arrested on board his ship (while Hennies, on the same ship, evaded arrest and sailed on back to Germany). Banco de Portugal held an emergency board meeting and decided that they had no alternative but to withdraw and redeem all the Vasco da Gama notes in circulation. At this stage they knew no way of distinguishing between legitimate and illicit notes and the public were urgently in need of reassurance that they would not lose out. On the Monday morning notices were issued announcing a redemption programme, with an initial deadline of 16th December. Waterlows were urgently summoned to Lisbon and despatched a team of experts to assist the bank in separating good notes from bad. On the deadline day the horrifying scale of the problem became apparent – they had redeemed 715,577 notes, 115,577 more than the 600,000 the bank had originally issued.
The deadline was extended to 26th December, at which point the number of illicit notes had risen to 195,556 (the final total reached 209,718). They also discovered 77 sets of triplicates, suggesting that either another forger had been at work or, more likely, Alves Reis had deliberately created them to throw people off the scent. Police raids seized unissued notes in the Hague and in Portugal, including four trunk loads in Marang’s home in the Hague and some 85,000 notes in Count Planaz-Suarez’s Lisbon apartment (this seizure breached diplomatic immunity). Marang was arrested while the Venezuelan Count was recalled. All the seized notes were destroyed after the trials. There were widespread suspicions that Waterlows had been complicit in the plot and arrest warrants were issued for their representatives in Portugal. Even the bank’s Governor and Deputy Governor were briefly arrested (though soon released).
The Aftermath
With the conspirators now under arrest, methods established for identifying good and bad notes and the bank’s losses quantifiable, it was the turn of the lawyers to get involved. Progress was slow but a criminal trial against Alves Reis and his fellow Portuguese conspirators eventually got under way in Lisbon in May 1930. Alves Reis had spent much of the intervening time in prison preparing a defence as audacious as the crime itself. He fabricated numerous documents purporting to prove that the Governor and other directors were fully complicit in the plot and had also had more triplicate notes prepared. The court did not believe him and he eventually confessed to devising the whole plot. He insisted that he had acted alone and all his fellow defendants had innocently followed his instructions. The trial did not last long and he was sentenced to eight years in prison followed by twelve years of exile. Jose Bandeira got the same and others got lesser sentences. Meanwhile Marang had been arrested and tried in the Hague. He was sentenced to eleven months in prison for possession of stolen property, following which he left the Netherlands first for Belgium and then for Paris. There he had enough resources to buy a legitimate business and lived for many years, developing a reputation for respectability and integrity before dying in Cannes in 1960.
Hennies escaped by reverting to his previous name and returning to his home town in Germany. He was eventually caught in September 1932 after a former girlfriend informed on him to claim the reward for his arrest. There was no extradition treaty so he was tried and sentenced in Germany to a year in prison. Sir William, who bore full responsibility for his firm’s role in this debacle (he had not even informed his fellow directors what was going on), was removed as Chairman in July 1927 and resigned as a director the following year. This did not stop him from being appointed Lord Mayor of London in November 1929, a role he had coveted for many years. He died in July 1931 and even though he was accorded a funeral in St Paul’s Cathedral only one junior official from his old firm attended. Waterlows suffered a debilitating loss of business and their reputation never really recovered despite the continuing high quality of their work. The security printing division was finally acquired by their rivals Thomas De La Rue in 1960. Alves Reis was released from prison in 1945, by which time he had become an evangelical Christian. He spent his freedom preaching his new faith and trying to make money, once again in rather dubious fashion and with little success. He died a pauper in 1955.
The civil case in London – a classic legal case study
Banco de Portugal issued their original writ in April 1928 but the first court hearings did not take place
until November 1930. The bank had prepared a detailed case against Waterlows whom they sued
for breach of contract and negligence. Their claim for damages included the face value of all the illicit
notes they had had to honour. The bank’s case was that Waterlows were negligent in acting on forged documents, not checking Marang’s authority, ignoring Romer’s warnings, not referring the proposed contracts to the bank before proceeding and producing notes with the exact same numbers as those already delivered.
Waterlows’ defence was that it was the bank who had been negligent in denying rumours that forgeries were circulating, not checking circulating notes carefully enough, not keeping a proper register of notes issued and failing to act on their knowledge of how to tell good notes from bad once this had been explained by Waterlows (before the 16th December 1925 deadline). They argued that the bank was therefore entitled at most to recovering the printing costs. They took much comfort from the judge’s observation that “it ought to be said that no suggestion has been made, or can be made, against the honesty of Messrs Waterlow. They were, just as much as the bank was, victims of Marang’s fraud”. They argued strongly against their liability extending to the face value of the notes they had printed and the case ultimately turned on whether or not the bank had suffered real losses. Waterlows’ key contention was that there were no real losses as the Portuguese Escudo was not convertible into gold, that when redeemed the illicit notes had merely been exchanged for other Escudo notes and that the bank’s actions had been agreed throughout with the government. The counter-argument by the bank was that they had been forced to redeem illicit notes for no value received, even though the notes could and did buy foreign currency, including gold, as they were backed by the good standing of both the bank and the government. Therefore, inconvertibility was irrelevant.
On 12th January 1931 Mr Justice Wright found in favour of the bank and awarded them the full amount of their claim, less amounts previously recovered from BAM, a net sum of £569,421. Waterlows immediately appealed and in the Court of Appeal had the total claim reduced to £300,000 on the narrow grounds that the bank should have been able to distinguish legitimate from illicit notes on an earlier date than 16th December. The bank appealed that decision and the case moved to the House of Lords where five Law Lords sat in ultimate judgement. They found in favour of the bank for the full amount of their claim but only by three votes to two.
This was rightly greeted as a triumph in Portugal as a wonderful example of British justice – how many countries would allow their judiciary to find in favour of a foreign claimant whatever the strength of their case? The Lord Chancellor summarised by stating: “I have come to the conclusion that the bank would have been failing in their duty to their shareholders, their customers and the country if they had not taken the step they did”. On 28th April 1932 the Law Lords awarded the bank their full claim, less sums recovered from BAM. With costs the total came to £697,416 and on 11th May Waterlows issued a cheque for £645,000 in settlement, some costs having already been paid. In today’s money £697,416 is the equivalent of about £41 million.
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https://www.thoughtco.com/what-countries-use-the-euro-1435138
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en
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Countries Using the Euro as Their Currency
|
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"https://privacy-policy.truste.com/privacy-seal/seal?rid=e166d0ee-e663-4ad0-9384-f5bd78093a89"
] |
[] |
[] |
[
""
] | null |
[
"Matt Rosenberg",
"www.facebook.com"
] |
2007-11-24T21:46:57-05:00
|
Which countries use the euro as currency as members of the eurozone? Some aren't members of the EU but use it. Some are members but don't use it.
|
en
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/favicon.ico
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ThoughtCo
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https://www.thoughtco.com/what-countries-use-the-euro-1435138
|
On January 1, 1999, one of the largest steps toward European unification took place with the introduction of the euro as the official currency in 12 countries (Austria, Belgium, Finland, France, Germany, Greece, Ireland, Italy, Luxembourg, the Netherlands, Portugal, and Spain).
The establishment of a common currency had the aims of greater economic integration and the unification of Europe as a common market. It also would enable easier transactions between people of different countries by having fewer conversions from currency to currency. Creating the euro was also seen as a way to keep the peace due to the economic integration of the countries.
At first, the euro was used in trades between banks and tracked alongside the countries' currencies. Banknotes and coins came out a few years later for the public to use in everyday transactions.
Residents of the first European Union countries that adopted the euro began using the banknotes and coins on January 1, 2002. People had to use up all their cash in the countries' old paper money and coinage before mid-year that year, when they would no longer be accepted in monetary transactions and the euro would be used exclusively.
The Euro: €
The symbol for the euro is a rounded "E" with one or two cross lines: €. Euros are divided into euro cents, each euro cent consisting of one one-hundredth of a euro.
Euro Countries
The euro is one of the world's most powerful currencies, used by more than 175 million Europeans in 19 of 28 EU member countries, as well as some countries that are not formally members of the EU.
Countries currently using the euro:
Andorra (not an EU member)
Austria
Belgium
Cyprus
Estonia
Finland
France
Germany
Greece
Ireland
Italy
Kosovo (not all countries recognize Kosovo as an independent nation)
Latvia
Lithuania
Luxembourg
Malta
Monaco (not in the EU)
Montenegro (not in the EU)
The Netherlands
Portugal
San Marino (not in the EU)
Slovakia
Slovenia
Spain
Vatican City (not in the EU)
Territories that use the euro:
Akrotiri and Dhekelia (British territory)
French Southern and Antarctic Lands
Saint Bathelemy (overseas collectivity of France)
Saint Martin (overseas collectivity of France)
Saint Pierre and Miquelon (overseas collectivity of France)
Countries that do not use the euro, but are part of the Single Euro Payments Area, which allows simplified bank transfers:
Bulgaria
Croatia
Czech Republic
Denmark
Hungary
Iceland
Liechtenstein
Norway
Poland
Romania
Sweden
Switzerland
United Kingdom
Recent and Future Euro Countries
On January 1, 2009, Slovakia started using the euro, and Estonia began using it on January 1, 2011. Latvia joined in on January 1, 2014, and Lithuania began using the euro January 1, 2015.
EU members the United Kingdom, Denmark, Czech Republic, Hungary, Poland, Bulgaria, Romania, Croatia, and Sweden don't use the euro as of 2019. New EU member countries are working toward becoming part of the eurozone. Romania planned to start using the currency in 2022, and Croatia planned to adopt it in 2024.
Countries' economies are evaluated every two years to see if they're strong enough to adopt the euro, using figures such as interest rates, inflation, exchange rates, gross domestic product, and government debt. The EU takes these measures of economic stability to evaluate whether a new eurozone country would be less likely to need a fiscal stimulus or bailout after joining. The financial crisis in 2008 and its fallout, such as the controversy of whether Greece should be bailed out or leave the eurozone, put some strain on the EU.
Why Some Countries Don't Use It
Great Britain and Denmark are the two countries that, as part of the EU, opted out of adopting the currency. Great Britain even voted to leave the European Union in the Brexit vote in 2016, so as of 2019, the currency issue looked to be a moot point. The pound sterling is a major currency in the world, so leaders didn't see the need to adopt anything else at the time the euro was created.
Countries that don't use the euro maintain the independence of their economies, such as the ability to set their own interest rates and other monetary policies; the flip side is that they must manage their own financial crises and can't go to the European Central Bank for assistance.
However, not having an economy interdependent with those of other countries might make some sense. The countries that opted-out of the euro could be more nimble in dealing with a widespread crisis that affects countries differently, such in the case of Greece in 2007–2008. It took years for bailouts of Greece to be decided upon, for example, and Greece couldn't set its own policies or take its own measures. A hot-button issue at the time was whether bankrupt Greece was going to stay in the eurozone or bring back its currency.
Denmark doesn't use the euro but has its currency, the krone, tied to the euro to maintain the country's economic stability and predictability and to avoid major fluctuations and market speculation on its currency. It is pegged within a 2.25 percent range of 7.46038 kroner to the euro. Before the creation of the euro, the krone was pegged to the German Deutsche mark.
Euro vs. Dollar
The dollar has historically been used as a common currency internationally, just like English has been a common language between people of different countries. Foreign countries and investors see U.S. Treasury bonds as safe places to put their money because of a stable government behind the dollar; some countries even hold their financial reserves in dollars. The currency also has size and liquidity, which are needed to be a major world player.
When the euro was first established, the exchange rate was set based on the European Currency Unit, which was based on a collection of European currencies. It generally runs a little higher than the dollar. Its historical low was 0.8225 (October 2000), and its historical high was 1.6037, reached in July 2008 during the subprime mortgage crisis and the failure of the Lehman Brothers financial services company.
Professor Steve Hanke, writing in Forbes in 2018, postulated that setting an exchange rate "zone of stability" formally between the euro and dollar would keep the entire global market stable because of the prolonged recession that happened worldwide following the collapse of Lehman Brothers.
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dbpedia
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https://en.wikipedia.org/wiki/Brazilian_real
|
en
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Brazilian real
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https://en.wikipedia.org/wiki/Brazilian_real
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Brazilian currency since 1994
This article is about the modern Brazilian currency unit. For the currency of Brazil from the colonial period to 1942, see Brazilian real (old).
"BRL" redirects here. For other uses, see BRL (disambiguation).
Brazilian realReal brasileiro (Portuguese) ISO 4217CodeBRL (numeric: 986)Subunit 0.01UnitUnitrealPluralreaisSymbol$,R$Nicknamepila, prata, mango, pau, conto, réis (plural)DenominationsSubunit 1⁄100centavoBanknotesR$ 2, R$ 5, R$ 10, R$ 20, R$ 50, R$ 100, R$ 200Coins Freq. used5, 10, 25, 50 centavos, and R$ 1 Rarely used1 centavoDemographicsDate of introduction1 July 1994ReplacedCruzeiro RealUser(s)BrazilIssuanceCentral bankCentral Bank of Brazil Websitewww .bcb .gov .brPrinterCasa da Moeda do Brasil Websitewww .casadamoeda .gov .brMintCasa da Moeda do Brasil Websitewww .casadamoeda .gov .brValuationInflation3.94% (May 2023) Sourceagenciadenoticias.ibge.gov.br MethodCPI
The Brazilian real (pl. reais; sign: R$; code: BRL) is the official currency of Brazil. It is subdivided into 100 centavos. The Central Bank of Brazil is the central bank and the issuing authority. The real replaced the cruzeiro real in 1994.
As of April 2019, the real was the twentieth most traded currency.[1]
History
[edit]
Currencies in use before the current real include:
The Portuguese real from the 16th to 18th centuries, with 1,000 réis called the milréis.
The old Brazilian real from 1747 to 1942, with 1,000 réis also called the milréis.
The first cruzeiro from 1942 to 1967, at 1 cruzeiro = 1 milréis or 1,000 réis.
The cruzeiro novo from 1967 to 1970, at 1 cruzeiro novo = 1,000 first cruzeiros. From 1970 it was simply called the (second) cruzeiro and was used until 1986.
The cruzado from 1986 to 1989, at 1 cruzado = 1,000 second cruzeiros.
The cruzado novo from 1989 to 1990, at 1 cruzado novo = 1,000 cruzados. From 1990, because of the Plano Collor it was renamed the (third) cruzeiro and was used until 1993.
The cruzeiro real (CR$) from 1993 to 1994, at 1 cruzeiro real = 1,000 third cruzeiros.
The current real was introduced in 1994 at 1 real = 2,750 cruzeiros reais.
The modern real (Portuguese plural reais or English plural reals) was introduced on 1 July 1994, during the presidency of Itamar Franco, when Rubens Ricupero was the Minister of Finance as part of a broader plan to stabilize the Brazilian economy, known as the Plano Real. The new currency replaced the short-lived cruzeiro real (CR$). The reform included the demonetisation of the cruzeiro real and required a massive banknote replacement.
At its introduction, the real was defined to be equal to 1 unidade real de valor (URV, "real value unit") a non-circulating currency unit. At the same time, the URV was defined to be worth 2,750 cruzeiros reais, which was the average exchange rate of the U.S. dollar to the cruzeiro real on that day. As a consequence, the real was worth exactly one U.S. dollar as it was introduced; that was equivalent to R$10 in 2020. Combined with all previous currency changes in the country's history, this reform made the new real equal to 2.75 × 1018 (2.75 quintillion) of Brazil's original réis.
Soon after its introduction, the real unexpectedly gained value against the U.S. dollar, due to large capital inflows in late 1994 and 1995. During that period it attained its maximum dollar value ever, about US$1.20=R$1. Between 1996 and 1998 the exchange rate was tightly controlled by the Central Bank of Brazil, so that the real depreciated slowly and smoothly to the dollar, dropping from near US$1=R$1 to about US$1=R$1.2 by the end of 1998. In January 1999 the deterioration of the international markets, disrupted by the Russian default, forced the Central Bank, under its new president Arminio Fraga, to float the exchange rate. This decision produced a major devaluation, to a rate of almost US$1=R$2.[2]
In the following years, the currency's value against the dollar followed an erratic but mostly downward path from 1999 until late 2002, when the prospect of the election of leftist candidate Luiz Inácio Lula da Silva, considered a radical populist by sectors of the financial markets, prompted another currency crisis and a spike in inflation. Many Brazilians feared another default on government debts or a resumption of heterodox economic policies and rushed to exchange their reais into tangible assets or foreign currencies.
The crisis subsided once Lula took office, after he, his finance minister Antonio Palocci, and Arminio Fraga reaffirmed their intention to continue the orthodox macroeconomic policies of his predecessor (including inflation-targeting, primary fiscal surplus and floating exchange rate, as well as continued payments of the public debt). The value of the real in dollars continued to fluctuate but generally upwards, so that by 2005 the exchange was a little over US$1=R$2. In May 2007, for the first time since 2001 (six years), the real became worth more than US$0.50 — even though the Central Bank, concerned about its effect on the Brazilian economy, had tried to keep it below that symbolic threshold. Lula started his government in 01/01/2003 with an exchange rate of US$1=R$3.52 and finished it in 12/31/2010 with an exchange rate of US$1=R$1.66.[3]
The exchange rate as of September 2015 was US$1=R$4.05. After a period of gradual recovery, it reached US$1=R$3 by February 2017.
Jair Bolsonaro's tenure, initially welcomed with enthusiasm by the financial markets, started with US$1=R$3.86. Fueled by meager results of the economy, quick disenchantment followed, resulting in a lack of foreign investments and a real's strong depreciation.[4] On 13 May 2020, during the COVID-19 pandemic, which deeply affected Brazil,[5] the real reached a historical low against the US dollar, being negotiated at US$1=R$5.90.[6]
Following Lula's reelection in the 2022 general elections, the market, which was expected to have reacted poorly, turned out favorable in the first week.[7][8] The US dollar exchange hit its lowest point since 29 August 2022, dropping from roughly US$1=R$5.30 immediately before the second round of the election, to about US$1=R$5.05 a week after Lula's win.
Coins
[edit]
First series (1994–1997)
[edit]
Along with the first series of currency, coins were introduced in denominations of 1, 5, 10 and 50 centavos and 1 real on 30 June 1994; the 25 centavos piece was soon followed on 30 September 1994 due to the constant lack of change in intermediate values in the centavos range, which caused the validity of the old Cruzeiro and Cruzeiro Real banknotes to be extended for two months beyond what was initially intended for the exchange of banknotes and coins until then in circulation for new ones in the pattern that began to circulate in the second half of 1994. All were struck in stainless steel.
The coins issued in 1994 are identical in size and weight to the older cruzeiro real coins, save for the 1-centavo piece which corresponded to the even older 1000-cruzeiro coin, as no CR$1 coin was made. This influenced the replacement of this family with a newer one in 1998.
The original 1-real coins, produced only in 1994, were demonetized on 23 December 2003,[9] due to frequent counterfeiting.[10] All other coins remain legal tender.
First series Image Value Design Emission start date Withdrawn 1 centavo Obverse: Large denomination flanked by linear patterns.
Reverse: Head of Republic. 1 July 1994 Current 5 centavos Obverse: Large denomination flanked by linear patterns.
Reverse: Head of Republic. 10 centavos Obverse: Large denomination flanked by linear patterns.
Reverse: Head of Republic. 50 centavos Obverse: Large denomination flanked by linear patterns.
Reverse: Head of Republic. 1 real Obverse: Large denomination flanked by linear patterns.
Reverse: Head of Republic. 23 December 2003 25 centavos Obverse: Large denomination intersected by wavy lines.
Reverse: Head of Republic. 30 September 1994 Current
Commemorative coins
[edit]
In 1995, to commemorate the 50th anniversary of the Food and Agriculture Organization, the Central Bank of Brazil released two commemorative variants of the 10 and 25 centavos coins.
Circulating commemorative coins of the Brazilian real's first series Image Value Details 10 centavos Release date: 31 May 1995
Occasion: The 50th anniversary of the Food and Agriculture Organization (FAO)
Units produced: 1 million for each design
Reverse: The 10 centavos coin depicts hands offering a plant shoot with folious ramifications, and the 25 centavos coin depicts crop cultivation. Both coins contain the inscriptions "FAO—1945/1995" and "alimentos para todos" (food for all).[11][12] 25 centavos
Additionally, non-circulating commemorative coins have also been minted, with non-standard face values – namely R$2, R$3, R$4 and R$20 coins.[13] Although worth more than their face value to collectors, they are nevertheless legal tender.[14]
Non-circulating commemorative coins of the Brazilian real's first series Value Details 2 reais Release date: 4 October 1994
Occasion: 300th anniversary of the Brazilian mint (1694–1994)
Units produced: 7 thousand 4 reais Release date: 23 December 1994
Occasion: Commemorating Brazil's 4th FIFA World Cup win
Units produced: 9 thousand 20 reais Release date: 10 February 1995
Occasion: Commemorating Brazil's 4th FIFA World Cup win
Units produced: 2 thousand 3 reais Release date: 31 March 1995
Occasion: 30th anniversary of the Central Bank of Brazil (1965–1995)
Units produced: 5 thousand 2 reais Release date: 4 December 1995
Occasion: Tribute to Formula One racing driver Ayrton Senna (1960–1994)
Units produced: 10 thousand 20 reais Release date: 4 December 1995
Occasion: Tribute to Formula One racing driver Ayrton Senna (1960–1994)
Units produced: 5 thousand 3 reais Release date: 24 October 1997
Occasion: 100th anniversary of the city of Belo Horizonte, capital of the state of Minas Gerais
Units produced: 20 thousand
Second series (1998–present)
[edit]
In 1998, a second series of coins was introduced. It featured copper-plated steel coins of 1 and 5 centavos, bronze-plated steel 10 and 25 centavos, cupronickel 50 centavos coin, and a bimetallic nickel-brass and cupronickel coin of 1 real. In 2002 cupronickel was replaced with stainless steel for the 50-centavo coin and the central part of the 1-real coin, and the nickel-brass ring was changed to a bronze-plated steel one.[10][15]
In November 2005, the Central Bank discontinued the production of the 1 centavo coins, but the existing ones continue to be legal tender. Retailers now generally round their prices to the next 5 or 10 centavos.[citation needed]
Second series Image Value Design 1 centavo
(no longer produced) Obverse: The Southern Cross in right upper side.
Reverse: Depicts Pedro Álvares Cabral, Portuguese sea captain and Brazil's colonizer, with a 16th-century Portuguese ship in the background. 5 centavos Obverse: The Southern Cross in right upper side.
Reverse: Depicts Joaquim José da Silva Xavier (also known as Tiradentes), martyr of an early independence movement known as the Minas Conspiracy. In the background, a triangle, symbol of the movement, and a dove, symbol of peace and freedom. 10 centavos Obverse: The Southern Cross in right upper side.
Reverse: Depicts Emperor Pedro I, Brazil's first monarch. In the background, the Emperor on a horse: a scene alluding to the proclamation of independence. 25 centavos Obverse: The Southern Cross in right upper side.
Reverse: Depicts Field Marshal Deodoro da Fonseca, Brazil's first Republican president. The Republic's coat of arms is in the background. 50 centavos Obverse: The Southern Cross in right upper side.
Reverse: Depicts José Paranhos, Jr., the Baron of Rio Branco, the country's most distinguished Minister of Foreign Affairs. In the background, image of the country with ripples expanding outwards, representing the development of Brazil's foreign policy and the expansion and demarcation of the national borders. 1 real Obverse: The Southern Cross in right upper side.
Reverse: Outer ring depicts a sample of the marajoara art pattern. In the inner ring, the Efígie da República, symbol of the Republic.
In November 2019, the Central Bank had the Royal Dutch Mint produce 5 centavos and 50 centavos coins, which have a distinctive letter "A" to indicate they weren't minted by Casa da Moeda.[16]
Coins minted by the Royal Dutch Mint
5 centavos coin with mint mark
50 centavos coin with mint mark
Commemorative coins
[edit]
On occasion, the Central Bank of Brazil has issued special commemorative versions of some of the standard coins. These commemorative coins are legal tender, and usually differ from the standard design only on their reverse side.
Circulating commemorative coins of the Brazilian real's second series Image Value Details 1 real Release date: 10 December 1998
Occasion: The 50th anniversary of the Universal Declaration of Human Rights
Units produced: 600 thousand
Reverse: The official logo of the commemorations; in bas-relief, a human figure. In the outer ring, the inscriptions "Declaração Universal dos Direitos Humanos" (Universal Declaration of Human Rights) and "Cinqüentenário" (50th anniversary).[17] 1 real Release date: 12 September 2002
Occasion: The 100th birth anniversary of Brazilian former president Juscelino Kubitschek
Units produced: 50 million
Reverse: A face portrait of Kubitschek. Vertically, the inscription "Centenário Juscelino Kubitschek" (Juscelino Kubitschek's centenary). In the outer ring, images alluding to the columns of the Alvorada Palace, the presidential residence in Brasília, the city that he decided would be built.[18] 1 real Release date: 23 September 2005
Occasion: The 40th anniversary of the foundation of the Central Bank of Brazil
Units produced: 40 million
Reverse: Image of the trademark Central Bank building, inspired in the official logo developed for the commemorations. In the outer ring, the inscriptions "Banco Central do Brasil" (Central Bank of Brazil) and "1965 40 anos 2005" (1965 40 years 2005).[19] 1 real Release date: 13 August 2012
Occasion: The Olympic Flag Handover for the Rio 2016 Summer Olympics
Units produced: 2 million
Reverse: The Olympic Flag in a pole above the official logo of the Games of the XXXI Olympiad. In the outer ring, the inscriptions "Entrega da Bandeira Olímpica" (Olympic Flag Handover) and "Londres 2012—Rio 2016" (London 2012—Rio 2016)[20] 1 real Release dates: 28 November 2014, 17 April 2015, 7 August 2015, 19 February 2016 (four sets of four designs)
Occasion: 2016 Summer Olympics
Units produced: 20 million for each design
Reverse: Sixteen coin designs, representing athletics (triple jump), swimming, paralympic triathlon, golf, basketball, sailing, paralympic canoeing, rugby, football, volleyball, paralympic athletics (running), judo, boxing, paralympic swimming, and each mascot of the 2016 Summer Olympics and Paralympics.[20] 1 real Release date: 30 March 2015
Occasion: The 50th anniversary of the foundation of the Central Bank of Brazil
Units produced: 50 million
Reverse: The Central Bank building, its logo, and the inscription "50 anos" (50 years).[20] 1 real Release date: 28 August 2019
Occasion: The 25th anniversary of the creation of the Plano Real (Real Plan)
Units produced: 25 million
Reverse: A hummingbird feeding its chicks, based on the image of the 1 real banknote.
Similarly to the first series, non-circulating commemorative coins have also been minted, with the following non-standard face values: R$2, R$5, R$10 and R$20 coins.[13] Likewise, even if they are worth more than their face value to collectors, they are nevertheless legal tender.[14]
There were 18 types of non-circulating commemorative coins released from 2000 through 2009:
Non-circulating commemorative coins of the Brazilian real's second series (2000–2009) Value Details 5 reais Release date: 27 October 2000
Occasion: 500th anniversary of Brazil's discovery by the Portuguese (1500–2000)
Units produced: 15.286 20 reais Release date: 27 October 2000
Occasion: 500th anniversary of Brazil's discovery by the Portuguese (1500–2000)
Units produced: 6.558 2 reais Release date: 12 September 2002
Occasion: 100th anniversary of the birth of Juscelino Kubitschek (1902–2002)
Units produced: 11.414 20 reais Release date: 12 September 2002
Occasion: 100th anniversary of the birth of Juscelino Kubitschek (1902–2002)
Units produced: 2.499 2 reais Release date: 12 December 2002
Occasion: 100th anniversary of the birth of Carlos Drummond de Andrade (1902–2002)
Units produced: 6.959 20 reais Release date: 12 December 2002
Occasion: 100th anniversary of the birth of Carlos Drummond de Andrade (1902–2002)
Units produced: 2.499 5 reais Release date: 20 December 2002
Occasion: Commemorating Brazil's 5th FIFA World Cup win
Units produced: 9.999 20 reais Release date: 20 December 2002
Occasion: Commemorating Brazil's 5th FIFA World Cup win
Units produced: 2.499 2 reais Release date: 2 August 2003
Occasion: 100th anniversary of the birth of Ary Barroso (1903–2003)
Units produced: 4.958 20 reais Release date: 2 August 2003
Occasion: 100th anniversary of the birth of Ary Barroso (1903–2003)
Units produced: 2.481 2 reais Release date: 18 December 2003
Occasion: 100th anniversary of the birth of Candido Portinari (1903–2003)
Units produced: 2 thousand 2 reais Release date: 30 January 2004
Occasion: 100th anniversary of FIFA (1904–2004)
Units produced: 12.166 20 reais Release date: 30 January 2004
Occasion: 100th anniversary of FIFA (1904–2004)
Units produced: 4.060 2 reais Release date: 23 October 2006
Occasion: 100th anniversary of the Santos-Dumont 14-bis' famous flight (1906–2006)
Units produced: 4 thousand 2 reais Release date: 4 April 2007
Occasion: Commemorating the 2007 Pan American Games, which took place in Rio de Janeiro
Units produced: 10 thousand 5 reais Release date: 4 April 2007
Occasion: Commemorating the 2007 Pan American Games, which took place in Rio de Janeiro
Units produced: 4 thousand 5 reais Release date: 4 April 2007
Occasion: 200th anniversary of the arrival of the Portuguese royal family (1808–2008)
Units produced: 2 thousand 2 reais Release date: 18 June 2008
Occasion: 100th anniversary of the first Japanese immigration to Brazil (via the Kasato Maru ship) (1908–2008)
Units produced: 10 thousand
From 2010 through 2019, 15 types of non-circulating commemorative coins were released:
Non-circulating commemorative coins of the Brazilian real's second series (2010–2019) Value Details 5 reais Release date: 21 April 2010
Occasion: 50th anniversary of the foundation of Brasília, capital of Brazil (1960–2010)
Units produced: 6 thousand 5 reais Release date: 21 May 2010
Occasion: Commemorating the 2010 FIFA World Cup
Units produced: 9 thousand 5 reais Release date: 1 July 2011
Occasion: 100th anniversary of Ouro Preto, former capital of Minas Gerais (1711–2011)
Units produced: 2 thousand 5 reais Release date: 13 August 2012
Occasion: The Olympic Flag Handover for the Rio 2016 Summer Olympics
Units produced: 14.127 5 reais Release date: 29 October 2012
Occasion: Commemorating the United Nations's International Year of Cooperatives (2012)
Units produced: 5 thousand 5 reais Release date: 15 November 2012
Occasion: Commemorating the city of Goiás, former capital of the state of Goiás
Units produced: 3 thousand 5 reais Release date: 6 December 2013
Occasion: Commemorating the city of Diamantina, Minas Gerais
Units produced: 3 thousand 10 reais Release date: 29 January 2014
Occasion: Commemorating the 2014 FIFA World Cup, which took place in Brazil
Units produced: 5 thousand 5 reais Release date: 29 January 2014
Occasion: Commemorating the 2014 FIFA World Cup, which took place in Brazil
Units produced (2 versions): 17.819 (mascot); 19.038 (globe) 2 reais Release date: 29 January 2014
Occasion: Commemorating the 2014 FIFA World Cup, which took place in Brazil
Units produced (6 versions): 19.959 (goalkeeper); 19.929 (chest); 19.723 (heading); 19.802 (pass); 19.952 (dribble); 19.993 (goal) 10 reais Release date: 28 November 2014 (100 metres); 17 April 2015 (pole vault); 7 August 2015 (freestyle wrestling); 19 February 2016 (Olympic torch)
Occasion: Commemorating the 2016 Summer Olympics, which took place in Rio de Janeiro
Units produced: 5 thousand (each) 5 reais Release date: 28 November 2014; 17 April 2015; 7 August 2015; 19 February 2016
Occasion: Commemorating the 2016 Summer Olympics, which took place in Rio de Janeiro
Units produced (4 versions): 18.700 + 17.500 + 18 thousand + 13.850 (rowing); 18.700 + 17.500 + 17 thousand + 13.900 (cycling); 18.700 + 17.500 + 17 thousand + 13.300 (athletics); 18.700 + 17.500 + 17.759 + 13.750 (beach volleyball) 5 reais Release date: 5 December 2014
Occasion: Commemorating the city of São Luís, capital of Maranhão
Units produced: 3 thousand 5 reais Release date: 3 December 2015
Occasion: Commemorating the city of Salvador, capital of Bahia
Units produced: 3 thousand 5 reais Release date: 25 November 2016
Occasion: Commemorating the city of Olinda, a city in Pernambuco
Units produced: 3 thousand
Since 2020, 3 types of non-circulating commemorative coins were released:
Non-circulating commemorative coins of the Brazilian real's second series (2020–2029) Value Details 2 reais Release date: 26 July 2022
Occasion: 200th anniversary of the Independence of Brazil (1822–2022)
Units produced: 40.000 (as of 10 June 2024; 40.000 authorized) 5 reais Release date: 26 July 2022
Occasion: 200th anniversary of the Independence of Brazil (1822–2022)
Units produced: 15.013 (as of 10 June 2024; 20.000 authorized) 5 reais Release date: 11 April 2024
Occasion: 200th anniversary of the first Constitution of Brazil and the creation of the Brazilian legislative body (1824–2024)
Units produced: 5.614 (as of 10 June 2024; 10.000 authorized)
Trial strike controversy
[edit]
In 2011, a collector named Pedro Pinto Balsemão claimed to have found a trial strike of the R$1, with a never before seen design, completely different from circulating 1 real coins.[21] Despite the initial skepticism, it was later supposedly confirmed via FOIA [pt] requests and interviews that Casa da Moeda do Brasil had minted trial strikes of the R$1 coin prior to the currency design change in 1998, with custom designs that were purposefully different to the final product as to avoid leaks.[22][23]
In May 2021, however, Bentes Group published an explanation as to why the "Real Bromélia" was not included in their Brazilian coins catalog. They claim to have done extensive research into the piece, and to have concluded that it is not a trial strike or test coin, but instead a sort of vending machine token with no numismatic value.[24]
Banknotes
[edit]
First series (1994–2010)
[edit]
In 1994, banknotes print "A" were issued by Casa da Moeda do Brasil in the amounts of 1, 5, 10, 50 and 100 reais, in addition to supplementary issues of banknotes ordered abroad in the values of 5, 10 and 50 reais of the print "B" produced abroad by the companies Giesecke+Devrient, Thomas de la Rue and François-Charles Oberthur Fiduciaire respectively. In 1997, modified banknotes of 1 real (print "B"), 5 and 10 reais (print "C") were launched, bearing the national flag as a watermark instead of the effigy of the republic in order to reduce the risk of such banknotes being used for counterfeiting banknotes at higher denominations. In 2000, the 10 reais commemorative banknote (print "D") was launched, and this banknote was the first polymer banknote to be issued in the country. In 2000 and 2001, the 2 and 20 reais banknotes were launched, respectively, using the sea turtle and the golden lion tamarin in the watermark and theme, and the 20 reais banknote was the first to make use of holographic elements on the Brazilian banknotes. In 2003, the print "C" of the 1 real banknote was put into circulation, which would have the name "República Federativa do Brasil" at the top in the place where the name "Banco Central do Brasil" was customarily placed, which was placed on the under the obverse of the bill, next to the word real. Such banknote ceased to be issued in 2005.
First series[25] Image Value Dimensions Description Obverse Reverse Obverse Reverse 1 real 140 mm × 65 mm The Republic's Effigy,
portrayed as a bust Sapphire-spangled emerald hummingbird (Amazilia lactea) 2 reais Hawksbill turtle (Eretmochelys imbricata) 5 reais Great egret (Casmerodius albus) 10 reais Green-winged macaw (Ara chlorepterus) 20 reais Golden lion tamarin (Leontopithecus rosalia) 50 reais Jaguar (Onça pintada, Panthera onca) 100 reais Dusky Grouper (Epinephelus marginatus)
Commemorative banknotes
[edit]
In April 2000, in commemoration of the 500th anniversary of the Portuguese arrival on Brazilian shores, the Brazilian Central Bank released a polymer 10 real banknote that circulated along with the other banknotes above. The Brazilian Mint printed 250 million of these notes, which at the time accounted for about half of the 10 real banknotes in circulation.
Obverse Reverse Value Year Material Description 10 reais 2000 Polymer Obverse: Image of Pedro Álvares Cabral, the colonizer of Brazil.
Reverse: Stylized version of the map of Brazil, with pictures highlighting the ethnic and cultural plurality of the country.
Second series (2010–present)
[edit]
On 3 February 2010, the Central Bank of Brazil announced the new series of the real banknotes which would begin to be released in April 2010. The new design added security enhancements in an attempt to reduce counterfeiting. The notes have different sizes according to their values to help vision-impaired people. The changes were made reflecting the growth of the Brazilian economy and the need for a stronger and safer currency. The new banknotes began to enter circulation in December 2010, coexisting with the older ones.[26][27] On 29 July 2020, the Central Bank of Brazil announced the release of the 200 reais banknote.[28] It was released into circulation on 2 September 2020.[29]
Second series Image Value Dimensions Main color Description Date of first issue Watermark Obverse Reverse Obverse Reverse 2 reais 121 mm × 65 mm Blue Wave pattern; head of Republic Hawksbill turtle (Eretmochelys imbricata) 29 July 2013 Hawksbill turtle and electrotype 2 5 reais 128 mm x 65 mm Purple Plants; head of Republic Great egret (Casmerodius albus) 29 July 2013 Great egret and electrotype 5 10 reais 135 mm × 65 mm Red Plants; head of Republic Green-winged macaw (Ara chlorepterus) 23 July 2012 Green-winged macaw and electrotype 10 20 reais 142 mm × 65 mm Yellow Plants; head of Republic Golden lion tamarin (Leontopithecus rosalia) 23 July 2012 Golden lion tamarin and electrotype 20 50 reais 149 mm × 70 mm Brown Jungle plants; head of Republic Jaguar (Panthera onca) 13 December 2010 Jaguar and electrotype 50 100 reais 156 mm × 70 mm Cyan Underwater plants and starfish; head of Republic; coral Dusky Grouper (Epinephelus marginatus); coral 13 December 2010 Dusky Grouper and electrotype 100 200 reais 142 mm × 65 mm Grey Savanna plants; head of Republic Maned wolf (Chrysocyon brachyurus) 2 September 2020 Maned wolf and electrotype 200
Among the security features of the second series is ultraviolet printing in the design, referred to as "fluorescent elements".[30] These appear and glow under ultraviolet light.
Exchange rates
[edit]
Current exchange rates
[edit]
Current BRL exchange rates From Google Finance: AUD CAD CHF CNY EUR GBP HKD JPY USD ARS JPY USD From Yahoo! Finance: AUD CAD CHF CNY EUR GBP HKD JPY USD ARS JPY USD From XE.com: AUD CAD CHF CNY EUR GBP HKD JPY USD ARS JPY USD From OANDA: AUD CAD CHF CNY EUR GBP HKD JPY USD ARS JPY USD
Historical exchange rate
[edit]
Brazilian Reais per US dollar 2002–2021 Year Lowest ↓ Highest ↑ Average Date Rate Date Rate Rate 2002 11 April 2.2640 10 October 4.0050 2.9221 2003 2 July 2.818 14 February 3.7000 3.0780 2004 30 December 2.6540 22 May 3.2420 2.9260 2005 11 November 2.1630 15 March 2.7660 2.4349 2006 5 May 2.0560 24 May 2.4050 2.1782 2007 14 November 1.732 5 January 2.153 1.948 2008 31 July 1.5620 5 December 2.6210 1.8349 2009 15 October 1.698 2 March 2.4510 1.9974 2010 13 October 1.6550 5 February 1.8910 1.7603 2011 26 July 1.5284 22 September 1.9520 1.6750 2012 29 February 1.6920 3 December 2.1395 1.9546 2013 11 March 1.9430 21 August 2.4523 2.1576 2014 10 April 2.1825 16 December 2.7614 2.3531 2015 22 January 2.5554 23 September 4.2491 3.3910 2016 25 October 3.1023 22 January 4.1737 3.4300 2017 16 February 3.0390 19 May 3.3703 3.1855 2018 25 January 3.1463 14 September 4.2066 3.6644 2019 1 February 3.6447 28 November 4.2640 3.9437 2020 2 January 4.0195 14 May 5.8887 5.2420 2021 25 June 4.9142 14 September 5.8757 5.3975
Date Rate 1994-07-01 1.00 1994-10-14 0.83 1995-02-15 0.88 1995-12-29 0.97 1996-06-11 1.00 1996-12-31 1.04 1997-12-31 1.12 1998-12-31 1.20 1999-01-12 1.21 1999-01-13 1.31 1999-01-29 1.98 1999-03-03 2.16 1999-04-30 1.66 1999-12-31 1.78 2000-12-31 1.96 2001-05-02 2.23 2001-10-15 2.78 2002-01-25 2.38 2002-04-12 2.27 2002-06-27 2.83 2002-09-30 3.87 2002-10-12 3.93 2002-10-22 3.96 2002-12-27 3.53 2003-02-18 3.61 2003-06-28 2.87 2003-09-30 2.93 2003-12-28 2.93 2004-03-31 2.91 2004-05-23 3.18 2004-06-28 3.10 2004-09-30 2.85 2004-12-28 2.69 2005-02-19 2.56 2005-03-26 2.73 2005-06-28 2.38 2005-09-25 2.26 2005-11-11 2.17 2005-12-28 2.36 2006-03-27 2.15 2006-05-07 2.05 2006-12-29 2.13 2007-11-07 1.73 2008-08-01 1.56 2009-03-03 2.42 2009-10-14 1.71 2010-12-30 1.66 2011-07-23 1.53 2012-03-18 1.79 2012-08-19 2.01 2013-03-31 2.01 2013-07-13 2.26 2013-11-01 2.23 2014-01-23 2.40 2014-02-06 2.40 2014-10-23 2.50 2014-12-16 2.75 2015-01-22 2.56 2015-02-02 2.71 2015-03-06 3.05 2015-03-19 3.29 2015-04-24 2.95 2015-04-28 2.88 2015-05-08 2.97 2015-05-29 3.18 2015-08-06 3.53 2015-09-01 3.69 2015-09-04 3.80 2015-09-17 3.88 2015-09-22 4.05 2015-09-24 4.24 2015-09-25 3.97 2015-10-02 3.94 2015-10-09 3.75 2015-11-20 3.69 2015-12-03 3.74 2015-12-09 3.73 2016-02-23 3.97 2016-03-13 3.58 2016-06-30 3.18 2016-10-25 3.10 2017-02-14 3.09
Most traded currencies by value
Currency distribution of global foreign exchange market turnover[31] Rank Currency ISO 4217
code Symbol or
abbreviation Proportion of daily volume Change
(2019–2022) April 2019 April 2022 1 U.S. dollar USD US$ 88.3% 88.5% 0.2pp 2 Euro EUR € 32.3% 30.5% 1.8pp 3 Japanese yen JPY ¥ / 円 16.8% 16.7% 0.1pp 4 Sterling GBP £ 12.8% 12.9% 0.1pp 5 Renminbi CNY ¥ / 元 4.3% 7.0% 2.7pp 6 Australian dollar AUD A$ 6.8% 6.4% 0.4pp 7 Canadian dollar CAD C$ 5.0% 6.2% 1.2pp 8 Swiss franc CHF CHF 4.9% 5.2% 0.3pp 9 Hong Kong dollar HKD HK$ 3.5% 2.6% 0.9pp 10 Singapore dollar SGD S$ 1.8% 2.4% 0.6pp 11 Swedish krona SEK kr 2.0% 2.2% 0.2pp 12 South Korean won KRW ₩ / 원 2.0% 1.9% 0.1pp 13 Norwegian krone NOK kr 1.8% 1.7% 0.1pp 14 New Zealand dollar NZD NZ$ 2.1% 1.7% 0.4pp 15 Indian rupee INR ₹ 1.7% 1.6% 0.1pp 16 Mexican peso MXN MX$ 1.7% 1.5% 0.2pp 17 New Taiwan dollar TWD NT$ 0.9% 1.1% 0.2pp 18 South African rand ZAR R 1.1% 1.0% 0.1pp 19 Brazilian real BRL R$ 1.1% 0.9% 0.2pp 20 Danish krone DKK kr 0.6% 0.7% 0.1pp 21 Polish złoty PLN zł 0.6% 0.7% 0.1pp 22 Thai baht THB ฿ 0.5% 0.4% 0.1pp 23 Israeli new shekel ILS ₪ 0.3% 0.4% 0.1pp 24 Indonesian rupiah IDR Rp 0.4% 0.4% 25 Czech koruna CZK Kč 0.4% 0.4% 26 UAE dirham AED د.إ 0.2% 0.4% 0.2pp 27 Turkish lira TRY ₺ 1.1% 0.4% 0.7pp 28 Hungarian forint HUF Ft 0.4% 0.3% 0.1pp 29 Chilean peso CLP CLP$ 0.3% 0.3% 30 Saudi riyal SAR ﷼ 0.2% 0.2% 31 Philippine peso PHP ₱ 0.3% 0.2% 0.1pp 32 Malaysian ringgit MYR RM 0.2% 0.2% 33 Colombian peso COP COL$ 0.2% 0.2% 34 Russian ruble RUB ₽ 1.1% 0.2% 0.9pp 35 Romanian leu RON L 0.1% 0.1% 36 Peruvian sol PEN S/ 0.1% 0.1% 37 Bahraini dinar BHD .د.ب 0.0% 0.0% 38 Bulgarian lev BGN BGN 0.0% 0.0% 39 Argentine peso ARS ARG$ 0.1% 0.0% 0.1pp … Other 1.8% 2.3% 0.5pp Total[a] 200.0% 200.0%
See also
[edit]
Central Bank of Brazil
Economy of Brazil
Plano Real
Portuguese real
Notes
[edit]
References
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A SHORT HISTORY OF THE PORTUGUESE CURRENCY
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The coinage of money in what we know today as the Portuguese territory, dates back from the Roman domain of the Iberian Peninsula, which had been occupied by Celtic people since IX B.C. . Among the Roman-Portuguese coinage of the first era, several types are known, some with latin or iberian inscriptions.
Portugal as well as the rest of the Iberian Peninsula , was completely romanized during the Empire ( 30 B.C. ) . Several colonies were founded in commercial harbours such as Lisbon and Oporto and also in strategic military routes and the coinage of money continued throughout Lusitânia.
In the beginning of the 5th century , the Iberian Peninsula was invaded by the Suevos, Vândalos and Alanos and until the arrival of the Visigoth , the coinage was made in Braga. Almost all the Visigoth kings ordered the coinage of money in the territory later known as Portugal.
From the 9th century on , the lands situates between Braga and the River Vouga , were named Portucalense . This Portucale County would give origin to the nations future name. D. Afonso Henriques (1128-1185 ) is considered to be the founder of the Portuguese kingdom.
With the Borgonha dinasty , the coinage in silver and copper with the names of the Portuguese kings began. With D. Sancho I , the coin presents for the first time , the five Quinas placed in cross , which gave birth to the universal symbol of the Portuguese shield.
D. Sancho I and his son D. Afonso II ( 1211-1223) ordered the coinage of a precious gold coin the morabitino - . Only later , in the reign of D. Pedro (1357-1367) , will the coinage be made of gold the dobra which replaced the morabitino .
After D. Fernandos death , D. João I ( 1358-1433 ) , Master of Aviz, becomes his successor and founds the Aviz Order. During his reign , Portugal spreads its domain throughout the seas, becoming a large colonial empire. Then, new kinds of currencies were coined. Among these , we must refer the centi or ceitil , a small copper piece, which is supposed to have been the first coined money to be introduced in America , taken by sailors.
During the Bragança dinasty (1640-1910) , the coinage of the same pieces continues . Due to the fact that large quantities of gold and diamonds from Brazil , were entering Portugal , there is the need to create a new gold coin in Brazil the réis ( the kings private currency ) .
However, between 1641 and 1663, some monetary devaluations in a row, led to the first issue of paper money. In 1797, Royal policies were issued , with values varying from 20 thousand and 1200 réis :these were pieces of paper printed in the Casa da Moeda . Many historians consider these policies to be the first form of notes that were used in Portugal.
In 1910, King Manuel II was dismissed by a civil-military revolution which established the First Portuguese Republic. (1910-1926) . The Provisional Government adopts ( among other measures) a new monetary system based on the escudo of a hundred cents. In 1933 it is set in Portugal a dictatorship , which was only overthrown on the 25th April 1974 with the Revolution of Carnations . Living in Democracy , the Portuguese Republic could from then on, together with the other European states of the Union , walk towards a common currency: the Euro.
July 2000 Escola Secundária Rodrigues de Freitas Porto
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[
"https://images.transparencycdn.org/images/579347307-cpi_2023_weeu_cover_resized.png?auto=compress&fit=crop&&w=16&h=9.1428571428571",
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2019-11-01T14:29:00+01:00
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Find out more about corruption in Portugal: Latest news, Corruption Perceptions Index score & local chapter’s contact information.
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en
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/assets/meta/apple-icon-57x57.png
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Transparency.org
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https://www.transparency.org/en/countries/portugal
|
Since its debut in 2003, the Global Corruption Barometer has surveyed the experiences of everyday people confronting corruption around the world. Through our barometer, tens of thousands of people around the globe are asked about their views and experiences, making it the only worldwide public opinion survey on corruption.
CPI 2023 for Western Europe & EU: Rule of law and political integrity threats undermine action against corruption
News • 30 January 2024
Leaders are losing public trust as they undermine limits on their power and act without integrity.
Why can’t Western governments tell us what they’re actually doing to sanction Russian kleptocrats?
News • 28 September 2023
We are still waiting to hear back from countries about the measures they have taken to locate and seize assets.
CPI 2022 for Western Europe & EU: Undue influence and fragmented anti-corruption measures hurt progress
News • 31 January 2023
While once again the top-scoring region in the CPI, anti-corruption efforts have stalled in most countries for more than a decade.
CPI 2021 for Western Europe & European Union: Trouble ahead for stagnating region
News • 25 January 2022
Western Europe and the EU still tops the CPI, but the COVID-19 pandemic has threatened transparency and accountability across the region, leaving no country unscathed and exposing…
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8738
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https://en.wikipedia.org/wiki/Portuguese_real
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Portuguese real
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2005-11-04T15:46:21+00:00
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https://en.wikipedia.org/wiki/Portuguese_real
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Currency of Portugal from c. 1430 until 1911
The real (Portuguese pronunciation: [ʁiˈal], meaning "royal", plural: réis or [archaic] reais) was the unit of currency of Portugal and the Portuguese Empire from around 1430 until 1911. It replaced the dinheiro at the rate of 1 real = 840 dinheiros and was itself replaced by the escudo (as a result of the Republican revolution of 1910) at a rate of 1 escudo = 1000 réis. The escudo was further replaced by the euro at a rate of 1 euro = 200.482 escudos in 2002.
History
[edit]
The first real was introduced by King Fernando I around 1380.[1] It was a silver coin and had a value of 120 dinheiros (10 soldos or 1⁄2 libra). In the reign of King João I (1385–1433), the real branco of 3+1⁄2 libras (initially real cruzado [2] ) and the real preto of 7 soldos (1⁄10 of a real branco) were issued. By the beginning of the reign of King Duarte I in 1433, the real branco (equivalent to 840 dinheiros) had become the unit of account in Portugal. From the reign of King Manuel I (1495–1521), the name was simplified to real, coinciding with the switch to minting real coins from copper.[3]
Due to the historically low value of the real, large sums were usually expressed in milréis (or mil-réis) of 1,000 réis, a term that has been in use since at least the 1760s.[4] In figures, a mil-réis was written as 1$000, with the cifrão or $ sign functioning as a decimal point for monetary amounts, so that 60,500 réis would be written as 60$500 or 60.5 milréis.[3]
Since the Brazilian Gold Rush of the 18th century, Portuguese gold coins gained currency worldwide, and especially with its ally the United Kingdom. Its most familiar gold coins were issued in multiples of gold escudos, which were valued at 1$600 and which contained 3.286 g fine gold.[5]
The Napoleonic Wars of the early 19th century spawned the issue of the paper milréis which eventually depreciated versus the silver cruzado and the gold escudo. The monetary reform of 1837 recognized the lower value of the milréis by increasing the value of the gold escudo from 1$600 to 2$000. It also changed the main unit of account from the real to the milréis (1$000)[6] with decimal subdivisions used in its coins.
The Banco de Portugal issued its first banknotes in 1847. In 1854, Portugal adopted a gold standard with the milréis equal to 1.62585 g fine gold. This standard was maintained until 1891.[3]
In 1911, the escudo replaced the real at the rate of 1 escudo = 1,000 réis as the Portuguese currency unit (not to be confused with the gold escudo worth 1$600). One million réis (or one thousand mil-réis, written 1.000$000) was known as a conto de réis. This term survived the introduction of the escudo to mean 1,000 escudos and is now used to mean five euros, almost exactly the converted value of 1,000 escudos or one million réis (1 conto is approximately €4.98798).[3]
The old Brazilian real was initially valued at par with the Portuguese real, but from 1740 it was valued lower by a factor of 10⁄11, increasing the value of the gold escudo from 1$600 to 1$760. After the Napoleonic Wars the Brazilian unit was devalued further, with the escudo rising to 2$500 in 1834 and 4$000 in 1846.
Coins and banknotes were also issued denominated in réis for use in the different parts of the Portuguese Empire. See: Angolan real, Azorean real, Brazilian real, Cape Verde real, Mozambican real, Portuguese Guinea real and São Tomé and Príncipe real. Brazil has revived the real as the denomination of its present currency.[3]
Portuguese influence in the Persian Gulf, especially in Portuguese Oman extended the use of the term "real", though not the actual currency or value, to the Middle East and the slightly Arabicized form of the word "real", the "riyal" is the currency of The Kingdom of Saudi Arabia and the current (but soon to be former currency in favor of the toman) of Iran.[7]
Coins
[edit]
Before the middle of the 19th century, many different denominations were minted, often with values in terms of the real which increased over time. For example, the cruzado was introduced at a value of 324 real branco in the reign of King João II. It was fixed at a value of 400 réis during King João III's reign and this remained the value of the silver cruzado until the reign of King Pedro II, when it was revalued to 480 réis. Meanwhile, the gold cruzado rose in value to 750 réis in the reign of King João IV, then to 875 réis in the reign of King Afonso VI before its demise.[3]
The last 1 real coins (excluding colonial issues) were minted in the 1580s. After this time, the smallest coins were worth 1+1⁄2 réis. These were minted until around 1750, after which the three real coin became the smallest circulating denomination.[3]
Gold coins issued during the Brazilian Gold Rush of the 18th century belonged to either the moidore series of 1688–1732 or the joannese series of 1722–1835. A description of the coins of the moidore series:[5]
The most familiar coin of this series is the moeda d'ouro (literally "gold coin", and commonly Anglicised as the moidore), stamped 4,000 réis but actually valued 20% higher or 4,800 réis (4$800). This coin weighed 3⁄8 onça (explained below) and contained 9.86 g fine gold.
Valued proportionately are coins of 480 réis (the cruzado), 1$200, 2$400, 12$000, and 24$000 (the dobrão), though they are stamped with their old values of 400, 1$000, 2$000, 10$000 and 20$000 réis, respectively.
Silver coins were issued in denominations of 480 réis (cruzado) and 240, 100 (tostão), and 50 réis, though stamped with their old values of 400, 200, 80 and 40 réis, respectively.
Copper coins were issued in denominations of 3, 5, 10, 20 and 40 réis.
While silver and copper denominations were left unchanged by the joannese series of 1722–1835, gold coins were issued instead in binary fractions of the gold onça (or ounce), which contained 28.68 g of 22-karat or 91.7% fine gold, and which was valued at 12$800. The most familiar coin of this series is the peça or 1⁄2 onça worth 6$400. Other denominations include the half-peça of 3$200, the escudo of 1$600, and the half-escudo of 0$800.
As the United Kingdom was on the gold standard starting 1717, Portuguese gold coins widely circulated there at the rate of 27 shillings (£1.35) for the moidore (4$800) and 9 shillings (£0.45) for the escudo (1$600). Gold moidores and joes of the Brazilian Gold Rush were often mentioned in English literary references of the 18th and 19th centuries.
Following the depreciation of the paper milréis during and after the Napoleonic Wars of the early 19th century, the gold peça of 13.145 g fine gold was raised in value from 6$400 to 7$500 in 1826, 8$000 in 1837, and 8$085 in 1854 (when the gold standard of 1.62585 g fine gold per milréis was implemented).
In 1837, a decimal system was adopted, with copper coins (bronze from 1882) of 3, 5, 10 and 20 réis, silver coins for 50, 100, 200, 500 and 1,000 réis and gold 1$000, 2$000, 2$500, 5$000 and 10$000. In 1875, the last 3 real coins were issued, with cupronickel 50 and 100 réis issued in 1900.[3]
During Portugal's gold standard era from 1854 to 1891 the British gold sovereign or £1 coin was widely accepted in circulation with a value of 4$500.
Banknotes
[edit]
Portugal's first paper money was introduced in 1797 by the government. Denominations issued until 1807 included 1$200, 2$400, 5$000, 6$400, 10$000, 12$000 and 20$000 réis. Some of these notes were revalidated for continued use during the War of the Two Brothers (1828 to 1834).
From the 1820s, several private banks issued paper money. The most extensive issues were by the Banco de Lisboa, whose notes were denominated in both réis and moedas, worth 4$800 réis. This bank issued notes for 1$200 and 2$400 réis, 1, 4, 10, 20, 50 and 100 moedas. The Banco Commercial de Braga, Banco Commercial do Porto, Banco de Guimaraes and Banco Industrial do Porto also issued notes, with bearer cheques issued by a number of other banks between 1833 and 1887.
In 1847, the Banco de Portugal introduced notes for 10$000 and 20$000 réis. 5$000 réis notes were issued from 1883, followed by 50$000 réis in 1886. In 1891, the Casa de Moeda introduced notes for 50 and 100 réis, and the Banco de Portugal introduced notes for 200, 500, 1$000 and 2$500 réis, followed by 100$000 real notes in 1894.
See also
[edit]
Money portal
Numismatics portal
Portugal portal
Economic history of Portugal
References
[edit]
Bibliography
[edit]
Portuguese Coins Catalogue of Portuguese Coins.
The Coins of Portugal Photos and descriptions of the coins of Portugal from the Kingdom to the euro.
|
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dbpedia
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2
| 65
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https://www.bankofamerica.com/foreign-exchange/exchange-rates/
|
en
|
Currency Converter: Foreign Exchange Rates for US Dollars
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With our currency converter, you can view today's exchange rate of various foreign currencies. Learn how much your foreign currency is worth in US dollars here.
|
en
|
Bank of America
|
https://www.bankofamerica.com/foreign-exchange/exchange-rates/
|
Important Disclosures and Information
1Exchange rates fluctuate, at times significantly, and you acknowledge and accept all risks that may result from such fluctuations. If we assign an exchange rate to your foreign exchange transaction, that exchange rate will be determined by us in our sole discretion based upon such factors as we determine relevant, including without limitation, market conditions, exchange rates charged by other parties, our desired rate of return, market risk, credit risk and other market, economic and business factors, and is subject to change at any time without notice. You acknowledge that exchange rates for retail and commercial transactions, and for transactions effected after regular business hours and on weekends, are different from the exchange rates for large inter-bank transactions effected during the business day, as may be reported in The Wall Street Journal or elsewhere. Exchange rates offered by other dealers or shown at other sources by us or other dealers (including online sources) may be different from our exchange rates. The exchange rate you are offered may be different from, and likely inferior to, the rate paid by us to acquire the underlying currency.
We provide all-in pricing for exchange rates. The price provided may include profit, fees, costs, charges or other mark ups as determined by us in our sole discretion. The level of the fee or markup may differ for each customer and may differ for the same customer depending on the method or venue used for transaction execution
In connection with our market making and other activities, we may engage in hedging, including pre-hedging, to mitigate our risk, facilitate customer transactions and hedge any associated exposure. Such activities may include trading ahead of order execution. These transactions will be designed to be reasonable in relation to the risks associated with the potential transaction with you. These transactions may affect the price of the underlying currency, and consequently, your cost or proceeds. You acknowledge that we bear no liability for these potential price movements. When our pre-hedging and hedging activity is completed at prices that are superior to the agreed upon execution price or benchmark, we will keep the positive difference as a profit in connection with the transactions. You will have no interest in any profits.
We also may take proprietary positions in certain currencies. You should assume we have an economic incentive to be a counterparty to any transaction with you. Again, you have no interest in any profit associated with this activity and those profits are solely for our account.
You acknowledge that the parties to these exchange rate transactions engaged in armâs-length negotiations. You are a customer and these transactions do not establish a principal/agent relationship or any other relationship that may create a heightened duty for us.
We do not accept any liability for our exchange rates. Any and all liability for our exchange rates is disclaimed, including without limitation direct, indirect or consequential loss, and any liability if our exchange rates are different from rates offered or reported by third parties, or offered by us at a different time, at a different location, for a different transaction amount, or involving a different payment media (including but not limited to bank-notes, checks, wire transfers, etc.).
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8738
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dbpedia
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1
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https://item.pandaremit.com/article/16034.html
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en
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Uncovering Portugals Currency: Euro Exchange, Coins and Bills
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Portugal has been using the euro as its currency since 2002. It has coins ranging from 1 to 2 euros, and bills in denominations of 5, 10, 20, 50, 100, 200 and 500 euros. It is possible for citizens and visitors alike to exchange other currencies for euros at authorized foreign exchange centers. The symbol used for euro in Portugal is €.
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| null |
How long has the euro been used as Portugal's currency?
Since 2002, the euro has been in use as Portugal's currency. The euro was introduced as an official currency and replaced the Portuguese escudo as the country's official currency. It marked a critical milestone in the history of Portugal, enabling it to become part of the European Union's monetary union.
For remittance businesses, the introduction of the euro as Portugal's currency has opened up a world of opportunities. With direct access to the eurozone, sending money between countries within Europe is now far easier and more secure. Additionally, since all members of the eurozone share the same currency, you can trust that your money will hold its value no matter what country it is sent to.
Remittance businesses have also been able to benefit from the increased market stability afforded by the euro. With the elimination of exchange rate volatility due to the fixed exchange rate, companies are able to confidently process payments and transfer funds without worrying about market fluctuations.
At the same time, the euro has created greater transparency in Portugal's economy. Its existence ensures that prices for goods and services are fair, making it easier for businesses to accurately budget and plan. Moreover, it has helped encourage foreign investment, leading to increased economic growth and job creation.
The euro has been in use in Portugal for almost two decades and has had a positive impact on remittance businesses and the portuguese economy as a whole. With its introduction, companies have been able to offer more reliable, affordable international money transfers, while ensuring high market stability and transparency.
What coins and bills does Portugal use in their currency?
Are you looking to send money to Portugal? Understanding the currency of your destination country is an important part of international remittance. Knowing what coins and bills are used in Portugal can help make a successful money transfer.
The official currency used in Portugal is the Euro (EUR). One euro is composed of 100 cents. Coins come in denominations of 1, 2, 5, 10, 20, and 50 cents, as well as €1 and €2. Banknotes include €5, €10, €20, €50, €100, €200, and €500. The value of the coins and bills may vary depending on the exchange rate.
Remitting money to Portugal through a trusted money transfer service means that you avoid exchanging currency or making cash payments. With most services, you can send euros directly to your recipient’s bank account in Portugal; they will receive the exact amount you’ve sent them in their local currency. This makes it easier to budget for purchases made with cash.
Before you make a money transfer to Portugal, make sure you understand the currency and how it works. Knowing what coins and bills they use can help you make an informed decision and save money on fees. Compare different money transfer services to find the one that best suits your needs and budget.
Is it possible to exchange other currencies for euros in Portugal?
If you are planning on a visit to Portugal and need to exchange other currencies for euros, then you have come to the right place. With remittance businesses, it is now possible to make quick and efficient international currency exchange transactions. You can easily convert your currency into Euros making your trip much more hassle-free.
Remittance businesses can provide you with excellent rates of exchange when exchanging your money into Euros. The benefit of using remittance services is that you can obtain the best rate available in the markets. This will ensure you get the most out of your currency exchange transaction.
In addition, remittance businesses provide a secure, fast and easy way to transfer your money. They also offer real-time tracking of your transactions, so you always have a record of your money being sent to its destination. You can even use their platform to transfer money to others, allowing you to manage your finances from anywhere in the world.
Furthermore, by using the services of a reputable remittance business, you can rest assured that your transaction is safe and secure. All transfers are encrypted and monitored, so your financial information is always protected. These businesses are also regulated by the government, ensuring that all customers receive the best service.
Exchanging other currencies for euros in Portugal can be made simpler and faster with remittance businesses. You can obtain the best rate of exchange and have the peace of mind knowing that your transaction is secure. So, if you plan to travel to Portugal, look no further than remittance businesses to help you exchange your money.
What is the symbol for the euro used in Portugal?
Remittance is one of the most convenient ways to send money from one country to another, especially when it comes to sending money to Portugal. The euro (EUR) is the currency used by Portugal, and there are a few symbols you need to know when looking to remit money to Portugal.
The euro symbol (€) is what’s used for transactions and payments in Portugal. It’s also used as an indicator on stock prices for businesses and investments in Portugal. Any remittance service should be familiar with the euro symbol and be able to recognize it in order to ensure that a payment is sent correctly.
Remitting money to Portugal using the euro symbol requires that you find a reliable remittance service provider. Look for one that allows you to transfer your local currency into euros quickly and securely. Be sure to check exchange rates in order to make sure you’re getting the best deal when remitting money abroad.
Before you start sending money to Portugal, make sure you understand the process and all related fees. Different providers will have different methods, so be sure to check their terms and conditions before setting up an account. Knowing the euro symbol is the first step in remitting money safely and securely.
How many euros are equivalent to one US dollar?
When it comes to remittance, one of the most frequent questions that customers ask is “How many euros are equivalent to one US dollar?” This simple question is complicated to answer as the exchange rate between the two currencies fluctuates constantly.
The exchange rate is always changing and depends on a variety of factors such as economic climate, governmental policies, supply and demand, etc. Currency traders and financial analysts continuously monitor the market and track its development. Customers can take advantage of the current rate to maximize their money transfer by remitting funds at the most favorable exchange rates.
At a reliable remittance service provider, you can choose to convert your money from USD to EUR at the most reasonable rate. Our remittance service is easy to use and helps customers to get optimal value for their money transfer. We have years of experience in providing international remittance services, and provide complete transparency in our services.
Apart from our currency conversion services, we also provides multi-currency accounts that allows customers to store multiple currencies at once. This is especially convenient for customers who need to make frequent payments in different currencies.
Make sure to use a reliable remittance service when sending or receiving money across borders. With us, you can rest assured knowing that your funds will be delivered conveniently and safely. Contact us today for all your remittance needs!
About Panda Remit
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8738
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dbpedia
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2
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https://kids.nationalgeographic.com/geography/countries/article/brazil
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en
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National Geographic Kids
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[] |
[] |
[] |
[
""
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2014-03-20T20:06:00+00:00
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Brazil is the largest country in South America and the fifth largest nation in the world.
|
en
|
Geography
|
https://kids.nationalgeographic.com/geography/countries/article/brazil
|
Brazil is the largest country in South America and the fifth largest nation in the world. It forms an enormous triangle on the eastern side of the continent with a 4,500-mile (7,400-kilometer) coastline along the Atlantic Ocean. It has borders with every South American country except Chile and Ecuador.
The Brazilian landscape is very varied. It is most well known for its dense forests, including the Amazon, the world's largest jungle, in the north. But there are also dry grasslands (called pampas), rugged hills, pine forests, sprawling wetlands, immense plateaus, and a long coastal plain.
Northern Brazil is dominated by the Amazon River and the jungles that surround it. The Amazon is not one river but a network of many hundreds of waterways. Its total length stretches 4,250 miles (6,840 kilometers). Thousands of species live in the river, including the infamous piranha and the boto, or pink river dolphin.
Map created by National Geographic Maps
Most Brazilians are descended from three ethnic groups: Amerindians, European settlers (mainly from Portugal), and Africans. Starting in the 19th century, waves of immigrants from Europe, the Middle East, and even Japan added to this mix. This diversity of cultures has created a rich religious, musical, and culinary culture.
Brazilians are soccer crazy, and their country has produced some of the best players. The most famous of all is Edson Arantes do Nascimento, better known as Pelé. Brazil has won the World Cup soccer finals five times, more than any other nation.
Brazil has the greatest variety of animals of any country in the world. It is home to 600 mammal species, 1,500 fish species, 1,600 bird species, and an amazing 100,000 different types of insects. Brazil's jungles are home to most of its animal life, but many unique species also live in the pampas and semidesert regions.
In the central-western part of Brazil sits a flat, swampy area called the Pantanal. This patchwork of flooded lagoons and small islands is the world's largest wetland. Here live giant anacondas, huge guinea pig relatives called capybaras, and fierce South American alligators called caimans.
For thousands of years, people have been exploiting the jungles of Brazil. But since Europeans arrived about five centuries ago, forest destruction has been rampant. Most of Brazil's Atlantic rain forest is now gone, and huge tracts of the Amazon are disappearing every year. The government has established many national parks and refuges, but they only cover about 7 percent of the country.
Brazil is a federal republic with a president, a National Congress, and a judiciary. From 1888 until recently, the country struggled with democracy. But in 1985, the military government was peacefully removed, and by 1995, Brazil's politics and economy had become fairly stable.
Brazil has many different soils and climates, so it can produce a great variety of crops. Its agricultural exports include sugarcane, latex, coffee, cocoa beans, cotton, soybeans, rice, and tropical fruits.
Brazil is also South America's most industrial nation, producing chemicals, steel, aircraft, and cars.
Until recently, scientists thought Brazil was first settled by Asians about 10,000 years ago. But new evidence shows there were people living there at least 32,000 years ago. Some experts think they may have arrived from islands in the Pacific Ocean.
Brazil was added to the map of the world during the great European explorations in the late 15th century led by Portugal and Spain. When Europeans first reached the coast of Brazil, the country was home to about 30 million indigenous people, or Amerindians. Today, only about 300,000 remain, living primarily in Brazil's remotest places.
Portugal established its first colony in Brazil in 1530. Colonists created sugarcane plantations along the coast and sent diamonds and gold back to Europe. Soon, people from West Africa were brought to Brazil to work as slaves. The discovery of large inland gold reserves brought thousands of people from the coasts and as far away as Europe to the interior of the country.
In 1789, Brazilians tried to kick out their Portuguese rulers. The rebellion was soon put down, but it started a movement toward independence. By 1822, Brazil was a sovereign nation. Kings of Portuguese blood ruled until 1888, when military leaders and landowners expelled the king, and Brazil became a federal republic.
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What is the currency of Portugal?
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Major Figures of History and Culture
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About Major Figures of History and Culture
António Ribeiro Chiado
Blessed with a remarkable enthusiasm as a scandalmonger, as well as a great ability to imitate gestures and voices, the poet António Ribeiro Chiado (1520-1591) was a merciless social chronicler. He became famous for humorously denouncing the vices of Lisbon and the kingdom. Despite producing work of an uneven quality and not refraining from criticising palace intrigues, he performed his Auto da Natural Invenção (Play of Natural Invention) in front of King João III. An improbable destiny for someone born to a humble family, in the outskirts of Évora, on an unknown date. Expelled from the Franciscan Order after having been arrested, he headed for Lisbon, where he is thought to have led a dissolute life, and adopted the role of merciless satirist.
Ruben A.
Irreverence and narrative deconstruction were essential features of Ruben A., the name to which writer, essayist and historian Ruben Andresen Leitão (1920-1975) answered. These qualities were very much in evidence in the novels O Caranguejo (The Crab, 1954), A Torre de Barbela (The Tower of Barbela, 1965) and also the posthumous Kaos (1982), the latter two of a historical nature. This was the register in which he gave us his greatest work, the biography of King Pedro V (1950), written when he was a professor of Portuguese language and culture at King’s College, London. This interest in the history of Portugal intersected with his leanings towards auto- ction, demonstrated in the volumes of O Mundo à Minha Procura (The World as it Sought Me Out) and Páginas (Pages), written between 1964 and 1970.
Avelino Teixeira da Mota
At the tender age of 23, he impressed his teachers at the Naval School, where he had enrolled four years earlier, in 1939, with a meticulous study on the technical problems of Ferdinand Magellan’s circumnavigation of the globe. This was the rst sign of the legacy of Avelino Teixeira da Mota (1920-1982) in the history of nautical cartography and relationships between Portugal and Africa. He made his name with rigorous research and explanations of the facts of the Discoveries, and not in order to glorify them heroically, as prescribed by the Estado Novo regime, despite his having worked for the colonial administration in Guinea between 1945 and 1957. We owe to him the demysti cation of the existence of the School of Sagres.
Bernardo Santareno
His time as a doctor on the cod- shing ships, recounted in the volume Nos Mares do Fim do Mundo (In the Seas of the End of the World, 1959) and made into a theatre play O Lugre (The Lugger) the same year, helped Bernardo Santareno (1920-1980) to de ne more precisely the dramatic breadth of his work. In a rst phase, he considered intimacy and individual freedom, using a naturalistic language. But, starting with the play O Judeu (The Jew, 1966), and in uenced by Brecht, he also embraced epic outlines and strong political commitment. Initiated in writing through poetry, the man born António Martinho do Rosário, in Santarém (from which he adopted his surname), is considered by many to be the greatest Portuguese playwright of the 20th century.
Cruzeiro Seixas
Loyal to the founding principles of surrealism, of which he was one of the pioneers in Portugal, the painter, sculptor and poet Artur Cruzeiro Seixas (1920) always saw this artistic trend more as a way of acting than of looking. The role of dreams as an element of subversion of the everyday has followed his creation since, in the late 1940s, he renounced his brief incursions into expressionism and neorealism. A change that owed a lot to Mário Césariny, a colleague at the Escola António Arroio, who, with Seixas and others (such as António Maria Lisboa and Mário-Henrique Leiria), formed Os Surrealistas in 1949, a dissident collective of the notable Grupo Surrealista de Lisboa.
Nadir Afonso
Rather than resulting from an impulse, artistic creation was to Nadir Afonso (1920-2013) the consequence of a process of investigating the real in the search for the absolute through harmonious mathematical and geometric laws. This approach accompanied the painter through his nearly eight-decade-long career, still being perfected until the nal fractal period, when the lines depicted the great metropolises of the 21st century. A coherent path for an architect who, in 1946, set off for Paris to study painting and ended up working as a colleague of Le Corbusier, the father of modern urbanism. He also had the opportunity to work with Óscar Niemeyer, in São Paulo, between 1951 and 1954.
Samuel Alemão
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What were the pre-euro currencies in Europe?
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2020-01-21T16:20:19+00:00
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Learn about the old European currencies before the euro and discover which countries are now part of the eurozone.
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What were the pre-euro currencies in Europe?
The euro is the currency used by countries within the eurozone, but it is a relative newcomer in the currency world. Here, we look at the histories of the various old currencies of Europe before the euro was introduced.
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Which countries use the euro?
The countries that use the euro are often referred to as a collective called the eurozone. These are 19 of the European Union (EU) member states, with the remaining members electing to use their own forms of currency, such as the Polish złoty or the Hungarian forint. However, aside from Denmark, the remaining EU27 member states (after Brexit) will adopt the euro as their national currency at some point in the future, once certain criteria are met.
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Below, you’ll find a table of the countries in the eurozone, including the name of the country’s currency before it adopted the euro and the date that each country joined the eurozone. It should be mentioned, that while countries such as Austria and Belgium joined the eurozone digitally in 1999, euro banknotes and coins didn’t enter circulation until 1 January 2002.
During the transition period, the euro was used alongside many national currencies for banking purposes, travellers’ cheques or online transactions before each pre-euro currency was phased out and replaced by euro banknotes and coins.
Country Old currency Date joined the eurozone Date euro began circulation Austria Austrian schilling 1999 2000 Belgium Belgian franc 1999 2002 Cyprus Cypriot pound 2008 2008 Estonia Estonian kroon 2011 2011 Finland Finnish markka 1999 2002 France, Monaco, Andorra French franc 1999 2002 Germany German Deutschmark 1999 2002 Greece Greek drachma 2001 2002 Ireland Irish pound 1999 2002 Italy, San Marino, Vatican City Italian lira 1999 2002 Latvia Latvian lats 2014 2014 Lithuania Lithuanian litas 2015 2015 Luxembourg Luxembourgish franc 1999 2002 Malta Maltese lira 2008 2008 Netherlands Dutch guilder 1999 2002 Portugal Portuguese escudo 1999 2002 Slovakia Slovak koruna 2009 2009 Slovenia Slovenian tolar 2007 2007 Spain, Andorra Spanish peseta 1999 2002
German Deutschemark
The German Deutschemark (Deutsche Mark, DM or D-Mark) was the pre-euro currency of West Germany from 1948 until 1990, and then of the unified Federal Republic of Germany from 1990 until 2002. The unified Federal Republic of Germany adopted the Deutschemark – rather than the East German mark – because the unified country was seen as an enlarged continuation of West Germany, rather than an entirely new successor state.
The Deutschemark was regarded as one of the world’s most stable currencies at the time that the Berlin Wall fell. In the nine years before the introduction of the euro, the Deutschemark continued to thrive under the policies of the Bundesbank (German Central Bank), which favoured tight monetary policy to reduce the risk of dramatic increases in inflation.
After the introduction of euro coins and notes on 1 January 2002, the euro became the official legal tender of Germany immediately. However, Deutschemark coins and notes continued to be accepted as payment until late February 2002, with the exchange rate for Deutschemarks to euros fixed at 1.95583 to one.
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French franc
The French franc can trace its history back to the ransom of King John II of France in 1360, when the first franc was used to secure the king’s release. According to legend, the name for the French franc comes from Francorum Rex, a Latin phrase meaning ‘King of the Franks’.
The French franc is the first of the pre-euro currencies on this list to have been a part of the Latin Monetary Union (LMU), which was an early attempt to fix exchange rates across various European countries.
The LMU – which existed from 1866 until 1927 – didn’t seek to establish a single currency such as the euro. Instead, it sought to peg the value of certain European currencies to each other at a time when most currency in circulation was made from gold and silver.
Following the collapse of the LMU, the franc continued as the primary currency of France until it formally adopted the euro as fiat currency in January 2002. Francs were exchanged for euros at a fixed rate of 6.55957 to one, with the final date for exchange being 17 February 2005.
Italian lira
The Italian lira, sometimes referred to in plural form as lire, was the pre-euro currency of Italy from 1861 until 2002. In 1861, Italy ceased to be a collection of individual states and became the unified Kingdom of Italy (1861 to 1946). To counter the various currencies in use at the time across Italy, the lira was introduced and became the official currency of the newly unified state.
The lira was affected by inflation in the Italian economy from the 1970s until the country formally adopted the euro in 1999, at which point the production of lire banknotes and coins was halted in preparation for the release of euro-denominated notes and coins on 1 January 2002.
During this time, the lira was exchangeable at a fixed conversion rate of 1936.27 to the euro, which was maintained by the Banca d’Italia (Bank of Italy) until 2012.
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Spanish peseta
The Spanish peseta was the pre-euro currency of Spain from 1868 until 2002. The peseta was divided into subunits of centimos, with 100 centimos being equal to one peseta. However, following the death of Spanish leader Francisco Franco in 1975, inflation began to climb in the Spanish economy. It got to such a point in the late 1970s and early 1980s, that the centimo was withdrawn from circulation in 1983 as it had become practically worthless.
After this time, frequently used peseta banknotes included the 1000, 2000 and 5000 denominations. However, the Spanish government took considerable steps to curb the effects of inflation from the early 1980s and by 1997, inflation in Spain had fallen to around 2%.
The Spanish peseta was used alongside the euro from 1999 until 2002, with the peseta no longer being accepted as legal tender after February 2002. Unlike some other currencies on this list, the peseta will be exchangeable with the euro at a fixed rate of 166.386 to one indefinitely. Transactions can be completed with the Banco de España (Bank of Spain).
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Dutch guilder
The Netherlands used the Dutch guilder (gulden) as its official currency from around 1517 until 2002. The currency was decimalised in 1817 with one guilder being comprised of 100 cents.
Unlike some of the other old European currencies on this list, which circulated alongside the euro, the guilder stopped being legal tender on 28 January 2002 – a full month before currencies such as the Spanish peseta and the Austrian schilling.
The guilder was converted to the euro at a rate of 2.20371 to one, and the Nederlandsche Bank (National Central Bank of the Netherlands) will continue to exchange guilders for euros at this rate until 1 January 2032.
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Belgian franc
The Belgian franc was the currency of the Kingdom of Belgium from when the country secured its independence in 1832, until the implementation of the euro in 2002. The Belgian franc was subdivided into units of 100, referred to as centiemen in Dutch.
In the 60 or so years before Belgium started using the euro, the franc was devalued on several occasions, first in 1944, and then in 1946, 1949 and finally in 1982. During this time, the Belgian franc also traded at par with the Luxembourgish franc, and each was legal tender in the other country.
Just like other countries on this list, the Belgian franc was used alongside the euro for three years from 1999, and it ceased being legal tender in February 2002. The Banque Nationale de Belgique (National Central Bank of Belgium) will continue to exchange Belgian franc banknotes indefinitely, although it stopped exchanging coins in December 2004.
Austrian schilling
The Austrian schilling was the pre-euro currency used by Austria between 1925 and 1938, and then again from 1945 until 2002. After Germany annexed Austria in 1938, the German Reichsmark replaced the schilling at a rate of two Reichsmarks to three schillings. The Austrian schilling was reintroduced on 30 November 1945 following the defeat of Germany in World War Two.
The Austrian schilling was divided into subunits called groschen, with 100 groschen making a schilling. Austria formally adopted the euro in 1999, though the schilling was still used alongside the euro until 2002.
Dual circulation ended on 28 February 2002, but the Österreichische Nationalbank (Austrian National Bank) continues to exchange schillings for euros at a rate of 13.7603 to one.
Irish pound
The Irish pound was initially known as the Saorstát pound and it was introduced in 1928, six years after the formation of the Irish free state in 1922. After 1938, the currency became widely known as the Irish pound, although it was pegged to the British pound at parity.
After 1938, the name ‘Irish pound’ was in widespread use and the currency was decimalised in 1971 while maintaining parity with the British pound. This changed in 1978, when Ireland elected to join the European Monetary System (EMS) but the UK did not. Within the EMS, the European Exchange Rate Mechanism (ERM) broke the peg between the Irish pound and the British pound, with a free-float exchange rate being introduced in 1979.
This meant that the currencies fluctuated against each other according to open market conditions. When the euro was adopted by Ireland, the exchange rate between Irish pounds and the euro was 0.787564 to one.
Finnish markka
The Finnish markka was the official currency of Finland from 1860 until 2002. The subunit of the markka was called the penni, with 100 pennies making a markka. Finland was one of the first countries to enter the eurozone, with the euro being used alongside the markka until 2002.
As with other countries who were quick to adopt the euro before 2002, this was to allow for a transitionary period of three years during which the euro would be used for bank transactions, travellers’ cheques and online transactions.
After the introduction of euro coins and banknotes on 1 January 2002, the markka continued to be accepted as legal tender until 28 February 2002. However, markka coins and notes were still exchangeable with euros at the Suomen Pankki (National Bank of Finland) until 2012, at a fixed rate of 5.94573 to one.
Portuguese escudo
The Portuguese escudo was the currency of Portugal from 1911 until 2002. The escudo replaced the real at a rate of 1000 real to one escudo following a Republican revolution which took place in 1910. The escudo often used ‘$’ to denominate escudos alongside centavos, which was the subunit of the escudo – similar to British pounds and pence or US dollars and cents. For example, 675$00 would be $675 escudo, while 43$87 would be $43 escudos and 87 centavos.
Because Portugal remained neutral during World War Two, the escudo was prized by Nazi Germany as a foreign currency reserve which could be used to make purchases from Portugal and other neutral nations.
Following the war however, the escudo was plagued by inflation which effectively made centavos worthless, with the Banco de Portugal (National Bank of Portugal) electing to print higher denominations of the escudo including 500$, 1000$, 5000$ and 10,000$. When Portugal joined the eurozone in 1999, the conversion rate of escudo to euros was set at 200$482 to one. As with other currencies on this list, there was a transition period of three years until 2002, during which the escudo and euro were used alongside each other in Portugal.
Pre-euro currencies summed up
Many countries in Europe had their own unique pre-euro currency
The euro was adopted in 1999 by many EU member states at the time
While it was used in online transactions and between banks, euro banknotes and coins were not issued until 1 January 2002
After euro banknotes and coins were introduced, different periods of dual circulation were in effect to enable the pre-euro currencies to be effectively phased out
Not all EU member states currently use the euro as their main currency, although most are obliged to adopt the euro once they meet certain criteria
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The Legacy of Henry the Navigator
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For good and for ill, Henry the Navigator helped set the stage for the modern world. Besides finding new trade routes and connecting various peoples, Henry's expeditions began the process of European colonization and the transatlantic slave trade.
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Born March 3, 1394 in Portu, Portugal, the third surviving son of King John (João) I and Queen Philippa, Prince Henry (Henrique) was better known as Henry the Navigator. He earned his title despite not venturing on many expeditions himself. Henry funded and planned expeditions to satisfy his curiosity, expand the territory and wealth of Portugal, and to spread Christianity. His actions sparked Europeâs age of exploration, which connected the world's people. But his efforts also began the process of European colonization, capitalism, and, ultimately, the transatlantic slave trade.
Until 1249, parts of Portugal, and most of what is now Spain, was a caliphate known as Al-Andalus. A caliphate is an Islamic state ruled by a religious and political leader, or caliph. Muslim Berbers from North Africa invaded and conquered much of the Iberian Peninsula, which had been ruled by the Christian Visigoths, a Germanic people, in the early 8th century. Portuguese independence was won by crusading European Christians who called the effort the Reconquista.
Muslim rule was not the only obstacle to Portugalâs independence. Toward the north, the County of Portugal was subordinate to the Christian kingdom of Castile. Under the rule of King John I, the kingdom of Portugal won its independence from Castile.
In 1415, Portugal invaded and subjugated the Ceuta, a fortified city in Morocco. The invasion was largely carried out by King Johnâs three oldest sons, including Henry, to earn their knighthood. The conquest was seen as a crusade, a military and religious campaign. The port city had been a haven for pirates, which was used as a justification for the invasion.
Ceuta gave the young prince a unique education. Beyond the pirates, this place supported bustling trade. Henry learned of trade between North African Muslims and West Africans and Indians. This new knowledge about Africa and Asia sparked Henryâs interest in exploration and enterprise.
A devout Christian, Henry was partially motivated by his religious passion. He wanted to defeat Muslims and spread Christianity in an ongoing holy war. He and his brother were raised on tales of the crusades, and he saw himself continuing that tradition. In his religious efforts, Henry hoped to ally himself with Prester John, a legendaryâalbeit fictionalâ Christian king who fought against the Muslims surrounding his kingdom, believed to be in Africa or Asia.
Henryâs planned expeditions needed a large investment. Getting the necessary funding was difficult for a relatively poor nation. The nationâs flourishing merchant class, which included a prominent Jewish community, became the funding force for Henryâs costly projects. The Catholic church also provided support.
To fulfill Henryâs ambitions, he brought together mariners, astronomers, ship designers, mathematicians, navigators, and cartographers to Sagres, on Portugalâs southern coast, which became his base of operations. Despite Henryâs strong religious beliefs, his scholars included Jews and Muslims. Much of their geographic knowledge was based on the work of ancient geographer Ptolemy and the Arab scholars who continued his work.
Many of the tools that became essential for open-sea navigation were adaptations of tools used, sometimes by people from different cultures, for other tasks. Henryâs diverse group of specialists was essential to bringing about the use of these instruments for navigating unfamiliar waters. The caravel, the type of ship used for Henryâs nautical activities, was likely based on a type of Portuguese fishing boat. Caravels were small, maneuverable ships. Unlike other Portuguese vessels which used square sails, caravels used triangular, or lateen, sails. This design, likely of Arab origin, allowed ships to sail against the wind. Other instruments adapted for moving in the open ocean were the compass, the hourglass, the quadrant, and the astrolabe. The quadrant is a mechanical device used to measure angles. As a seafaring device, it helped sailors determine their longitude and latitude. The astrolabe calculated the position of planetary bodies.
Henryâs experts at Sagers connected their knowledge with these adapted instruments to pave the way for sailing the West African coast. At the time, no documented European had gone farther south than Cape Bojador, located in what is now Western Sahara (a disputed territory, which has been administered by Morocco since 1979) since the ancient Romans. The current at this part of the coast moves in a southward direction making sailing to Europe difficult. The bigger obstacle may have been superstition. Sailors largely believed the cape was unpassable.
Under the expeditions Henry sponsored, Portugal colonized islands off the coast of West Africa, including the mostly inhabited Canary Islands, as well as the uninhabited islands of the Azores and Madeira.
Henry needed money to keep his expeditions going. The prince had wanted access to West African gold. However, West Africans maintained control of local gold deposits, mainly trading gold dust with the Portuguese during Henryâs life. So instead, the economic push shifted to another resource: enslaved humans. The Portuguese started systematically raiding settlements on the island of Arguin to kidnap local inhabitants. These Africans were enslaved and taken to Lisbon. In 1448, the Portuguese built a fort, warehouse, and a trading station on the island, located off the coast of what is now Mauritania.
In the early 1450s, enslaved Africans were forced to build and labor on sugar plantations in Madeira. Plantation economies focused on a single, cash crop to export to make a profit. This plantation system was repeated in other Portuguese colonies. African captives were taken from the mainland and the Cape Verde Islands, off the coast of Senegal where they were forced to labor.
By the time of Henryâs death, in 1460, the Portuguese had reached what is now Sierra Leone. Many of Henryâs ambitions, however, continued to flourish. The nationâs sailors circumnavigated Africa. The Portuguese established colonies along the west and east coasts of Africa.
In the years that followed, the Portuguese created trading ports as far as Japan. Portuguese navigators also made their way to India. Trade was established with kingdoms along the India Ocean.
During this period, the Portuguese also established colonies in Brazil. Like the Portuguese colonies in West Africa, enslaved Africans were forced to work Brazilâs sugar plantations. With its large-scale forced transportation of captive Africans to the Americas, Portugal, along with competitor Spain, created what became the transatlantic slave trade.
Henryâs legacy, like the man, is a complex one. While he opened trade and connected various peoples and cultures, his colonization efforts sparked some of humanityâs greatest atrocities. Historically, colonization has caused a loss of resources, land, life, religion, culture, and autonomy for the indigenous people being colonized. Colonies have been established to enrich the colonizers with little, if any, consideration to the peoples already living there. This attitude became apparent with the signing of the Treaty of Tordesillas in 1495. Fearing Spainâs colonization efforts would encroach on its own, Portugal divided claims on the Western Hemisphere between the two nations. This included future claims with no regard or consultation from the Indigenous nations and populations this would involve.
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https://www.flynote.com/destinations/portugal/deep-dive/currency
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en
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Currency of Portugal
|
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Beyond the usual European hotspots lies Portugal, a land where sun-drenched beaches meet vibrant culture and rich history. Nestled on the Iberian Peninsula, it offers a unique charm unlike any other, waiting to enchant your senses.
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Flynote
| null |
Portugal, like most European Union member countries, uses the Euro as its official currency. This shared currency simplifies travel across the region and eliminates the need for complex currency exchanges. Here's a quick guide to using Euros in Portugal:
While you can exchange Indian Rupees (INR) for Euros at banks or currency exchange offices in Portugal, the rates might not be the most favorable. Consider exchanging some INR to EUR before your trip, especially for smaller initial expenses upon arrival.
Tipping is not mandatory in Portugal, but it is a common courtesy to leave a small gratuity (around 10%) at restaurants if you are satisfied with the service. Rounding up the bill to the nearest euro is also acceptable.
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https://oliveiralawyers.com/services/real-estate/acquisition/send-money-brazil/
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How to Send Money to Brazil in 2023
|
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2019-09-09T22:40:56+00:00
|
All about international money transfers to Brazil. Sending money to Brazil can be tricky. Brazil money transfer services explained in details.
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en
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/favicon.ico
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https://oliveiralawyers.com/services/real-estate/acquisition/send-money-brazil/
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How to Send Money to Brazil in 2023 – The Definitive Guide
Sending money to Brazil is way more complex than most foreign citizens expect. Brazil has a history of extreme regulation of money entering and leaving the country. Banks in Brazil face fines in the hundreds of thousands of reais if such wire transfers are not heavily scrutinized and documented. So, it is not a surprise that in case of doubt, Brazilian banks will always be overzealous.
You can also read this page in Portuguese. Don’t forget to check our FAQ section located at the end of this page.
What is the timeline for a bank wire transfer to be released in Brazil?
Brazilian banks may take several days or even weeks to release large amounts (e.g.: over R$200,000), requiring that the receiving party provide many documents and get registered with their currency exchange departments.
Is the government bureaucracy the only reason for the complexity?
No! Currency exchange departments in traditional Brazilian banks take a long time to review the documents and approve the transaction. There is also a substantial disconnection between the bank back-office and the branch personnel and the fact that most bank employees are not fluent in English, bringing more friction to the mix.
Why should I care? Isn’t sending a wire transfer my only obligation as a buyer?
Unfortunately not. Although it doesn’t take you more than 10 minutes to send a wire transfer from the USA, the transfer will not be of any good unless the recipient actually gets the money! It is not uncommon for Brazilian banks to return wire transfers to the USA after the recipient party fails to satisfy the bank’s requirements.
So, if I get the paperwork right, is the release of my wire transfer guaranteed?
No. It is never guaranteed. We can tell you that for the most straightforward and well-supported transactions, the recipient bank will almost always end up releasing the funds. The problem is that most transactions involving large sums are not interpreted as “straightforward” by the banks.
Transferring Large Sums to Brazil?
We Can Help You
Click Here for our Money Transfer Service for Large Sums
[email protected]
(214) 432-8100
+55-21-2018-1225
#1 Contact us to get a free quote, or
#2 Schedule a Consultation now.
The Brazilian bank wants me to wire the funds to the seller instead of (my account / my wife’s account / my attorney’s account / etc.). Why Is That? Should I be concerned?
The Brazilian bank wants to be the most conservative possible. For instance, if you are buying a property, they think you should send the money to the seller – not someone else! The underlying concern is that you may pretend to purchase a property just to send a lot of money to Brazil at once.
Paying a seller directly may be concerning since you cannot time the release of the funds to match with the closing. This is the dilemma: the main banks in Brazil, such as Bradesco, Itau, and Banco do Brasil, will always push for large payments to be made directly to the selling party. But, this will destroy any leverage you have to make the seller attend the closing and transfer title to what you are buying.
What about an escrow account? Can’t I simply send my payment to the escrow holder?
No. Escrow accounts are not part of the culture in Brazil.
What about title insurance when buying a property? Can’t I simply send my payment to the title agency?
No. There is no title insurance in Brazil.
So, what can I do to avoid these issues?
First, educate yourself by learning how things work in Brazil. You should not assume that cross-border transactions work the same way they work in your country. Second, allow yourself a long time between signing the contract and the closing date. We recommend a period of 60 to 90 days. The more time you have, the higher the chances you will get your ducks in a row to successfully transfer the necessary funds while retaining the right conditions for a safe closing.
And, it is within this context that we explore the different ways to send money to Brazil, their pros, and their cons.
Three Ways to Transfer Money to Brazil
Learn the three main ways to send money to Brazil, their pros, and their cons.
1) Small Amounts – Web Platforms
If you are transferring small payments to family, friends, or even a small downpayment upon signing a property purchase contract, you may want to check how to transfer amounts of up to USD10,000 through apps to Brazil.
2) Higher Amounts – Everyday Banks in Brazil
If you need to send an amount higher than USD10,000, traditional banks may work as long as you are willing to endure the severe red tape and friction involved. Make sure you have a solid documentation to support your transfer and that you are comfortable with the seller being fully paid before you get legal title to the property (or another asset) you are buying. Learn more on how to send money to Brazil through the usual bank system.
3) Large Amounts – Attorney along with a Currency Exchange Bank
Currency Exchange Banks in Brazil (not the same as currency exchange houses or exchange bureaus) represent a better alternative than traditional banks. Currency Exchange Banks work well when paired with an attorney or law firm proficient in cross-border transactions. Learn how Currency Exchange Banks are the ideal path to send large sums to Brazil.
Transferring Large Sums to Brazil?
We Can Help You
Click Here for our Money Transfer Service for Large Sums
[email protected]
(214) 432-8100
+55-21-2018-1225
#1 Contact us to get a free quote, or
#2 Schedule a Consultation now.
More about Transferring Money to Brazil
4) The Seven Things You Must Know about Money Transfers to Brazil
By just learning these seven things you need to know when transferring money to Brazil, you will be better prepared than the vast majority of people trying to send money to Brazil! Check it now.
5) The Definitive FAQ about Sending Money to Brazil
Have a very specific question about international money transfer to Brazil? Check our definitive FAQ to read all questions and answers ever received by our staff. Got a question not addressed? Ask this question on our YouTube page to have it answered at no cost to you and added to our FAQ.
6) Watch our Video Sending Money to Brazil to Buy Real Estate
Are you in a hurry and got only 3 minutes to spare? Want to know some of the main things to know when transferring money to Brazil to purchase Real Estate. Watch our Sending Money to Brazil to Buy Real Estate video now!
7) Read our other Real Estate in Brazil guides
Are you in a hurry and got only 3 minutes to spare? Want to know some of the main things to know when transferring money to Brazil to purchase Real Estate. Watch our Sending Money to Brazil to Buy Real Estate video now!
*** IMPORTANT ***
This content is intended for general information purposes only and does not constitute legal advice.
For legal issues or decisions of any kind, the reader should retain and consult legal counsel. You should not act or rely on the information on this website without first seeking the advice of an attorney. The determination of whether you need legal services and your choice of a lawyer are very important matters that should not be based on websites or advertisements.
1) Transferring Small Amounts to Brazil – Web Platforms
Until not long ago, the so-called apps were not authorized to work in Brazil. The Bolsonaro administration gradually and substantially reduced the barriers for such apps to operate in Brazil as well as red tape across the administration’s departments.
1.1) Western Union – Physical stores in Brazil. Cap usually at R$10,000 (reais!)
Today Western Union operates in most main Brazilian cities. While you can send money to Brazil by depositing in a western union store in your country of residency for the Brazilian counterparty to withdraw the funds in Brazil, most remittances are capped at really low amounts. Most stores will cap the remittance to R$10.000,00 while others will have even lower caps.
1.2) Wise (former TransferWise) – Digital operation only. Cap usually at $10,000 (US dollars!)
Wise is currently considered the easiest way to send money to Brazil. While it is not clear how much Wise operations have been vetted by the Brazilian authorities, we are aware of a large number of foreign individuals successfully sending money to Brazil through Wise.
Just like Western Union, Wise is also limited to lower amounts when operating through her app. However, it looks like Wise may allow larger amounts to be sent to Brazil when dealing with their back-office (information not confirmed).
Warning: the fact that you have transferred funds to Brazil successfully through Wise in the past does not mean you will continue to be able to do so. Many of our clients have reported increased document requirements over time (e.g., copies of passport, source of funds, etc.) and even plain refusal of the company in allowing additional transfers.
Copy of an actual warning from Wise.
Being aware of such risks is important so you don’t end up learning you cannot send more money right before a payment deadline is up.
1.3) Paypal
Paypal has two main modalities for money remittance: (a) purchase of sales or goods and (b) family and friends.
We do not recommend using Paypal for remitting money to a party in Brazil. We have personally experienced issues related to Paypal arbitrarily withholding funds. The last thing you want to happen when sending money to honor a contract is Paypal sitting on your money while the seller gets mad at you and you face the risk of severe contractual penalties being triggered.
1.4) Monito
Monito has an interesting business model. Instead of actually processing the remittances, they ask you some basic info about your remittance and then show how the actual processors would handle the transaction along with associated fees. Among Monito’s partner processors are Wise, MoneyGram, and others.
1.5) Other Processors
Depending on where you are sending the funds from, you may want to check other money remittance processors such as MoneyGram, small world, WorldRemit, Skrill, Paysend, and Remitly.
Important: we do not endorse any of these services here described. It is up to you to select and investigate the trustworthiness of the money remittance processor. Use money remittance processors at your own peril.
*** IMPORTANT ***
This content is intended for general information purposes only and does not constitute legal advice.
For legal issues or decisions of any kind, the reader should retain and consult legal counsel. You should not act or rely on the information on this website without first seeking the advice of an attorney. The determination of whether you need legal services and your choice of a lawyer are very important matters that should not be based on websites or advertisements.
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2) Transferring Larger Amounts to Brazil – Everyday Bank System
In this section, we discuss the user of traditional banks in Brazil when transferring money from abroad.
How to Pick Banks in Brazil
Traditional banks in Brazil, such as Bradesco, Itau, and Banco do Brasil, usually take several days to process a wire transfer from abroad. It is not uncommon for people to wait weeks until the funds are released.
Banks specializing in currency exchange are usually much faster. They can review documents quicker and get a wire transfer released in just a few days.
The situation may be even worse in smaller towns
When a party tries to receive a wire transfer in smaller Brazilian towns or branches in the suburbs, the chances of trouble increase even more since local branches have little to zero experience with international wire transfers.
Examples of transactions prone to be declined by traditional Brazilian banks:
you want yourself or another person to receive the funds on your behalf to pay the seller at closing;
your source of income comes from a business instead of employment;
a parent or a relative will be paying part or all of the cost.
In terms of how to send money when buying real estate in Brazil, there are two main approaches:
Send the money directly to the seller
Sending the payment directly by bank transfer (e.g.: from your Chase, Bank of America, etc.) to the seller may be the preferred approach for sending a smaller downpayment (e.g., no more than 10% of the total purchase price).
Downside – Risk of Paying Seller Before Closing
We don’t like to see our clients paying large amounts to the seller by bank transfer previous to closing. Sending a full payment to sellers before the closing will put you in a very fragile position since a seller may not necessarily attend the closing later on (e.g., seller dies between payment and closing date, seller change his mind about selling, or seller intends to defraud the buyer).
Upside – Let the Seller Do the Leg Work
The biggest upside of sending monies directly to a real estate seller is that this person is highly motivated to be paid. As long as you give the seller a clear and conspicuous heads up about the fact that their bank will ask them for lots of documents and require a lot of communication, the seller will be the one bearing the burden of making the bank release the funds.
Use power of attorney to have a lawyer or a local trust party deliver payment by check at closing
Through a power of attorney (POA), you can have a lawyer or a family member representing you at the closing. A valid POA allows you to transfer the closing funds to the POA holder instead of the seller.
The POA holder can then use your funds to obtain a certified check at his bank and use this certified check to pay the seller during the closing. The advantage of this approach is that the seller will not get your money until the moment that they sign the transfer of title.
Downside – Can You Trust Your POA?
Sending your money to someone in Brazil involves substantial risk. Is this person reliable? What if this person ends up kidnapped because of the money?
If buying a property in Brazil
You would then issue a certified check with the funds from your Brazilian bank to attend the closing in person. Your check should be handed to the seller only after the seller signs the transfer of title at closing. The downsides of this approach for parties living outside of Brazil would be the multiple trips required to Brazil (open the bank account, attend the closing, etc.)
*** IMPORTANT ***
This content is intended for general information purposes only and does not constitute legal advice.
For legal issues or decisions of any kind, the reader should retain and consult legal counsel. You should not act or rely on the information on this website without first seeking the advice of an attorney. The determination of whether you need legal services and your choice of a lawyer are very important matters that should not be based on websites or advertisements.
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3) Transferring Large Amounts to Brazil – Currency Exchange Banks
Using currency exchange-specializing banks is always our #1 recommendation for clients purchasing real estate in Brazil. Read more to know why.
You need a legitimate reason to send large amounts of money to someone in Brazil. The legitimacy of such transactions is closely evaluated by Brazilian banks from a technical perspective. The two main factors involved in such analysis are:
(a) Declared Income and
(b) Purpose of the transfer.
Most of our clients need to send a large amount of money when buying real estate properties in Brazil. For this purpose, banks will focus their analysis on:
(a) deciding if your declared income is compatible with the price of the property you are buying and
(b) if there is a certainty that you are buying the property.
It is common for our clients to say, “the red tape involved in getting a transfer of money to Brazil is unbearable.” Many of our clients decide to hire us after missing the closing date, incurring substantial penalties (e.g., 10% of the contract amount), and being threatened to be sued by the seller.
We Can Help
If you need professional help getting a transfer to Brazil, contact us today. To get your specific questions answered by our attorneys, please schedule a paid consultation here.
Currency Exchange Banks
3.1) How are Currency Exchange Banks different from Everyday Banks in Brazil?
Everyday banks in Brazil are banks such as Bradesco, Itau, and Banco do Brasil. Most of them have branches. Newcomers as Nubank and Banco Inter do not have branches, but they are also focused on traditional banking operations. Such banks have currency exchange departments in their back-offices that are not closely integrated with their branches or customer service channels.
There is a lot of disconnection and friction when you use such banks. As their experience with currency exchange is also limited, they limit their money transfer services to transactions that fit neatly in what they see as straightforward transactions. Any international money transfer that goes beyond the basic will not be welcome by these banks.
Currency exchange banks in Brazil will usually stay away from traditional banking operations and focus their resources on currency exchange and a few other specialized types of transaction.
In addition to knowing what they are doing, currency exchange banks in Brazil will offer better exchange rates and overall smaller transfer fees.
3.2) Can I simply hire the services of a Currency Exchange Bank and be worry-free?
The main downside of using such banks is that they are not usually willing to work with consumers.
They will rather work with a more sophisticated party who will not waste their time with transactions that end up not materializing or require every step of the process to be explained.
3.3) Which are the circumstances when a payor must seek a currency exchange bank?
The three main reasons to use currency exchange banks instead of major banks in Brazil:
1) Seller is unwilling or incapable of handling the legwork required to release funds through their own bank;
2) Your source of income is unconventional and everyday banks will not accept it;
3) your tax returns do not support a level of income required to purchase the property as per everyday bank standards;
Additionally, currency exchange banks customarily offer better exchange rates and smaller transfer fees. The explanation is that currency exchange banks specialize in one or two types of services instead of many financial services.
3.4) Can I work directly with the currency exchange bank? Or, do I have to hire you as my attorney?
Now, even when working with a currency exchange bank, you would still have to decide to work with this bank “solo” or hire an attorney like us to intermediate the transaction.
Large remittances to Brazil are highly scrutinized and no legitimate bank or financial institution in Brazil will allow them without a substantial amount of paperwork and red tape. Do not rely on individuals, intermediaries, or small agencies abroad as they may be operating off books. If someone takes your money and does not credit you in Brazil, you may be out of luck for good.
Sophisticated Recipients
Professional sellers of luxury real estate in Brazil are usually the parties best prepared to interact with their bankers and enable such remittances to be received through a regular commercial bank such as Itau, Bradesco, Banco do Brasil, or Santander.
All Other Recipients
Most of the other sellers, whether middle-class citizens or even private wealthy sellers of real estate in Brazil have no clue about the red tape involved in receiving substantial sums of money from abroad.
Because of such lack of experience, and the optimistic nature of Brazilians, such sellers will usually get into a sale transaction with a foreign buyer without understanding the complexity of such transaction. It is not a surprise that many of these transactions will end up in trouble.
Sellers will get annoyed when they do not get their money on time, buyers will get spooked when their money gets entangled between the sender and the receiver bank, and attorneys may need to get involved when it is unclear if penalty clauses addressing late payment will be applicable or not.
We Can Help
If you need professional help getting a transfer to Brazil, contact us today. To get your specific questions answered by our attorneys, please schedule a paid consultation here.
*** IMPORTANT ***
This content is intended for general information purposes only and does not constitute legal advice.
For legal issues or decisions of any kind, the reader should retain and consult legal counsel. You should not act or rely on the information on this website without first seeking the advice of an attorney. The determination of whether you need legal services and your choice of a lawyer are very important matters that should not be based on websites or advertisements.
Transferring Large Sums to Brazil?
We Can Help You
Click Here for our Money Transfer Service for Large Sums
[email protected]
(214) 432-8100
+55-21-2018-1225
#1 Contact us to get a free quote, or
#2 Schedule a Consultation now.
[back to top]
4) The Seven Things You Must Know about Money Transfers to Brazil
So, now you know that sending large amounts of money to Brazil will almost inevitably result in some level of headache. What can you do to reduce the friction of such transactions? Tips to reduce friction and headache:
Provision in the contract a longer period for remittance of downpayment and closing payment. We recommend at least 60 to 90 days for closing after the contract signature.
Direct sellers to discuss with their bank account manager all the required documents and steps to receive the monies sent from abroad. This will assure the seller is aware of the timeline and also get the documents required prepared without delays.
Pay attention to how a purchase and sale agreement allocates the penalty in case of payment delays. Ideally, the buyer would have some wiggle room detailed in the contract to cover cases of delays caused by the complexities involved in the money transfer.
Consider working with a Brazilian bank specializing in currency exchange, which is usually faster in handling large money remittances to Brazil.
Factor in how friendly and willing to work through potential hiccups the seller is. A seller easy to work with may offset part of the red tape and challenges of remitting large amounts of money to Brazil.
Avoid schemes designed to avoid the Brazilian regulations. Relying on non-registered financial providers and individuals engaged in dollar-cabo may result in a complete loss of your monies in addition to civil penalties and criminal prosecution.
Hire an attorney specializing in cross-border real estate transactions to assist you with your purchase.
*** IMPORTANT ***
This content is intended for general information purposes only and does not constitute legal advice.
For legal issues or decisions of any kind, the reader should retain and consult legal counsel. You should not act or rely on the information on this website without first seeking the advice of an attorney. The determination of whether you need legal services and your choice of a lawyer are very important matters that should not be based on websites or advertisements.
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5) The Definitive FAQ about Sending Money to Brazil
What is the best way to send money to Brazil?
For smaller amounts, sending money through the apps/digital platforms make sense. For larger amounts (e.g., the total required for a real estate purchase), a traditional wire transfer is the way to go.
From an accounting and tax authority perspective, any monies entering the country must be declared by the receiving party. Because of such requirements, the use of regular wire transfers with the support of an accountant to properly file your tax return in Brazil will bring maximum peace of mind.
Can’t I simply stuff USD100,000 in my case and fly to Brazil with cash?
NO, YOU CAN NOT. First, you need to declare to the Brazilian Federal Police any amounts higher than R$10,000 (roughly USD2,000). If you don’t declare and they find the cash, the cash will be seized, and you will have to wait months to retrieve it (considering you are able to prove it came from a legitimate source of income) and spend big money with attorneys.
What about if I declare the money before arriving in Brazil? See the next question.
Can I take USD100,000 in cash to Brazil as long as I follow the Brazilian Customs requirement of previously declaring the cash possession?
NOT A GOOD IDEA. There is an assumption worldwide that good people don’t carry hundreds of thousands of dollars in cash. Sorry to break the news, but carrying bags of cash is done mostly by smugglers, drug traffickers, thieves, and other types unable to move money through legitimate channels.
So, even if you properly declare to the Brazilian Customers / Brazilian Federal Police that you are carrying this amount of cash, there is a substantial chance that your cash will still be seized until you can convince the authorities that your money is clean.
How do I send money to someone in Brazil?
To send little money, consider apps such as Western Union and Wise. To send more money, you will need to send through a regular wire transfer not forgetting that the recipient party will need to show documents, contracts, and proof of destination for the monies sent by wire transfer.
How to send little money to Brazil from the USA
Western Union and Wise work are some of the money transfer services available in Brazil. Such money transmitters work well for US-based parties sending little amounts. Through these services, you can have a money transfer directly to the recipient account or available as cash pickup in Brazil.
To send more money (e.g.: over $10,000) it is not possible to send money online. You will need to send through a regular wire transfer not forgetting that the recipient party will need to show documents, contracts, and proof of destination for the monies sent by wire transfer.
Can’t I just open a bank account in Brazil in my name and then wire transfer funds from my account in the US to my account in Brazil?
By opening a bank account in Brazil you may be able to transfer your funds from abroad to your bank account in Brazil. Most banks will still require you to send money through a traditional wire transfer, meaning you are still required to present documents to release the money in Brazil.
Additionally, while some banks in Brazil are starting to allow bank accounts to be opened remotely, this does not apply to foreign citizens who do not have at least a national Brazilian ID known as the “Carteira de Registro Nacional Migratório” (National Migration ID Card). This ID is issued only to foreign citizens with the intention to migrate to Brazil.
Can I take money with me to Brazil?
Travelers to Brazil can bring up to R$10.000 in cash without any formalities. For amounts over R$10.000, it is necessary that the person completes an e-DVB notice previous to arriving in Brazil.
Although the Brazilian revenue does not address what would happen if someone was bringing a large amount of cash (e.g., USD100,000), we assume that the carrier could be temporarily stopped by the police to assess the origin and purpose of such money.
In addition to the above inconvenience, there is also the risk of the cash being stolen.
Therefore, we highly recommend that travelers to Brazil not carry significant amounts of cash on them.
What is the cheapest way to send money to Brazil?
We advise you not to have cost as the main driver of your decision on how to transfer money to Brazil. All the banks involved in transferring monies to Brazil must follow stringent rules related to how to analyze and document the remittances. These procedures cost money and such cost is naturally factored into the conversion exchange to be applied to your transaction.
Unnaturally highly favorable exchange rates are usually offered only by non-legit parties such as non-registered intermediaries and individuals or small entities doing the so-called “dolar-cabo”. Dolar cabo happens when two parties agree to release funds in different currencies in different countries without actually moving any funds. This is considered a crime in Brazil and most countries.
An individual in Brazil offered to “exchange currencies with me”. He already has Brazil Reais available in Brazil and he will take my US Dollars in the US at a great exchange rate. Is this a good idea?
No. It is a terrible idea and it is also a crime. In addition, to becoming involved in a criminal activity, you would also risk losing all your money since the individual may be a scammer who has no intentions to give you any Brazilian reais after you give him access to your US Dollars.
How much money can I send to Brazil?
There is no pre-fixed limit on how much money you can send to Brazil. Banks will review remittances on a case by case basis. Main factors considered are your declared income in your country of origin and how well you can prove to the bank that the underlying transaction is legitimate.
What is the so-called “Dólar-cabo”?
It is the illegal practice of trading dollars in the gray market for deposit in an institution abroad. This may or may not involve actual cross-border transfers of money. The practice is a crime under article 22 of the Brazilian Law concerning crimes against the Financial System. It is often used in money laundering schemes.
Can I send my payment in trenches to Brazil to make the transfer easier?
No, you cannot. Sending money on a piece-meal basis to avoid detection or compliance by Brazilian banks is considered a crime in Brazil and many other countries. There is even a term for that: smurfing. Smurfing is a money-laundering technique involving the structuring of large amounts of cash into multiple small transactions. Smurfs often spread these small transactions over many different accounts, to keep them under regulatory reporting limits and avoid detection.
Is it possible to buy a property in Brazil with cryptocurrency included in the contract?
Brazil is still working on a legal framework for cryptocurrencies.
Although not necessarily the same thing, it has been decided by some Brazilian courts that property purchase contracts may indicate an amount in US dollars as long as the actual transaction is liquidated in Brazilian reais.
In any scenario, we strongly recommend that parties in a real estate contract avoid indicating currencies other than Brazilian reais since the Brazilian legislation at the time of this writing disfavors such contracts and will actually hold many of them unenforceable.
Brazil is still working on a legal framework for cryptocurrencies.
How to send money anonymously?
We do not recommend any unofficial ways to send money to Brazil either through your name or anonymously. When sending money to Brazil, your number one concern should be safety and certainty that your money will arrive at the right beneficiary. Concerns about getting the best currency rage for the US dollar or other currencies should be secondary.
What are the US laws on sending money abroad?
We specialize in Brazil law, so we are not the right source to advise you on US laws. For this purpose, we recommend that you consult with a licensed US dollar to check on the US laws on sending money abroad.
So with the “RNE card” Am I able to open a bank account? What about the “CPF” or is that only if I become a citizen of Brazil?
Yes, with the RNE card and the CPF you can open a bank account. CPFs are provided to any foreign citizens acquiring properties in Brazil. You do not need to become a citizen first. Remember that the RNE cards (Brazilian IDs for foreign citizens) will be given only to those with migrant intent and a respective application.
What is the best way to go about getting a loan to buy property in Brazil
Loans in Brazil are more difficult to obtain than in countries such as the US. Although not impossible, financial entities in Brazil will almost never extend loans to foreign buyers.
Financial entities in Brazil will require a solid credit history in addition to sources of income verifiable in Brazil (meaning they will almost always ignore your income outside of Brazil).
A US lender would rarely accept collateral in Brazil. However, if you are able to secure a loan in the US based on other collateral (e.g., a home you own in the US), yes, you should be able to use the funds to purchase real estate in Brazil.
All in all lots of bureaucracy. How can people still have the desire to invest in real estate in Brazil?
Yes, many people feel the same. The current Brazil administration is working toward reducing the bureaucracy, but we don’t see that happening any time soon. The truth is that Brazil is a unique country. People who really appreciate the country and the culture will find a way to go through all the hoops to own property in Brazil. And, do not forget. We offer a service where we take care of every single aspect of the property purchase process so you can just sit back and relax. The fee for this all-inclusive service is usually 5% of the property amount with a minimum amount applicable.
What are the documents customarily asked by Banks to release a wire transfer sent to Brazil?
A sample list of documents, which may vary depending on the bank.
Executed contracts showing the purpose of the payment
Proof of downpayment
Tax returns for the transferor (to show the source of funds) and the recipient (to show taxes are up to date)
Copies of bank statements and paystubs to document sources of income
Other documents such as IDs, Tax Cards, and proof of address for all parties
Got a question now previously asked?
Please ask your question as a comment on this youtube video. Questions posted there are answered quickly and then posted here as well.
*** IMPORTANT ***
This content is intended for general information purposes only and does not constitute legal advice.
For legal issues or decisions of any kind, the reader should retain and consult legal counsel. You should not act or rely on the information on this website without first seeking the advice of an attorney. The determination of whether you need legal services and your choice of a lawyer are very important matters that should not be based on websites or advertisements.
Transferring Large Sums to Brazil?
We Can Help You
Click Here for our Money Transfer Service for Large Sums
[email protected]
(214) 432-8100
+55-21-2018-1225
#1 Contact us to get a free quote, or
#2 Schedule a Consultation now.
6) Watch our Video About Sending Money to Brazil to Buy Real Estate
Watch our 3-minute video to know the basics about transferring money to Brazil by clicking here.
And, don’t forget to access and bookmark our complete Buying Real Estate Properties in Brazil YouTube playlist.
*** IMPORTANT ***
This content is intended for general information purposes only and does not constitute legal advice.
For legal issues or decisions of any kind, the reader should retain and consult legal counsel. You should not act or rely on the information on this website without first seeking the advice of an attorney. The determination of whether you need legal services and your choice of a lawyer are very important matters that should not be based on websites or advertisements.
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7) Become a Pro in Brazil Real Estate by checking our other guides!
To learn all about purchasing real estate in Brazil, check our How to Buy Properties in Brazil guide.
You can also learn about the advantages of buying real estate in Brazil in our Why Buying Real Estate in Brazil guide. Find opportunities and decide where to buy using our Know Where to Buy Real Estate in Brazil guide.
*** IMPORTANT ***
This content is intended for general information purposes only and does not constitute legal advice.
For legal issues or decisions of any kind, the reader should retain and consult legal counsel. You should not act or rely on the information on this website without first seeking the advice of an attorney. The determination of whether you need legal services and your choice of a lawyer are very important matters that should not be based on websites or advertisements.
[back to top]
Transferring Large Sums to Brazil?
We Can Help You
Click Here for our Money Transfer Service for Large Sums
[email protected]
(214) 432-8100
+55-21-2018-1225
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Over 20 million refugees have been granted protection in another country in the last ten years. A few countries are bearing almost all the responsibility, while most countries in the world have scarcely received any refugees at all.
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https://www.nrc.no/shorthand/fr/a-few-countries-take-responsibility-for-most-of-the-worlds-refugees/index.html
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Lebanon, with a population of 6.8 million, is currently hosting an estimated 1.5 million refugees from Syria. The exact number is uncertain because the national authorities demanded that the UN refugee agency (UNHCR) stop the registration of new refugees in 2015. In addition, hundreds of thousands of Palestinian refugees live in the country.
Lebanon itself has been ravaged by a civil war that lasted from 1975 until 1990. It is a densely populated country with a fragile political balance between different ethnic and religious groups.
Even before the large influx of refugees from Syria, the country was in a precarious economic situation. Lebanon is dependent on importing most of what it needs and has long kept its economy going through foreign loans and financial transfers from Lebanese nationals abroad.
Since 2019, the situation has gone from bad to worse, with large-scale popular protests eventually leading to the Prime Ministerâs resignation. Then, in 2020, Beirut was shaken by a huge explosion, which killed more than 200 people, injured more than 6,000 and left over 300,000 homeless.
Unemployment is sky-high. The countryâs currency has collapsed, reaching a historic low in May 2022, meaning much of the population is no longer able to afford the necessities of survival. On top of all this came the Covid-19 pandemic, followed by a rapid rise in food and energy prices as a result of the war in Ukraine.
More than 50 per cent of the population live below the poverty line. For Syrian refugees, the figure is even higher, with 83 per cent living in extreme poverty.
Perhaps never before has a country that receives refugees had a greater need for the rest of the world to step up and help.
Here, you can see which countries have received the most refugees in the last ten years.
While countries such as Lebanon, Uganda and Sweden have received large numbers of refugees year after year, many countries have received almost none and are doing everything they can to prevent refugees from coming to their country.
Several of these are rich and populous countries that are much more able to help than many of the countries taking the greatest responsibility today.
Some of the richest countries in the world do almost nothing. China, the worldâs second largest economy, with a population of 1.4 billion, has accepted only 526 refugees in ten years â 0.00004 per cent of its population size. Japan has the worldâs third largest economy and a population of 123 million. Nevertheless, it has received just 16,150 refugees in the last ten years â 0.0013 per cent of the countryâs population. South Korea is at a similarly low level.
The oil-rich Gulf countries are another example. Saudi Arabia has received 0.0015 per cent of its population size, and the other Gulf countries are at a similar level. For most of the last decade there have been brutal civil wars in both Syria and Yemen, in which several of these countries have been directly and indirectly involved. It is therefore particularly inexcusable that they have not given proper protection to more of the victims of the war and relieved some of the neighbouring countries such as Lebanon, Jordan and Turkey.
The Gulf countries have admittedly received a large number of Syrians as labour immigrants, but these have not been granted refugee status.
The Dublin Regulation has a major shortcoming
The Dublin Regulation is an agreement between European countries that determines who is responsible for processing asylum applications. In essence, it states that the first European country where refugees arrive must process their asylum applications and provide protection to those who are entitled to it.
For a long time, this was not complied with in practice, and most of those who arrived in Greece, Italy and Spain would travel on to countries further north in Europe to seek asylum. The refugees themselves often wanted to seek asylum further north, and the Mediterranean countries were happy to avoid the responsibility.
In recent years, this has changed. The large influx of refugees to Europe in 2015 led the EU to demand that the Dublin Regulation be practised consistently. This made it clear that the Dublin Regulation has a major shortcoming. It does not contain a distribution mechanism that obliges other EU countries to relieve those countries that take responsibility on behalf of the rest of the EU.
In 2015, the EU adopted a temporary relocation scheme that required other EU countries to receive asylum seekers from Italy and Greece for a period of two years. The decision was met with great opposition, especially in countries such as Poland, the Czech Republic, Slovakia and Hungary, which refused to accept the number imposed on them.
The strong opposition meant that there was no permanent arrangement for the division of responsibilities when the temporary agreement expired in 2017.
In recent years, therefore, Italy and Greece have largely been left to themselves. They have received financial support from the EU to strengthen their asylum systems, but while some EU countries have voluntarily chosen to accept some refugees, most have refused to do so.
In Italy, this has led to the authorities increasingly refusing to allow boats with asylum seekers to dock in their ports. In 2016, 181,000 refugees and migrants came to Italy by sea, but that number dropped to 11,000 in 2019. However, after the country changed government, the numbers started to rise again, and in 2022 there was a sharp increase to 105,000.
In Greece, the 2016 agreement between the EU and Turkey led to a sharp drop in arrival figures. Turkey began to prevent boats from leaving shore, and those who managed to enter Greece risked being sent back to Turkey. But as the agreement made it difficult for Greece to return asylum seekers, arrival numbers started to rise again. In 2019, 60,000 asylum seekers came to Greece by sea and another 15,000 came across the border between Greece and Turkey.
From 2020, the numbers fell dramatically, to the lowest level in almost ten years, partly due to the Covid-19 pandemic. In 2021, just under 4,000 people arrived by sea, while 5,000 came across the land border. In 2022, the number rose again, with 13,000 people arriving by sea and 6,000 by land.
Amnesty International has documented that the Greek authorities are increasingly chasing asylum seekers back to the borders in so-called âpushbacksâ, which helps to explain the sharp decline. In addition, Covid-19 restrictions have made it more difficult to cross national borders.
Greeceâs capacity to process the large number of asylum applications has been inadequate, which has led to longer processing times. A large number of asylum seekers have been denied permission to leave the Greek islands where they have been living in overcrowded camps under appalling humanitarian conditions.
The poor reception conditions and difficulties with onwards travel have led to many people attempting to travel directly by sea to Italy instead. This had disastrous consequences in June 2023 when as many as 500 people were feared dead after a tragic shipwreck.
In February 2022, Russia launched a military operation against Ukraine, and millions of Ukrainians were forced to flee both within the country and over the border to neighbouring countries.
An irony of fate led to those European countries that have been most negative about receiving refugees from outside Europe, such as Poland, Hungary, the Czech Republic and Slovakia, becoming the largest recipient countries for refugees from Ukraine. Many fled to Poland, which now houses almost 1 million refugees.
The Czech Republic has gone from barely accepting refugees to being one of the largest recipients in relation to its population in the last ten years. Montenegro is now the country in Europe that has received the most refugees per capita, and ranks sixth in the world. Moldova, one of Europeâs poorest countries, is also among the countries in Europe that have received most refugees in relation to their population, having taken in over 100,000 Ukrainian refugees.
Both in Ukraineâs neighbouring countries and in other European countries, Ukrainian refugees have generally been well received. Many people have pointed out the contrast with the way refugees from other parts of the world are met in Europe. Legally, though, Ukrainians are in a different situation, as they do not have to cross borders with other countries to get to EU countries.
Even if European countries had wanted to keep Ukrainians out, they would not have been able to do so without violating the most basic principles of the Refugee Convention and the European Convention on Human Rights. Even before the war began, Ukrainians with modern passports had the right to travel freely within the EU for three months. They were therefore not obliged to seek asylum in the first European country they came to, unlike most other refugees who travel to Europe.
The biggest difference, however, is that both European states and the majority of their populations have been actively welcoming refugees. This is perhaps largely due to a sense of closeness both culturally and geographically, and a feeling that the Ukrainians are fighting a battle for what are considered âEuropean valuesâ.
Nevertheless, it should not be ignored that the different treatment received by refugees from Ukraine compared to those from countries outside Europe is to some extent also rooted in xenophobia, and in particular opposition to Muslim immigration. This is particularly noticeable in countries such as Poland, where fences have been erected on the border with Belarus and asylum seekers from the Middle East and Africa are being pushed back, while refugees on the border with Ukraine are being welcomed with open arms.
In 2022, the Czech Republic introduced border controls to prevent Syrian refugees from entering from Slovakia. Together with Hungary and Poland, the Czech Republic has refused to participate in the EUâs scheme for the relocation of refugees from Greece and Italy. The European Commission is now threatening the three countries with punitive measures if they do not change their position.
As we have seen, poorer countries have often taken the greatest responsibility, while some rich countries have also made significant contributions. As a group, middle-income countries come out worst, even though countries such as Lebanon and Turkey are lifting the average sharply.
The most populous countries in the world, such as China, India, Indonesia and Brazil are in this group. If more of these countries contributed to a better division of responsibilities, it would make a big difference. Several have experienced strong economic growth in recent decades and can no longer claim that they canât afford to help displaced people. A country that can afford to host the Summer Olympics can also afford to receive a few thousand refugees each year.
The United States previously received almost 100,000 resettlement refugees each year and was the largest recipient of resettlement refugees in the world. Under Donald Trumpâs leadership, this number was greatly reduced, and in 2020, the United States received fewer than 10,000 resettlement refugees. President Biden announced in May 2021 that the United States would once again support refugees and take in up to 62,500 resettlement refugees each year. In 2022, the United States accepted 29,000 resettlement refugees
In addition, under Trumpâs leadership, it became much harder for refugees to seek asylum on the United States border with Mexico and many were sent back to countries such as Guatemala, Honduras and El Salvador. After Joe Biden took over as president, some of the measures were reversed and asylum arrivals to the United States have risen sharply. However, the Biden administration is under pressure, not least from its own party, to ensure that asylum numbers are kept low, which makes it difficult to remove all restrictions.
Despite these measures, however, the United States has received more refugees relative to its population than many European countries, and is on a par with the United Kingdom.
Although it is possible to provide good protection to most refugees in neighbouring countries if aid is stepped up, there are still some who must be moved to other countries as so-called âresettlement refugeesâ. These are typically refugees who do not receive adequate protection in the country to which they have fled. This may apply to religious minorities or LGBTQI+ people, for example.
In some instances, such as in Lebanon, recipient countries need relief following the arrival of large numbers of refugees. In cases where there is no prospect of the refugees being able to return to their homes within a few years, some must be given the opportunity to obtain permanent residency in a new country.
Countries such as Malaysia and Indonesia have not signed the Refugee Convention and expect refugees to remain only temporarily until they can be transferred to other countries as resettlement refugees. These must be taken away from the already very low number of resettlement refugees that Western countries have said they are willing to accept, at the expense of countries that have a far greater need for relief, such as Lebanon and Uganda.
According to UNHCR, in 2022 over 2 million people need to move as resettlement refugees to another country than the one they first fled to. This was an increase of 36 per cent from the corresponding figure one year previously. In 2022, only 114,000 resettlement refugees were able to start a new life in another country â less than six per cent of those waiting to become resettlement refugees.
If more countries were willing to accept resettlement refugees, it would be possible to find new homes for them within a few years. This would not represent a large burden for each individual country. In 2022, only 21 countries took in resettlement refugees, and many of these accepted only a symbolic number.
In recent years, Canada, Australia, Norway and Sweden have been the countries that have received the most resettlement refugees in relation to their populations. In 2022, these countries received 47,550, 17,325, 3,124 and 3,740 people respectively. Denmark, which previously received many resettlement refugees, has barely received any since 2016.
Denmark is one of the countries that has led the way in what has been called the âspiral towards the bottomâ. This means that, as country after country tightens their refugee policies, displaced people choose to travel to another country instead.
When one country tightens its policies, other countries follow suit and introduce even stricter measures. And so the spiral continues â downwards. There are many examples of creative measures to deter refugees.
Denmark demands that refugees return to their home country as soon as possible, even if they have been in the country for many years. Denmark was the first country in the world to decide that even resettlement refugees must return to their home countries. In 2021, Denmark decided that it was now safe for most Syrian refugees from Damascus to return.
In 2021, it introduced a new immigration law that stipulates that asylum seekers who come to Denmark will be sent to countries outside Europe to have their asylum application processed. Those refugees who are granted asylum are not allowed to return to Denmark, but will receive protection in other countries. NRCâs Secretary General, Jan Egeland, called the Danish decision âa shocking example of the race to the bottomâ.
The United Kingdom has followed Denmarkâs example by entering into an agreement with Rwanda, which has promised to accept refugees who have fled to the UK. Unlike Denmark, which has not yet started sending refugees out of the country, the UK has made an initial attempt to send refugees to Rwanda, but the plane was stopped before it could depart following a decision by the European Court of Human Rights.
Norway was the first EU/EEA country to decide that refugees could be returned to a country outside the Schengen Area, even when it is not certain that their asylum applications will be processed there. The Norwegian government has also instructed the immigration authorities to actively review previous cases for refugees who have been granted refugee status in order to be able to revoke their status if conditions in their home country have improved. This applies to everyone who has not yet been granted permanent residency in Norway.
Hungary kept asylum seekers locked up in detention camps until The European Court of Justice ruled that this was illegal. In response, Hungary has made it impossible for people to seek asylum at the border. Like Bulgaria and Greece, Hungary has received criticism from the Council of Europe for pushing refugees back across the border when they try to seek asylum.
Since 2013, it has been impossible for boat refugees to receive asylum in Australia. Most boats with refugees are stopped by military ships and ordered to return to their point of departure.
Those who have managed to get to Australia have been sent to the island of Manus in Papua New Guinea and to Nauru, which have agreed to process asylum applications â for a fee. For a long time, the refugees were kept locked up in reception centres under inhumane conditions, but after strong international pressure, these centres were closed.
Some of the refugees have been allowed to travel to the United States as resettlement refugees, but there are still several hundred on Manus and Nauru. Some have also been transferred to detention centres in Australia. Australiaâs policy has led to very few refugees now daring to seek asylum in the country without a visa, which for most is impossible to obtain.
Despite the great humanitarian suffering that this policy has inflicted on refugees and migrants, several European countries have called for the EU to follow Australiaâs example. Denmark and the UKâs decision to send asylum seekers to countries outside Europe was strongly influenced by Australian policy.
Poland, Latvia and Lithuania have done everything they can to close their borders with Belarus to refugees and migrants. This happened after Belarus began using displaced people as a weapon in the conflict with the West in the summer of 2021.
The refugees and migrants themselves ended up in a desperate situation whereby they were unable to cross the border into the EU and unable to get out of the no manâs land between Belarus and its neighbouring countries. At least 24 people are said to have lost their lives. It is a clear violation of the Refugee Convention to deny people asylum at the border. The EU also has received criticism for tacitly accepting that EU countries are violating human rights at the EUâs external border.
Even the countries that have long been most generous in accepting refugees have had to change their policies because so few other countries have been willing to share the responsibility. In Sweden, it took only a few months from when Prime Minister Stefan Löfven said: âMy Europe does not build wallsâ to him announcing that Sweden had had to temporarily tighten its asylum policy to curb the influx of refugees.
One of the consequences was that Sweden began denying refugees the right to family reunification, even though they had already received subsidiary protection. This concerns people who have not been individually persecuted but who have fled due to war and violence.
Until 2016, this had had little practical significance, since both groups were largely given the same rights. But the change in the law meant that almost none of the Syrian refugees who had fled the civil war were given the opportunity to bring their families to Sweden. In 2019, this group was again given the right to family reunification.
Germany is another country that radically changed its refugee policy after more than one million people sought asylum in the country. Syrian refugees have been told that they must return to Syria when the war is over. Like Sweden, Germany also eliminated the possibility of family reunification for most Syrian refugees. Later, they introduced a monthly cap of 1,000 people who can receive visas for family reunification.
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Which countries are using dollars as their currency?
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2021-12-27T00:00:00
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What countries use the dollar? Learn everything you need to know about the U.S. dollar and the dollars used by other countries around the world.
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/assets/www/images/favicon/apple-touch-icon.png
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Small World Money Transfer
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https://www.smallworldfs.com/en/blog/what-countries-use-dollars
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The U.S. dollar is one of the strongest and most significant currencies in the world. On any exchange rate board right next to the British Pound, the Euro, the Japanese Yen and the Indian Rupee, you are likely to see the instantly recognizable US dollar symbol ($).
But how is the dollar used outside of the United States? How many countries have a currency that is named after the dollar? And what does it mean to have your currency pegged to the U.S. dollar?
In this post we’ll be highlighting the countries that use dollars, taking a look at currencies pegged to the dollar and exploring how the dollar functions as a worldwide currency.
Which Countries Use Dollars?
Where is the U.S. Dollar used abroad?
Currencies Pegged to USD
The U.S. Dollar and Tourism
Small World
Which Countries Use Dollars?
You probably think of the U.S. dollar if you hear the word “dollar” in any conversation. It is one of the most widely circulated and respected currencies in the world. The U.S. dollar plays a major role in the worldwide economy and is accepted in cities around the world as a primary or secondary currency. The U.S. dollar is also the reserve currency of several countries, which means that it is held by central banks and financial institutions for trade purposes.
However, the United States is only one among many countries to use a currency called the ‘Dollar’. For example, Canada, New Zealand, Australia and Singapore all have their own dollars. And while they all carry the ‘dollar’ name they are completely different types of national currency. Many of these currencies bear more of a resemblance to the British pound, from which the likes of the Canadian and Jamaican dollar are derived, than the US dollar.
Economies that use a ‘dollar’ include:
Antigua and Barbuda = Eastern Caribbean dollar
Australia = Australian dollar
Bahamas = Bahamian dollar
Barbados = Barbadian dollar
Canada = Canadian dollar
Fiji = Fijian dollar
Guyana = Guyanese dollar
Jamaica = Jamaican dollar
Liberia = Liberian dollar
New Zealand = New Zealand dollar
Trinidad and Tobago = Trinidad and Tobago dollar
Where is the U.S. dollar used abroad?
The U.S. dollar can be found in practically every country in the world. It is used in many countries to invest, trade and pay international debt. Valuable commodities such as oil and gold are even priced in USD to ensure that other countries can buy them using reserved U.S. dollar currency.
While the U.S. dollar is used as a reserve currency in many countries, some nations also use it as their own currency as well. There are 16 countries and regions that use USD as their official currency:
Ecuador
Somalia
Panama
Puerto Rico
El Salvador
Guam
Turks and Caicos Islands
U.S. Virgin Islands
British Virgin Islands
American Samoa
Timor-Leste
Marshall Islands
Bonaire
Caribbean Netherlands
Northern Mariana Islands
The Federated States of Micronesia
The strength and standing of the U.S. dollar makes it an attractive option for many countries, especially those that are in the Caribbean and South America. Many of these countries are geographically close to the U.S. and will experience tourism benefits by keeping the U.S. dollar as their primary currency. This is particularly important for countries in the Caribbean where tourism is a vital part of their economic fortunes.
For Americans the wide use of the U.S. dollar in tourist hot spots like the Caribbean is ideal. They can travel with their own money and not have to worry about local currency exchange.
The U.S. dollar is used in these overseas countries and regions because it is convenient and valuable. The stability of the U.S. dollar compared to many other smaller currencies also enables countries like El Salvador and regions like Bonaire to kickstart their own economic production.
Currencies Pegged to USD
ç
Currencies Pegged to USD
If countries want to participate in international trade they need to be able to have a relatively stable currency. For countries with smaller economies one of the best ways to ensure stability and success is by pegging their currency to a major one like the U.S. dollar.
As the value of a currency fluctuates during seasons of high tourism or commerce, keeping a fixed exchange with a foreign currency like the U.S. dollar helps to ensure that the local currency remains stable and valuable.
Today the countries that have pegged their currency to the U.S. dollar include:
Bahrain
Belize
Cuba
Djibouti
Eritrea
Hong Kong
Jordan Lebanon
Oman
Panama
Qatar
Saudi Arabia
UAE
This pegged strategy helps to bring stability to these economies and encourages growth. It is important when it comes to international trade and ensures a healthy exchange rate with other nations. To learn more about how exchange rates work check out our article on, “Everything you need to know about exchange rates.”
The U.S. Dollar and Tourism
As we have mentioned above, the U.S. dollar plays an important role for tourism in the Caribbean and Central and South America. Some cities and regions will accept U.S. dollars as legal tender even if their national bank chose not to.
For example, in the Caribbean region of Mexico while the Mexican peso is the official currency you will be able to get by using U.S. dollars too. You can pay for services, trade with residents and exchange for pesos easily. In fact in many cases because the U.S. dollar is worth more than the Mexican peso it is beneficial for tourist business to accept dollars rather than pesos.
Transfer Money with Small World
Maybe you have family or friends in countries that also use the dollar. You can support them easily with Small World’s international money transfer service.
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Which countries have cut funding to UNRWA, and why?
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"Al Jazeera"
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2024-01-28T00:00:00
|
The UN urges continued funding to UNRWA’s ‘lifesaving’ aid to Gaza, after some Western countries cut aid to the agency.
|
en
|
/favicon_aje.ico
|
Al Jazeera
|
https://www.aljazeera.com/news/2024/1/28/which-countries-have-cut-funding-to-unrwa-and-why
|
The United Nations agency for Palestinian refugees (UNRWA), considered a lifeline for two million people in the besieged enclave, has suffered funding cuts after several of its staff were accused by Israel of involvement in the October 7 Hamas attack.
The UN on Saturday said that it had terminated nine out of 12 staff over the allegations and vowed to hold its employees accountable, but expressed its shock at the swift funding cut by several Western countries amid a humanitarian disaster in Gaza, which has been devastated by nearly four months of Israel’s aerial and ground war.
“It would be immensely irresponsible to sanction an Agency and an entire community it serves because of allegations of criminal acts against some individuals, especially at a time of war, displacement and political crises in the region,” Philippe Lazzarini, UNRWA chief, said in a statement on Saturday.
The UN and Palestinian officials have called for continued funding for the agency’s “crucial work” since the announcement of the claims on Friday.
Here is what you need to know about the controversy.
What is UNRWA and who funds it?
The acronym stands for the United Nations Relief and Works Agency for Palestine Refugees in the Near East. It was established in 1949 to cater to tens of thousands of Palestinians ethnically cleansed from their homes by Jewish militias from areas that currently form part of Israel.
The UN agency operates in the occupied West Bank, East Jerusalem and Gaza, as well as in Jordan, Lebanon and Syria – the neighbouring countries where the Palestinian refugees took shelter after their violent expulsion known as the Nakba or catastrophe.
According to its website, the UN agency supports the relief and human development of Palestinian refugees, working in a number of areas.
Examples of these fields are primary and vocational education, primary healthcare, relief and social services, infrastructure and camp improvement, microfinance, and emergency response.
The agency is funded almost entirely by voluntary contributions apart from a limited subsidy from the UN, which is used exclusively for administrative costs, according to UNRWA.
The work of UNRWA could not be carried out without sustained contributions from countries worldwide and the European Union, which represented 94.9 percent of all contributions in 2022, the agency says.
In 2022, 44.3 percent of the agency’s total pledges, or $1.17bn, came from the EU member states, who contributed $520.3m, including funds allocated by the institution via the European Commission.
The United States, Germany, the EU and Sweden were the largest individual donors in the year in question, contributing 61.4 percent of the agency’s overall funding in total.
Chris Gunness, a former UNRWA spokesman, said the UN agency has weeks only before it runs out of money for its crucial aid work to save Palestinian lives in Gaza. More than 26,000 Palestinians have been killed since Israel launched its offensive on October 7.
“My message to the Arab world, particularly to the Gulf, is where are you? Because they’re making billions each day on oil revenues. A tiny fraction of those oil revenues would see UNRWA’s financial problems disappear overnight. This unconscionable gap inflicted by these Western countries would be filled very quickly,” Gunness told Al Jazeera.
“Some of the most desperate people in the Middle East are now facing starvation, they’re facing famine, and the Arab states need to step up to the plate.”
What are Israel’s allegations against UNRWA staff?
The UNRWA said on Friday that the Israeli authorities have provided the agency with information about the alleged involvement of several UNRWA employees in the October 7 attack.
Lazzarini, the head of the UNRWA, said that he immediately terminated the contracts of these staff members and launched an investigation to establish the truth without delay.
The US Department of State said it was extremely troubled by the allegations, which it said pertained to 12 UNRWA employees.
The UN agency has long been under attack from Israel. On Saturday, Israeli Foreign Minister Israel Katz called on Lazzarini to quit his post.
“Mr Lazzarini please resign,” Katz wrote on social media platform X in response to the UNRWA chief’s warning over the consequences of funding cuts.
Gunness, the former UNRWA spokesman, said there is a “coordinated political attack” on the UN’s agency for Palestinian refugees.
“The Israelis have said they cannot win the war on Gaza unless UNRWA is disbanded. So what clearer signal do you want?” he told Al Jazeera on Sunday.
How crucial is UNRWA and what did UN officials say?
The UNRWA is the largest humanitarian actor in Gaza and some 3,000 of its core staff out of 13,000 in Gaza continue to report to work despite the war, according to the agency.
UNRWA’s Lazzarini said two million people out of about 2.3 million population in Gaza depend on the agency’s humanitarian operation.
“I am shocked such decisions are taken based on alleged behavior of a few individuals and as the war continues, needs are deepening & famine looms,” the UNRWA chief posted on X.
“Palestinians in Gaza did not need this additional collective punishment. This stains all of us.”
The UN official added that the agency runs shelters for over one million people and provides food and primary healthcare even at the height of the hostilities.
Meanwhile, UN chief Antonio Guterres said that the tens of thousands of people who work for the UNRWA, many in some of the most dangerous situations, should not be penalised because of the recent allegations.
“The dire needs of the desperate populations they serve must be met,” he said.
Which nations have cut funding for UNRWA? Which have not?
The wave of suspensions of funding started with the US on Friday, right after the investigation was announced.
Canada, Australia, Britain, Germany, Italy, the Netherlands, Switzerland, Finland, Estonia, Japan, Austria and Romania joined Washington as of Monday.
Meanwhile, the French foreign ministry announced that France has not planned a new payment to fund UNRWA in the first quarter of 2024, but would decide when the time comes what action to take in conjunction with the United Nations and its main donors.
The European Union (EU) announced on Monday that it would review whether it could continue to fund UNRWA in light of the allegations.
The EU’s executive arm, the European Commission announced that the body does not foresee any additional funding for the organisation until the end of February.
Ireland and Norway, however, expressed continued support for UNRWA, saying the agency does crucial work to help Palestinians displaced and in desperate need of assistance in Gaza.
“We need to distinguish between what individuals may have done, and what UNRWA stands for,” a statement by Norway’s government said, adding the organisation’s tens of thousands of employees in Gaza, the West Bank, and the region play a “crucial role” in distributing aid, saving lives, and safeguarding basic needs and rights.
Irish Foreign Minister Micheal Martin wrote on X: “Ireland has no plans to suspend funding for UNRWA’s vital Gaza work.”
Spanish daily, El País, reported on Monday that Spanish Foreign Minister José Manuel Albares said Spain would continue funding UNRWA. He asserted that while Spain is closely following the investigation into Israel’s claims, the accused are 12 individuals out of a total of around 30,000 UNRWA employees.
|
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dbpedia
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0
| 70
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https://www.gettyimages.com/photos/portuguese-currency
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en
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Getty Images
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Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.
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8738
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dbpedia
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1
| 84
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https://economy-finance.ec.europa.eu/euro/use-euro/euro-outside-euro-area_en
|
en
|
The euro outside the euro area
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Which non-EU members use the euro or link their currency to the euro, and how the euro is used as a global currency.
|
en
|
/profiles/contrib/ewcms/themes/ewcms_theme/images/favicons/ec/favicon.ico
|
Economy and Finance
|
https://economy-finance.ec.europa.eu/euro/use-euro/euro-outside-euro-area_en
|
Who else uses the euro?
The euro is used widely in global currency markets. It is also used as an official or de facto currency as well as an 'anchor' currency by a number of countries and regions outside the European Union.
Certain parts of the euro area are part of the European Union even though they are not on the European continent, such as the French overseas departments of Guadeloupe, French Guyana, and Martinique in the Caribbean, as well as Mayotte and Réunion in the Indian Ocean. The Portuguese islands of Madeira and the Azores, and the Spanish Canary Islands, all in the Atlantic Ocean, are other examples.
As part of the euro area, and because they fall within the legal rights, capacity, and supervision of the relevant European Union Member State, these regions use the euro normally.
However, the euro can also be found in other countries and regions which are neither part of the EU nor the euro area.
The euro as official currency
the Principality of Monaco, the Republic of San Marino, the Vatican City State the Principality of Andorra have concluded monetary agreements with the EU, granting them the rights to produce limited quantities of euro coins with their own design on the national side, but not to issue euro banknotes
certain French overseas territories, which are not part of the European Union have also signed agreements with the EU. They do not however issue their own coins:
the Saint-Pierre-et-Miquelon islands close to the eastern coast of Canada,
the Island of Saint-Barthélemy
The euro as de facto currency
Kosovo and Montenegro, in the Balkans, use the euro as a de facto domestic currency, as they have no agreements with the EU. This is keeping with an older practice of using the German mark, which was previously the de facto currency in these areas.
Several countries and territories outside the euro area and EU have linked their currencies to the euro. This is because the stable monetary system behind the euro makes it an attractive 'anchor' currency. In some cases, it is by bilateral agreement with euro area countries (such as France or Portugal because of their historical relations with some countries), while in others it is a unilateral decision of the country concerned. Different systems are used to establish these links
non-euro area EU countries link their currencies to the euro through the Exchange Rate Mechanism (ERM II). This linkage is one of the conditions for joining the euro area
countries, which are not part of the EU or do not wish to join ERM II, may decide to support an exchange rate against the euro that is only allowed to fluctuate within defined limits (‘currency peg’). The countries’ monetary authorities support this exchange-rate peg on their own by intervening in currency markets. The euro area has no agreements or obligations to support these currencies
other countries organise a ‘basket’ of currencies that includes the euro. In such cases, the link is less direct. The exchange rate of the national currency is linked to a fictitious exchange rate from a ‘basket’ of other currencies, such as the euro, the US dollar, and the Japanese yen
an additional tool available to countries’ monetary authorities are euro-based currency boards in charge of supporting the fixed foreign exchange rate, to which the normal objectives of central banks are subordinated
An international presence
The widespread use of the euro in the international financial and monetary system demonstrates its global presence
the euro is widely used, alongside the US dollar, as an important reserve currency for monetary emergencies. In 2015, more than one-fifth of the global foreign exchange holdings were in euros
the euro is the second most actively traded currency in foreign exchange markets. It is a counterpart in around 33% of all daily transactions, globally
The euro is used to issue government and corporate debt worldwide. In 2015, the share of euro denominated debt in the global markets was around 40%, on par with the role of the US dollar in the international debt market
the euro is also a currency used for invoicing and paying in international trade, not only between the euro area and countries outside the EU, but also between non-EU countries. It is used as trade invoicing currency for more than 50% of all euro area imports, and for more than 65% of all euro area exports
several countries manage their currencies by linking them to the euro, which acts as an anchor or reference currency.
Read more
|
||||
8738
|
dbpedia
|
2
| 28
|
https://www.paypal.com/us/webapps/mpp/country-worldwide
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en
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PayPal Global | List of Countries and Currencies
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PayPal empowers you to send and receive money across the globe. View our list of 200+ countries/regions we’re available in and the 25 currencies we support.
|
en
|
https://www.paypal.com/us/webapps/mpp/country-worldwide
|
We get where you’re coming from.
We are available in more than 200 countries/regions and support 25 currencies. Send and receive payments easily over borders and language barriers. We’re here for you, wherever you are.
|
||||||
8738
|
dbpedia
|
2
| 23
|
https://www.westernunion.com/blog/en/us/all-about-dollarization-which-countries-use-usd-and-why/
|
en
|
All About Dollarization: Which Countries Use USD (and Why)?
|
https://www.westernunion.com/content/dam/wu/logo/favicon-48x48.ico
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https://www.westernunion.com/content/dam/wu/logo/favicon-48x48.ico
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[
"Christy Lowry",
"Serra Pinto Avimlah",
"Viktorija Lomteva",
"Western Union",
"Emily Larson"
] | null |
Understand how dollarization works and how the U.S dollar is used as a currency in other countries. Learn which countries use the U.S. dollar and why.
|
en
|
/content/dam/wu/logo/favicon-48x48.ico
|
Blog | Western Union
|
https://www.westernunion.com/blog/en/us/all-about-dollarization-which-countries-use-usd-and-why/
|
The U.S. dollar is recognized as a currency in other countries, and as an official currency within territories like Puerto Rico and Samoa. However, the reach of the U.S dollar extends outside of the United States and its recognized territories, through a process called dollarization. Learn about dollarization, its pros and cons, and which countries use the United States Dollar (USD).
Dollarization basics
Dollarization is the process of adopting the U.S dollar, or another foreign currency, to supplement the domestic currency or to be used as the other countryâs official currency.
Dollarization can happen informally, where businesses and people choose to conduct transactions with USD or foreign currency, and it can also be formally adopted by a country. The value of the currency is subject to its respective country. A country could still use the domestic currency, and the USD would be used as a supplementary currency. This is referred to as partial dollarization or currency substation. It can also be done through the de facto market process in full dollarization or currency substitution. In either case, the U.S dollar becomes a medium of exchange used in a country.
Calculate currency conversions
You can exchange USD for a foreign currency with Western Union. Use our currency converter to check exchange rates with a currency conversion calculator.
Calculate currency conversion
Which countries use USD?
USD is used within the United States and its official territories (Puerto Rico, Guam, America Samoa, U.S. Virgin Islands, and Northern Marina Islands). There are also eleven other countries which use the USD as their official currency. They include:
Ecuador
El Salvador
Zimbabwe
Palau
Marshall Islands
Panama
The British Virgin Islands
Turks and Caicos
Timor and Leste
Micronesia
Bonaire
Why do countries undergo dollarization?
Under the worldâs current monetary system, a country can decrease and increase their money supply. A country navigating poor economic conditions (or one that has poor monetary policies) may print more money. An oversupply of money can lead to inflation, and inflation is one of the primary reasons why a country may introduce dollarization. Countries with unstable exchange rates or currencies are more susceptible to speculative attacks, which can drastically devalue the worth of the domestic currency. By choosing to introduce a foreign currency, a country can also reduce potential currency devaluation.
Advantages of dollarization
In addition to protecting against inflation and promoting stability, there are other advantages to dollarization:
Prevent speculative attacks on domestic currency. By using a foreign currency, countries are less susceptible to speculative attacks on the value of their domestic currencies. A speculative attack happens when there is a massive selling of a nationâs currency, which results in immediate and drastic devaluation.
Improve global economy. The introduction of the USD into a country can help integrate their economy enter the world market. Since itâs widely accepted and stable, some countries may be able to participate more in international trade.
Faster development. Dollarization promotes economic stability. Investors may feel more secure investing in a countryâs economy, and it can spur investment.
Disadvantages of dollarization
Some disadvantages of dollarization are:
Loss of seigniorage. When a country undergoes dollarization, it first reduces the domestic currency in market by buying it back. Seigniorage, or the profit a government makes issuing its currency, funds this activity. After a country undergoes dollarization, it loses its ability to print money and any future seigniorage.
Loss of monetary autonomy. When a country dollarizes, they lose control of their money supply, their ability to affect the lending rate, and direct control over the countryâs economy.
Subject to economy of foreign currency. If a country uses a foreign currency for transactions, the value of the currency is subject to its respective country. The economic conditions of the country undergoing US dollarization are affected by the United Statesâs economy.
Send money with Western Union
|
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8738
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dbpedia
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1
| 76
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https://www.foreigncurrencyandcoin.com/product/portugal-1000-escudos/
|
en
|
Portugal 1000 Escudos
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2018-08-07T09:14:40+00:00
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Do you have a 1000 Portugal Escudo Banknote? Here's how to exchange it with us. Tell us how many 1000 Portugal Escudos you want to exchange Click on the 'Add to Cart' button. This will add the exchange value to your online wallet. Repeat these steps for all banknotes, coins, stamps, and gift cards you want to exchange. Complete the checkout process and get paid within a week or less.
|
en
|
https://www.foreigncurrencyandcoin.com/wp-content/uploads/2019/06/favicon.ico
|
Foreign Currency
|
https://www.foreigncurrencyandcoin.com/product/portugal-1000-escudos/
|
The Portuguese escudo was the official currency of Portugal before the introduction of the euro in 1999. The official currency symbol: $.
The escudo was firstly introduced in 1722 and was minted generally during the 18th century. Nazi Germany used Swiss banks to acquire the escudos as foreign money to purchase in Portugal and other neutral nations during World War II. The escudo was used in the Portuguese mainland, the Azores, Madeira, and Portugal’s African colonies; the escudo was generally used up to independence, in the form of Banco Nacional Ultramarino and Banco de Angola banknotes.
Between 1917 and 1925, the Casa da Moeda introduced notes in denominations of 5, 10 and 20 centavos. At the same time, the Bank of Portugal introduced notes in denominations of 50 cents, $ 1, $ 2, $ 5, $ 10, $ 20, $ 50, $ 100, $ 500, and $ 1,000 between 1913 and 1922. The 50 centavos and $1 note were withdrawn in 1920, followed by the 2, 5$ and 10$ notes in 1925 and 1926. The $ 5,000 note was launched in 1942, and the last $ 20 and $ 50 notes were issued in 1978 and 1980, respectively, with $ 100 notes being replaced by coins in 1989, the same year as the $ 10,000 note. Until February 28, 2022, the last series of escudo banknotes can be returned to Banco de Portugal’s central bank and converted to euros.
The 1000 Portuguese escudo note front design features the portrait of Pedro Álvares Cabral (c. 1467 or 1468 – c. 1520), was a Portuguese nobleman, military commander, navigator, and explorer who is credited with the discovery of Brazil.
The reverse of the note illustrates the Nau (a type of boat), which was used in the discovery of Brazil; the boat is surrounded by the stylized figures of some animals of the Brazilian tropics; monkeys, parrots, foxes, among others. The lettering of the note is presented in the Portuguese language. This note is part of the 1996 – 2000 series, and its color is purple and brown on a multicolor underprint.
|
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8738
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dbpedia
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2
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https://www.wellsfargo.com/help/checking-savings/foreign-currency-faqs/
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en
|
Foreign Currency Cash Questions
|
https://www.wellsfargo.com/favicon.ico
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https://www.wellsfargo.com/favicon.ico
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Foreign currency products frequently asked questions
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/favicon.ico
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https://www.wellsfargo.com/help/checking-savings/foreign-currency-faqs/
|
Note: Our branches no longer have foreign currency cash on-hand available for over-the-counter same-day purchase and we no longer can take foreign currency cash orders over the phone.
You can order foreign currency cash online, using the mobile app, or in person at a Wells Fargo branch and have currency delivered within 2-7 business days.
Online. To order through Wells Fargo Online®, log into online banking and select foreign currency cash under the Accounts tab.
Mobile. Order using the Wells Fargo Mobile® app. Tap Menu on the bottom bar, select Account Services, then select Foreign Currency.
Using an eligible Wells Fargo checking or savings account, it takes just minutes to place an order online or mobile. Foreign currency cash orders can be delivered to your home address or scheduled for local branch pickup. The minimum foreign currency cash order amount is $200, and orders over $3,000 USD must be picked up at a branch. Currently, business accounts cannot be used when ordering foreign currency cash online or mobile.
In person. Wells Fargo account holders can order foreign currency cash at any Wells Fargo branch, for branch pickup.
For online orders, the minimum amount is $200, and orders over $3,000 USD must be picked up at a branch.
More information about ordering foreign currency online:
The shipping and handling fee may vary based on the USD amount of foreign currency cash that you order. The shipping and handling fee will be added to your total order amount. We'll send you an email confirmation when your order ships. Note: Less common currencies may take longer to process and deliver, due to limited availability. Delivery to Alaska, Hawaii, and U.S. territories may take longer. A signature is required upon delivery. We do not deliver to P.O. boxes.
Often the foreign currency cash rate quoted by Wells Fargo can be a buy or sell rate, which can differ. The foreign currency cash rate includes costs, such as shipping and handling, transaction processing, and also includes the revenue Wells Fargo earns. Wells Fargo may offer different rates to different counterparties for the same or similar transactions. No representation is made that Wells Fargo’s pricing is reflective of rate sources or publications, or rates being offered by other providers. Wells Fargo provides rates at its sole discretion.
Orders placed online, or via mobile app, (less than $3,000 (USD equivalent)) can be delivered to the home address saved in your Wells Fargo customer profile. Wells Fargo delivers within the United States only and cannot deliver to P.O. boxes. A signature is required upon delivery. If your home address has restrictions that prevent delivery, you can place a foreign currency cash order online, or in person and have it delivered to a nearby Wells Fargo branch. Orders placed for a business checking or savings account can only be delivered to a Wells Fargo branch.
Note: Our branches no longer have foreign currency cash on-hand available for over-the-counter same-day purchase and we no longer can take foreign currency cash orders over the phone.
In person. Wells Fargo account holders and authorized signers can order foreign currency cash at any Wells Fargo branch.
Whether or not the wire transfer fee is waived, Wells Fargo makes money when we convert one currency to another currency for you. The exchange rate used when Wells Fargo converts one currency to another is set at our sole discretion, and it includes a markup. The markup is designed to compensate us for several considerations including, without limitation, costs incurred, market risks, and our desired return. The applicable exchange rate does not include, and is separate from, any applicable fees. The exchange rate Wells Fargo provides to you may be different from exchange rates you see elsewhere. Different customers may receive different rates for transactions that are the same or similar, and the applicable exchange rate may be different for foreign currency cash, drafts, checks, or wire transfers. Foreign exchange markets are dynamic and rates fluctuate over time based on market conditions, liquidity, and risks. Wells Fargo is your arms-length counterparty on foreign exchange transactions. We may refuse to process any request for a foreign exchange transaction.
Incoming wire transfers received in a foreign currency for payment into your account will be converted into U.S. dollars using the applicable exchange rate without prior notice to you. For more information, see the "Applicable Exchange Rate" and "Incoming international wire transfer" sections of the Deposit Account Agreement.
Fees may be charged by third parties or other banks, in addition to those described above.
|
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8738
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dbpedia
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1
| 60
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https://byjus.com/question-answer/what-currency-is-shared-by-austria-finland-france-and-portugal/
|
en
|
What currency is shared by Austria, Finland, France and Portugal?
|
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[
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[
"BYJU'S"
] |
2022-07-04T10:36:42+05:30
|
What currency is shared by Austria, Finland, France and Portugal?
|
en
|
https://byjus.com/question-answer/what-currency-is-shared-by-austria-finland-france-and-portugal/
|
Euro is the common currency share among Austria, Finland, France and Portugal.
Currencies of the 4 Countries – Before Euro
Prior to the Euro, Schilling was the currency of Austria.
In Finland, the currency used was Markka. It was replaced by Euro.
French Franc was the currency of France, before replacement by Euro.
Portuguese Escudo was the currency of Portugal prior to implementing the Euro.
Austrian schilling
It was the currency of Austria 1925 to 1938 and again from 1945 to 1999.
Finnish Markka
Internationally the Finnish currency was known as Finnish Mark.
Finnish Markka was used from 1860 until 28 February 2002.
Finnish Markka was introduced by the Bank of Finland replacing the Russian Ruble.
French Franc
French Franc was revalued in 1960.
It was introduced between 1360 and 1641, however it was reintroduced in 1795.
French Franc was one of the international reserve currencies in the 19th and 20th centuries.
Portuguese Escudo
The word escudo derives from the scutum shield, it was a type of shield.
On 28 February 2002, the Portuguese Escudo was removed from circulation.
Euro
|
||||||
8738
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dbpedia
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0
| 7
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https://www.portugaltravel.org/coin-in-portugal
|
en
|
Currency in Portugal
|
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[
"Portugal Travel"
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2016-02-05T08:00:00+08:00
| null |
Which is the official currency in Portugal?
The official currency in Portugal is the Euro, with the symbol €, which is 100 Euro cents.
The Euro followed the former currency the escudo.
How are the portuguese coins and notes and which are their value?
There are coins of 1, 2, 5, 10, 20, 50 cents of Euro and 1 and 2 Euro coins.
Regarding the notes, there are notes of 5, 10, 20, 50, 100, 200 and 500 Euros. It’s important to mention that in some establishments you might not be able to pay with 100€ notes or superior. Likewise you’ll also find constraints when paying taxis or other public services with 50€ or higher notes.
May I pay with credit and debit card in Portugal?
Yes. In Portugal, it’s possible to pay with credit cards as, for example, Mastercard, Visa or American Express.
|
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dbpedia
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2
| 19
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https://usfirstexchange.com/portuguese-currency
|
en
|
Everything You Need to Know About Portuguese Currency
|
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[
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2022-08-16T00:00:00
|
Want to learn about Portuguese currency? How the euro is currently used in Portugal or about the older Portuguese real and gold escudo? Then read this article.
|
en
|
/favicon.ico
|
US First Exchange
|
https://usfirstexchange.com/portuguese-currency
|
Portugal is a country with a rich history and culture - and the Portuguese currency reflects this. Besides that, Portuguese nature and cities are spellbinding. So, it's no wonder why this country is such a popular tourist destination.
If you are a history or currency aficionado or are planning a trip to Portugal, you should read this article to learn everything you could wish to know about the previous currencies used in Portugal as well as its current official currency. So let's start with the basics.
What Currency Is Used in Portugal?
As one of the Eurozone countries, the euro is the single currency that is used in Portugal. Portugal was one of the first countries to adopt the euro when it replaced its national currency - the escudo - on the 1st of January 1999.
Note that the escudo was still accepted beside the euro before it was phased out of circulation on the 28th of February 2002. The official monetary unit of the European Union, the euro is represented by the currency code EUR and the symbol €.
In Portugal, you’ll typically see prices written with the currency sign following the numerals, as in 15€. One interesting thing we should mention is that in Portugal, you'll notice that the uses of the comma and decimal point are reversed - decimal points are used in thousands, for example, €12.000 instead of €12,000, while you’ll find €2.30 written as €2,30.
History of Portuguese Currency: the Escudo
The history of Italian money is rich, and Portugal is no different. The escudo was the Portuguese currency before the adoption of the euro. But before that, the currency of Portugal was the real. The first real was a silver coin and it was introduced in the 1380s.
During the ages, the exact value and composition of real coins changed a lot, too much to be discussed here. But what is interesting is that real (the Portuguese plural for real is réis) coins had multiple denominations - 1,000 reals were one milréis and 1.6 milréis were one gold escudo.
So escudos were initially gold Portuguese coins that were effectively a denomination of the real. These gold escudos were minted from 1722 to 1800. The first paper banknotes were issued in Portugal in 1847 by the Banco De Portugal (the central bank), still denominated in reals.
Then, in 1911, the escudo was introduced or reintroduced (depending on how you interpret it) as the official currency, replacing the Portuguese real at a rate of 1000:1. However, the escudo’s value fell after 1914 and was then pegged to the pound sterling in 1928
In 1940, the pegged was changed to the US dollar. During World War II, as Portugal was a neutral country, Nazi Germany took an interest in Portuguese escudos and aimed to make purchases in Portugal and several other countries through Swiss banks.
Later in the 20th century, the value of centavos, the former monetary unit equal to 1/100 escudo, saw a significant decline. As a result, Portugal withdrew the centavos coins in the 1990s. Finally, it introduced the euro as the new Portuguese currency on the 1st of January 1999, but the country provided a transitional period until the 1st of January 2002.
In the meantime, the euro existed only as “book money” until the country introduced the euro banknotes and coins on the 1st of January 2002. On the 28th of February 2002, the Portuguese escudo was completely withdrawn from circulation, with the euro becoming the official currency of Portugal.
Understanding The Euro
You may already be familiar with euro coins and banknotes since the euro is the second most traded currency in the world. But let's provide a short overview, as it is the official Portuguese currency.
Currently, coins in circulation in Portugal come in denominations of €0.01, €0.02, €0.05, €0.10, €0.20, €0.50, €1, and €2. Every coin shares one common side with the numerical value of the coin and a map of the European Union, whereas the reverse side features a national design. In Portugal, the coins have the coat of arms, royal seals, and castles of Portugal.
Produced by the European Central Bank, the euro banknotes are homogenous throughout the eurozone. The banknotes are available in denominations: €5, €10, €20, €50, €100, €200, and €500.
Note that larger banknotes are difficult to use because many smaller businesses refuse to accept them. The €500 banknote is rare, so you likely won’t even come across it during your Portugal adventure.
Note: Euros can be traded across the entire eurozone regardless of their origin.
Portugal: a Cash-Centric Country
Whether you’re a tourist, collector, or expat, you’ll see cash money spent in Portugal. Although credit and debit cards are accepted, Portugal is a cash-centric country. That’s especially true for cities other than Lisbon and Porto.
How to Carry Cash in Portugal
Once in Portugal, it’s a good idea to keep smaller banknotes and coins with you. That’s particularly true for smaller cafés and shops, as you may have an issue when trying to pay with larger denominations.
It may be normal in the US to break large banknotes by making a small purchase, but it is uncommon in Portugal. If you have no other option, consider buying something at a busy restaurant or a chain store because they will be more likely to help you.
How to Get Cash in Portugal
Portugal has ATMs along the city streets, at the airport, and at banks. But try to avoid exchanging USD for euros at airport kiosks, as you are likely to get bad exchange rates. Smaller towns will also have several ATMs.
When visiting Portugal, keep an eye out for ATMs because regardless of where you go in the country, you’ll need cash. Depending on your home country and bank, you may never see a familiar ATM in Portugal, but there are options, such as Multibanco ATMs, that work like any ATM in the US.
And keep in mind that in Portugal, the standard ATM limit is typically €400 per day, but sometimes, an ATM may limit you to €200 per withdrawal. In that case, try making a second withdrawal to get the €400 limit.
How Much Money Do You Need in Portugal?
Consumer expenses in Portugal are considerably lower than in the US, UK, and other larger EU countries. Here are some of the prices you may encounter in Portugal:
€50 to €100 for a double room in a mid-range hotel
€1.50 to € 2.50 for a cup of coffee
€22 to €40 for a dinner at a nice restaurant
€3 to €8 for entry to a museum
€24 for a train ticket from Lisbon to Porto
Is It Safe to Carry Cash in Portugal?
Portugal is one of the safest countries in Europe and among the safest countries in the world. Since crime rates are low, pickpockets will likely be the only issue in popular tourist areas. That being said, as you would in any city, just keep an eye on your bag, and you’ll be fine.
3 Tips for Exchanging Money in Portugal
Discover the mid-market rate beforehand: The mid-market rate refers to the true exchange rate with no hidden fees. Before your trip, use an online currency converter to ensure you get a fair rate when exchanging Portuguese currency.
Choose to pay in Portuguese currency: ATMs offer to pay in your currency, causing you to pay more than you have to. That said, always choose to be charged in local currency when withdrawing from ATMs. This way, you will get the best rates available and reduce your expenses.
Don’t exchange currency at airports and hotels: Currency exchange desks at airports and hotels typically have the worst rates available and may charge hidden fees, so avoid this alternative if you want to save some money. You may also want to avoid shady exchange kiosks as there you might come across fake money.
Buy Portuguese Currency Before Your Trip
The euro, the second most traded currency in the world, has been the nominal Portuguese currency since the 1st of January, 1999. However, it only fully replaced the until-then Portuguese currency - the escudo - three years later, on the 28th of February, 2002.
One of the best ways to exchange dollars for euros is to do it before you even enter Portugal because this allows you to buy it at more competitive rates. And why not order your currency from the comfort of your home?
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https://www.gov.uk/eu-eea
|
en
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Countries in the EU and EEA
|
[] |
[] |
[] |
[
""
] | null |
[
"Government Digital Service"
] |
2014-01-23T16:31:20+00:00
|
The European Union (EU) and European Economic Area (EEA) - which countries are in the EU and EEA, the single market and free movement of goods, capital, services and people
|
en
|
/assets/static/favicon-f54816fc15997bd42cd90e4c50b896a1fc098c0c32957d4e5effbfa9f9b35e53.ico
|
GOV.UK
|
https://www.gov.uk/eu-eea
|
We use some essential cookies to make this website work.
We’d like to set additional cookies to understand how you use GOV.UK, remember your settings and improve government services.
We also use cookies set by other sites to help us deliver content from their services.
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8738
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dbpedia
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2
| 78
|
https://www.metmuseum.org/toah/hd/aftr/hd_aftr.htm
|
en
|
Trade Relations among European and African Nations
|
https://collectionapi.metmuseum.org/api/collection/v1/iiif/317821/662956/main-image
|
https://collectionapi.metmuseum.org/api/collection/v1/iiif/317821/662956/main-image
|
[
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[] |
[] |
[
""
] | null |
[
"Authors: Alexander Ives Bortolot"
] |
0001-01-01T00:00:00
|
Contrary to popular views about precolonial Africa, local manufacturers were at this time creating items of comparable, if not superior, quality to those from preindustrial Europe.
|
en
|
https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3
|
The Met’s Heilbrunn Timeline of Art History
| null |
Trade among European and African precolonial nations developed relatively recently in the economic history of the African continent. Prior to the European voyages of exploration in the fifteenth century, African rulers and merchants had established trade links with the Mediterranean world, western Asia, and the Indian Ocean region. Within the continent itself, local exchanges among adjacent peoples fit into a greater framework of long-range trade.
The merchants from Britain, France, Portugal, and the Netherlands who began trading along the Atlantic coast of Africa therefore encountered a well-established trading population regulated by savvy and experienced local rulers. European companies quickly developed mercantile ties with these indigenous powers and erected fortified “factories,” or warehouses, on coastal areas to store goods and defend their trading rights from foreign encroachment. Independent Portuguese merchants called lançados settled along the coasts and rivers of Africa from present-day Senegal to Angola, where they were absorbed into African society and served as middlemen between European and African traders (1991.17.31).
Those goods imported to Africa in greatest volume included cloth, iron and copper in raw and worked form, and cowry shells used by local populations as currency. Nonutilitarian items such as jewelry, beads, mechanical toys and curiosities, and alcohol also met a receptive audience. Catholic countries such as Portugal were, in theory at least, forbidden by papal injunction from selling items with potential military uses to non-Christians, although it is unclear how closely this order was followed in practice. In exchange for their wares, Europeans returned with textiles, carvings, spices, ivory, gum, and African slaves.
Contrary to popular views about precolonial Africa, local manufacturers were at this time creating items of comparable, if not superior, quality to those of preindustrial Europe. Due to advances in native forge technology, smiths in some regions of sub-Saharan Africa were producing steels of a better grade than those of their counterparts in Europe, and the highly developed West African textile workshops had produced fine cloths for export long before the arrival of European traders.
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1
| 95
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https://www.portugal.com/travel/frequently-asked-questions-about-portugal/
|
en
|
Frequently Asked Questions About Portugal
|
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2023-04-17T13:35:26+00:00
|
Whether you’re moving to Portugal, visiting the Southern European country, or just curiously looking for some fun facts, you came to the right place.
|
en
|
Portugal.com
|
https://www.portugal.com/travel/frequently-asked-questions-about-portugal/
|
Whether you’re moving to Portugal, visiting the Southern European country, or just curiously looking for some fun facts, you came to the right place. We’ve got you covered with the most frequently asked questions about Portugal.
Where is Portugal located?
(Mainland) Portugal is located in Southern European, more particularly on the southwest of the Iberian peninsula, bordering Spain. The Atlantic Ocean is present to the west and south of Portugal.
The Portuguese territory also includes two autonomous regions, Madeira and the Azores, in the Atlantic ocean. The archipelago of Madeira consists of the islands of Madeira and Porto Santo, as well as the island groups of Desertas and Selvagens.
The archipelago of the Azores consists of nine islands: Santa Maria, São Miguel, Terceira, Graciosa, São Jorge, Pico, Faial, Flores, and Corvo.
What is the capital of Portugal?
The capital of Portugal is Lisbon, one of the oldest cities in the world. Over 3 million people live in the Lisbon Metropolitan area, which includes 18 municipalities. This is the largest urban area in the country and the 10th largest in the European Union.
What language do they speak in Portugal?
In Portugal, the language spoken is Portuguese. However, only 5% of Portuguese speakers worldwide live in Portugal. In fact, over 215 million people around the world speak Portuguese, and it is the 6th most spoken language in the world. Portuguese is the official language in 9 countries in Europe, Asia, Africa, and South America due to the country’s colonial past.
Learning Portuguese can be quite difficult due to the verbs and grammar. Portuguese is one of the Romance languages like Italian and French so if you know one of these, it will be a huge advantage.
What is the currency of Portugal?
The currency of Portugal is the euro. The euro banknotes and coins were introduced in Portugal on 1 January 2002. Prior to that, Portugal’s currency was the escudo.
If you’re from the EU, you do not need to worry about exchange rates. If not, you can exchange cash at the airport, hotels, and “câmbio” shops.
It’s still important to carry cash when traveling to Portugal. Many small local restaurants will only accept cash, especially if you are only buying a coffee.
What time zone is Portugal in?
What is the Portuguese flag?
The Portuguese flag was designed in 1910, after the revolution that overthrew the monarchy and proclaimed a republic on October 5. The flag as we know it is divided vertically into two main colors, green and red. The green part is smaller. On the center of the flag, you will find a yellow armillary sphere and a red shield.
What is Portugal famous for?
Portugal is famous for a variety of topics from music and food to politics. Let’s take a look at some things Portugal is famous for.
Fado: In 2011, fado was added to the UNESCO Intangible Cultural Heritage Lists. Traced back to Lisbon in the 1820s, fado is a music genre with mournful tunes and lyrics, many times about the working class, missing someone, and sadness.
Cristiano Ronaldo: Born and bred in Madeira, Cristiano Ronaldo is the most famous person to come out of Portugal. Fun fact, he is also the most followed person on Instagram with 500+ million followers.
Port wine: Port wine is specific to the Douro region in the North of Portugal and was what made this region famous. It’s a fortified wine, usually a sweet red wine but also coming in dry, semi-dry, and white (and today, even rosé is available).
Blue tiles: Blue ceramic tiles from the 14th century decorate the streets, buildings, and monuments of Portuguese cities. They are so instrumental to Portuguese culture that since 2013, it’s been forbidden to demolish buildings with tile-covered façades in Lisbon to protect their cultural heritage.
Drug decriminalization: Portugal is often used as a model for the success of drug decriminalization. Portugal became the first country in the world to decriminalize all drugs on July 1, 2001. Drug trafficking remains a criminal offense. Today, Portugal has some of the lowest drug use rates in the European Union.
What is the weather like in Portugal?
Portugal is one of the warmest countries in Europe with a Mediterranean climate. It experiences mild temperatures all year round in most parts of the country, with over 300 days of sunshine annually.
However, despite its small size, Portugal experiences some variations in climate. Mainland Portugal has an average temperature of 10-12°C in the north and 16-18°C in the south, while Madeira and Azores tend to be wetter and hotter due to their location.
Portugal gets a good amount of sun, even in winter (December-February). The winter months are rainy but are quite pleasant in comparison to other European countries.
How far is Lisbon from Porto?
Porto is a 3-hour drive from Lisbon or a 3-hour train ride. If you take the cheaper way there which is a bus, this can take you around 4 hours.
Do they speak English in Portugal?
Portugal has many English speakers, with a third of the country’s population speaking the language fluently. The cities of Porto, Coimbra, Braga, and Lisbon have the best English speakers.
As a tourist, people do not expect you to know Portuguese. However, if you visit local restaurants in smaller cities and speak to older people, knowing some Portuguese is handy.
We recommend learning the basics such as olá (Hello), por favor (please), obrigada/o (thank you), and the classic não falo Português (I don’t speak Portuguese).
Is Portugal a safe country to visit?
Portugal is a safe country and one of the safest in the world. Portugal is a safe country for travel, as well as for living. Portugal takes 6th place in the Global Peace Index (out of 163) with an overall score of 1.300 (out of 5). The lower the score, the better.
The Global Peace Index ranked Portugal 1/5 concerning violent crime, which is low. The RASI reports that of all violent crimes in Portugal in 2021, there were only 85 cases of voluntary manslaughter.
Therefore, you won’t be at risk of violent crime if you are visiting. Nevertheless, there are still precautions everyone should take, such as looking after your belongings as pickpocketing is common in major cities.
What is the best time to visit Portugal?
You can visit Portugal all year round. However, if you are looking for a beach vacation, we recommend planning your trip between June and September which is the high season in Portugal. Spring has more moderate temperatures with sunny days and is the best time to visit for city vacations, as well as possible beach days (April/May).
What are the best beaches in Portugal?
Portugal has hundreds of kilometers of beaches, each unique to the region. Here are our 10 favorite beaches in Portugal:
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3
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https://en.wikipedia.org/wiki/Portuguese_escudo
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en
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Portuguese escudo
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https://en.wikipedia.org/wiki/Portuguese_escudo
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Currency of Portugal from 1911 to 2002
Portuguese escudoEscudo português (Portuguese)
25 escudo (1985), obverse25 escudo (1985), reverse
ISO 4217CodePTEUnitUnitEscudoPluralescudosSymbol (⟨$⟩ is used when double-barred cifrão is not available)DenominationsSuperunit 1000contoSubunit 1⁄100centavoPlural centavocentavosBanknotes Freq. used500 , 1,000 , 2,000 , 5,000 , 10,000 Rarely used100Coins Freq. used1 , 5 , 10 , 20 , 50 , 100 , 200 Rarely used2+1⁄2 , 25DemographicsUser(s)None, previously:
PortugalIssuanceCentral bankBanco de Portugal Websitewww .bportugal .ptMintImprensa Nacional-Casa da Moeda Websitewww .incm .ptValuationInflation2.8% (2000) Sourceworldpress.orgEU Exchange Rate Mechanism (ERM)Since19 June 1989Fixed rate since31 December 1998Replaced by euro, non cash1 January 1999Replaced by euro, cash1 January 20021 € =200.482 PTEThis infobox shows the latest status before this currency was rendered obsolete.
The Portuguese escudo was the currency of Portugal from 22 May 1911 until the introduction of the euro on 1 January 2002. The escudo was subdivided into 100 centavos. The word escudo literally means shield; like other coins with similar names, it depicts the coat of arms of the state.
Amounts in escudos were written as escudos centavos with the cifrão as the decimal separator (for example: 25 00 means 25.00 escudos, 100 50 means 100.50 escudos). Because of the conversion rate of 1,000 réis = 1 , three decimal places were initially used ( 1 = 1 000).
History
[edit]
The currency replaced by the escudo in 1911 was denominated in Portuguese reals (plural: réis) and milréis worth 1,000 réis. The milréis was equivalent to 2.0539 grams fine gold from 1688 to 1800, and 1.62585 g from 1854 to 1891. Gold escudos worth 1.6 milréis (or 1.600 ; not to be confused with the 20th-century currency) were issued from 1722 to 1800 in denominations of 1⁄2, 1, 2, 4 and 8 escudos.
The escudo (gold) was again introduced on 22 May 1911, after the 1910 Republican revolution, to replace the real at the rate of 1,000 réis to 1 escudo. The term mil réis (thousand réis) remained a colloquial synonym of escudo up to the 1990s. One million réis was called one conto de réis, or simply one conto. This expression passed on to the escudo, meaning one thousand escudos.
The escudo's value was initially set at 675 = 1 kg of gold. After 1914, the value of the escudo fell, being fixed in 1928 at 108.25 to £1 sterling. This was altered to 110 to £1 stg in 1931. A new rate of 27.50 escudos to the U.S. dollar was established in 1940, changing to 25 in 1940 and 28.75 in 1949.
During World War II, escudos were heavily sought after by Nazi Germany, through Swiss banks, as foreign currency to make purchases to Portugal and other neutral nations.[1]
Inflation throughout the 20th century made centavos essentially worthless by its end, with fractional value coins with values such as 50 centavos and 2+1⁄2 eventually withdrawn from circulation in the 1990s. With the entry of Portugal in the Eurozone, the conversion rate to the euro was set at 200.482 = €1.[2]
Territorial usage
[edit]
The escudo was used in the Portuguese mainland, the Azores and Madeira, with no distinction of coins or banknotes. In Portugal's African colonies, the escudo was generally used up to independence, in the form of Banco Nacional Ultramarino and Banco de Angola banknotes (rather than those of the Bank of Portugal used in Portugal proper), with Portuguese and in some cases local coins circulating alongside:
Angolan escudo
Cape Verdean escudo
Mozambican escudo
Portuguese Guinean escudo
São Tomé and Príncipe escudo
Of the above, only Cape Verde continues to use the escudo.
In Macau, the currency during the colonial period was, as it is today, the Macanese pataca.
Timor-Leste adopted the Portuguese Timorese escudo whilst still a Portuguese colony, having earlier used the Portuguese Timor pataca.
Portuguese India adopted the Portuguese Indian escudo for a brief time between 1958 and 1961 before Goa became a part of India; prior to that, it used the Portuguese Indian rupia.
Coins
[edit]
The mintage period for the various denominations of the gold escudo (worth 1.6 milréis or 1.600 ) introduced in 1722 was different: 1⁄2 escudo through 1821, 2 escudos through 1789, and 4 escudos through 1799. The eight-escudo coin was only struck between 1722 and 1730.
Between 1912 and 1916, silver 10, 20 and 50 centavos and 1 coins were issued. Bronze 1 and 2 centavos and cupro-nickel 4 centavo coins were issued between 1917 and 1922.
In 1920, bronze 5 centavos and cupro-nickel 10 and 20 centavo coins were introduced, followed, in 1924, by bronze 10 and 20 centavos and aluminium-bronze 50 centavos and 1 coins. Aluminium bronze was replaced with cupro-nickel in 1927.
In 1932, silver coins were introduced for 2+1⁄2 , 5 and 10 . The 2+1⁄2 and 5 were minted until 1951, with the 10 minted until 1955 with a reduced silver content. In 1963, cupro-nickel 2+1⁄2 and 5 were introduced, followed by aluminium 10, bronze 20 and 50 centavos and 1 in 1969. Cupro-nickel 10 and 25 were introduced in 1971 and 1977, respectively. In 1986, a new coinage was introduced which circulated until replacement by the euro. It consisted of nickel-brass 1 , 5 and 10 , cupro-nickel 20 and 50 , with bimetallic 100 and 200 introduced in 1989 and 1991.
Coins in circulation at the time of the changeover to the euro were:
1 (0.50 cent)
5 (2.49 cents)
10 (4.99 cents)
20 (9.98 cents)
50 (24.94 cents)
100 (49.88 cents)
200 (99.76 cents)
Coins ceased to be exchangeable for euros on December 31, 2002.
Coins of the Portuguese escudo Image Value Equivalent in euros Diameter Weight Thickness Material Obverse Reverse Dates of issue 1 0.50 cent 16 mm 1.69 g 1.2 mm Nickel-brass Coat of arms of Portugal and knot Stained glass window pattern 1986-2001 5 2.49 cents 21.1 mm 5.25 g 2 mm 10 4.99 cents 23.5 mm 7.5 g 2.3 mm 20 9.98 cents 26.5 mm 6.9 g 1.64 mm Copper-nickel Coat of arms of Portugal Nautical compass and the cross of the Military Order of Christ 50 24.94 cents 31 mm 9.41 g 1.65 mm Stylized ship and four fishes below 100 49.88 cents 25.5 mm 8.3 g 2.5 mm Bi-metallic coin (Aluminium-bronze center plug with a Copper-nickel outer ring) Pedro Nunes; text "EUROPA" 1989-2001 200 99.76 cents 28 mm 9.8 g 2.2 mm Bi-metallic coin (Copper-nickel center plug with an Aluminium-bronze outer ring) Garcia de Orta 1991-2001
Another name for the 50 centavos coin was coroa (crown). Long after the 50 centavos coins disappeared, people still called the 2+1⁄2 coins cinco coroas ("five crowns").
Also, people still referred to escudos at the time of the changeover in multiples of the older currency real (plural réis). Many people called the 2+1⁄2 coins dois e quinhentos (two and five-hundreds), referring to the correspondence 2+1⁄2 = 2500 réis. Tostão (plural tostões) is yet another multiple of real, with 1 tostão = 100 réis.
Banknotes
[edit]
The Casa da Moeda issued notes for 5, 10, and 20 centavos between 1917 and 1925 whilst, between 1913 and 1922, the Banco de Portugal introduced notes for 50 centavos, 1 , 2+1⁄2 , 5 , 10 , 20 , 50 , 100 , 500 and 1,000 . 50 centavos and 1 notes ceased production in 1920, followed by 2+1⁄2 , 5 and 10 in 1925 and 1926. 5,000 notes were introduced in 1942.
The last 20 and 50 notes were printed dated 1978 and 1980, respectively, with 100 notes being replaced by coins in 1989, the same year that the 10,000 note was introduced.
Banknotes in circulation at the time of the changeover to the euro were:
500 (€2.49)
1,000 (€4.99)
2,000 (€9.98)
5,000 (€24.94)
10,000 (€49.88)
The last series of escudo banknotes could be returned to the central bank Banco de Portugal and converted to euros until 28 February 2022.
Escudo banknotes celebrated notable figures from the history of Portugal. The final banknote series featured the Age of Discovery, with João de Barros, Pedro Álvares Cabral, Bartolomeu Dias, Vasco da Gama, and Henry the Navigator.
The last 100 banknote depicted Fernando Pessoa, the famous Portuguese writer and poet.
Banknotes of the Portuguese escudo (1995–2002 "Portuguese seafarers & explorers" Issue) Image Value Equivalent in Euros (€) Main color Obverse Reverse Watermark [1] 500 €2.49 Olive and Violet João de Barros Allegory of the Age of Discovery João de Barros [2] 1,000 €4.99 Brown and Purple Pedro Álvares Cabral Sailing ship, animals of Brazil Pedro Álvares Cabral [3] 2,000 €9.98 Blue and deep blue-green Bartolomeu Dias; Cruzado coin of Dom João II Sailing ship, compass card, map Bartolomeu Dias [4] 5,000 €24.94 Green and brown-violet Vasco da Gama Sailing ship, Vasco da Gama with authorities in Calicut Vasco de Gama [5] 10,000 €49.88 Red and dark brown Henry the Navigator (Infante Dom Henrique) Sailing ship Henry the Navigator (Infante Dom Henrique)
Colloquial expressions
[edit]
Conto was the unofficial multiple of the escudo: 1 conto meant 1,000 , 2 contos meant 2,000 and so on. The original expression was conto de réis, which means 'one count of réis' and referred to one million réis. Since the escudo was worth 1,000 réis (the older currency), therefore one conto was the same as a thousand escudos. The expression remained in usage after the advent of the euro, albeit less often, meaning €5, roughly worth 1,000 .
Occasionally paus, literally meaning 'sticks', was also used to refer to the escudo ("Tens mil paus?" – 'Do you have 1,000 escudos/sticks?'). During the move from escudos to euros the Portuguese had a joke saying that they had lost three currencies: the escudo, the conto, and the pau.
See also
[edit]
Portuguese euro coins
Economy of Portugal
Economic history of Portugal
Notes
[edit]
^ 1999 by law, 2002 de facto.
References
[edit]
Sources
[edit]
Cuhaj, George S., ed. (2009). Standard Catalog of World Gold Coins 1601–present (6 ed.). Krause. ISBN 978-1-4402-0424-1.
Cuhaj, George S., ed. (2013). Standard Catalog of World Coins 1701–1800 (6 ed.). Krause. ISBN 978-1-4402-3884-0.
Overview of the Portuguese escudo from the BBC
Portuguese escudo coins
Historical banknotes from Portugal (in English and German)
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What's the Currency in Portugal?
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Planning a trip to Portugal? Learn what is the currency in Portugal: All about the Euro in 2024 with tips and methods for saving while spending money on your trip.
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Advertiser disclosure
Links on this page, including products and brands featured on ‘Sponsored’ content, may earn us an affiliate commission. This does not affect the opinions and recommendations of our editors.
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The currency in Portugal is the euro. As the official legal tender in Portugal, the euro is officially recognized by the Portuguese government, meaning you can use it to settle all financial obligations in the country, including paying for goods, services, taxes, and debts.
Besides the euro, no other currency is officially accepted in Portugal, although major currencies like US dollars and pounds can easily be exchanged for euros at bureaux de change in tourist centres like Lisbon and Porto.
There are a couple of reasons why you might be interested to find out the currency in Portugal. Click on the reason that best applies to you below to find out more:
I'm travelling to Portugal
I'm sending money to Portugal
I want to follow the euro exchange rate
I'm just curious
Travelling to Portugal
With its different currency, banking system, and money customs, figuring out the best way to pay in Portugal if you travel there can be tricky. Fortunately, many forms of payments have become ubiquitous around the globe, including:
Credit cards: Cards from VISA and Mastercard are accepted in Portugal, especially in touristy establishments.
Debit cards: Debit cards linked to your bank account let you make purchases at point-of-sale terminals and withdraw cash.
Cash: Having some euro banknotes could help for small purchases, tipping, and emergencies. You can typically exchange currency at a bank or exchange bureau before or upon arrival.
Mobile payments: Mobile payment services like Apple Pay, Google Pay, or Alipay are an increasingly popular way to pay, but you'll need to check beforehand how available these methods are in Portugal.
Prepaid travel cards: A reloadable debit card with a euro balance can give you good value, security, and convenience.
Of these methods, using a prepaid travel card is almost always the best way to pay in Portugal because they generally incur lower fees on euro currency exchange than credit cards or bank debit cards do. Moreover, many prepaid travel cards let you hold multi-currency balances, allowing you to dodge DCCs and other sneaky fees while travelling — all while providing the same level of security and convenience as you're used to from your credit or debit card!
Depending on where you're from, you may be able to find a prepaid travel card from your bank. Still, we recommend using a global provider like Revolut because it offers excellent exchange rates, multi-currency balances, and a travel debit card that allows you to spend on your holiday like a local and enjoy peace of mind after each tap, swipe, or cash withdrawal.
Revolut is only available in the United States, the United Kingdom, the EU/EEA, Australia, Japan, Singapore, Azerbaijan, Sri Lanka, Brazil, and Chile. If you live in Canada or New Zealand, the Wise Account is another excellent option to consider. If you're from any other country, we recommend checking out what multi-currency cards are available in your country or whether your bank offers any similar products.
Sending Money to Portugal
Every year, many people send money to Portugal for all kinds of reasons. These include supporting friends or family, paying for someone's tuition, settling business transactions, purchasing or upgrading property, and many others. If you want to send an international money transfer to a euro bank account in Portugal, then you should be aware of the high fees and exchange rates that go along with global money transfers with your international bank (these fees often constitute more than 10% of your transfer amount — you can read all about this in our dedicated explainer here).
Fortunately, international money transfers are a competitive market with many trustworthy alternative providers jostling to offer you the best exchange rates (rates which almost always far outdo those you'll find at the bank!). However, because the cheapest provider to send money abroad differs depending on factors such as where you're sending from, the amount you're sending, the payment method and others, we recommend skipping the hassle and finding the cheapest provider in real time with Monito's live comparison tool below 👇
Find the best deal when sending money to Portugal:
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Euro Exchange Rates
The euro is one of around 180 currencies worldwide. This means that the euro trades against all other official currencies around the globe, giving us exchange rates: a measure of how much of one currency we can exchange for another.
Exchange rates can fluctuate over time due to various economic, political, and market factors. A higher exchange rate means that the value of one currency has increased compared to another, while a lower exchange rate means the opposite. Exchange rates are essential when travelling to, buying goods and services from, or sending money to Portugal.
With Monito's currency pages, you can follow the live exchange rate to the euro, see which providers offer the best deals, and set up smart email alerts to follow fluctuations:
You can also use the above tool to enter your currency to see its exchange rate with the euro or set up email alerts to be notified when the exchange rate passes a certain value.
Key Facts About the Euro
Currencies and foreign money can be interesting, unique, fun to learn about because they offer a glimpse into a country's culture, history, and economics. If you're just curious the euro and how it's used as the currency of Portugal, here are a few key facts:
Portugal Currency Name
Euro
Portugal Currency ISO Code
EUR
Currency Symbol
€
Banknote Denominations
€5, €10, €20, €50, €100, €200, €500
Minor Unit
Cent
Central Bank
ECB
Portuguese Currency Since
1999
Alternative Currencies
None
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Portugal International Travel Information
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Portugal international travel information and Travel Advisory
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Contact the embassy of Portugal at 202-350-5400 for the most current visa information.
Portugal is a party to the Schengen Agreement and part of the European Union.
Traveling Through Europe: If you are planning to visit or travel through European countries, you should be familiar with the requirements of the Schengen Agreement.
U.S. citizens may enter Portugal for up to 90 days for tourism or business without a visa.
Your passport should be valid for at least three months beyond the period of stay. If you plan on transiting a Schengen country, review our U.S. Travelers in Europe page.
You will need sufficient proof of funds and a return plane ticket.
For information about visas for the Schengen area, see the Schengen Visa page.
If you are not staying in a hotel or a similar tourist accommodation, you are required to register your presence in Portugal with the Portuguese Immigration Service (SEF) within three working days of entering Portugal. You must download a declaration of entry form (declaracão de entrada) from SEF's website and personally submit it to the nearest SEF office within three business days of entry. Failure to comply with these requirements will result in an administrative offense punishable with a fine from €60 to €160.
Under Portuguese Immigration law, foreign minors under 18 years of age entering or exiting Portugal must possess an authorization letter of parental consent to travel, if travelling with adults other than their parent(s) or legal guardian. The document must be signed and dated, with the signature(s) certified by a notary. The letter of parental consent to travel must include the dates and reason for travel and the details about the adult responsible for the child. More information here.
Find additional information on traveling with minors on the Portuguese Immigration Service webpage.
HIV/AIDS Restrictions: The U.S. Department of State is unaware of any HIV/AIDS entry restrictions for visitors to or foreign residents of Portugal.
Find information on dual nationality, prevention of international child abduction and customs regulations on our websites.
Credible information indicates terrorist groups continue plotting possible near-term attacks in Europe. All European countries, including Portugal, remain potentially vulnerable to attacks from transnational terrorist organizations. U.S. citizens are reminded to remain vigilant with regard to their personal security.
Crime: Crimes of opportunity, such as pickpocketing and purse snatching, particularly at popular tourist sites, restaurants, and on public transportation, are common. Pickpockets take advantage of crowds getting on and off all forms of public transportation, such as the popular Tram 28, using the jostling of the crowd as a distraction. Avoid standing near the doors on public transportation, as thieves will often strike just as the train/bus doors open and then dash onto the platform and disappear into the crowd.
Safeguard your passport and identity documents when traveling throughout Portugal. Foreigners who arrive in Portugal without a valid passport will not be permitted to enter and will be returned to their point of origin.
Be aware of your surroundings and take personal security measures to stay safe. Thefts of backpacks, electronics and luggage occur regularly. Do not leave valuables in rental cars, especially those with stickers identifying the vehicle as a rental car. Tourists are frequent victims of petty crime/car break-ins.
Avoid using automatic teller machines (ATMs) in isolated or poorly lit areas. Use the buddy system and indoor bank ATMs when possible. Leave extra cash, credit cards, and personal documents at home or in a hotel safe.
Keep doors and windows of private rentals locked at all times, taking extra care if easily accessed from the street or other places.
Illicit drug transactions increase at night, and travelers are often approached by drug dealers in the downtown area of Lisbon, especially near the bars and restaurants. Some travelers have reported incidents in which criminals used drugs to assault or rob them. Use caution when accepting open drinks at bars or clubs, and do not leave drinks unattended.
Always use a taxi from the queue or kiosk. Do not go with someone who walks up to you and offers a ride. If you have called a ride sharing service such as Uber, confirm that the car information in the App matches the vehicle you are entering.
Tourists should not leave personal items or valuables unattended while at the beach.
Reports of thefts from rental homes and online rental apartments have increased. Secure belongings and lock windows while away or sleeping.
Demonstrations occur in Portugal. They may take place in response to political or economic issues, on politically significant holidays, and during international events.
Even demonstrations intended to be peaceful can turn confrontational and possibly become violent.
Avoid areas around protests and demonstrations.
Check local media for updates and traffic advisories.
International Financial Scams: See the Department of State and the FBI pages for information.
Victims of Crime: Local authorities are responsible for investigating and prosecuting crimes. Report crimes to the local police at 112 (National Emergency Number) and contact the U.S. Embassy at +(351) (21) 770-2122 or the emergency after-hours telephone: +(351) (21)-770-2122 or +(351) (21) 727-3300.
U.S. citizen victims of sexual assault should seek medical attention if needed and are encouraged to contact the U.S. Embassy for assistance.
For social welfare emergencies such as domestic violence or child abuse, dial the National Social Emergency Line - 144. English-speaking operators are available.
See our webpage on help for U.S. victims of crime overseas.
We can:
help you find appropriate medical care
assist you in reporting a crime to the police
contact relatives or friends with your written consent
explain the local criminal justice process in general terms
provide a list of local attorneys
provide information on victim’s compensation programs in the United States
provide information about a Portuguese victim assistance program, administered through an organization known by its acronym “APAV”
provide an emergency loan for repatriation to the United States and/or limited medical support in cases of destitution
help you find accommodation and arrange flights home
replace a stolen or lost passport
Domestic Violence: U.S. citizen victims of domestic violence may contact the Embassy for assistance. Additionally, Portugal has an “SOS” immigrant line with English-speaking operators who are ready to help you in case of emergency. You may contact them at +351 808 257 257 between the hours of 8:30 a.m. and 8:30 p.m.
Tourism: The tourism industry is generally regulated and rules regarding best practices and safety inspections are regularly enforced. Hazardous areas/activities are identified with appropriate signage, and professional staff is typically on hand in support of organized activities. In the event of an injury, appropriate medical treatment is widely available throughout the country. Outside of a major metropolitan center, it may take more time for first responders and medical professionals to stabilize a patient and provide life-saving assistance. U.S. citizens are encouraged to purchase medical evacuation insurance.
Natural Disasters: In the event of a natural disaster or other widespread emergency, travelers can monitor the Portuguese Civil Protection Authority’s website at Prociv.pt for the latest information. All U.S. citizens living or traveling in Portugal should also monitor local news reports, follow directions from local officials, and take appropriate action needed. Additionally, information about areas in Portugal impacted by any events can be found at: http://www.prociv.pt/en-us/SITUACAOOPERACIONAL/Pages/ocorrenciassignificativas.aspx.
We recommend all Americans enroll in the Smart Traveler Enrollment Program (STEP) to receive security messages, alerts, and make it easier to locate you in an emergency.
Criminal Penalties: You are subject to local laws. If you violate local laws, even unknowingly, you may be expelled, arrested, or imprisoned.
Filming and photographing the police or military and certain buildings in Portugal is illegal and could lead to arrest or detention.
Driving under the influence of drugs or alcohol could land you in jail.
Possession and/or use of narcotics and illegal drugs can result in fines, administrative penalties, mandatory drug treatment, criminal punishment, or prison, depending on type, quantity and usage.
Penalties for trafficking illegal drugs are severe. Offenders can expect long jail sentences.
Pepper spray is illegal and will be confiscated. Persons carrying it are subject to fines or prison.
Possession of unlicensed metal detectors is strictly forbidden, and persons caught with them are subject to fines.
Individuals establishing a business or practicing a profession that requires additional permits or licensing should seek information from the competent local authorities prior to practicing or operating a business.
Furthermore, some U.S. laws allow criminal prosecution in the United States, regardless of where the crime was committed. For examples, see our website on crimes against minors abroad and the Department of Justice website.
Arrest Notification: If you are arrested or detained, ask police or prison officials to notify the U.S. Embassy immediately. Your U.S. passport will not help you avoid arrest or prosecution.
See our webpage for further information.
Faith-Based Travelers: See our following webpages for details:
Faith-Based Travel Information
International Religious Freedom Report – see country reports
Human Rights Report – see country reports
Hajj Fact Sheet for Travelers
Best Practices for Volunteering Abroad
LGBTI Travelers: There are no legal restrictions on same-sex sexual relations or the organization of LGBTI events in Portugal. See our LGBTI Travel Information page and section 6 of our Human Rights report for further details.
Travelers Who Require Accessibility Assistance: General information on accessibility and accommodations is available on the website of the Portuguese Tourism Board.
Driving: You can drive with your U.S.-issued driver’s license for up to six months. Please note that many highways require a toll for use. Highway tolls in Portugal can be confusing, please visit https://www.portugaltolls.com/en for more information.
Public transportation: Public transportation, in general, has specially reserved seats for individuals with disabilities, but some vehicles may not be equipped to load and secure wheelchairs mechanically.
Trains: The State Railway Operator, Caminhos de Ferro Portugueses (also known as CP – Combóios de Portugal), has a free service called “integrated mobility service” (SIM), mainly aimed at reduced mobility customers. English-speaking customer service representatives can be reached by phone at + 351 808 100 746 (to request SIM Service) or (+351) 707 210 746 (reduced mobility passengers can request information about various concerns, 24 hours a day). SIM staff provides train and station accessibility, assistance with boarding/exiting or during the train ride, and assistance with trip planning. Some train stations are equipped with elevators. Requests for information or assistance must be made at least 48 hours before travel. For additional information, please visit Caminhos de Ferro Portugueses’ page for Special Needs Customers.
Subway (Metro): Thirty-one of Lisbon Metro’s 52 stations offer full accessibility to people with disabilities. Elevators and moving walkways at main stations provide access from the platform to street level, as well as payment machines adapted for passengers with disabilities and/or visual impairment. Passengers with visual disabilities can travel with their guide dogs as long as their service animals are leashed and muzzled. Check Lisbon Metro’s website for more information. Porto’s new metro system provides system-wide accessibility for passengers with a network of elevators, ramps, and spaces for wheelchairs onboard metro cars. Check Porto Metro’s website for more information about accessibility.
Airports: All Portuguese airports provide wheelchairs and bathrooms to accommodate persons with disabilities.
Parking: Designated parking with a wheelchair symbol is available in most supermarkets and commercial centers. The National Help Line for the Disabled (Linha Nacional de Apoio à Deficiência) can be reached by phone at +351 21 795-9545 (10 a.m.-12:30 p.m. and 2 p.m. – 5 p.m., Monday – Friday). Assistance is only available in Portuguese.
Students: See our Students Abroad page and FBI travel tips.
Women Travelers: See our travel tips for Women Travelers.
For emergency services in Portugal, dial 112. Ambulance services are widely available, but training and availability of emergency responders may be below U.S. standards.
The U.S. government does not pay medical bills. Be aware that U.S. Medicare does not apply overseas. Most hospitals and doctors overseas do not accept U.S. health insurance.
Good medical care is available, but facilities may be limited outside urban areas. Public hospitals offer services at costs lower than private hospitals.
Payment is expected upon admission at private hospitals.
Call the national emergency response for an ambulance at 112 for life-threatening emergencies.
Medical Insurance: Make sure your health insurance plan provides coverage overseas. Most care providers overseas only accept cash payments. See our webpage for more information on insurance coverage overseas. We strongly recommend supplemental insurance to cover medical evacuation.
If traveling with prescription medication, check with the Government of Portugal to ensure the medication is legal in Portugal. Always carry your prescription medication in original packaging with your doctor’s prescription. Portuguese law prohibits the mailing of prescription medicines from the United States to Portugal. Any prescription medications mailed to Portugal will be impounded by the Portuguese customs office.
You should bring a sufficient supply of medication with you to cover your anticipated stay in Portugal, along with a copy of your physician's prescription. Portuguese pharmacies generally carry equivalent medications to those found in the United States; however, they may be sold under a different brand name, may not be available in the same dosage, or may require a prescription from a local doctor.
Vaccinations: Be up-to-date on all vaccinations recommended by the U.S. Centers for Disease Control and Prevention.
Further health information:
World Health Organization
U.S. Centers for Disease Control and Prevention (CDC)
Air Quality: Visit AirNow Department of State for information on air quality at U.S. Embassies and Consulates.
The U.S. Embassy maintains a list of doctors and hospitals for Medical Assistance. We do not endorse or recommend any specific medical provider or clinic.
Road Conditions and Safety: While Portugal has significantly expanded its motorway network with well-constructed roads that decreased the total number of accidents and fatalities, its road-accident fatality rate is still high. Use caution when driving, as aggressive driving habits and high speeds pose special hazards. Use appropriate care and caution while on the roadways, practice safe driving habits, and adhere to the applicable speed limits.
Traffic Laws: It is against the law to speed, drive while under the influence of alcohol or drugs, or use a mobile phone while driving. Fines for traffic offenses are substantial.
Seatbelts are mandatory for drivers and all passengers. Small children must be in a child safety seat in the rear seat with seatbelts fastened.
Portuguese law requires you to leave your vehicle where it is and immediately notify the police when involved in a traffic accident. The national emergency phone number 112.
Police in Portugal have the authority to fine on-the-spot and most of their vehicles have portable payment machines to facilitate immediate payment.
You may drive with a valid U.S. driver's license for up to six months. For international driving permits, please contact AAA or the National Auto Club.
Public Transportation: Taxis and prominent ride-sharing services such as Uber are a reliable means of transportation. Refer to the crime section of this page to alert yourself to other threats related to taxis and ride-sharing services. Bus service is also reliable.
In the Azores, driving can be challenging due to narrow cobblestone streets, blind curves, blind corners, and livestock on country roads. Public buses are inexpensive. Bus services begin at 7 a.m. and generally operate until 8 p.m., depending on the destination.
See our Road Safety page for more information. Visit the website of Portugal’s national tourist office and the national authority responsible for road safety.
Aviation Safety Oversight:
The U.S. Federal Aviation Administration (FAA) has assessed that the government of Portugal’s Civil Aviation Authority is in compliance with International Civil Aviation Organization (ICAO) aviation safety standards for oversight of Portugal’s air carrier operations. Further information may be found on the FAA’s safety assessment page.
Maritime Travel: Mariners planning travel to Portugal should also check for U.S. maritime advisories and alerts. Information may also be available on the U.S. Coast Guard homeport website and the National Geospatial-Intelligence Agency broadcast warnings.
Fact Sheet
Please see Fact Sheet for Portugal here.
For additional travel information
Enroll in the Smart Traveler Enrollment Program (STEP) to receive security messages and make it easier to locate you in an emergency.
Call us in Washington, D.C. at 1-888-407-4747 (toll-free in the United States and Canada) or 1-202-501-4444 (from all other countries) from 8:00 a.m. to 8:00 p.m., Eastern Standard Time, Monday through Friday (except U.S. federal holidays).
See the State Department’s travel website for the Worldwide Caution and Travel Advisories.
Follow us on Twitter and Facebook.
See traveling safely abroad for useful travel tips.
International Parental Child Abduction
Review information about International Parental Child Abduction in Portugal. For additional IPCA-related information, please see the International Child Abduction Prevention and Return Act (ICAPRA) report.
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] |
[] |
[] |
[
""
] | null |
[] | null |
So veranlassen Sie Auszahlungen in Währungen, die sich von Ihrer Hauptwährung unterscheiden.
|
de
|
https://docs.stripe.com/payouts/alternative-currencies?locale=de-DE
|
Auszahlungen in der Hauptwährung und in alternativen Währungen
Unternehmen, die international tätig sind und Zahlungen in mehreren Währungen auszahlen und abwickeln, können über Stripe zusätzlich zu Ihrer Hauptwährung und Ihrer inländischen Bank auch Auszahlungen in alternativen Währungen und anderen Ländern annehmen.
Beispiele:
Die Hauptwährung für Stripe-Konten in Frankreich ist EUR. Alle anderen Währungen gelten als alternative Währungen.
Die Hauptwährung für Stripe-Konten in Hongkong ist HKD. Alle anderen Währungen gelten als alternative Währungen.
Alternative Auszahlungswährungen
Bei Stripe handelt es sich um eine Inlandsauszahlung, wenn Sie auf ein Bankkonto auszahlen, das sich in demselben Land wie Ihr Stripe-Konto befindet. Sie können Inlandsauszahlungen in der Hauptwährung eines Stripe-Kontos oder einer alternativen Währung veranlassen. Beispiel: Wenn Sie von einem Konto in Frankreich auf ein Bankkonto in Frankreich in EUR auszahlen, handelt es sich um eine Inlandsauszahlung in der Hauptwährung. Wenn Sie jedoch eine Auszahlung in einer anderen Währung auf dasselbe Bankkonto in Frankreich vornehmen, handelt es sich um eine Inlandsauszahlung in einer alternativen Währung.
Auszahlungen können auch auf bestimmte ausländische Bankkonten in der Landeswährung des Kontos vorgenommen werden. Hierbei können Gebühren anfallen. Wenn Sie beispielsweise von einem in Frankreich ansässigen Konto US-Dollar auf ein in den USA ansässiges Bankkonto auszahlen, fallen für die ausländische Auszahlung die unten aufgeführten Gebühren an.
Wenn Alternativwährungen eingerichtet sind, erleichtert dies Lieferantenzahlungen, Rückerstattungen und vieles mehr in bis zu 18 verschiedenen Währungen. Denn Sie müssen keine Beträge mehr umrechnen oder Drittanbieter hinzuziehen.
Auszahlungen in bestimmten Alternativwährungen sind für Unternehmen aus Hongkong, Singapur, Australien und Europa (einschl. UK) möglich.
Wenn Ihr Unternehmen in einem anderen Land ansässig ist, in dem Auszahlungen in anderen Währungen derzeit nicht möglich sind, können Sie uns gerne kontaktieren.
Einrichten Ihres Bankkontos für Auszahlungen in alternativen Währungen
Um Auszahlungen in anderen Währungen anbieten zu können, richten Sie zunächst im Dashboard Währungen und Bankkonten ein.
Wählen Sie in den Auszahlungseinstellungen zunächst die Abrechnungswährung aus, in der Sie Ihr Geld erhalten möchten. Betätigen Sie dazu die Schaltfläche Währungen verwalten.
Die Abrechnungswährung ist die Währung Ihres Bankkontos. Um ein Konto für diese Währung hinzuzufügen, müssen Sie zunächst eine Abrechnungswährung festlegen. Erst dann können Sie die aufgelaufenen Beträge entgegennehmen.
Wenn Sie eine Abrechnungswährung auswählen, ohne ein Bankkonto für diese Währung einzutragen, verbleiben die Gelder in der Alternativwährung so lange auf Ihrem Konto, bis ein entsprechendes Bankkonto eingerichtet wird. Entfernen Sie dagegen ein Bankkonto aus Ihrem Dashboard, bleibt die Abrechnungswährung bestehen und Sie können weiterhin Gelder in dieser Währung ansammeln. Wenn Sie dies nicht mehr wünschen, deaktivieren Sie einfach die entsprechende Abrechnungswährung.
Auszahlungen in der Transaktionswährung
Falls sich die dargestellte Währung von einer Ihrer Abrechnungswährungen, also den Währungen, die von Ihren Bankkonten oder Ihren Debitkarten akzeptiert werden, unterscheidet, rechnen wir die Zahlung vor der Übertragung der Gelder automatisch in Ihre Standard-Abrechnungswährung um. Weitere Informationen finden Sie unter Währungsumrechnungen.
Verbundene Konten
Sie können Ihren verbundenen Konten in Ihren Connect-Einstellungen über den Schalter unter „Auszahlungen in alternativen Währungen“ in Ihren Connect-Auszahlungseisntellungen die Auszahlung in alternativen Währungen ermöglichen.
Auszahlungsgebühren und Mindestauszahlungsbetrag für Auszahlungen in alternativen Währungen
|
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8738
|
dbpedia
|
0
| 98
|
https://currency-history.info/history-of-portuguese-escudo/
|
en
|
History of Portuguese escudo
|
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[
"portuguese escudo",
"escudo",
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[
"admin",
"https://currency-history.info/history-of-portuguese-escudo/#author"
] |
2014-08-24T11:58:58+03:00
|
The escudo was the currency of Portugal prior to the introduction of the Euro on 1 January 1999 and its removal from circulation ...
|
en
|
Currency History | Worldwide currencies history
|
https://currency-history.info/history-of-portuguese-escudo/
|
The escudo was the currency of Portugal prior to the introduction of the Euro on 1 January 1999 and its removal from circulation on 28 February 2002. The escudo was subdivided into 100 centavos.
A mounts in escudos were written as escudos$centavos with the cifrão as the decimal separator (e.g. 25$00 means 25 escudos, 100$50 means 100 escudos and 50 centavos). Because of the conversion rate of 1000 réis = 1 escudo, three decimal places were initially used (1 escudo = 1$000).
The escudo was introduced on 22 May 1911, after the 1910 Republican revolution, to replace the real at the rate of 1,000 réis to 1 escudo. The term mil réis (thousand réis) remained a colloquial synonym of escudo up to the 1990s. One million réis was called one conto de réis, or simply one conto. This expression passed on to the escudo, meaning 1,000 escudos.
The escudo’s value was initially set at 4$50 escudos = 1 pound sterling. After 1914, the value of the escudo fell, being fixed in 1928 at 108$25 to the pound. This was altered to 110$00 escudos to the pound in 1931. A new rate of 27$50 escudos to the U.S. dollar was established in 1940, changing to 25$00 in 1940 and 28$75 in 1949.
Inflation throughout the 20th century made centavos essentially worthless by its end, with fractional value coins with values such as $50 or 2$50 eventually withdrawn from circulation in the 1990s. With the entry of Portugal in the Eurozone, the conversion rate to the euro was set at 200$482 escudos to €1.
|
|||||
8738
|
dbpedia
|
1
| 40
|
https://coinmill.com/PTE_calculator.html
|
en
|
Calculator for Portuguese Escudos (PTE) Currency Exchange Rate Conversion
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Convert money in Portuguese Escudo (PTE) to and from foreign currencies using up to date exchange rates.
|
en
|
data:image/png;base64,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
|
https://coinmill.com/PTE_calculator.html
|
This currency convertor is up to date with exchange rates from May 26, 2024.
Enter the amount to be converted in the box to the left of the currency and press the "convert" button. To show Portuguese Escudos and just one other currency click on any other currency.
The Portuguese Escudo is the currency in Portugal (PT, PRT). The exchange rate for the Portuguese Escudo was last updated on May 23, 2024 from The International Monetary Fund. The PTE conversion factor has 6 significant digits.
|
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8738
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dbpedia
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2
| 15
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https://www.investopedia.com/articles/investing/050515/why-these-european-countries-dont-use-euro.asp
|
en
|
Why These European Countries Don't Use the Euro
|
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[] |
[
""
] | null |
[
"Shobhit Seth"
] |
2015-05-05T15:43:00-04:00
|
The euro is a common currency of the European Union but six member countries don’t use the euro currency and one more has negotiated an opt-out as of 2024.
|
en
|
/favicon.ico
|
Investopedia
|
https://www.investopedia.com/articles/investing/050515/why-these-european-countries-dont-use-euro.asp
|
The formation of the European Union (EU) paved the way for a unified, multi-country financial system under a single currency: the euro. Most EU member nations agreed to adopt the euro but a few have decided to stick with their legacy currencies.
Understanding the European Union
There are 27 nations in the European Union as of 2024. Six of these countries are not in the Eurozone, the unified monetary system that uses the euro. Denmark is legally exempt from adopting the euro because it negotiated an opt-out with the European Union. All other EU countries must enter the Eurozone after meeting certain criteria but they do have the right to put off meeting the Eurozone criteria and postpone their adoption of the euro.
EU nations are diverse in culture, climate, population, and economy. Nations have different financial needs and challenges to address. The common currency imposes a system of central monetary policy that's applied uniformly. The problem is that what’s good for the economy of one EU nation may be terrible for another.
Drafting Monetary Policies
The European Central Bank (ECB) sets the economic and monetary policies for all Eurozone nations. There's no independence for an individual state to craft policies tailored to its own conditions.
The UK used to be an EU member. It may have managed to recover from the 2007-2008 financial crisis by cutting domestic interest rates beginning in October of 2008 and by initiating a quantitative easing program in March of 2009.
The European Central Bank waited until 2015 to start its quantitative easing program creating money to buy government bonds to spur the economy.
Handling Country-Specific Issues
Every economy has its own challenges. Greece has a high sensitivity to interest rate changes because a lot of its mortgages have historically applied a variable interest rate rather than a fixed interest rate. The country doesn't have sufficient independence to manage interest rates to most benefit its people and economy because it's bound by European Central Bank regulations.
The UK economy is also very sensitive to interest rate changes but it was able to keep interest rates low through its central bank, the Bank of England, because it's a non-Eurozone country.
Lender of Last Resort
A country’s economy is highly sensitive to Treasury bond yields. Non-euro countries have the advantage here. They have their independent central banks which can act as the lender of last resort for the country’s debt. These central banks start buying bonds in the case of rising bond yields and increase liquidity in the markets.
Eurozone countries have the ECB as their central bank but the ECB doesn't buy member-nation-specific bonds in such situations. Countries like Italy have faced major challenges due to increased bond yields as a result.
Inflation-Controlling Measures
Increasing interest rates is an effective response to rising inflation. Non-euro countries can do this through the monetary policies of their independent regulators. Eurozone countries don’t always have this option.
The European Central Bank raised interest rates fearing high inflation in Germany following the economic crisis. The move helped Germany but other Eurozone nations such as Italy and Greece suffered under the high-interest rates.
Currency Devaluation
Nations can face economic challenges due to periodic cycles of high inflation, high wages, reduced exports, or reduced industrial production. Such situations can be efficiently handled by devaluing the nation’s currency. This makes exports cheaper and more competitive and it encourages foreign investments.
Non-euro countries can devalue their respective currencies as necessary but the Eurozone can't independently change euro valuation. It affects 19 other countries and is controlled by the European Central Bank.
The Bottom Line
Eurozone nations thrived under the euro at first. The common currency brought with it the elimination of exchange rate volatility and associated costs, easy access to a large and monetarily unified European market, and price transparency.
But the financial crisis of 2007-2008 exposed some euro pitfalls. Some Eurozone economies suffered more than others. These countries could not set monetary policies to best foster their recoveries due to their lack of economic independence. The future of the euro will depend on how EU policies evolve to address the monetary challenges of individual nations under a single monetary policy.
|
||||
8738
|
dbpedia
|
1
| 2
|
https://script.byu.edu/portuguese-handwriting/tools/currency
|
en
|
Portuguese: Currency
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en
|
/apple-touch-icon.png
|
Script Tutorial
|
https://script.byu.edu/portuguese-handwriting/tools/currency
|
As you are going through old documents, it can be useful to have a basic understanding of what types of currency were being used during different time periods.
1139-1433 A.D.
The first currency of Portugal was the Portuguese Dinheiro issued by the first King of Portugal; Dom Afonso Henriques. D. Afonso Henriques also issued denominations of half a Dinheiro called Mealha sometime after 1179. Like many other medieval kingdoms of the time, the currency mirrored the older Roman system, and thus twelve Dinheiros equaled one Italian Soldo, and twenty Soldos equaled one Libra.
Around 1200, the second king, Dom Sancho I, introduced the gold Morabitino, which was worth fifteen Soldos. About a decade later, the sixth king, Dom Dinis I, introduced the silver Tornês, which was worth 5,1/2 Soldos. In 1380 King Fernando I introduced several new coins: the gold Dobra (=6 Libras), the silver Real (=10 Soldos), and several billion denominations such as the Pilarte (=7 Dinheros).
It is important to note that in this period, it was difficult to standardize a type of currency like today and, therefore, many other forms of currency circulated alongside the Dinheiro. These include the Byzantine Siliquae, the Moorish Dirhem & Dinar, the Spanish Dinero, among others.
1433-1911 A.D.
In 1433 the Dinheiro was officially replaced by the Portugues Real (plural: réis or archaic reais), which was introduced by King Fernando I and was used until 1911 at a rate of 1 Real to 840 Dinheiros. During the reign of João II (1455-1495), the Cruzado was introduced at an initial value of 324 Réis, but its value changed over time. There was also the Vintém (=20 réis) and the Tostão (=100 réis). There were also different coins and banknotes issued in Réis for use in other parts of the Portuguese Empire, of which Brazil still uses the Real as its present currency.
1911-1999 A.D.
Due to the 1910 Republican Revolution, the Portuguese Escudo replaced the Real in Portugal are a rate of 1000 Réis to 1 Escudo. This was further subdivided into 100 Centavos.
The Escudo was used in the Portuguese mainland, the Azores, and Madeira without distinction. In the African colonies, the Escudo was used until their independence in 1975; however, various local coins were often circulating alongside. Of these, only Cabo Verde still uses the Escudo.
In colonial Macau, the Macanese Pataca was and is still used.
Timor-Leste used the Portuguese Timor before switching to the Timor Escudo.
India used the Indian Rupia and then the Indian Escudo from 1958 to 1961 until Goa was annexed by India
1999- Present
Portugal switched to the Euro on 1 January 1999, and the Escudo was removed from circulation on 28 February 2002. Portugal still uses the European Euro currently.
Brazil maintained the Real but briefly replaced it with the Brazilian Cruzeiro from 1942-1967. However, a new form of the Real was brought back into circulation and went through several iterations until the modern Brazilian Real.
Most of Portugal’s other colonies maintained the Portuguese monetary system until soon after they received independence in or after 1975. Around this time, many of these new countries switched to other currencies, like Timor-Leste with the American Dollar, or created their own, like Mozambique with the Metical.
|
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8738
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dbpedia
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2
| 9
|
https://stripe.com/resources/more/which-countries-use-the-us-dollar-heres-a-complete-list
|
en
|
In welchen Ländern wird der US-Dollar (USD) verwendet?
|
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[] |
[] |
[
""
] | null |
[] |
2024-02-19T00:00:00-05:00
|
Im Folgenden sind alle Länder aufgelistet, die den US-Dollar verwenden. Damit wird deutlich, wie der US-Dollar die Weltwirtschaft prägt.
|
de
|
https://assets.ctfassets.net/fzn2n1nzq965/01hMKr6nEEGVfOuhsaMIXQ/c424849423b5f036a8892afa09ac38c7/favicon.ico
|
https://stripe.com/de/resources/more/which-countries-use-the-us-dollar-heres-a-complete-list
|
Der US-Dollar, der allgemein als die führende Reservewährung der Welt gilt, hat einen enormen Einfluss auf das globale Finanzwesen und den Handel. Der Internationale Währungsfonds berichtete, dass der US-Dollar im dritten Quartal 2023 etwa 59 % der weltweiten Devisenreserven der Zentralbanken ausmachte. Dies entspricht fast 6,5 Billionen USD und übertrifft bei weitem den Anteil des Euro (19,5 %) und des japanischen Yen (5,5 %).
Die Position des US-Dollars ist das Ergebnis von Faktoren wie der wirtschaftlichen Stärke und Stabilität der Vereinigten Staaten, der Liquidität und Tiefe ihrer Finanzmärkte sowie der angenommenen Zuverlässigkeit ihres rechtlichen und institutionellen Rahmens. Diese Faktoren haben den US-Dollar als sicheren Hafen in Zeiten von Marktturbulenzen etabliert und internationale Investorinnen und Investoren angezogen, wodurch eine Nachfrage nach auf US-Dollar lautenden Vermögenswerten entstand.
Der Aufstieg des US-Dollars zur globalen Reservewährung begann mit dem Bretton-Woods-Abkommen von 1944, das den US-Dollar an Gold und andere Währungen an den US-Dollar koppelte und den Dollar als einzige direkt in Gold konvertierbare Währung etablierte. Während der Goldstandard 1971 endete, hielt die Dynamik des Dollars an, gefördert durch die anhaltende Widerstandsfähigkeit der amerikanischen Wirtschaft und das Fehlen einer praktikablen Alternative.
Obwohl die Rolle des Dollars im globalen Finanzwesen derzeit sicher ist, deutet der Aufstieg anderer Länder wie China und die zunehmende Beliebtheit alternativer Reservewährungen, einschließlich des Euro und der Sonderziehungsrechte, auf eine Zukunft hin, in der sich der Einfluss des Dollars lockern könnte. Das Aufkommen von Kryptowährungen stellt ebenfalls eine potenzielle Herausforderung dar, auch wenn ihre Volatilität und regulatorischen Unwägbarkeiten ein deutliches Hindernis darstellen.
Während sich die Weltwirtschaft weiterentwickelt, wird die Position des Dollars von seiner Fähigkeit abhängen, flexibel, reaktionsfähig und für eine sich verändernde Finanzwelt attraktiv zu bleiben. Im Folgenden gehen wir auf die allgemeine Rolle des Dollars in der Weltwirtschaft ein und geben eine Liste der Länder an, in denen der US-Dollar verwendet wird.
Worum geht es in diesem Artikel?
Wie der US-Dollar die Weltwirtschaft bestimmt
Länder, die den US-Dollar verwenden
Wie der US-Dollar die Weltwirtschaft bestimmt
Der US-Dollar ist in vielen Bereichen der Weltwirtschaft fest verankert und der Wert des Dollars hat weitreichende Auswirkungen auf die positive Entwicklung und Stabilität der globalen Finanzmärkte. Die geldpolitischen Entscheidungen der US-Notenbank wirken sich auf die US-Wirtschaft und die Weltwirtschaft insgesamt aus und beeinflussen die Kapitalströme, die Inflation und das Wirtschaftswachstum weltweit. Der enorme Einfluss des Dollars hat die wirtschaftliche und politische Macht der Vereinigten Staaten ausgeweitet. Die „Dollarisierung“ einer Volkswirtschaft führt häufig dazu, dass sich das betreffende Land enger an die Politik und die Interessen der USA anpasst. Der Status des Dollars als Benchmark in den globalen finanziellen Interaktionen und als Zeichen der Stabilität in der Weltwirtschaft hat die USA als Finanzmacht gefestigt.
Im Folgenden erfahren Sie, wie der US-Dollar in den globalen Finanzinteraktionen verwendet wird:
Reservewährung: Der US-Dollar ist die wichtigste Reservewährung der Welt. Die Zentralbanken auf der ganzen Welt halten einen beträchtlichen Teil ihrer Reserven in US-Dollar.
Globaler Handel und Transaktionen: Ein großer Teil der internationalen Handelstransaktionen wird in US-Dollar abgewickelt, auch zwischen Ländern, die den Dollar im Inland nicht verwenden. Diese standardisierte Verwendung vereinfacht Transaktionen und reduziert das Wechselkursrisiko.
Rohstoffpreise: Die Preise für wichtige Rohstoffe wie Öl und Gold werden normalerweise in US-Dollar festgelegt. Dollarschwankungen können weitreichende Auswirkungen auf den globalen Handel, Investitionen und die wirtschaftliche Stabilität haben.
Anlagewährung: Der US-Dollar ist aufgrund seiner angenommenen Stabilität oft die bevorzugte Währung für internationale Investitionen und Sparanlagen.
Wechselkurse: Der Kurs des US-Dollars hat großen Einfluss auf die weltweiten Wechselkurse. Schwankungen des Dollars können weitreichende Auswirkungen auf den globalen Handel, Investitionen und die wirtschaftliche Stabilität haben.
Darlehen und Kredite: Viele internationale Darlehen und Kredite, einschließlich Staatsschulden, lauten auf US-Dollar.
|
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8738
|
dbpedia
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1
| 56
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https://www.worldatlas.com/flags/portugal
|
en
|
Flags, Symbols & Currency of Portugal
|
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[] |
[] |
[
""
] | null |
[
"WorldAtlas"
] |
2021-02-24T01:18:47-05:00
|
The National Flag of Portugal is a rectangular bicolor and features two vertical bands of green (covering about two-fifths on the hoist side) and red (covering three-fifths on the fly side), with the national coat of arms (armillary sphere and Portuguese shield), centered on the dividing line; the country uses the euro as its official currency; and its national anthem is A Portuguesa ("The Portuguese")
|
en
|
/nwa_assets/img/site/favicon.png
|
WorldAtlas
|
https://www.worldatlas.com/flags/portugal
|
The National Flag of Portugal was officially adopted on June 30, 1911.
The National Flag of Portugal is a rectangular bicolor and features two vertical bands of green (covering about two-fifths on the hoist side) and red (covering three-fifths on the fly side), with the national coat of arms (armillary sphere and Portuguese shield), centered on the dividing line. The centered shield is representative of ocean exploration and the expansion of Portugal's influence during the reign of King Afonso Henriques. The explanations for the meanings of the colors are ambiguous, but a popular interpretation is: the green color is a representative of King Henry the Navigator, a famed Portuguese explorer, and also symbolizes hope for the future. Red recalls the internal revolution of the early 1800s and the blood of the martyrs who defended the nation. The flag has a width-to-length ratio of 2:3.
History of the Flag
The earliest flag that was recorded in Portugal was mainly used as a personal banner. It featured a blue cross on a white background. This banner was carried by the Count when he went to fight the battles against the Moors. The first Count’s son had adopted the same banner but slightly modified it by adding five sets of silver bezants to the cross to symbolize his power as he became the first King of Portugal. When King Alonso III became the Emperor in 1248, he retained the blue cross as the primary symbol of Portugal. King Alonso III merged the previous Coat of Arms with the Castilian Coat of Arms and created his emblem. This emblem featured a cross that was made of five blue shields and placed on a white field that was surrounded by a red border. The banner and the Coat of Arms was used until the rule of Maria II in 1830 when a new flag was adopted. In this flag, the coat of arms was placed on a split field of blue and white colors. This flag was used until the end of the monarchical rule. The current flag was adopted after Portugal became a republic.
The current official currency of Portugal is the euro.
Coins
Euro coins were introduced in 2002. The euro coins in circulation are in denominations of €0.01, €0.02, €0.05, €0.10, €0.20, €0.50, €1.00, and €2.00. All euro coins have a common reverse that portrays the map of Europe while each country has the right to design the image to be portrayed on the observe side. The Portuguese euro coins depict different observe designs for the three series of coins. They portray seven castles and five escutcheons, the same image portrayed in the Portuguese court of arms. In 2006, 1,000,000 €2.00 coins were released for circulation but no €2.00 coins have been released since then.
Banknotes
The first euro banknotes were released for circulation in 2002, and are produced by the European Central Bank. They took over from the local currency and became the official banknote of the Eurozone. The design of the euro banknote is identical across the Eurozone although they are printed in the respective countries. They are made of pure cotton fiber to make them have a durable and distinctive feeling. The euro notes in circulation are €5, €10, €20, €50, €100, €200, €500. All euro notes bear the flag of the European Union, the map of Europe, the name "euro" in both Latin and Greek, and the signature of the president of the European Central Bank.
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dbpedia
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2
| 8
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https://www.rio.com/practical-rio/money
|
en
|
What is the currency they use in Brazil?
|
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[] |
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[
""
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[] | null |
Travel tips for Rio de Janeiro, Brazil. Learn about the currency of Brazil, the real. Get advice on exchanging money, using credit cards and ATMs in Rio.
|
en
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https://cdn.bookersnet.com/images/rio/favicon/favicon.ico
|
https://www.rio.com/practical-rio/money
|
The currency in Brazil is called the Real (BRL). This money began to be used in Rio in 1994 and was a great move as it has led to very low inflation.
Exchanging Money in Rio
There are several different exchange rates in Rio but three are of concern to the visitor. The official rate oversees any business deals. The tourist rate is used for tourists making purchases in the country using credit cards. Finally, the parallel rate is the rate used to convert your cash into Reals anywhere in Rio except the banks.
Using Money in Rio
The United States dollar is quite easy to exchange in Rio de Janeiro. Travelers are advised to either bring American dollars or travel money cards. Of course, all major credit cards are also accepted.
How to Exchange Money
Do not exchange money prior to arriving in Rio, as the exchange rate will probably be excessively high. Customs allows visitors to bring up to $10,000 into the country without having to declare it. This is the best way to exchange your dollars into Reals. Wait until you get to Rio as the exchange rates will probably be more favorable.
Other Options for Getting Cash
If you do not wish to carry a lot of cash then consider a cash card. These can also be used at ATM kiosks. These cashpoints do run out of money fairly quickly during holidays such as the Carnival so plan ahead. Most of these cash machines close at 10 pm.
Getting cash in Brazil is fairly easy. There are several banks and ATMS throughout the city that can be accessed.
|
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8738
|
dbpedia
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1
| 3
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https://www.portugaltravel.org/coin-in-portugal
|
en
|
Currency in Portugal
|
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[] |
[] |
[
""
] | null |
[
"Portugal Travel"
] |
2016-02-05T08:00:00+08:00
| null |
Which is the official currency in Portugal?
The official currency in Portugal is the Euro, with the symbol €, which is 100 Euro cents.
The Euro followed the former currency the escudo.
How are the portuguese coins and notes and which are their value?
There are coins of 1, 2, 5, 10, 20, 50 cents of Euro and 1 and 2 Euro coins.
Regarding the notes, there are notes of 5, 10, 20, 50, 100, 200 and 500 Euros. It’s important to mention that in some establishments you might not be able to pay with 100€ notes or superior. Likewise you’ll also find constraints when paying taxis or other public services with 50€ or higher notes.
May I pay with credit and debit card in Portugal?
Yes. In Portugal, it’s possible to pay with credit cards as, for example, Mastercard, Visa or American Express.
|
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dbpedia
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2
| 55
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https://www.tpsgc-pwgsc.gc.ca/recgen/dd/etranger-abroad-eng.html
|
en
|
Direct deposit for individuals with a foreign bank account
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https://www.tpsgc-pwgsc.gc.ca/boew-wet/wet4.0ca/GCWeb/assets/favicon.ico
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[] |
[
"direct deposit",
"enrolment form",
"foreign countries",
"individuals",
"instructions",
"enrolment form in PDF",
"enrolment form in HTML"
] | null |
[] | null |
Direct deposit information for Canadians with a foreign bank account, including how to enrol in payments or change information on file
|
en
|
/boew-wet/wet4.0ca/GCWeb/assets/favicon.ico
| null |
American Samoa
Currency: USD
Bank Sort code: 9 digits (called ABA)
Account number: Maximum 17 characters
Account type: Select Savings or Chequing
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Argentina
Currency: ARS
SWIFT/BIC code: 8 or 11 characters
Account number: 22 characters
Full Bank Name and Address
Personal identification (ID): required is the Clave Ãnica de Identificación Tributaria (CUIT) (corporates) or Código Ãnico de Identificación Laboral (CUIL) (individuals) 11 digits
Telephone:
1‑800‑696‑31111
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Australia
Currency: AUD
SWIFT/BIC code: 11 characters
Bank Sort code: 6 digits (called BSB)
Post office ID: 6 digits
Building society code: 6 digits
Account number: Maximum 9 digits
Full Bank Name and Address
Telephone:
1-800-041-432
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Austria
Currency: EUR
SWIFT/BIC code: 8 or11 characters
Account number (IBAN): 20 characters
Full Bank Name and Address
Telephone:
0-800-29-5132
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Bahamas
Currency: BSD
Local bank and branch code: 8 digits
Account number: maximum 10 digits
Account type: Select Savings or Chequing
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Bangladesh
Currency: BDT
Bank Sort code: 9 digits
Financial institution (FI) Account number: Max length 20 digits
Beneficiary name and address: Mandatory
Full Bank Name and Address
Telephone:
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Barbados
Currency: BBD
SWIFT/BIC code: 8 or 11 characters
Bank Sort code: 8 digits
Account number: 13 digits
Account type: Select Savings or Chequing
Full Bank Name and Address
Telephone:
1‑800‑204‑0305
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Belgium
Currency: EUR
SWIFT/BIC code: 8 or11 characters
Account number (IBAN): 16 characters
Full Bank Name and Address
Telephone:
0-800-71-287
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Benin
Currency: XOF
SWIFT/BIC code: 8 or 11 characters
Account number : 24 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Bosnia and Herzegovina
Currency: BAM
FI Acocunt number: Must be IBAN number
SWIFT/BIC Code: 8 or 11 character code
Beneficiary name and address: Mandatory
Full Bank Name and Address
IBAN: mandatory length is 20 digits example: BA391290079401028494
PAYMENTS ONLY TO INDIVIDUALS
NO PAYMENTS TO COMPANIES
Telephone:
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Brazil
Currency: BRL
Local bank and branch code: 7 or 8 digits
Account number (IBAN): maximum 20 characters
Account type: Select Savings or Chequing
Tax ID: must be included in the other field under Part A of the Direct deposit enrollment form
For payments to individuals, tax ID number (11 digits) called CPF (Cadastro de Pessoas Fisicas) is required
Full Bank Name and Address
Telephone:
800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Bulgaria
Currency: BGN
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 22 characters
Full Bank Name and Address
Telephone:
1‑800‑696‑31111
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Burkina Faso
Currency: XOF
SWIFT/BIC code: 8 or 11 characters
Account number: maximum 24 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Cameroon
Currency: XAF
SWIFT/BIC code: 8 or 11 characters
Account number: 23 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Central African Republic (Suspended until further notice.)
Currency: XAF
SWIFT/BIC code: 8 or 11 characters
Account number: 23 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Chad
Currency: XAF
SWIFT/BIC code: 8 or 11 characters
Account number: 23 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Chile
Currency: CLP
Bank Sort code: 3 digits
Account number: 2 to 20 characters
Account type: Select Savings or Chequing
Tax ID of payee: must be included in the other field under Part A of the Direct deposit enrolment form
Tax ID of payee: (8-9 characters) called RUC â ROL UNICO Tributario is required
Full Bank Name and Address
Telephone:
1-230-020-1601
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Congo, Republic of (Suspended until further notice.)
Currency: XAF
SWIFT/BIC code: 8 or 11 characters
Account number: 23 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Costa Rica
Currency: CRC
Bank code: not required as account number contains bank code as first 3 digits of account number Codigo Entidad
Account number: 17 characters
Identity number: 10 or 12 digits called Cedula Juridica (must be included in the Other field under Part A of the Direct deposit enrolment form)
Full Bank Name and Address
Telephone:
0‑800‑015‑0794
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Croatia
Currency: HRK
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 21 characters
Full Bank Name and Address
Telephone:
1-613-941-6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Cyprus
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 28 characters
Full Bank Name and Address
Telephone:
00+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Czech Republic
Currency: CZK
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 24 characters
Full Bank Name and Address
Effective December 31, 2020, cheques/drafts will no longer be available. Please sign up for Direct Deposit
Telephone:
00+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Denmark
Currency: DKK
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 18 characters
Account type: Select Savings or Chequing
Full Bank Name and Address
Telephone:
00+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Dominican Republic
Currency: DOP
Bank Sort code: 8 digits
Account number: maximum 20 digits
Account type: Select chequing or savings
Personal ID: code called Cedula Juridica (11 digits) or passport number is required
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Egypt
Currency: EGP
SWIFT/BIC code: 8 or 11 characters
Account number: maximum 34 characters
Full Bank Name and Address
Account number (IBAN): As of November 15, 2020 transactions without an IBAN will be rejected. Length is 29; for example: CZ6508000000192000145399
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Equatorial Guinea
Currency: XAF
SWIFT/BIC code: 8 or 11 characters
Account number: 23 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Estonia
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number: 20 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Finland
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number: 18 characters
Full Bank Name and Address
Telephone:
990+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
France
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number: 27 characters
Full Bank Name and Address
Telephone:
0-800-905-824
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Gabon
Currency: XAF
SWIFT/BIC code: 8 or 11 characters
Account number: 23 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Germany
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number: 22 characters
Full Bank Name and Address
Telephone:
0800-182-6481
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Ghana
Currency: GHS
Bank code: 6 digits
Account number: maximum 34 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Greece
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number: 27 characters
Full Bank Name and Address
Telephone:
00-800‑108‑0059-31666
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Guam
Currency: USD
Bank Sort code: 9 digits (called ABA)
Account number: maximum 17 characters
Account type: Select Savings or Chequing
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Guernsey
See Great Britain for banking information.
Telephone:
0-800‑404‑9548
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Guinea-Bissau
Currency: XOF
SWIFT/BIC code: 8 or 11 characters
Account number: 24 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Hong Kong
Currency: HKD
Local Bank sort code: 6 digits
Account number: 1-10 digits
Full Bank Name and Address
Telephone:
001+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Hungary
Currency: HUF
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 28 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
India
Currency: INR
Bank Sort code: Upper case 11 characters (IFSC Indian Financial System Code) (4 alpha characters followed by 7 alpha characters or digits)
Account number: maximum 34 digits
Full Bank Name and Address
Telephone:
000‑800‑1007-912
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Indonesia
Currency: IDR
Bank Sort code: 7 digits
Account number: maximum 16 digits
Full Bank Name and Address
Telephone:
001‑803‑018‑8038
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Ireland
Currency: EUR
SWIFT/BIC code: 11 characters
Account number (IBAN): 22 characters
Full Bank Name and Address
Telephone:
1-800-620-371
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Isle of Man
See Great Britain for banking information.
Telephone:
0-800‑404‑9548
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Israel
Currency: ILS
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 23 characters
Other: National Identity Number of payee (must be included in the Other field under Part A of the Direct deposit enrolment form) 9 digits
Full Bank Name and Address
Telephone:
1‑800‑696‑31111
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Italy
Currency: EUR
SWIFT/BIC code: 11 characters
Account number (IBAN): 27 characters
Full Bank Name and Address
Telephone:
800-787-484
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Côte d'Ivoire
Currency: XOF
SWIFT/BIC code: 8 or 11 characters
Account number: 24 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Jamaica
Currency: JMD
Bank/branch code: 8 digits
Account number: maximum 25 characters
Account type: Select Savings or Chequing
Full Bank Name and Address
Telephone:
1‑800‑204‑0317
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Japan
Currency: JPY
Bank Sort Code: 7 digits
Account number: 7 digits
Account type: Select Savings or Chequing
Full Bank Name and Address
Local Telephone Number
Telephone: (collect calls)
1‑800‑696‑31111
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Kenya
Currency: KES
Bank Sort Code: 5 digits
Account number: maximum 35 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Jersey Island
See Great Britain for banking information.
Telephone:
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Latvia
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 21 characters
Full Bank Name and Address
Telephone:
8‑000‑5845
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Liechtenstein
Currency: CHF
SWIFT/BIC code: 11 characters
Account number (IBAN): 21 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Lithuania
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 20 characters
Full Bank Name and Address
Telephone:
880033400
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Luxembourg
Currency: EUR
SWIFT/BIC code: 11 characters
Account number (IBAN): 20 characters
Full Bank Name and Address
Telephone:
1‑800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Malaysia
Currency: MYR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): maximum 20 characters
Full Bank Name and Address
Telephone:
1‑800‑696‑31111
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Mali
Currency: XOF
SWIFT/BIC code: 8 or 11 characters
Account number: maximum 24
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Malta
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 31 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Mexico
Currency: MXN
SWIFT/BIC code: 8 or 11 characters
Account number (Clave Bancaria Estandarizada (CLABE)): 18 characters
Full Bank Name and Address
Telephone:
01‑800‑112‑2546
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Monaco
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 27 characters
Full Bank Name and Address
Telephone:
800-93-908
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Morocco
Currency: MAD
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 24 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Netherlands
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 18 characters
Full Bank Name and Address
Telephone:
1-613-941-6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
New Zealand
Currency: NZD
Bank Sort code: 6 digits (called BSB)
Account number: 10 digits (a 7 digit account number with 3 digit suffix zero filled from the left)
Full Bank Name and Address
Effective December 31, 2020, cheques/drafts will no longer be available. Please sign up for Direct Deposit
Telephone:
800-450-317
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Niger
Currency: XOF
SWIFT/BIC code: 8 or 11 characters
Account number: 24 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Nigeria
Currency: NGN
Bank Sort code or routing number: 9 digits
Account number: 10 digits (Nigeria Uniform Bank Account Number (NUBAN) type format)
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Norway
Currency: NOK
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 15 characters
Full Bank Name and Address
Telephone:
00+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Pakistan
Currency: PKR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 24 characters
Full Bank Name and Address
Other (TAX ID): 13 digit Computerized National Identity Card (CNIC)
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Peru
Currency: PEN
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 20 characters in CCI (Codigo de Cuenta Interbancario) format
Other: Tax ID of payee (must be included in the Other field under Part A of the Direct deposit enrolment form)
Tax ID of payee: (11 digits, RUC â Registro Unico de Contribuyente) is required
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Philippines
Currency: PHP
Local Bank Routing Symbol Transit Numbers (BRSTN) sort code: 9 digits (starts with a mandatory zero)
Account number: maximum 16 digits
Full Bank Name and Address
Telephone:
00+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Poland
Currency: PLN
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 28 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Portugal
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 25 characters
Full Bank Name and Address
Telephone:
800-819-635
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Puerto Rico
Currency: USD
Bank Sort code: 9 digits (called ABA)
Account number: maximum 17 characters
Account type: Select Savings or Chequing
Full Bank Name and Address
Telephone:
1‑855‑201‑8038
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Romania
Currency: RON
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 24 characters
Full Bank Name and Address
Telephone:
080‑089‑0301
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Saudi Arabia
Currency: SAR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 24 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Senegal
Currency: XOF
SWIFT/BIC code: 8 or 11 characters
Account number: 24 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Singapore
Currency: SGD
Local Mas Electronic Payment System (MEPS) bank sort code: 7 digits
Account number (IBAN): maximum 11 digits
Full Bank Name and Address
Telephone:
001+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Slovakia
Currency: EUR
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 24 characters
Full Bank Name and Address
Telephone:
0800606915
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Slovenia
Currency: EUR
SWIFT/BIC code: 11 characters
Account number (IBAN): 19 characters
Full Bank Name and Address
Telephone:
00+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
South Africa
Currency: ZAR
Bank/branch code: 6 digits followed by "1" for Chequing account or "2" for Savings account.
Account number: maximum 11 digits
Full Bank Name and Address
Telephone:
1-613-941-6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Sweden
Currency: SEK
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 24 characters
Full Bank Name and Address
Telephone:
00+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Switzerland
Currency: CHF
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 21 characters
Full Bank Name and Address
Telephone:
1-613-941-6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Tanzania, United Republic of
Currency: TZS
Bank Sort Code: 6 digits
Account number: maximum 35 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Thailand
Currency: THB
Bank/branch code: 7 digits
Account number: maximum 34 characters
Full Bank Name and Address
Telephone:
001+800‑367‑18290
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Togo
Currency: XOF
SWIFT/BIC code: 8 or 11 characters
Account number: 24 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Trinidad and Tobago
Currency: TTD
Bank routing number: 9 digits
Account number: maximum 17 digits
Account type: Select Savings or Chequing
Full Bank Name and Address
Telephone:
1‑800‑204‑0303
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Turkey
Currency: TRY
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 26 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Uganda
Currency: UGX
Bank Sort Code: 6 digits
SWIFT/BIC code: 8 or 11 characters
Account number: maximum 35 characters
Full Bank Name and Address
Telephone: (collect calls)
1‑613‑941‑6402
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
United Arab Emirates
Currency: AED
SWIFT/BIC code: 8 or 11 characters
Account number (IBAN): 23 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Great Britain
Currency: GBP
SWIFT/BIC code: 8 or 11 characters
Bank Sort code: 6 digits
Postal account: 6 digits
Building society: 6 digits
Account number (IBAN): 22 characters
Full Bank Name and Address
Telephone:
1‑800‑696‑31111
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
United States
Currency: USD
Bank Sort code: 9 digits (called ABA)
Account number: maximum 17 characters
Full Bank Name and Address
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Uruguay
Currency: UYU
Bank Sort code: 6 digits
FI Account number: 1-35 characters;
alphabetical characters allowed : Yes
Beneficiary name (22 characters) and address: Mandatory
Full Bank Name and Address
FI account type [chequing (C) or savings (S)]: C/S.
Peronal ID = 8-12 for the Tax ID
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
Vietnam
Currency: VND
SWIFT/BIC code: 11 characters
Account number (IBAN): 34 characters
Full Bank Name and Addres
Structure of beneficiary name: surname + middle name + first name
Telephone:
1‑613‑941‑6402 (collect calls)
TDD/ TTY (for persons with a hearing loss):
1‑844‑524‑5286
|
|||
8738
|
dbpedia
|
3
| 19
|
https://www.britannica.com/money/real-Brazilian-currency
|
en
|
Brazilian Economy, Exchange Rates & Inflation
|
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] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/money/favicon.ico
|
https://www.britannica.com/money
|
real, monetary unit of Brazil. Each real (plural: reais) is divided into 100 centavos. The Central Bank of Brazil (Banco Central do Brasil) has the exclusive authority to issue banknotes and coins in Brazil. Coins are issued in denominations ranging from 1 centavo to 1 real. Banknotes are valued from 1 to 100 reais. The obverse of each banknote pictures a sculpture symbolizing the republic, with the exception of the 10-real note, which contains an image of Pedro Álvares Cabral, a Portuguese navigator who is considered to have been the first European to explore Brazil; the reverse sides are adorned with images of wildlife, including the crane (5-real note), the arara bird (10-real note), and the leopard (50-real note).
In the 20th century, largely because of inflationary pressures, Brazil was forced to make many changes in its monetary system. From the colonial period through 1942, Brazil’s monetary system was based on the reís, derived from the Portuguese real, which was the Portuguese currency in the 15th and 16th centuries. In 1942 the reís was replaced by the cruzeiro. After several additional changes in the monetary system, the cruzado was established in the mid-1980s, though further economic instability led to its eventual demise. Further monetary systems were created and abolished until 1994, when the real was established, replacing its short-lived predecessor, the cruzeiro real (1993–94).
|
||||||
8738
|
dbpedia
|
2
| 14
|
https://whiteboardcrypto.com/portugal-currency/
|
en
|
Portugal Currency (Euro History + Facts)
|
[
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[] |
[] |
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"Whiteboard Crypto"
] |
2024-02-27T18:29:21+00:00
|
Portugal's currency used to be the escudo, introduced in 1911 after the monarchy was overthrown. The country switched to the euro, the European Union's
|
en
|
WhiteboardCrypto
|
https://whiteboardcrypto.com/portugal-currency/
|
Portugal’s currency used to be the escudo, introduced in 1911 after the monarchy was overthrown. The country switched to the euro, the European Union’s common currency, in 1999 after meeting specific EU requirements. By 2002, the euro had fully replaced the escudo as Portugal’s currency.
The euro is divided into 100 cents, with coins available in denominations of 1, 2, 5, 10, 20, and 50 cents, as well as €1 and €2 coins. Banknotes are available in denominations of €5, €10, €20, €50, €100, €200, and €500.
This article explores the history of Portugal’s currency, tracing its development from early times under royal rule to its current form as the euro. It covers the changes in Portugal’s monetary system, including the significant transition to the European Union’s single currency.
Historical Journey of Portugal Currency
Portugal has a rich history of currency dating back to the Roman Empire. The first coins used in Portugal were Roman coins, which were used until the fall of the Western Roman Empire in 476 AD. After that, the Visigoths and the Moors also minted their own coins, but it wasn’t until the 12th century that Portugal started to mint its own coins, called dinheiro.
From 1139 to 1911, Portugal used various currencies. Initially, the Portuguese dinheiro was introduced by King Dom Afonso Henriques, with the mealha as half a dinheiro.
This system was based on the Roman currency, where twelve dinheiros equaled one soldo, and twenty soldos equaled one libra. King Dom Sancho I introduced the gold morabitino, and later, King Dom Dinis I introduced the silver tornês.
In 1380, King Fernando I added new coins like the gold dobra and the silver real. Various other currencies like the Byzantine siliquae and the Moorish dirhem circulated alongside the dinheiro.
In the 15th century, Portugal became a powerful maritime nation with a vast empire stretching from Brazil to India. The currency used during this time was the real, which was the unit of currency of Portugal and the Portuguese Empire from around 1430 until 1911.
The real was subdivided into 1,000 reis, and was used throughout the Portuguese Empire, including Brazil, until the early 20th century.
Escudo
From 1911 to 1999, after the Republican Revolution, the Portuguese escudo replaced the real at a rate of 1,000 réis to 1 escudo, subdivided into 100 centavos.
The escudo was used in Portugal, its African colonies until 1975, and in colonial Macau, which still uses the Macanese pataca. Timor-Leste used the Portuguese timor, then the timor escudo, while India used the Indian rupia and then the Indian escudo until 1961.
Since 1999, Portugal has used the euro, which replaced the escudo in circulation by 2002. Brazil reverted to the real after briefly using the Brazilian cruzeiro. Most of Portugal’s colonies adopted new currencies post-independence, like Timor-Leste with the American dollar and Mozambique with the metical.
Today, the euro is the official currency of Portugal and is used throughout the European Union. The euro is subdivided into 100 cents and is used by 19 of the 28 EU member countries.
Euro
Portugal’s transition to the euro in 2002 marked a key moment in its economic and EU integration. The journey began in 1986 with Portugal joining the European Economic Community, which became the EU.
By 1998, Portugal fulfilled the criteria to adopt the euro, joining the initial group of eurozone countries. The euro started as electronic currency in 1999 and physical euro banknotes and coins replaced the escudo in 2002, with a dual circulation period until the end of February.
Euro Coins
The euro, introduced in 1999, is the official currency of the Eurozone, consisting of 20 member countries. It is divided into eight coin denominations, ranging from one cent to two euros, each featuring a common reverse side depicting a map of Europe.
However, the obverse side varies among member countries, showcasing unique designs. In addition to Eurozone members, four European microstates (Andorra, Monaco, San Marino, and Vatican City) also use the euro with their own designed coins. The coins are minted at national mints, adhering to strict quotas, while the European Central Bank manages the common side.
Over the years, the euro’s design has evolved, with changes in 2007 reflecting the EU’s enlargement and updates in 2017 for some denominations. The euro’s introduction aimed to foster economic and monetary union, contributing to stability and collaboration among member states.
The coins incorporate security features, and their design considers tactile elements for the visually impaired. While national sides of regular coins can be updated every 15 years, commemorative coins may vary more frequently. As of 2023, 24 countries issue euro coins with their national sides, reflecting the diversity within the Eurozone.
Euro Bills
Euro banknotes, the common currency of the eurozone, have evolved since their 1999 inception. Initially, under ES1, these €5 to €500 notes featured a uniform design with the European flag, a map, and “euro” in Latin and Greek.
The designs, by Robert Kalina, resulted from a 1996 competition. ES1, made of pure cotton, excluded non-EU Cyprus and Malta. ES2, or Europa series, introduced size changes and enhanced durability with updated security features. Reinhold Gerstetter redesigned the notes, featuring Mario Draghi’s signature post-March 2012.
Anticipated in 2024, the third series will redesign notes based on public-voted themes. Security features include confidential elements like holograms and watermarks.
The Europa series introduced Europa’s face, reflecting EU expansion and adding Bulgaria’s Cyrillic alphabet. Circulating since 2013, it phased out the €500 note due to concerns about criminal use.
Security features include watermarks, holograms, color-changing ink, and more, with consultation for the visually impaired. A 2021 plan outlines the next redesign with potential themes like “European culture.”
The ECB monitors euro banknote circulation and stock, ensuring integrity since its 2002 introduction. The euro’s history involves expansion, formalized political authority through the Lisbon Treaty, and usage across multiple EU countries. The seven denominations feature stylized historical European architectural illustrations on both sides.
Inflation and Buying Power of Portugal Euro
According to World Data, over the past 62 years, from 1960 to 2022, Portugal’s inflation rate varied between -0.8% and 31.0%. In 2022, the inflation rate was 7.8%.
The average annual inflation rate during this period was 8.1%, leading to an overall price increase of 10,422.72%. This means an item that cost 100 euros in 1960 would cost 10,422.72 euros in early 2023. As of November 2023, the year-over-year inflation rate was recorded at 1.5%.
Portugal’s economic forecast indicates a modest recovery following a challenging year in 2023. Economic growth has slowed, but the labor market remains strong with high employment rates.
GDP growth is expected to recover gradually, with inflation projected to moderate, aligning with the euro-area average. The government balance is forecast to achieve a surplus of 0.8% of GDP in 2023, but will narrow over the next few years.
GDP growth rates are predicted at 2.2% for 2023, 1.3% for 2024, and 1.8% for 2025. Inflation rates are expected to decrease from 5.5% in 2023 to 2.4% in 2025. Unemployment is projected to remain stable around 6.4% to 6.5%.
The economic slowdown hasn’t significantly impacted employment, which continues to grow, particularly in tourism, construction, and administrative services. Inflation is moderating, helped by declining energy prices, although wage growth could exert some pressure on service prices.
The general government balance is expected to turn positive in 2023 due to robust labor markets and controlled government spending. However, public debt remains high at over 100% of GDP, though it is projected to decrease to 97.2% by 2025.
The forecast indicates a balanced yet cautious economic outlook for Portugal in the near future.
Currency Usage in Portugal
If you’re planning a trip to Portugal, you’ll need to know a little bit about the country’s currency. Portugal uses the euro (EUR), which is divided into 100 cents. Banknotes come in denominations of €5, €10, €20, €50, €100, €200, and €500, while coins come in denominations of 1, 2, 5, 10, 20, and 50 cents, as well as €1 and €2.
Is USD Accepted in Portugal?
While some tourist-oriented businesses may accept US dollars, it’s always best to have euros on hand for your trip to Portugal.
Using euros will help you avoid any confusion or misunderstandings that may arise from currency exchange rates or fees. ATMs are widely available throughout the country, and most businesses accept credit cards, so you should have no trouble getting the euros you need for your trip.
Exchanging Currency in Portugal
If you’re traveling to Portugal, you’ll need to exchange your currency to euros. Here’s what you need to know about exchanging currency in Portugal.
Where can I exchange Portugal Currency?
You can exchange currency in Portugal at banks, exchange offices, and ATMs. Banks typically offer the best exchange rates, but they may charge a commission or have limited hours. Exchange offices may have more flexible hours, but they may charge higher fees. ATMs are widely available and convenient, but they may have withdrawal limits and foreign transaction fees.
Before you exchange currency, check the exchange rate to make sure you’re getting a fair deal. You can use online currency converters or check the rates at banks or exchange offices. Keep in mind that exchange rates fluctuate constantly, so it’s a good idea to exchange your currency as soon as possible.
What to know before exchanging currency in Portugal
Before exchanging currency in Portugal, remember to bring your passport for transactions at banks or exchange offices. Avoid airport exchanges due to higher rates and check for hidden fees at banks and exchange offices.
Stay cautious of scams, particularly from street vendors. Use ATMs wisely, noting any fees and exchange rates, and opt for those in secure locations. Although credit cards are widely accepted, keep cash for small purchases or emergencies.
ATMs are readily available for withdrawing euros with a debit card, but be mindful of potential fees from your bank for international transactions.
Choosing Between USD and Portugal Currency
If you’re planning a trip to Portugal, you may be wondering whether to use USD or the local currency, the euro. Here are some factors to consider when making your decision.
Exchange Rate
The exchange rate between USD and euro fluctuates constantly, so it’s important to check the current rate before making any transactions.
You can use an online currency converter like XE to get an idea of the current rate. Keep in mind that the rate you see online may not be the rate you get when exchanging money in person, as exchange offices and banks often charge fees.
Convenience
Using Portugal currency is generally more convenient than using USD. Most businesses in Portugal, including restaurants, shops, and hotels, only accept euros. If you try to pay with USD, you may receive a poor exchange rate or be charged additional fees.
While many places in Portugal accept credit cards, it’s always a good idea to have some cash on hand for smaller purchases or in case of emergencies.
ATMs are widely available throughout the country, and you can use your debit card to withdraw euros. Just be aware that your bank may charge fees for international transactions, so it’s a good idea to check with them before you go.
Fees
When exchanging money, you should be aware of any fees that may be charged. Banks and exchange offices often charge fees for exchanging currency, and these fees can vary widely.
Some credit cards also charge fees for foreign transactions. To avoid unnecessary fees, it’s a good idea to research your options before you leave for your trip.
Tips
When traveling in Portugal, use these tips to manage your money effectively:
Withdraw cash using ATMs from reputable banks to avoid high fees, and prefer using a credit card with no foreign transaction fees for better exchange rates and fee savings.
Stay informed about the current exchange rate and compare prices in both USD and euros to ensure fair deals. Keep cash for small purchases like snacks or public transportation, as some places might not accept credit cards for minor transactions.
Lastly, avoid exchanging money at airports or tourist spots due to their higher fees and less favorable exchange rates.
By considering these factors and following these tips, you can make an informed decision about whether to use USD or Portugal currency on your trip.
Cost of Living in Portugal
If you’re planning to move to Portugal, it’s important to have an idea of the cost of living in the country. The cost of living in Portugal is generally lower than in other European countries, making it an attractive destination for expats. However, the cost of living can vary significantly depending on the city you choose to live in and your lifestyle.
Accommodation is one of the biggest expenses in Portugal. The cost of rent varies depending on the location, type of property, and the number of rooms.
In Lisbon, for example, the average monthly rent for a one-bedroom apartment in the city center is around €800-€1,200 (~$860-1300 USD). If you’re on a tight budget, you can find cheaper accommodation outside the city center.
The cost of food in Portugal is generally lower than in other European countries. You can expect to pay around €10-€15 for a meal at an inexpensive restaurant and around €25-€35 for a meal at a mid-range restaurant. If you’re on a tight budget, you can save money by shopping at local markets and cooking your meals.
Public transportation in Portugal is affordable and efficient. A single ticket on a bus or metro in Lisbon costs around €1.50. If you plan to use public transportation frequently, it’s worth buying a monthly pass, which costs around €35. Taxis are also relatively cheap, with an average fare of around €5 for a short ride.
The cost of utilities, such as electricity, gas, and water, varies depending on your usage and the location of your property. On average, you can expect to pay around €80-€120 per month for basic utilities in a small apartment.
Portugal has a good public healthcare system, which is free or low-cost for residents. If you’re not eligible for public healthcare, you can opt for private health insurance, which can cost around €50-€100 per month.
Overall, the cost of living in Portugal is affordable compared to other European countries. However, it’s important to keep in mind that the cost of living can vary significantly depending on your lifestyle and the city you choose to live in.
Don’t Get Scammed Tips
When traveling to Portugal, it’s important to be aware of the common scams that may occur. Here are some tips to help you avoid being scammed when dealing with currency in Portugal:
1. Know the exchange rate
Before exchanging currency, it’s important to know the current exchange rate. This will help you understand how much money you should be receiving when exchanging your currency.
You can check the current exchange rate online or by using a currency converter app. Be sure to compare rates at different exchange offices to get the best deal.
2. Avoid exchanging currency at airports or tourist areas
Currency exchange offices at airports or tourist areas may offer lower exchange rates or charge higher fees. It’s better to exchange currency at banks or exchange offices in the city center.
3. Be cautious when using ATMs
ATMs are a convenient way to withdraw cash, but they can also be a target for scams. Always cover the keypad when entering your PIN and check the card slot for any skimming devices. It’s better to use ATMs located inside banks or shopping centers.
4. Watch out for counterfeit currency
Counterfeit currency is a problem in Portugal, especially in tourist areas. Always check the bills you receive for signs of counterfeiting, such as blurry printing or missing security features. If you receive a suspicious bill, report it to the police.
5. Avoid using credit cards at small shops or street vendors
Small shops or street vendors may not have secure credit card terminals, which can put your personal information at risk. It’s better to use cash or a secure credit card terminal at larger stores or restaurants.
By following these tips, you can protect yourself from currency scams in Portugal and enjoy your trip with peace of mind.
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https://www.usfunds.com/resource/top-10-countries-with-largest-gold-reserves/
|
en
|
Top 10 Countries with Largest Gold Reserves
|
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2021-04-23T13:43:00+00:00
|
Specialty funds for today’s investors
|
en
|
USGI
|
https://www.usfunds.com/resource/top-10-countries-with-largest-gold-reserves/
|
Central banks have been net buyers of gold for 11 consecutive years. According to World Gold Council (WGC) data, central banks around the world bought 272.9 tonnes of bullion in 2020.
Purchases last year were a whopping 60% lower than the record 668 tonnes added in 2019. The COVID-19 pandemic was a stronger driver for some central banks to sell reserves and inject liquidity into their economies. Purchasing was concentrated in the first half of the year, then turned nearly nonexistent in the third quarter and resumed in the last three months of the year.
click to enlarge
The top 10 central banks with the largest gold reserves have remained mostly unchanged for the last few years. The United States holds the number one spot with over 8,000 tonnes of gold in its vaults – nearly as much as the next three countries combined – and accounting for 79% of total reserves. The only countries where gold represents a higher percent of reserves are Portugal at 80.1% and Venezuela at 82.4%
10 central banks made net purchases of one tonne or more in 2020, highlighting the continued demand for the precious metal. Turkey was the number one buyer for the second straight year – adding 134.5 tonnes – and was also the largest seller after decreasing holdings by 36.3 tonnes. WGC notes sales were concentrated among a small number of central banks that buy gold from domestic production, including Mongolia and Uzbekistan.
click to enlarge
Below are the top 10 countries with the largest gold holdings, with the rankings remaining unchanged from 2019. Figures are as of April 2021 and do not include the International Monetary Fund (IMF) as a country, or else it would hold the number three spot with 2,814 tonnes.
10. Netherlands
Tonnes: 612.5
Percent of foreign reserves: 67.4 percent
The Dutch Central Bank announced that it will be moving its gold vaults from Amsterdam to Camp New Amsterdam, about an hour outside the city, citing burdensome security measures of its current location. As many others have pointed out, this seems odd, given that the bank fairly recently repatriated a large amount of its gold from the U.S.
9. India
Tonnes: 687.8
Percent of foreign reserves: 6.5 percent
It’s no surprise that the Bank of India has one of the largest stores of gold in the world. The South Asian country, home to 1.25 billion people, is the second largest consumer of the precious metal, and is one of the most reliable drivers of global demand. India’s festival and wedding season, which runs from October to December, has historically been a huge boon to gold’s Love Trade.
8. Japan
Tonnes: 765.2
Percent of foreign reserves: 3.1 percent
Japan, the world’s third largest economy, is also the eighth largest hoarder of the yellow metal. Its central bank has been one of the most aggressive practitioners of quantitative easing—in January 2016, it lowered interest rates below zero—which has helped fuel demand for gold around the world.
7. Switzerland
Tonnes: 1,040.0
Percent of foreign reserves: 5.4 percent
In seventh place is Switzerland, which actually has the world’s largest reserves of gold per capita. During World War II, the neutral country became the center of the gold trade in Europe, making transactions with both the Allies and Axis powers. Today, much of its gold trading is done with Hong Kong and China.
6. China
Tonnes: 1,948.3
Percent of foreign reserves: 3.3 percent
In the summer of 2015, the People’s Bank of China began sharing its gold purchasing activity on a monthly basis for the first time since 2009. Although China comes in sixth for most gold held, the yellow metal accounts for only a small percentage of its overall reserves – a mere 3.3 percent. As of 2021, China will now allow domestic and international banks to import large amounts of the precious metal into the country in an effort to support prices. According to reporting by Reuters, an estimated 150 metric tons worth $8.5 billion will be shipped into China as soon as April or May.
5. Russia
Tonnes: 2,295.4
Percent of foreign reserves: 22.0 percent
The Russian Central Bank has been one of the largest buyers of gold for the past seven years and overtook China in 2018 to have the fifth largest reserves. In 2017, Russia bought 224 tonnes of bullion in an effort to diversify away from the U.S. dollar, as its relationship with the West has grown chilly since the annexation of the Crimean Peninsula in mid-2014. To raise the cash for these purchases, Russia sold a huge percentage of its U.S. Treasuries.
4. France
Tonnes: 2,436.0
Percent of foreign reserves: 64.5 percent
France’s central bank has sold little of its gold over the past several years. Current reserves consist of 100 tonnes of gold coins and the rest in bars weighing around 12.5 kilograms each. The Banque de France vaults in Paris are one of the four designated depositories of the International Monetary Fund (IMF).
3. Italy
Tonnes: 2,451.8
Percent of foreign reserves: 69.3 percent
Italy has likewise maintained the size of its reserves over the years. Mario Draghi, the former Bank of Italy governor and European Central Bank governor, when asked by a reporter in 2013 what role gold plays in a central bank’s portfolio, answered that the metal was “a reserve of safety,” adding, “it gives you a fairly good protection against fluctuations against the dollar.”
2. Germany
Tonnes: 3,362.4
Percent of foreign reserves: 74.5 percent
In 2017 Germany completed a four-year repatriation operation to move a total of 674 tonnes of gold from the Banque de France and the Federal Reserve Bank of New York back to its own vaults. First announced in 2013, the move was expected to take until 2020 to complete. Although gold demand fell in 2017 after hitting an all-time high in 2016, this European country has seen gold investing steadily rise since the global financial crisis.
1. United States
Tonnes: 8,133.5
Percent of foreign reserves: 77.5 percent
With the largest official holdings in the world, the U.S. lays claim to nearly as much gold as the next three countries combined. It also has the third highest gold allocation as a percentage of its foreign reserves. From what we know, the majority of U.S. gold is held at Fort Knox in Kentucky, with the remainder held at the Philadelphia Mint, Denver Mint, San Francisco Assay Office and West Point Bullion Depository. Which state loves gold the most? Well, the state of Texas went so far as to create its very own Texas Bullion Depository to safeguard investors’ gold.
What’s happening with gold this week? Read our Investment teams’ weekly analysis here.
All opinions expressed and data provided are subject to change without notice. Some of these opinions may not be appropriate to every investor. By clicking the link(s) above, you will be directed to a third-party website(s). U.S. Global Investors does not endorse all information supplied by this/these website(s) and is not responsible for its/their content.
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https://www.cbsl.gov.lk/en/notes-coins/notes-and-coins/history-of-currency-in-sri-lanka
|
en
|
History of Currency in Sri Lanka
|
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History of Currency in Sri LankaSri Lanka is a country with a long history and a similarly long and rich economic history. A study of that history will doubtlessly prove fruitful not only for economists but for everyone in the society. Coins used through different time periods of a country play an important role when studying the history of that country.
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https://www.cbsl.gov.lk/en/notes-coins/notes-and-coins/history-of-currency-in-sri-lanka
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Sri Lanka is a country with a long history and a similarly long and rich economic history. A study of that history will doubtlessly prove fruitful not only for economists but for everyone in the society. Coins used through different time periods of a country play an important role when studying the history of that country. Although small in size, a coin has the ability of giving a wealth of information about the economic and cultural history of the country where it was used, through signs that remain on them.
Why does Sri Lanka appear Magnified on Ptolemy’s world MAP ?
Extract of the world map by Ptolemy
The image depicted here is an extract from the world map by Ptolemy who lived in 150 A.D in Rome.The map is drawn to considerably precise longitudinal and latitudinal coordinates. However, despite his accurate depiction of the Mediterranean, Europe and the Middle Eastern regions on the map; Sri Lanka appears significantly over-sized. This is no coincidence. It illustrates the recognition Sri Lanka had in the eyes of the world before and during Ptolemy’s time. Although it is small in length and width, the world as a whole considered Sri Lanka to be of great worth.
In the past, Sri Lanka managed to garner the attention of the world partly due to the fact that it was uniquely placed at the center of the Silk Road that spanned from Far East Asia to Europe. It was also a doorway to entering the Overland Silk Road. Traders and explorers from the East and West would converge on this island. Sri Lanka functioned as a trading center for these travelers. There are Greek, Roman and Chinese texts that include a multitude of information that serve as testament to this.
These facts reveal the Economic history of Sri Lanka. Upon close inspection of the great irrigation projects of those times, it becomes clear that the disciplines of engineering and agriculture were highly developed in Sri Lanka. The island also had an efficient trading system in place.
Information detailing these endeavors can be found in epigraphs, ‘Vansha Katha’ (Chronicles of Dynasties), ancient texts and letters as well as in archeological evidence. Coins and epigraphs have a special place among this evidence. Being primary pieces of evidence regarding the economic history of Sri Lanka, these coins and epigraphs can be found in large numbers scattered across the island. Aside from local sources, afore mentioned records by international traders and foreigners also provide information about the trade mechanisms of Sri Lanka’s past. This information is extremely advantageous in the attempt to construct a timeline for the history of Sri Lanka’s economy.
Sri Lanka’s currency-use can be divided into following periods.
Anuradhapura Era
Polonnaruwa to Kotte Era
Kandy Era
Colonial Era
Post-Independence Period since Establishment of the Central Bank of Ceylon
Anuradhapura Era
Coins used in Anuradhapura Era
Kahapana
Swastika coins
Maneless Lion coins
Lakshmi Plaques
Kahavanu or Lankeshvara coin
Foreign Coins
Anuradhapura Kingdom (377 BC– 1017AD)
The Anuradhapura Kingdom named for its capital city, was the first established kingdom in ancient Sri Lanka. Founded by King Pandukabhaya in 377 BC. Epigraphs reveal a multitude of Information about trade and currency use during the Anuradhapura era. These records suggest that the production and distribution of coins were done systematically. At the time, the director in charge of coin production was known as “Rupadaka” (Periyakada Vihara Epigraph). The official who authorized the produced coins was known as “Rupawaapara”. (Kaduru Wewa Epigraph)
Source: Sri Lanka Tourism Promotion Bureau
Accordingly, the coins authorized by the King carried the Royal stamp. When these coins passed from one to another, various unique markings were added by each owner. As a result, these coins bear a multitude of different symbols. One particular coin contains 20 such markings which include the sun, the moon, a tusker, a dog, and a tree. It has been determined that over 500 unique markings were used on the ‘Kahapana’ coins. It is believed that these coins were initially produced in India and not in Sri Lanka. Due to international trade, these coins reached Sri Lanka via Indian vendors. Consequently, based on these coins, Sri Lanka produced its own ‘Kahapana’.
The ‘Kahapana’ had been in use in Sri Lanka from 3rd century B.C. to 1st century A.D. Anuradhapura, Tholuwila, Wessagiriya, Sigiriya, Bunnapola, Dedigama, Minuwangoda, Udawalawe, Ambalangoda, Tissamaharama, Vallipuram, Kantharodai, Jaffna, Mulativu, Maanthota, Padaviya, Trincomalee are some of the many places where this type of coins have been found.
On one side of the coin, there is an image of a walking tusker, a stupa drawn using three half moons, a swastika and a Bo tree with three branches inscribed in a square. On the flipside, there is a swastika, a trident and a stupa. However, when considering the coin as a unit of currency, it is probable that it was in the same category as a ‘Kahapana’.
On the coin face, the goddess Lakshmi is standing on a lotus flower grasping two lotus stems that are protruding from either side of the flower. The stems, which reach her shoulders, each carry a blossomed lotus flower upon which stands a tusker holding a clay water vase. The image depicts the goddess bathing in the water pouring out of the vases held by the two tuskers. In some versions of this coin, goddess Lakshmi is shown seated on a lotus flower.
The Lakshmi coins have been found is such places as Anuradhapura, Jaffna, Wallipuram and Thirukethiswaram as well as Kantharoda, Mannar, Mulativu, Chilaw and Thissamaharama.
Arabic Coins
These coins are minted using metals such as copper and silver. On the face, there are devotional phrases in Arabic. The year of issue is inscribed on the flipside.
Polonnaruwa to Kotte Era
Coins used in Polonnaruwa to Kotte Era
Massa Coins
Dambadeni Coins / Coins of the Middle Ages
Lion Coins
Cetu Coins
Polonnaruwa Kingdom (1017 A.D.–1057 A.D.)
The period covers the kingdoms of Polonnaruwa 1017-1070, 1070-1232, Dambadeniya 1232 – 1272, Yapahuwa 1272-1293, Kurunegala 1293-1340, Gampola 1341- 1374 and Kotte (Sithavaka 1521-1593) 1372-1597. Kings of Chola dynasty that ruled from 1017 – 1070 A.D, issued a “Kahawanu” that was similar to a “Kahawanu” that was minted in the last half of the Anuradhapura era. It was made of copper. A unique characteristic of these coins was that each one bore the name of the king in power at the time of its production. This was the first coin produced in the country that bore the name of the ruler.
Source: Sri Lanka Tourism Promotion Bureau
Kandy Era
Coins used in Kandy Era
Angutu Massa/Koku Coins/ Laarin
Dambadeni kasi
Salli
Indian ‘Waragama’
Tuttu
Panama
Tangama
Kandyan Kingdom (1474 A.D. – 1815 A.D.)
Kandy was the last capital of the Sinhala monarchy. Kandyan Kingdom which was founded about 1474, remained an independent kingdom until the “Hill Country Agreement” dated March 2nd, 1815 was signed transferring Sri Lanka’s autonomy to the British. The Portuguese and Dutch established in the maritime areas in the 16th – 18th Centuries i.e. during Kandyan era. According to historical texts, a few different types of currency were in use during in the heyday of the Hill Country Kingdom also known as “Sinhale”.
Colonial Era
Even though we divided Sri Lanka’s past into eras such as Anuradhapura, Polonnaruwa and Kandy; in all those eras, the entirety of Sri Lanka was never governed by one King. In different instances, the island was invaded by foreign powers. However, until the Kotte Era, the only invaders were the Chola. Despite such instabilities, we were able to make profits through international trade (via the Silk Road), win praise and maintain our splendid international reputation. But in 1453 A.D, the situation changed as a consequence of the fall of Constantinople (Capital of the Byzantine Empire). Europeans began to seek a route to the East over the great ocean. Eventually, the Europeans were victorious in the East and the West. As a result, Sri Lanka was colonized by the Portuguese, the Dutch and the English respectively.
Coins used in Portuguese Period
Saint type coins (St. Thome) - Gold Tanga Malakka - Silver Cruzado Ginimassa - Silver Cakram Panam (Gold/Silver) Laarins Gold Pagodi
Portuguese Period (1505–1658)
In 1505, the Governor and Viceroy of the Portuguese State of India was Don Francisco de Almeida. His son was Lorenzo de Almeida. He was in the process of attacking and thieving Muslim ships. The common belief is that Lorenzo de Almeida and his team were caught in a storm while pursuing a group of Muslim ships and were consequently washed ashore somewhere near Galle, Sri Lanka. But it is hard to believe that the avaricious Portuguese of that time turned their attentive eye towards the prosperous trade center that was Sri Lanka only after such a coincidental happening. The Portuguese took control of the coastal areas of Sri Lanka in 1505 A.D. and then from 1506 – 1658 a few different types of coins were minted and circulated.
Coins used in Dutch Period
Rix Dollar Duits Coins from Zeeland Hollandaise coins Coins from Utrecht Coins from West freaseland Coins from Guilderland Stuivers
Dutch Period (1658–1796)
In 1658 A.D, the Dutch drove out the Portuguese and took control of the coastal areas of Sri Lanka. First Batticaloa (in 1638), then Galle (in 1640), Colombo (in 1656) and finally Jaffna (1658) came under Dutch control. In 1638, after they acquired the Portuguese Fort, the Dutch made a treaty with King Rajasingha II (1635-1687). Section 14 of the treaty contains a multitude of rules regarding the use of money. According to the agreement, unless sanctioned by the King or the Dutch government, the acts of printing, producing publicizing, minting counterfeit coins or circulation was deemed illegal.
Ducatoon
Bathavian Mintage
Ceylon Stuivers - 1
Ceylon Stuivers - 2
Ceylon Stuivers - 3
Coins used in British Period
Tharaka Pagodi Farthing British Stuiver Fanams Rix Dollar (Silver coin - 1825) Half Rupee Rupee (Indian Rupee) Quarter Rupee Duits
British Period (1796–1948)
The French revolution resulted in a major shake-up among the European powers and in 1796 the Dutch were easily supplanted by the British, who in 1815 also won the control of the kingdom of Kandy, becoming the first European power to rule the whole island. But in 1802, Sri Lanka became a Crown Colony and in 1818 a unified administration for the island was set up.
There are two types of coins the English used for transactions in Sri Lanka. The first was a gold coin minted in Madras known as ‘Tharaka Pagodi’ or the Star Pagodi. One Star Pagodi was the equivalent of 45 Panam or 180 Thuttu. The second type of coin was a Copper one. They were minted in England in 1794 and 1797. It was equivalent to 1/96 (gold coin) and 1/48 (copper coin) of a Rupee. ‘United East India Company’ was printed on one side with the year it was issued. The Royal Coat of Arms and the value of the coin could be seen on the other side of the coin.
Like the Dutch, the English also issued banknotes in addition to coins. The first series was issued in 1800. Up until 1801, monetary quantities were recorded in English publications using the Star Pagodhi system. But this method changed after the areas under British control came under the Chief Secretary in charge of Colonial Regions. From then on, Pathaga, Panam and Thuttu were used in recording monetary quantities. Thus the ¼ Pagodhi became equivalent to 1 Pathaga. (1/4 Pagodhi=1 Pathaga)
From 1808 to 1818, ½, 1 and 2 Pathaga (silver) were minted occasionally and their values appeared on the coins as 24, 48 and 96 respectively. In 1803-1817, the copper coins Panam, Thuttu and Thuttu Deka (two Thuttu) were issued as well.
During the British period, notes were issued by three authorities:
1. Notes Issued by the General Treasury (1827 – 1855) - Pound Notes
One pound
Two pounds
Five pounds
2. Notes issued by the Private Banks, namely, (1844 – 1884)
The Oriental Bank Corporation
The Chartered Mercantile Bank of India, London and China.
Hong Kong and Shanghai Banking Corporation
Asiatic Banking Corporation
(i) Pound notes
(ii) Rupee notes
3. Notes issued by the Board of Commissioners of Currency (Under Government of Ceylon) (1884 – 1950)
The Board of Commissioners consisted of
The Treasurer
Colonial Secretary
Auditor General
Subsidiary Currency Notes
Under the provisions of the Emergency Powers Acts. 1939 and 1940 the Board of Currency was authorized to issue denominations below one rupee to meet the shortage of coins. The Board of Commissioners issued subsidiary notes for the values of 5 cents, 10 cents, 25 cents, 50 cents and 1 rupee. Of these notes, the 5 cents carried imprints of postage stamps of 2 cents and 3 cents.
In addition to these subsidiary notes, the Board of Commissioners issued notes worth 1 rupee, 2 rupees, 5 rupees, 10 rupees, 50 rupees, 100 rupees, 500 rupees, 1,000 rupees and 10,000 rupees. The 10,000 rupee currency note was used only for inter bank transactions.
Post Independence Period Since Establishment of the Central Bank of Ceylon
The Central Bank of Ceylon was established on 28th August 1950 in terms of the Monetary Law Act No. 58 of 1949. The Monetary Law Act provided for establishment of a Monetary Board to administer, among other functions of the CBSL, the issue of currency, which included both notes and coins.
Coins issued by the Central Bank of Ceylon
The notes issued by the British were used in Ceylon up to 1951 and the coins were used up to 1963. The first Sri Lankan coin series was introduced in 1963. The Emblem of Ceylon was introduced in the obverse of this coin series. This series consisted of coins in the denominations of:
One cent (Aluminium) Two cents (Aluminium) Five cents (Brass) Ten cents (Brass) Twenty-five cents (Copper / Nickel) Fifty cents (Copper / Nickel) One rupee (Copper / Nickel)
Rupees 5 (Nickel / Brass) and Rupees 2 (Copper / Nickel) circulation coins were introduced in 1984 instead of the five rupee and two-rupee notes.
In 2005, the Central Bank issued a new series of circulation coins of Rs.5 and Rs.2 by changing their weight and alloy, while Re. 1, Cts.50 and Cts.25 coins were issued by changing the size, alloy, weight and colour.
A new 10 Rupees circulation coin was introduced to the existing coin series in 2009. The coins were made of Nickel Plated Steel with the shape of 11 lobed.
In 2016, the metal of 1 Rupee and 5 Rupees coins were changed to Stainless Steel from Brass Plated Steel, considering the long lifespan and lower cost. Additionally, the Edge Letterings were removed in the 5 Rupees coin to reduce costs further.
In 2017, a new series of circulation coins was introduced with face value of Rs.10, Rs.5, Rs.2 and Re.1 (Stainless Steel – AISI 430) with objectives of reducing the cost of coins minting, increasing the durability of coins, giving more portability, and identifying easily by visually impaired people. Accordingly, the size, weight, shape, edge, and design of all four coins were changed, reflecting a progressive pattern of diameter and thickness. These new coins are circulating along with the previous issued coins.
Eleven series of currency notes issued by the Central Bank of Sri Lanka since 1950 are as follows;
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Currency in Europe
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https://www.eurail.com/en/plan-your-trip/good-to-know/currency-europe
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It’s handy to know the different currencies you´ll need on your Eurail rail trip as not all European countries use the Euro. In fact, 14 of the 33 countries you can visit by rail with a Eurail Global Pass have their own currency.
Check out the map to see which countries are using the Euro and which aren’t, to help you plan your trip.
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More Germans Looking Back at the Mark
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2010-12-24T00:00:00
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With some countries that use the euro needing financial bailouts, many Germans are longing, unrealistically, for their old currency.
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https://www.nytimes.com/2010/12/24/world/europe/24berlin.html
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BERLIN For the infrequent flier landing here from anyplace else in the euro zone, or at least for people with longish memories, there is still a lingering sense of novelty in the single-currency bills that do not need changing for the cab ride into town, the euro coins that buy an S-Bahn ticket in Berlin as easily as a Métro ride in Paris.
And, equally, there is a sense that those old Deutsche mark notes that preceded the euro blue for 100s, green for 20s did a pretty good job, too, even if you did have to buy them at banks or exchange booths, grumbling about inflated rates and usurious commissions.
It is, after all, only a brief nine years since Europe embarked on its greatest monetary experiment, trading national cash for a currency that optimists hoped would surpass the dollar. But as the euro has lurched in recent months from crisis to crisis over the indebtedness of some of the countries that use it, an older and unrealistic hankering for its predecessor is emerging.
Two years ago, opinion surveys here placed the number of Germans pining for a return to the mark at around a third. Now the figure is around half. At his open-air emporium of traditional seasonal fare, Joseph Nieke even accepts the old notes, which may still be exchanged for euros. “Bring out your marks!” says a sign next to the steaming kettles of mulled wine and trays of mettwurst and other pork products at a Christmas market on Unter den Linden near the State Opera.
He might get a shock if the entire nation took up his offer: according to the central bank, there are currently some 13.45 billion marks, the equivalent of roughly $8.7 billion, still to be handed in, squirreled away presumably under mattresses or in drawers, wallets or safety deposit boxes. That’s about 110 marks, or $70, for every one of Germany’s 80 million people.
Currencies, of course, are not just about money and, far more than in many lands, a chunk of recent German history has been inscribed on its bank notes.
In 1948, currency reform replaced the reichsmark, or imperial mark, with new marks, not once, but twice over one for the Allied-occupied West and one for the Soviet-dominated East.
As the two Germanies grew ever more estranged, their bank notes mirrored their distinctions, reflecting what was called the abgrenzungspolitik, whereby East Germans laid claim to all that was good in Germany’s tortured history and ascribed the bad to the capitalist West.
Across Europe, indeed, bank notes offered microcosms of national self-image. Symbols of inventiveness and élan, French banknotes portrayed the Curies, even though Marie Curie was Polish by birth, and the aviator Antoine de St. Exupéry. (In France, by law, most receipts still offer a conversion from euros to French francs, so nostalgia may not be an exclusively German characteristic.) Printed in fine shadings of blue, green and brown, Portuguese escudo bills celebrated the navigators who plied the oceans in their wooden ships, making landfall in Africa, India and the Americas.
After the fall of the Berlin Wall in 1989, East Germans confronted a new shift when their currency was replaced by the Deutsche mark as part of the reunification of Germany. Just over a decade later, the euro was introduced, first in electronic trading, then, on Jan. 1, 2002, in the cash economy of an initial 12 European countries. That number has now grown to 16 countries, and is soon to be 17. All of them claimed to have signed up to standards of fiscal discipline, but some of those pledges now seem illusory.
In symbolic terms, the new euro bills with their bland, architectural neutrality almost seemed to represent the end of national pride and history: gone were the great navigators, poets, playwrights, inventors, ideologues. In came bridges.
But in many southern European countries, the new currency offered a rite of passage into a club of northern prosperity and stability.
“The euro opens the geographic door,” said the Rev. Manuel Horacio Gomes, a Portuguese priest who was part of a broad campaign by the Roman Catholic Church to spell out to congregants the pros and cons of the euro.
The perils of that particular portal took less than a decade to emerge in the debt crises savaging the euro zone this year, with bailouts in Greece and Ireland, and nervous governments in Lisbon, Madrid and elsewhere pondering how far the contagion will spread as speculators seek to exploit the currency’s frailties.
It is happening at a time when many Europeans see Germans as uncoupling their own interests from the continent’s, reluctant to pay a cent (or pfennig?) more to rescue the profligate economies of their southern partners unless they finally sign on to Germany’s own standards of hard work and thrift.
And it is happening as the European debate takes an ominous turn. If it is argued that for the euro to work like the dollar works, it will have to be backed by the same political and fiscal cohesiveness as found in the United States, then the converse also holds true: as the currency goes, so goes the Continent.
“With every day that passes, the crisis of the euro is becoming more and more a crisis of the European Union,” wrote a columnist, Matthias Nass, in the weekly Die Zeit.
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https://www.ecb.europa.eu/euro/coins/html/pt.en.html
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Portugal
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"https://www.ecb.europa.eu/euro/coins/common/shared/img/pt/Portugal_1cent.jpg"
] |
[] |
[] |
[
""
] | null |
[
"European Central Bank"
] |
2015-06-25T00:00:00
|
The European Central Bank (ECB) is the central bank of the European Union countries which have adopted the euro. Our main task is to maintain price stability in the euro area and so preserve the purchasing power of the single currency.
|
en
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/fav.ico
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European Central Bank
|
https://www.ecb.europa.eu/euro/coins/html/pt.en.html
|
€2
€1 and €2 coins: the country's castles and coats of arms are set amid the European stars. This symbolises dialogue, the exchange of values and the dynamics of the building of Europe. The centrepiece is the royal seal of 1144. Edge lettering of the €2 coin: five coats of arms and seven castles, all equally spaced.
€1
€1 and €2 coins: the country's castles and coats of arms are set amid the European stars. This symbolises dialogue, the exchange of values and the dynamics of the building of Europe. The centrepiece is the royal seal of 1144.
50 cent
10, 20 and 50-cent coins: these depict the royal seal of 1142 as the centrepiece of the design.
20 cent
10, 20 and 50-cent coins: these depict the royal seal of 1142 as the centrepiece of the design.
10 cent
10, 20 and 50-cent coins: these depict the royal seal of 1142 as the centrepiece of the design.
5 cent
1, 2 and 5-cent coins: these bear the image of the first royal seal, from 1134, along with the inscription "Portugal".
2 cent
1, 2 and 5-cent coins: these bear the image of the first royal seal, from 1134, along with the inscription "Portugal".
|
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https://www.travel-brazil-selection.com/informations/essential-information/brazilian-currency/
|
en
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Learn all about the Currency of Brazil
|
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2019-10-09T21:03:04+00:00
|
The Currency of Brazil today is the Real. Chart its history, the value of the Real, and how it has performed under Presdients like Lula, Dilma and Bolsonaro.
|
en
|
Brazil Selection
|
https://www.travel-brazil-selection.com/informations/essential-information/brazilian-currency/
|
The currency in Brazil today is the Real, (plural “reais”). Its sign is “R$” and its ISO currency code is “BRL”.
This section of our Brazil travel guide will examine how the currency in Brazil became the Real and its journey down through the ages. Throughout its history, Brazilian currency has changed many times due to hyperinflation and economic goals. Starting with the arrival of the currency with European colonizers, we chart its course through time, with reference to how its fluctuations in value affected Brazilian society. Finally, we present the value of the Real today, how it is issued and how it has performed under different Brazilian political leaders.
The Real first arrives in Brazil
The Real was the first official currency of Brazil, arriving with the Portuguese and the Dutch around the mid – 17th century. The name real, means “royal” in Portuguese and it was also the name of the currency in circulation in Portugal from the 1400´s until 1911. Since the earliest colonial days in Brazil, the Real was in use. The symbol for the “old Real” as it is known nowadays, was “Rs$. Note, the last character that looks like a dollar sign is called “cifrão” in Portuguese and was always written with two vertical strokes instead of one.
The plural form of the old Real is “réis,” as oppose to the plural form of the modern real which is “reais.” The practical unit of the old Real changed many times throughout its lifetime due to the effects of inflation. First becoming “mil reís” meaning one-thousand réis then becoming “conto de réis” which was the equivalent of one million réis!
Nowadays, you can hear the older terms mostly being used in old Brazilian song lyrics, such as in this extract from a traditional song:
“Capénga ontem teve aqui
Deu dois mil réis ao papai
Deu três mil réis ao mamãe
Café e açúcar ao vovó
Dois vinténs para mim, só”
Extract from “Capénga”
Although Brazil gained its independence from the Portuguese crown in September 1822 when the declaration of Dom Pedro founded The Empire of Brazil, the Real remained as its official currency. The old currency of Brazil went through many reforms over the years, but the original Brazilian real that circulated in the 1750´s for example, came in denominations of 5, 10, 20 and 40 réis copper coins. Silver coins circulated in denominations of 75, 150, 300 and 600 réis and gold coins were available in 1000, 2000, 4000 and 6400 réis.
The first paper money used in Brazil was to pay diamond prospectors. The notes came in various denominations because their value was marked on the note at the time of issue. Various banks throughout Brazilian history issued their own denominations of the Brazilian Real including Banco do Brazil, Banco do Maranhão and Banco da República dos Estados Unidos do Brasil. Regional governments also issued their own banknotes in the 1890s, and from 1924 to 1942.
The Cruzeiro becomes the new Brazilian Currency
The Cruzeiro replaced the old Real in 1942 and various currencies circulated in Brazil under the name cruzeiro until 1994. Its symbol was “Cr$.” From 1986 to 1989 the cuzeiro was replaced by the “Cruzado,” and from 89 – 90 the “Cruzado novo.” There were three distinct currencies in Brazil, which carried the name cruzeiro. The first cruzeiro known as the “Cruzeiro antigo” (old Cruzeiro) circulated from 1942 – 1967. The second cruzeiro, known as the “Cruzeiro Novo” was in use from 1970 – 1986. (Cruzeiro Novo means “new Cruzeiro” in Portuguese.) Finally, the third and last cruzeiro was used between 1990 and 1993.
The name cruzeiro comes from “Cruzeiro do Sul” which is the Portuguese for the Southern Cross or Crux constellation. This constellation is more or less only visible in the Southern hemisphere and remains a popular icon in Brazilian culture, still in use on the Real coin today and taking pride of place on various badges and coat of arms´.
The modern Real, the currency of Brazil today
Today in Brazil, the currency is once again the Real. Around since the early 1690´s the name “Real” has managed to survive all the way to the present day (except for the period between 1942 – 1994 when the Brazilian cruzeiro took its place). The plural form of the modern real is “reais” and its sign is “R$”. Its international standard currency code is BRL, and it is issued by “Banco Central do Brazil” (The Central Bank of Brazil).
An interesting fact is that the modern real is equal to 2.75 × 1018 (2.75 quintillion!) of Brazil´s original réis. At the time of writing (July 2019), the US Dollar is equivalent to 3.76 reais.
The Real is divided into 100 equal “centavos.”
Brazilian Real Coins
The current series of Real coins was released in 1998. Although the central bank stopped producing 1 centavo coins in November 2005, they are still in circulation and still count as legal tender. A funny and interesting thing you might see on your journey to Brazil, is a small stack of ten 10 centavo coins taped together to serve as 1 Real!
Each centavo coin bears the Southern cross constellation on one face. Pedro Álvares Cabral, the discoverer of Brazil, is featured on the one-centavo coin, made from copper – plated steel. The five – centavo coin, also made from copper – plated steel bears the face of Joaquim José da Silva Xavier, famously known as “Tiradentes.” He was a prominent figure of a revolutionary movement in Minas Gerais, during which he fought for independence from the Portuguese crown and because of this was publicly hanged. Tiradentes is remembered in Brazil as a national hero.
Brass – plated steel is the material used to make the ten – centavo coin and it features Dom Pedro I, also known as “The Liberator,” he became the first emperor of Brazil in October 1822 after declaring Brazil´s independence from Portugal on September 7th of the same year. The 25 – centavo coin is also made from brass – plated steel and on it you will find Field Marshall Deodoro da Fonseca, the first president of the Republic of Brazil, he led the coup that toppled Emperor Pedro II and with him went the Empire of Brazil. The 50 – centavos coin is made from steel and is adorned by the face of José Paranhos Jr, one of Brazil´s most revered ministers for foreign affairs. He managed to peacefully resolve all of the problems Brazil had with its neighboring countries regarding the borders. Finally, the 1 – real coin is made from an inner coin of steel surrounded by a ring of brass. The outer brass ring is decorated with a Marajoara art pattern, traditional on the Amazon estuary island, Marajó. In the centre is the Éfigie da República, symbol of the republic of Brazil.
Below are examples of the art that inspire the design of the 1 Real coin. The first is an example of Marajó art, which you can see on the outer ring of the 1 Real coin. Marajó is an island on the Amazon estuary roughly the size of Switzerland! It is famous for its ceramic pottery featuring the same art, which give evidence to the fact that the island was inhabited from as early as 1400BC.
Also below is an example of allegoric art depicting the Brazilian republic, by Manuel Lopes Rodrigues in 1896. The woman in the painting is the “Efígie da República” also seen on the 1 Real coin. Brazil first became a republic in 1889, after which this symbol became widely used to sygnify it.
Finally, we have the Southern – Cross constellation in the night sky. It is mostly only visible from the Southern hemisphere, although it is possible to see it on rare occasions from parts of the Northern hemisphere. Brazil is the largest country in the Southern hemisphere and so it has become a symbol of both Brazil and the other countries that lie south of the Equator. It is seen on all real coins.
Brazilian Real Banknotes
The latest series of Brazilian banknotes began circulating in 2010 and come in denominations of 2, 5, 10, 50 and 100 Reais. On the 2 Real banknote you will find the Hawksbill Turtle. This critically endangered species is found in Brazilian waters and considerable efforts are ongoing to combat its declining numbers. These majestic marine creatures were traditionally hunted for their beautiful shells. The 5 Real banknote features a Great Egret, a large heron – like bird, that can spear fish with its long sharp bill. It displays beautiful white plumage. The 10 Real banknote features the Green – Winged Macaw, quite a famous symbol of tropical Brazil, it is also one of the largest species of Macaw found in the country. The Golden Lion Tamarin will be found if you study a 20 Real note, named after their large manes, these incredible monkeys call Brazil´s Atlantic rainforest home. Unfortunately, due to logging and careless human behavior their habitat and numbers are dwindling. Look at a 50 Real note to find the mythical Jaguar, king of the Pantanal, where you can embark on a trip to see these majestic cats. Finally, if you are lucky enough to feast your eyes on a 100 Real note, you will see the image of a “garoupa” or dusky grouper. This is a highly prized fish in the southern coastal states of Brazil.
The Plano Real also involved a series of economic reforms at governmental level allowing inflation to be kept under control for the following years. These reforms included control of expenditure through high interest rates and also the adoption of liberal trade policies to allow the increase of market competition. The plan initially worked and the real gained value against the US dollar, backed by large capital investments in Brazil, particularly in 1994 and 1995. After 1995 however, the Real experienced a gradual downfall culminating in a crisis in 1999.
In 1999 the Brazilian Central Bank announced that the Real would no longer be pegged to the US dollar leading to a 4.4% growth in the economy in 2000.
Much to the surprise of economists, supporters and opposition to Lula, when Lula took office in 2003 he did not overhaul the economy as many expected he would. In fact, Lula continued many of the policies of the previous government in that he targeted the control of inflation and maintained the floating currency. He even made sure to appoint conservative ministers to certain positions such as the Ministry of Finance and the Revenue Service. Some of Lula´s critics accused him of going back on his word as he increased the minimum wage a lot less than he promised during his presidential candidacy.
All in all the Brazilian currency flourished and the economy grew rapidly during the Lula years (he was re – elected in 2006). The GDP grew by 5.7% in 2004 and 3.2% in 2005, 4% in 2006, 6.1% in 2007 and 5.1% in 2008. From 2008 to 2010 during the global financial crisis, the Brazilian economy continued to grow ending 2010 with a figure of 7.5%, contrary to what one would expect!
In 2015, the GDP of Brazil fell by 3.9% and 3.6% in 2016. This crisis had serious negative implications throughout the country; the unemployment rate rose from 6.8% to 12% by the end of 2016. There was outrage against the establishment, in particular towards the leadership of Dilma and the workers party (PT). Many believe this to be a pivotal point in Brazilian politics, in that the Brazilian public looked for an alternative to PT and so was a great aid in the election of current right – wing president Jair Bolsonaro.
The recession ended when the GDP rose by 1.4% in the first quarter of 2017.
The Real under Bolsonaro
During Bolsonaro´s candidacy the real rallied, a right wing president who would put economic growth first was “what the markets wanted.” Investors worldwide experienced increased confidence in the Brazilian currency. It was even reported that the Brazilian economy was on the road to recovery.
When Bolsonaro took office on the first of January 2019 he left the task of fixing the broken economy and weak Brazilian currency to businessman Paulo Guedes. The real was still in the same place it was back in 2014. Since the new President took office, economists have halved their expectations for economic growth in 2019, and there is not much positive speculation as far as improvement goes on the meagre figures of 2017 and 2018.
|
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https://www.vfsglobal.com/one-pager/portugal/usa/english/
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Visa Information
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VISA TYPES
Select the visa type that is right for you to see important information on visa fees, documents required, forms, photo specifications and processing times.
I â SHORT STAY VISA
Schengen visa
Citizens of some non-EU countries are required to hold a valid Schengen visa when travelling to the Schengen area, which is a group of European countries that allows a person, who’s been admitted to the Schengen Area, to travel without any further form of border control within the Schengen Area.
Current Schengen States are: Austria, Belgium, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, the Netherlands, Norway, Poland, Portugal, Slovakia, Slovenia, Spain, Sweden and Switzerland.
A Schengen visa is a short stay visa, i.e. for stays up to 90 days, allowing its holder to circulate in the Schengen Area.
A Schengen visa has to be obtained from the Mission of the Schengen State, which will be the main destination (i.e. where the most nights will be spent) during a single trip to the Schengen Area.
A single trip is considered when an applicant enters the Schengen Area, stays there for a certain period and eventually leaves the Schengen Area.
If an equal amount of nights will be spent in different Schengen States during a single trip to the Schengen Area, then the Schengen visa must be obtained with the Mission of the Schengen State, which will be entered first.
The documentation related to the means of travel and accommodation must cover the complete itinerary of the single trip to the Schengen Area; i.e. travel tickets must be provided, not only for the travel from and to the Schengen Area, but also for the travel between the different Schengen States, when more than 1 Schengen State will be visited during the single trip.
Each Schengen visa application must fully comply with the documents required for the respective visa category and can only be submitted up to 6 months before the intended departure date.
The acceptance of a Schengen visa application and supporting documents by VFS does not guarantee the issuance of a Schengen visa.
The issuance of a Schengen visa, the Schengen visa validity period, the number of entries and amount of travel days are at the sole discretion of the Mission.
If a visa application is returned by the Mission requesting missing documents or any other missing/ incorrect information, the applicant must accept responsibility for any delay that may occur in the visa application processing time.
Holders of valid Schengen visas are still subject to immigration control upon arrival in the Schengen Area and are not necessarily guaranteed entry into any of the Schengen countries, even though they may hold a valid Schengen visa for these countries.
Following visa categories are considered Short stay visas:
Tourist visa
Business/ Conference
Visiting Family and Friend etc.
EEA/EU FAMILY MEMBER
PARTICIPATION IN POLITICAL, ECONOMIC, SCIENTIFIC, CULTURAL, SPORT OR RELIGIOUS EVENTS
Tourist visa
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
Every applicant, including children/infants, has to submit his/her Schengen visa application in person and by appointment only on their appointment date, which needs to be booked online by the applicant.
Applicants, who intend to travel to Portugal purely for tourist purposes, i.e. visiting for pleasure, need to apply for a Tourist visa,.
Eligibility
Applicant must at least meet the following criteria in order to be eligible to submit a Schengen visa application:
Holding a valid passport/travel document
Holding a valid US residence permit. In case applicant holds a short stay visa, a B1/B2 type visa, for the US, then applicant needs to apply for a Schengen visa from his/her residence country.
Applying for a short stay visa (Tourist: including visits to family or friends, Business, EEA/EU Family member or Transit)
JURISDICTION RESTRICTIONS:
WASHINGTON DC: AREAS OF JURISDICTION
States of: Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Minnesota, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, Ohio, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Virginia, Wisconsin, District of Columbia.
NEW YORK: AREAS OF JURISDICTION
States of: Connecticut, Michigan and New York Territories of American Virgin Islands, Bahamas, Cayman Islands, and Puerto Rico
SAN FRANCISCO: AREAS OF JURISDICTION
States of: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming
For Non EU citizens who are not sure whether a Schengen visa is required to travel to the Schengen Area, please click Do I need a visa? to find out.
Visa Fees
VFS service fee of US $41.07 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
Applicants applying in San Francisco and Washington DC are required to pay the Visa Fee by way of a money order or Banker / Cashier check in favor of the âConsulate General of Portugalâ. VFS Service Fee can be paid via Debit/Credit card at the center while submitting the application
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 JULY 2023 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠80.00 $87.46 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $43.23 Schengen visa, low tariff: visa facilitation for citizens of Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine* ⬠35.00 $37.82 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $81.06 National visa application- Over 1 year stay ⬠90.00 $97.27
Please Note:
Short Stay Schengen Visa- For children between 6 -12 years old and Nationals of countries with a visa facilitation agreement with the European Union (Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine) the Schengen visa fee amounts as shown in the above table.
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
All fees are non-refundable once paid.
Documents Required
TRAVEL INSURANCE: Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Important â Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of all the important document for your reference.
DOCUMENTS REQUIRED: The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
Applicants always have to bring and show their original Passport, but they only need to submit photocopies of the same; unless the requirements specify that an original document has to be submitted. Please refer to the checklist for the list of documents as required by the Portugal consulate, ensure that you have all the documents as per your Visa Categories.
For applying for a short-stay Schengen visa, the following documentation is required:
Application Form;
Visa application completely filled and duly signed by applicant (For minors and incapacitated, forms should be signed the legal guardian);
Passport Photograph;
A recent color photograph (35mmx45mm) up-to-date and with enough quality to identify the applicant;
Passport or Travel Document;
Passport or Travel document must be valid for 3 months beyond the Schengen stay; a photocopy of prior passport and Schengen visas required.
Certificate of being in a regular situation when the applicant is from a different nationality than that of the country where the visa is being requested;
Proof and copy of residency status in the United States (Green card, Employment Authorization Card, United States Visa)
Travel reservation
Roundtrip flight reservation showing date of departure and date of return
Travel medical insurance
Proof of medical coverage, including medical emergencies and repatriation. The insurance should have a minimum coverage of â¬30,000 or 50,000 USD; shall a multiple entry visa be granted, applicants shall sign the statement, set out in the application form, declaring that they are aware of the need to be in possession of travel medical insurance for subsequent stays.
Economic and work conditions:
Work certificate and salary, as well as three last bank transcripts (proof of means of subsistence), covering the entire stay and return to the country of origin.
Travel authorization for minors or court decision (when applicable);
Hotel reservation (if applicable);
Proof of accommodations for entire stay or statement of responsibility.
For journeys undertaken for medical reasons;
An official document of the medical institution confirming necessity for medical care in that institution and proof of sufficient financial means to pay for the medical treatment;
Entry visa for the destination country (if applicable).
Photo Specifications
Please provide one recent colour photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed on normal photographic paper (camera print).
Full face, non-smiling (without sunglasses, a hat/cap or other head covering, unless the applicant wears such items because of their religious belief or ethnic background).
Please stick the photograph on the Visa Application Form.
If the photographs presented do not meet these requirements, then the visa application will be considered incomplete and applicant will be asked to take new photographs in the photo booth in the visa application centre.
Processing Time
NOTICE
Please be advised that applications sent by mail do not guarantee faster processing than applications done in person. Applications will be processed as per the queue at VFS and the visa Section of the Embassy of Portugal in DC.
Normal processing time for applications submitted in San Francisco is up to 30 days for C category. For D category it will take up to 60 days.
Applications for D type visa for Portugal are on very high demand and it will take time to process all of them. Applicants are advised to expect a longer waiting time in obtaining a decision on their application. You will be notified once the application has been processed by the Embassy of Portugal in Washington DC. Please, be advised, that contacting the Embassy immediately, or repeatedly, will only provoke delays, as resources will have to be diverted from visa processing to answering emails and phone calls.
The visa processing time is a minimum of 3 weeks, depending on the nationality of the applicant of the applicant and provided that a complete visa application is submitted; please click here for the list of nationalities that may have an extended processing time.
Please click here to ascertain any dates that the consulate will be closed, as this will also affect the processing time of your application.
Article 23 for time lines of application processing.
Annex 16 for nationalities that require prior consultation
After a visa application has been submitted, it is still be possible for the consulate to request additional documents/information and by doing so this may prolong or delay the visa processing time.
Download Forms
Please click Here to complete the visa application form. Please ensure you print and bring the completed application form when attending for your appointment.
Visiting Family and Friends
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
Every applicant, including children/infants, has to submit his/her Schengen visa application in person and by appointment only on their appointment date, which needs to be booked online by the applicant.
Eligibility
Applicant must at least meet the following criteria in order to be eligible to submit a Schengen visa application:
Holding a valid passport/travel document
Holding a valid US residence permit. In case applicant holds a short stay visa, a B1/B2 type visa, for the US, then applicant needs to apply for a Schengen visa from his/her residence country.
Applying for a short stay visa (Tourist: including visits to family or friends, Business, EEA/EU Family member or Transit)
JURISDICTION RESTRICTIONS:
WASHINGTON DC: AREAS OF JURISDICTION
States of: Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Minnesota, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, Ohio, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Virginia, Wisconsin, District of Columbia.
NEW YORK: AREAS OF JURISDICTION
States of: Connecticut, Michigan and New York Territories of American Virgin Islands, Bahamas, Cayman Islands, and Puerto Rico
SAN FRANCISCO: AREAS OF JURISDICTION
SANStates of: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming
Visa Fees
VFS service fee of US $41.07 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
Applicants applying in San Francisco and Washington DC are required to pay the Visa Fee by way of a money order or Banker / Cashier check in favor of the âConsulate General of Portugalâ. VFS Service Fee can be paid via Debit/Credit card at the center while submitting the application
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 JUNE 2023 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠80.00 $86.46 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $43.23 Schengen visa, low tariff: visa facilitation for citizens of Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine* ⬠35.00 $37.82 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $81.06 National visa application- Over 1 year stay ⬠90.00 $97.27
Please Note:
Short Stay Schengen Visa- For children between 6 -12 years old and Nationals of countries with a visa facilitation agreement with the European Union (Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine) the Schengen visa fee amounts as shown in the above table.
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
All fees are non-refundable once paid.
Documents Required
TRAVEL INSURANCE: Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Important â Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of all the important document for your reference.
DOCUMENTS REQUIRED: The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
Applicants always have to bring and show their original Passport, but they only need to submit photocopies of the same; unless the requirements specify that an original document has to be submitted. Please refer to the checklist for the list of documents as required by the Portugal consulate, ensure that you have all the documents as per your Visa Categories.
For applying for a short-stay Schengen visa, the following documentation is required:
Application Form;
Visa application completely filled and duly signed by applicant (For minors and incapacitated, forms should be signed the legal guardian);
Passport Photograph;
A recent color photograph (35mmx45mm) up-to-date and with enough quality to identify the applicant;
Passport or Travel Document;
Passport or Travel document must be valid for 3 months beyond the Schengen stay; a photocopy of prior passport and Schengen visas required.
Certificate of being in a regular situation when the applicant is from a different nationality than that of the country where the visa is being requested;
Proof and copy of residency status in the United States (Green card, Employment Authorization Card, United States Visa)
Travel reservation
Roundtrip flight reservation showing date of departure and date of return
Travel medical insurance
Proof of medical coverage, including medical emergencies and repatriation. The insurance should have a minimum coverage of â¬30,000 or 50,000 USD; shall a multiple entry visa be granted, applicants shall sign the statement, set out in the application form, declaring that they are aware of the need to be in possession of travel medical insurance for subsequent stays.
Economic and work conditions:
Work certificate and salary, as well as three last bank transcripts (proof of means of subsistence), covering the entire stay and return to the country of origin.
Travel authorization for minors or court decision (when applicable);
Hotel reservation (if applicable);
Proof of accommodations for entire stay or statement of responsibility.
For journeys undertaken for medical reasons;
An official document of the medical institution confirming necessity for medical care in that institution and proof of sufficient financial means to pay for the medical treatment;
Entry visa for the destination country (if applicable).
Photo Specifications
Please provide one recent colour photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed on normal photographic paper (camera print).
Full face, non-smiling (without sunglasses, a hat/cap or other head covering, unless the applicant wears such items because of their religious belief or ethnic background).
Please stick the photograph on the Visa Application Form.
If the photographs presented do not meet these requirements, then the visa application will be considered incomplete and applicant will be asked to take new photographs in the photo booth in the visa application centre.
Processing Time
NOTICE
Please be advised that applications sent by mail do not guarantee faster processing than applications done in person. Applications will be processed as per the queue at VFS and the visa Section of the Embassy of Portugal in DC.
Normal processing time for applications submitted in San Francisco is up to 30 days for C category. For D category it will take up to 60 days.
Applications for D type visa for Portugal are on very high demand and it will take time to process all of them. Applicants are advised to expect a longer waiting time in obtaining a decision on their application. You will be notified once the application has been processed by the Embassy of Portugal in Washington DC. Please, be advised, that contacting the Embassy immediately, or repeatedly, will only provoke delays, as resources will have to be diverted from visa processing to answering emails and phone calls.
The visa processing time is a minimum of 3 weeks, depending on the nationality of the applicant of the applicant and provided that a complete visa application is submitted; please click here for the list of nationalities that may have an extended processing time.
Please click here to ascertain any dates that the consulate will be closed, as this will also affect the processing time of your application.
Article 23 for time lines of application processing.
Annex 16 for nationalities that require prior consultation
After a visa application has been submitted, it is still be possible for the consulate to request additional documents/information and by doing so this may prolong or delay the visa processing time.
Download Forms
Please click Here to complete the visa application form. Please ensure you print and bring the completed application form when attending for your appointment.
Schengen Visa (Short Stay Visa)
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
Every applicant, including children/infants, has to submit his/her Schengen visa application in person and by appointment only on their appointment date, which needs to be booked online by the applicant.
Applicants, who intend to travel to Portugal purely for tourist purposes, i.e. visiting for pleasure, need to apply for a Tourist visa.
Eligibility
Applicant must at least meet the following criteria in order to be eligible to submit a Schengen visa application:
Holding a valid passport/travel document
Holding a valid US residence permit. In case applicant holds a short stay visa, a B1/B2 type visa, for the US, then applicant needs to apply for a Schengen visa from his/her residence country.
Applying for a short stay visa (Tourist: including visits to family or friends, Business, EEA/EU Family member or Transit)
JURISDICTION RESTRICTIONS:
STATES UNDER THE JURISDICTION OF PORTUGAL FOR VISA APPLICATION PROCESSING.
STATES under the Jurisdiction of PORTUGAL
The Embassy of Portugal in Washington DC
CONSULAR JURISDICTION: States of Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Minnesota, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, Ohio, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Virginia, West Virginia, Wisconsin, District of Columbia
Click Here
Consulate General of Portugal in New York
CONSULAR JURISDICTION: States of Connecticut, Michigan, and New York. Territories of American Virgin Islands, Bahamas, Cayman Islands, Bermudaâs, and Puerto Rico.
Click Here
Consulate General of Portugal in San Francisco
CONSULAR JURISDICTION: States of Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington, and Wyoming and the territories of American Samoa, Guam, Northern Marianas.
Click Here
If you donât see your State above, please click here
Visa Fees
VFS service fee of US $40.73 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
Applicants applying for Schengen/ C-Visa can pay their visa fee and VFS service fee via credit or debit card at the visa application center. (Except for San Francisco location, Money order is required for Visa fee)
Applicants applying for a D-Visa/ Long Terms visa in San Francisco and Washington DC are required to pay the Visa Fee by way of a money order or Banker / Cashier check in favor of the âConsulate General of Portugalâ. VFS Service Fee can be paid via Debit/Credit card at the center while submitting the application.
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 MAY 2024 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠90.00 $98.01 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $43.56 Schengen visa, low tariff: visa facilitation for citizens of Albania, Armenia, Azerbaijan, Bosnia Herzegovina, Georgia, Kosovo, Former Yugoslav Republic of Macedonia, Moldova, Montenegro, Serbia, and Ukraine* ⬠35.00 $38.12 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $98.01 National visa application- Over 1 year stay ⬠90.00 $98.01
Please Note:
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
Ethiopian citizens that plan to apply for a visa to visit the Schengen area, please note -
Holders of diplomatic or service passports, must pay for their visas.
Processing time is 45 days.
Multiple entries are no longer permitted for Ethiopian citizens.
All fees are non-refundable once paid.
Documents Required
TRAVEL INSURANCE: Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Important â Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of all the important document for your reference.
DOCUMENTS REQUIRED: The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
Applicants always have to bring and show their original Passport, but they only need to submit photocopies of the same; unless the requirements specify that an original document has to be submitted. Please refer to the checklist for the list of documents as required by the Portugal consulate, ensure that you have all the documents as per your Visa Categories.
For applying for a short-stay Schengen visa, the following documentation is required:
Application Form;
Visa application completely filled and duly signed by applicant (For minors and incapacitated, forms should be signed the legal guardian);
Passport Photograph;
A recent color photograph (35mmx45mm) up-to-date and with enough quality to identify the applicant;
Passport or Travel Document;
Passport or Travel document must be valid for 3 months beyond the Schengen stay; a photocopy of prior passport and Schengen visas required.
Certificate of being in a regular situation when the applicant is from a different nationality than that of the country where the visa is being requested;
Proof and copy of residency status in the United States (Green card, Employment Authorization Card, United States Visa)
Travel reservation
Roundtrip flight reservation showing date of departure and date of return
Travel medical insurance
Proof of medical coverage, including medical emergencies and repatriation. The insurance should have a minimum coverage of â¬30,000 or 50,000 USD; shall a multiple entry visa be granted, applicants shall sign the statement, set out in the application form, declaring that they are aware of the need to be in possession of travel medical insurance for subsequent stays.
Economic and work conditions:
Work certificate and salary, as well as three last bank transcripts (proof of means of subsistence), covering the entire stay and return to the country of origin.
Travel authorization for minors or court decision (when applicable);
Hotel reservation (if applicable);
Proof of accommodations for entire stay or statement of responsibility.
For journeys undertaken for medical reasons;
An official document of the medical institution confirming necessity for medical care in that institution and proof of sufficient financial means to pay for the medical treatment;
Entry visa for the destination country (if applicable).
Applicants, who intend to travel for business purposes, i.e. visiting a business/company to have meetings, to make business deals, to recruit, to train or other work related activities can apply for a Business visa.
Every Business visa application has to be confirmed by an invitation letter from a business/company based in Portugal, if not, applicant will have to apply as a Tourist.
In regards to conference/seminar/workshop the following applicants can also apply for a Business visa:
Students going to attend a conference/seminar/workshop related to their studies
Applicants/Employees going to attend a conference/seminar/workshop organized by their company or another company directly related to their company
Applicants going to be actively involved in a conference/seminar/workshop
Photo Specifications
Please provide one recent colour photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed on normal photographic paper (camera print).
Full face, non-smiling (without sunglasses, a hat/cap or other head covering, unless the applicant wears such items because of their religious belief or ethnic background).
Please stick the photograph on the Visa Application Form.
If the photographs presented do not meet these requirements, then the visa application will be considered incomplete and applicant will be asked to take new photographs in the photo booth in the visa application centre.
Processing Time
NOTICE
Please be advised that applications sent by mail do not guarantee faster processing than applications done in person. Applications will be processed as per the queue at VFS and the visa Section of the Embassy of Portugal in DC.
Normal processing time for applications submitted in San Francisco is up to 30 days for C category. For D category it will take up to 60 days.
Applications for D type visa for Portugal are on very high demand and it will take time to process all of them. Applicants are advised to expect a longer waiting time in obtaining a decision on their application. You will be notified once the application has been processed by the Embassy of Portugal in Washington DC. Please, be advised, that contacting the Embassy immediately, or repeatedly, will only provoke delays, as resources will have to be diverted from visa processing to answering emails and phone calls.
The visa processing time is a minimum of 3 weeks, depending on the nationality of the applicant of the applicant and provided that a complete visa application is submitted; please click here for the list of nationalities that may have an extended processing time.
Please click here to ascertain any dates that the consulate will be closed, as this will also affect the processing time of your application.
Article 23 for time lines of application processing.
Annex 16 for nationalities that require prior consultation
After a visa application has been submitted, it is still be possible for the consulate to request additional documents/information and by doing so this may prolong or delay the visa processing time.
Download Forms
Please click Here to complete the visa application form. Please ensure you print and bring the completed application form when attending for your appointment.
National Visa
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
National visas, in compliance with existing domestic law, can be either temporary or for residency authorization purposes, depending on the duration of the stay and granting the visa holder an authorization to stay in the country according to different purposes: study, internship, work, medical treatment, among others.
VERY IMPORTANT:
*Customers must be physically present in the US when applying for any of the visa category, including residency visa for Portugal through the VFS Portugal Visa Application Center. Visas cannot be issued for applicants who are not in the United States. Visas cannot be issued if the applicants are physically in Portugal.
*All documents that must be notarized as per Embassy checklist should be done at Notary Public in the state where customer legally resides in the USA i.e. as per the address proof submitted by the applicant for US state in the application documents.
*Check the jurisdiction restrictions before submitting your application. Applications from other jurisdictions may be denied.
3.1 National Visa Temporary category E
Temporary Stay Visas allow entry and stay in Portugal for less than a year. Temporary stay visas are valid during the entire stay and allow for multiple entries.
This category allows applications for the following purposes -
3.1.1 Work and Investigation
PURPOSE TYPE OF VISA Subordinate seasonal work for period over 90 days Temporary stay visa for season work for duration of over 90 days. Independent work purposes Temporary stay visa for independent work. Highly qualified activity Temporary stay visa for scientific research, higher education professorial activity or highly qualified activity purposes for a period of less than a year. Remote Work/ Digital Nomad Temporary stay visa for the exercise of a professional activity done remotely- âdigital nomadsâ. Amateur Sports Activity Temporary stay visa for amateur sports purposes. Temporary stay visa for transfer of workers purposes for state parties to the WTO, for provision of services or professional training. Transfer of workers or service providers when the applicant has been working for over one year Investigation Temporary stay visa for scientific research, higher education professorial activity or highly qualified activity purposes for a period of less than a year.
3.1.2 Study
PURPOSE TYPE OF VISA Secondary Education Temporary stay visa for periods of over 3 months, for study programs, student exchange, training, unpaid internship, volunteer work purposes, as well as commitments pursuant to international agreements or conventions.
3.1.3 Health
Medical treatment Temporary stay visa for medical treatment purposes. Accompany a family member undergoing medical treatment Temporary stay visa for accompanying family member undergoing medical treatment purposes.
3.1.4 Professional training, internship or volunteer work
PURPOSE TYPE OF VISA Transfer of workers or service providers when the applicant has been working for over one year. Temporary stay visa for transfer of workers purposes for state parties to the WTO, for provision of services or professional training. Transfer of workers or service providers when the applicant has been working for less than one year. Temporary stay visa for transfer of workers purposes for state parties to the WTO, for provision of services or professional training. Unpaid internship Temporary stay visa for periods of over 3 months, for study programs, student exchange, training, unpaid internship, volunteer work purposes, as well as commitments pursuant to international agreements or conventions. Volunteer Work Temporary stay visa for periods of over 3 months, for study programs, student exchange, training, unpaid internship, volunteer work purposes, as well as commitments pursuant to international agreements or conventions. Professional training Temporary stay visa for courses in an educational or professional training institution.
3.1.5 Religious Purposes
PURPOSE
TYPE OF VISA
Religious training within a religious congregation
Temporary stay visa for more of 3 months stay; participation in study programs, study exchange, unpaid professional internship, voluntary service and n the frame-work of international commitments related to the free movement of services
3.1.6 Familiar
PURPOSE TYPE OF VISA
Accompanying family member holding temporary stay visa
Temporary stay visa for accompanying family member holding temporary stay visa
3.2 National Visa Residency Type D
Residency Visas allow two entries and is valid for a period of 4 months. During that time, the holder of a residency visa is required to request a residency permit with the Immigration and Border Services (SEF).
3.2.1 Study and Research
PURPOSE TYPE OF VISA
Research
Secondary education
Bachelor´s
Master´s
PhD
Post-Doc
Mobility program / Exchange program
Religious person undertaking studies in a recognized institution.
Residency visa for research, study, high-school student exchange, internship and volunteer work purposes.
Highly qualified activityHigher
education teaching / Professorial activity
Highly qualified subordinate activity
Residency visa for higher education teaching purposes, highly qualified activity or cultural purposes, as well as, highly qualified subordinate activity.
Sports activities
Residency visa for subordinate work purposes.
3.2.2 Professional training, internship or volunteer work
PURPOSE TYPE OF VISA
Professional training
Unpaid internship
Volunteer work
Residency visa for research, study, high-school student exchange, internship and volunteer work purposes.
3.2.3 Familiar
PURPOSE TYPE OF VISA
Family regrouping (prior AIMA consent required)
Residency visa for family reunification purposes
For accompanying family member
Residency visa for accompanying family member applying for a residence visa
3.2.4 Fixed Residency
PURPOSE TYPE OF VISA
Retired
People living on their own income
Religious training within a religious congregations
Residency visa for retirement purposes, religious purposes or for people living out of individual revenue.
Visa Fees
VFS service fee of US $40.73 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
Applicants applying for Schengen/ C-Visa can pay their visa fee and VFS service fee via credit or debit card at the visa application center. (Except for San Francisco location, Money order is required for Visa fee)
Applicants applying for a D-Visa/ Long Terms visa in San Francisco and Washington DC are required to pay the Visa Fee by way of a money order or Banker / Cashier check in favor of the âConsulate General of Portugalâ. VFS Service Fee can be paid via Debit/Credit card at the center while submitting the application.
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 MAY 2024 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠90.00 $98.01 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $43.56 Schengen visa, low tariff: visa facilitation for citizens of Albania, Armenia, Azerbaijan, Bosnia Herzegovina, Georgia, Kosovo, Former Yugoslav Republic of Macedonia, Moldova, Montenegro, Serbia, and Ukraine* ⬠35.00 $38.12 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $98.01 National visa application- Over 1 year stay ⬠90.00 $98.01
Please Note:
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
Ethiopian citizens that plan to apply for a visa to visit the Schengen area, please note -
Holders of diplomatic or service passports, must pay for their visas.
Processing time is 45 days.
Multiple entries are no longer permitted for Ethiopian citizens.
All fees are non-refundable once paid.
Documents Required
TRAVEL INSURANCE: Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of the entire important document for your reference.
VERY IMPORTANT:
*Customers must be physically present in the US when applying for any of the visa category for Portugal through the VFS Portugal Visa Application Center.
*Check the jurisdiction restrictions before submitting your application.
REQUIRED DOCUMENTS: The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
General documentation
Official form;
Visa application completely filled and duly signed by applicant
Passport or additional travel document valid for 3 months after the duration of the stay;
The original passport must be submitted for identity verification and will be returned within 5 business days. The original passport will need to be resubmitted once the visa is approved. (Please note the passport must have 2 blank pages consecutive front and back)
Two passport photos;
A recent color photograph (35mmx45mm) up-to-date and with enough quality to identify the applicant;
Valid travel insurance, allowing medical coverage, including medical emergencies and repatriation;
Proof of Health Insurance that covers medical expenses in Portugal
Proof of being in a regular situation when from a different nationality than that of the country where the visa is being applied for;
Proof and copy of residency status in the United States (Green card, Employment Authorization Card, United States Visa)
Personal Statement;
Statement signed by applicant specifying reason for settling in Portugal, intended area of residency and type of accommodations (rental, purchase of private property, or family home)
Request for criminal record enquiry by the Immigration and Border Services (SEF);
Permission to the Department of Borders and Customs to obtain criminal record from Portugal
Criminal record certificate;
Issued from the country of origin or the country where the applicant is residing for over a year (children under the age of 16 are exempt from producing a criminal record); issued by the FBI; This document must be requested with an apostille or remain unopened in original sealed envelope. https://www.fbi.gov/services/cjis/identity-history-summary-checks
All documents MUST be dated from last six months at time of submission.
Proof of accommodation;
Lease agreement signed, or letter from inviting institution, or declaration from family member residing in Portugal. Hotel/Airbnb reservations may be admitted, but they will have to be long stay (minimum of Months);
Proof of means of subsistence as stipulated by law;
3 months Bank statements (electronic print outs are accepted must be full statements for each month);Proof of Pension is also accepted Proof of subsistence means can be made through a statement of responsibility, signed by a Portuguese national or by a foreign national legally resident in Portugal.
Photo Specifications
Please provide one recent colour photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed on normal photographic paper (camera print).
Full face, non-smiling (without sunglasses, a hat/cap or other head covering, unless the applicant wears such items because of their religious belief or ethnic background).
Please stick the photograph on the Visa Application Form.
If the photographs presented do not meet these requirements, then the visa application will be considered incomplete and applicant will be asked to take new photographs in the photo booth in the visa application centre.
Processing Time
NOTICE
Please be advised that applications sent by mail do not guarantee faster processing than applications done in person. Applications will be processed as per the queue at VFS and the visa Section of the Embassy of Portugal in DC.
Normal processing time for applications submitted in San Francisco is up to 30 days for C category. For D category it will take up to 60 days.
Applications for D type visa for Portugal are on very high demand and it will take time to process all of them. Applicants are advised to expect a longer waiting time in obtaining a decision on their application. You will be notified once the application has been processed by the Embassy of Portugal in Washington DC. Please, be advised, that contacting the Embassy immediately, or repeatedly, will only provoke delays, as resources will have to be diverted from visa processing to answering emails and phone calls.
The visa processing time is a minimum of 3 weeks, depending on the nationality of the applicant of the applicant and provided that a complete visa application is submitted; please click here for the list of nationalities that may have an extended processing time.
Please click here to ascertain any dates that the consulate will be closed, as this will also affect the processing time of your application.
Article 23 for time lines of application processing.
Annex 16 for nationalities that require prior consultation
After a visa application has been submitted, it is still be possible for the consulate to request additional documents/information and by doing so this may prolong or delay the visa processing time.
Download Forms
Please click Here to complete the visa application form. Please ensure you print and bring the completed application form when attending for your appointment.
BUSINESS Conference
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
Every applicant has to submit his/her Schengen visa application in person and by appointment only on their appointment date, which needs to be booked online (see Schedule an Appointment) by the applicant.
Applicants, who intend to travel for business purposes, i.e. visiting a business/company to have meetings, to make business deals, to recruit, to train or other work related activities can apply for a Business visa.
Every Business visa application has to be confirmed by an invitation letter from a business/company based in Portugal, if not, applicant will have to apply as a Tourist.
In regards to conference/seminar/workshop the following applicants can also apply for a Business visa:
Students going to attend a conference/seminar/workshop related to their studies
Applicants/Employees going to attend a conference/seminar/workshop organized by their company or another company directly related to their company
Applicants going to be actively involved in a conference/seminar/workshop
Employer/student letter needs to confirm clearly the purpose of attending the conference/seminar/workshop, if not, applicant will need to apply for a Tourist visa.
Eligibility
Applicant must at least meet the following criteria in order to be eligible to submit a Schengen visa application:
holding a valid passport/travel document
holding a valid US residence permit (NOT a B1/B2-type visa; in case applicant holds a short stay visa for the US, then applicant needs to apply for a Schengen visa from his/her residence country)
applying for a short stay visa (Tourist, Family/friend visit, Business or EU family)
JURISDICTION RESTRICTIONS:
WASHINGTON DC: AREAS OF JURISDICTION
States of: Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Minnesota, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, Ohio, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Virginia, Wisconsin, District of Columbia.
NEW YORK: AREAS OF JURISDICTION
States of: Connecticut, Michigan and New York Territories of American Virgin Islands, Bahamas, Cayman Islands, and Puerto Rico
SAN FRANCISCO: AREAS OF JURISDICTION
States of: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming
For Non EU citizens who are not sure whether a Schengen visa is required to travel to the Schengen Area, please click Do I need a visa? to find out.
Visa Fees
VFS service fee of US $41.27 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
Applicants applying in San Francisco and Washington DC are required to pay the Visa Fee by way of a money order or Banker / Cashier check in favor of the âConsulate General of Portugalâ. VFS Service Fee can be paid via Debit/Credit card at the center while submitting the application
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 MAY 2024 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠80.00 $86.89 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $43.44 Schengen visa, low tariff: visa facilitation for citizens of Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine* ⬠35.00 $38.01 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $97.75 National visa application- Over 1 year stay ⬠90.00 $97.75
Please Note:
Short Stay Schengen Visa- For children between 6 -12 years old and Nationals of countries with a visa facilitation agreement with the European Union (Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine) the Schengen visa fee amounts as shown in the above table.
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
All fees are non-refundable once paid.
Documents Required
TRAVEL INSURANCE: Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Important â Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of all the important document for your reference.
DOCUMENTS REQUIRED: The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
Applicants always have to bring and show their original Passport, but they only need to submit photocopies of the same; unless the requirements specify that an original document has to be submitted. Please refer to the checklist for the list of documents as required by the Portugal consulate, ensure that you have all the documents as per your Visa Categories.
For applying for a short-stay Schengen visa, the following documentation is required:
Application Form;
Visa application completely filled and duly signed by applicant (For minors and incapacitated, forms should be signed the legal guardian);
Passport Photograph;
A recent color photograph (35mmx45mm) up-to-date and with enough quality to identify the applicant;
Passport or Travel Document;
Passport or Travel document must be valid for 3 months beyond the Schengen stay; a photocopy of prior passport and Schengen visas required.
Certificate of being in a regular situation when the applicant is from a different nationality than that of the country where the visa is being requested;
Proof and copy of residency status in the United States (Green card, Employment Authorization Card, United States Visa)
Travel reservation
Roundtrip flight reservation showing date of departure and date of return
Travel medical insurance
Proof of medical coverage, including medical emergencies and repatriation. The insurance should have a minimum coverage of â¬30,000 or 50,000 USD; shall a multiple entry visa be granted, applicants shall sign the statement, set out in the application form, declaring that they are aware of the need to be in possession of travel medical insurance for subsequent stays.
Economic and work conditions:
Work certificate and salary, as well as three last bank transcripts (proof of means of subsistence), covering the entire stay and return to the country of origin.
Travel authorization for minors or court decision (when applicable);
Hotel reservation (if applicable);
Proof of accommodations for entire stay or statement of responsibility.
For journeys undertaken for medical reasons;
An official document of the medical institution confirming necessity for medical care in that institution and proof of sufficient financial means to pay for the medical treatment;
Entry visa for the destination country (if applicable).
Photo Specifications
Please provide one recent colour photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed on normal photographic paper (camera print).
Full face, non-smiling (without sunglasses, a hat/cap or other head covering, unless the applicant wears such items because of their religious belief or ethnic background).
Please stick the photograph on the Visa Application Form.
If the photographs presented do not meet these requirements, then the visa application will be considered incomplete and applicant will be asked to take new photographs in the photo booth in the visa application centre.
Processing Time
NOTICE
Please be advised that applications sent by mail do not guarantee faster processing than applications done in person. Applications will be processed as per the queue at VFS and the visa Section of the Embassy of Portugal in DC.
Normal processing time for applications submitted in San Francisco is up to 30 days for C category. For D category it will take up to 60 days.
Applications for D type visa for Portugal are on very high demand and it will take time to process all of them. Applicants are advised to expect a longer waiting time in obtaining a decision on their application. You will be notified once the application has been processed by the Embassy of Portugal in Washington DC. Please, be advised, that contacting the Embassy immediately, or repeatedly, will only provoke delays, as resources will have to be diverted from visa processing to answering emails and phone calls.
The visa processing time is a minimum of 2 weeks, depending on the nationality of the applicant of the applicant and provided that a complete visa application is submitted; please click here for the list of nationalities that may have an extended processing time .Please click here to ascertain any dates that the consulate will be closed, as this will also affect the processing time of your application.
Article 23 for time lines of application processing.
Annex 16 for nationalities that require prior consultation
After a visa application has been submitted, it is still be possible for the consulate to request additional documents/information and by doing so this may prolong or delay the visa processing time.
Download Forms
Please click here to complete the visa application form. Please ensure you print and bring the completed application form when attending for your appointment.
EEA/EU FAMILY MEMBER
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
Every applicant has to submit his/her Schengen visa application in person and by appointment only on their appointment date, which needs to be booked online by the applicant.
Following family members of an EEA/EU national are entitled to apply for a Schengen visa under EU category, i.e. exempt from paying the applicable visa fee, when travelling together with their EEA/EU family member:
Spouse
Children
Parents (only if child is under 18 years old or elderly parent cohabiting with his/her EEA/EU child)
Registered partner
You can also refer to the following: checklist.
Any applicants, travelling without their EEA/EU family member, or proof that they will be joining that family member, cannot apply under EU category and need to apply for a Tourist visa, i.e. providing all the required documents and paying the applicable visa fee.
Exemption visa application for certain EEA/EU family members:
Family members of an EEA/EU National holding a valid UK Residence permit as demonstrated below, do not need a Schengen visa to enter Portugal, only if the following 3 conditions are fulfilled:
they’re travelling with/joining the EEA/EU family member in Portugal (EU Directive 2004/38/CE)
their nationality is not subject to Schengen Visa
their UK Residence permit literally bears the wording:
Residence Card of a Family Member of an EEA National (endorsed in passport)
Permanent Residence Card (endorsed in passport)
Residence Card of a Family Member of a Union Citizen (biometrics card)
However when applicant, holding one of the above mentioned UK residence permits, is travelling without their EEA/EU family member, then they have to apply for a Tourist visa, i.e. providing all the required documents and paying the applicable visa fee.
Eligibility
Applicant must at least meet the following criteria in order to be eligible to submit a Schengen visa application:
holding a valid passport/travel document
holding a valid US residence permit (NOT a B1/B2-type visa; in case applicant holds a short stay visa for the US, then applicant needs to apply for a Schengen visa from his/her residence country)
applying for a short stay visa (Tourist, Family/friend visit, Business or EU family)
For Non EU citizens who are not sure whether a Schengen visa is required to travel to the Schengen Area, please click Do I need a visa? to find out.
Visa Fees
VFS service fee of US $40.73 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
Applicants applying for Schengen/ C-Visa can pay their visa fee and VFS service fee via credit or debit card at the visa application center. (Except for San Francisco location, Money order is required for Visa fee)
Applicants applying for a D-Visa/ Long Terms visa in San Francisco and Washington DC are required to pay the Visa Fee by way of a money order or Banker / Cashier check in favor of the âConsulate General of Portugalâ. VFS Service Fee can be paid via Debit/Credit card at the center while submitting the application.
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 MAY 2024 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠90.00 $98.01 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $43.56 Schengen visa, low tariff: visa facilitation for citizens of Albania, Armenia, Azerbaijan, Bosnia Herzegovina, Georgia, Kosovo, Former Yugoslav Republic of Macedonia, Moldova, Montenegro, Serbia, and Ukraine* ⬠35.00 $38.12 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $98.01 National visa application- Over 1 year stay ⬠90.00 $98.01
Please Note:
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
Ethiopian citizens that plan to apply for a visa to visit the Schengen area, please note -
Holders of diplomatic or service passports, must pay for their visas.
Processing time is 45 days.
Multiple entries are no longer permitted for Ethiopian citizens.
All fees are non-refundable once paid.
Documents Required
TRAVEL INSURANCE: Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Important â Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of all the important document for your reference.
DOCUMENTS REQUIRED: The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
Applicants always have to bring and show their original Passport, but they only need to submit photocopies of the same; unless the requirements specify that an original document has to be submitted. Please refer to the checklist for the list of documents as required by the Portugal consulate, ensure that you have all the documents as per your Visa Categories.
For applying for a short-stay Schengen visa, the following documentation is required:
Application Form;
Visa application completely filled and duly signed by applicant (For minors and incapacitated, forms should be signed the legal guardian);
Passport Photograph;
A recent color photograph (35mmx45mm) up-to-date and with enough quality to identify the applicant;
Passport or Travel Document;
Passport or Travel document must be valid for 3 months beyond the Schengen stay; a photocopy of prior passport and Schengen visas required.
Certificate of being in a regular situation when the applicant is from a different nationality than that of the country where the visa is being requested;
Proof and copy of residency status in the United States (Green card, Employment Authorization Card, United States Visa)
Travel reservation
Roundtrip flight reservation showing date of departure and date of return
Travel authorization for minors or court decision (when applicable);
Hotel reservation (if applicable);
Proof of accommodations for entire stay or statement of responsibility.
For journeys undertaken for medical reasons;
An official document of the medical institution confirming necessity for medical care in that institution and proof of sufficient financial means to pay for the medical treatment;
Entry visa for the destination country (if applicable).
Photo Specifications
Please provide one recent colour photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed on normal photographic paper (camera print).
Full face, non-smiling (without sunglasses, a hat/cap or other head covering, unless the applicant wears such items because of their religious belief or ethnic background).
Please stick the photograph on the Visa Application Form.
If the photographs presented do not meet these requirements, then the visa application will be considered incomplete and applicant will be asked to take new photographs in the photo booth in the visa application centre.
Processing Time
NOTICE
Please be advised that applications sent by mail do not guarantee faster processing than applications done in person. Applications will be processed as per the queue at VFS and the visa Section of the Embassy of Portugal in DC.
Normal processing time for applications submitted in San Francisco is up to 30 days for C category. For D category it will take up to 60 days.
Applications for D type visa for Portugal are on very high demand and it will take time to process all of them. Applicants are advised to expect a longer waiting time in obtaining a decision on their application. You will be notified once the application has been processed by the Embassy of Portugal in Washington DC. Please, be advised, that contacting the Embassy immediately, or repeatedly, will only provoke delays, as resources will have to be diverted from visa processing to answering emails and phone calls.
The visa processing time is a minimum of 2 weeks, depending on the nationality of the applicant of the applicant and provided that a complete visa application is submitted; please click here for the list of nationalities that may have an extended processing time.
Pleaseclick here to ascertain any dates that the consulate will be closed, as this will also affect the processing time of your application.
Article 23 for time lines of application processing.
Annex 16 for nationalities that require prior consultation
After a visa application has been submitted, it is still be possible for the consulate to request additional documents/information and by doing so this may prolong or delay the visa processing time.
Download Forms
JURISDICTION RESTRICTIONS:
STATES UNDER THE JURISDICTION OF PORTUGAL FOR VISA APPLICATION PROCESSING.
STATES under the Jurisdiction of PORTUGAL
The Embassy of Portugal in Washington DC
CONSULAR JURISDICTION: States of Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Minnesota, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, Ohio, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Virginia, West Virginia, Wisconsin, District of Columbia
Click Here
Consulate General of Portugal in New York
CONSULAR JURISDICTION: States of Connecticut, Michigan, and New York. Territories of American Virgin Islands, Bahamas, Cayman Islands, Bermudaâs, and Puerto Rico.
Click Here
Consulate General of Portugal in San Francisco
CONSULAR JURISDICTION: States of Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington, and Wyoming and the territories of American Samoa, Guam, Northern Marianas.
Click Here
If you donât see your State above, please click here
PARTICIPATION IN POLITICAL, ECONOMIC, SCIENTIFIC, CULTURAL, SPORT OR RELIGIOUS EVENTS
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
Every applicant has to submit his/her Schengen visa application in person and by appointment only on their appointment date, which needs to be booked online (see Schedule an Appointment) by the applicant.
Applicants, who intend to travel for business purposes, i.e. visiting a business/company to have meetings, to make business deals, to recruit, to train or other work related activities can apply for a Business visa.
Every Business visa application has to be confirmed by an invitation letter from a business/company based in Portugal, if not, applicant will have to apply as a Tourist.
In regards to conference/seminar/workshop the following applicants can also apply for a Business visa:
Students going to attend a conference/seminar/workshop related to their studies
Applicants/Employees going to attend a conference/seminar/workshop organized by their company or another company directly related to their company
Applicants going to be actively involved in a conference/seminar/workshop
Employer/student letter needs to confirm clearly the purpose of attending the conference/seminar/workshop, if not, applicant will need to apply for a Tourist visa.
Eligibility
Applicant must at least meet the following criteria in order to be eligible to submit a Schengen visa application:
holding a valid passport/travel document
holding a valid US residence permit (NOT a B1/B2-type visa; in case applicant holds a short stay visa for the US, then applicant needs to apply for a Schengen visa from his/her residence country)
applying for a short stay visa (Tourist, Family/friend visit, Business or EU family)
JURISDICTION RESTRICTIONS:
WASHINGTON DC: AREAS OF JURISDICTION
States of: Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Minnesota, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, Ohio, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Virginia, Wisconsin, District of Columbia.
NEW YORK: AREAS OF JURISDICTION
States of: Connecticut, Michigan and New York Territories of American Virgin Islands, Bahamas, Cayman Islands, and Puerto Rico
SAN FRANCISCO: AREAS OF JURISDICTION
States of: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming
For Non EU citizens who are not sure whether a Schengen visa is required to travel to the Schengen Area, please click Do I need a visa? to find out.
Visa Fees
VFS service fee of US $41.07 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
Applicants applying in San Francisco and Washington DC are required to pay the Visa Fee by way of a money order or Banker / Cashier check in favor of the âConsulate General of Portugalâ. VFS Service Fee can be paid via Debit/Credit card at the center while submitting the application
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 JUNE 2023 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠80.00 $86.46 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $43.23 Schengen visa, low tariff: visa facilitation for citizens of Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine* ⬠35.00 $37.82 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $81.06 National visa application- Over 1 year stay ⬠90.00 $97.27
Please Note:
Short Stay Schengen Visa- For children between 6 -12 years old and Nationals of countries with a visa facilitation agreement with the European Union (Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine) the Schengen visa fee amounts as shown in the above table.
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
All fees are non-refundable once paid.
Documents Required
TRAVEL INSURANCE: Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Important â Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of all the important document for your reference.
DOCUMENTS REQUIRED: The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
Applicants always have to bring and show their original Passport, but they only need to submit photocopies of the same; unless the requirements specify that an original document has to be submitted. Please refer to the checklist for the list of documents as required by the Portugal consulate, ensure that you have all the documents as per your Visa Categories.
For applying for a short-stay Schengen visa, the following documentation is required:
Application Form;
Visa application completely filled and duly signed by applicant (For minors and incapacitated, forms should be signed the legal guardian);
Passport Photograph;
A recent color photograph (35mmx45mm) up-to-date and with enough quality to identify the applicant;
Passport or Travel Document;
Passport or Travel document must be valid for 3 months beyond the Schengen stay; a photocopy of prior passport and Schengen visas required.
Certificate of being in a regular situation when the applicant is from a different nationality than that of the country where the visa is being requested;
Proof and copy of residency status in the United States (Green card, Employment Authorization Card, United States Visa)
Travel reservation
Roundtrip flight reservation showing date of departure and date of return
Travel medical insurance
Proof of medical coverage, including medical emergencies and repatriation. The insurance should have a minimum coverage of â¬30,000 or 50,000 USD; shall a multiple entry visa be granted, applicants shall sign the statement, set out in the application form, declaring that they are aware of the need to be in possession of travel medical insurance for subsequent stays.
Economic and work conditions:
Work certificate and salary, as well as three last bank transcripts (proof of means of subsistence), covering the entire stay and return to the country of origin.
Travel authorization for minors or court decision (when applicable);
Hotel reservation (if applicable);
Proof of accommodations for entire stay or statement of responsibility.
For journeys undertaken for medical reasons;
An official document of the medical institution confirming necessity for medical care in that institution and proof of sufficient financial means to pay for the medical treatment;
Entry visa for the destination country (if applicable).
Photo Specifications
Please provide one recent colour photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed on normal photographic paper (camera print).
Full face, non-smiling (without sunglasses, a hat/cap or other head covering, unless the applicant wears such items because of their religious belief or ethnic background).
Please stick the photograph on the Visa Application Form.
If the photographs presented do not meet these requirements, then the visa application will be considered incomplete and applicant will be asked to take new photographs in the photo booth in the visa application centre.
Processing Time
NOTICE
Please be advised that applications sent by mail do not guarantee faster processing than applications done in person. Applications will be processed as per the queue at VFS and the visa Section of the Embassy of Portugal in DC.
Normal processing time for applications submitted in San Francisco is up to 30 days for C category. For D category it will take up to 60 days.
Applications for D type visa for Portugal are on very high demand and it will take time to process all of them. Applicants are advised to expect a longer waiting time in obtaining a decision on their application. You will be notified once the application has been processed by the Embassy of Portugal in Washington DC. Please, be advised, that contacting the Embassy immediately, or repeatedly, will only provoke delays, as resources will have to be diverted from visa processing to answering emails and phone calls.
The visa processing time is a minimum of 2 weeks, depending on the nationality of the applicant of the applicant and provided that a complete visa application is submitted; please click here for the list of nationalities that may have an extended processing time.
Please click here to ascertain any dates that the consulate will be closed, as this will also affect the processing time of your application.
Article 23 for time lines of application processing.
Annex 16 for nationalities that require prior consultation
After a visa application has been submitted, it is still be possible for the consulate to request additional documents/information and by doing so this may prolong or delay the visa processing time.
Download Forms
Please click Here to complete the visa application form. Please ensure you print and bring the completed application form when attending for your appointment.
PORTUGAL NATIONAL VISAS "D"
WORK
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
Long-stay visas, in compliance with existing domestic law, can be either temporary or for residency authorization purposes, depending on the duration of the stay and granting the visa holder an authorization to stay in the country according to different purposes: study, internship, work, medical treatment, among others.
VERY IMPORTANT:
*Customers must be physically present in the US when applying for any of the visa category or residency visa for Portugal through the VFS Portugal Visa Application Center.
*All documents that must be notarized as per Embassy checklist should be done at Notary Public in the state where customer legally resides in the USA i.e. as per the address proof submitted by the applicant for US state in the application documents.
*Check the jurisdiction restrictions before submitting your application at the Washington DC, Portugal VFS Visa Application Center.
Temporary stay visas allow entry and stay in Portugal for less than a year. Temporary stay visas are valid during the entire stay and allow for multiple entries.
Residency visas allow two entries and are valid for a period of 4 months. During that time, the holder of a residency visa is required to request a residency permit with the Immigration and Border Services (SEF).
Please Click Here to know more about the Portugal National Visa âD
JURISDICTION RESTRICTIONS:
WASHINGTON DC: AREAS OF JURISDICTION
States of: Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Minnesota, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, Ohio, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Virginia, West Virginia, Wisconsin, District of Columbia.
NEW YORK: AREAS OF JURISDICTION
States of: Connecticut, Michigan and New York Territories of American Virgin Islands, Bahamas, Cayman Islands, and Puerto Rico
SAN FRANCISCO: AREAS OF JURISDICTION
States of: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming
PURPOSE TYPE OF VISA Subordinate seasonal work a. Temporary stay visa for season work for duration of over 90 days.
b. Residency visa for subordinate work purposes Independent work a. Temporary stay visa for independent work.
b. Residency visa for independent work purposes or entrepreneurs. Highly qualified activity a. Temporary stay visa for scientific research, higher education professorial activity or highly qualified activity purposes for a period of less than a year.
b. Residency visa for higher education teaching purposes, highly qualified activity or cultural purposes, as well as, highly qualified subordinate activity. Professorial activity a. Temporary stay visa for scientific research, higher education professorial activity or highly qualified activity purposes for a period of less than a year.
b. Residency visa for higher education teaching purposes, highly qualified activity or cultural purposes, as well as, highly qualified subordinate activity. Sports activity a. Temporary stay visa for amateur sports purposes.
b. Residency visa for subordinate work purposes Transfer of workers or service providers when the applicant has been working for over one year Temporary stay visa for transfer of workers purposes for state parties to the WTO, for provision of services or professional training. Show business and performing artists a. Temporary stay visa for scientific research, higher education professorial activity or highly qualified activity purposes for a period of less than a year.
b. Residency visa for higher education teaching purposes, highly qualified activity or cultural purposes, as well as, highly qualified subordinate activity. Youth Mobility â Work and Holiday Visa Temporary stay visa for periods of over 3 months, for study programs, student exchange, training, unpaid internship, volunteer work purposes, as well as commitments pursuant to international agreements or conventions.
Visa Fees
VFS service fee of US $41.07 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 JUNE 2023 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠80.00 $86.46 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $43.23 Schengen visa, low tariff: visa facilitation for citizens of Armenia, Azerbaijan, Georgia, Kosovo, Russia and Ukraine* ⬠35.00 $37.82 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $81.06 National visa application- Over 1 year stay ⬠90.00 $97.27
Please Note:
Short Stay Schengen Visa- For children between 6 -12 years old and Nationals of countries with a visa facilitation agreement with the European Union (Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine) the Schengen visa fee amounts as shown in the above table.
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
All fees are non-refundable once paid.
Documents Required
Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Important â Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of the entire important document for your reference.
The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
VERY IMPORTANT:
*Customers must be physically present in the US when applying for any of the visa category for Portugal through the VFS Portugal Visa Application Center.
*All documents that must be notarized as per Embassy checklist should be done at Notary Public in the state where customer legally resides in the USA i.e. as per the address proof submitted by the applicant for US state in the application documents.
*Check the jurisdiction restrictions before submitting your application at the New York, Portugal VFS Visa Application Center.
Applicants always have to bring and show their original Passport, but they only need to submit photocopies of the same; unless the requirements specify that an original document has to be submitted. Please refer to the checklist for the list of documents as required by the Portugal consulate, ensure that you have all the documents as per your Visa Categories.
General documentation
Official form; Mail in application: Please ensure it is signed before mailing your application, in a US Notary Public at the State where customer legally resides)
Notarized copy of the passport or other travel document, valid for an additional 3 months following the duration of the intended stay (Mail in application: Do not send the original Passport);
Two identical passport photographs, up-to-date and in good condition, allowing proper identification;
Document certifying the third-country national is in a regular situation when the applicant is from a different nationality than that of the country where the visa is being requested;
Valid travel insurance with, zero deductible, covering necessary medical expenses, including emergency assistance and repatriation;
Form authorizing access to Portuguese criminal record by the Immigration and Border Services (SEF)(click here)
FBI Criminal record from country of origin or country of residency for over one year (minors under 16 years of age are exempt from producing any criminal record related document); this document must be requested with an apostille or remain unopened in original sealed envelope.
Proof of means of subsistence, as stipulated by law;
Proof of subsistence means can be made through a statement of responsibility, signed by a Portuguese national or by a foreign national legally resident in Portugal.
SUBORDINATE WORK ACTIVITY
Work contract, work promise or demonstration of interest;
Professional certificate, when such profession is regulated in Portugal.
To determine means of subsistence, means obtained through a work contract or work contract promise should be taken into consideration.
Proof of means of subsistence can be produced through a statement of responsibility issued by the workers hosting entity.
Additional Document- MINOR APPLICANT
In case of minors, application forms should be signed by the parent holding parental responsibility or legal guardian;
When minors are not travelling with both parents, or are travelling with a third person, a travel authorization of one or both parents respectively, or a court order, is required.
Photo Specifications
Please provide one recent colour photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed on normal photographic paper (camera print).
Full face, non-smiling (without sunglasses, a hat/cap or other head covering, unless the applicant wears such items because of their religious belief or ethnic background).
Please stick the photograph on the Visa Application Form.
If the photographs presented do not meet these requirements, then the visa application will be considered incomplete and applicant will be asked to take new photographs in the photo booth in the visa application centre.
Processing Time
The visa processing time is a minimum of 4 weeks for temporary stay visas (up to one year) or 8 weeks for long term stays (over one year), depending on the nationality of the applicant of the applicant and provided that a complete visa application is submitted.
Please click here to ascertain any dates that the consulate will be closed, as this will also affect the processing time of your application.
After a visa application has been submitted, it is still be possible for the consulate to request additional documents/information and by doing so this may prolong or delay the visa processing time.
Download Forms
Please click Here to complete the visa application form. Please ensure you print and bring the completed application form when attending for your appointment.
SPORTS
Overview
Visa Fees
Documents Required
Photo Specifications
Processing Time
Download Forms
Overview
Long-stay visas, in compliance with existing domestic law, can be either temporary or for residency authorization purposes, depending on the duration of the stay and granting the visa holder an authorization to stay in the country according to different purposes: study, internship, work, medical treatment, among others.
VERY IMPORTANT:
*Customers must be physically present in the US when applying for any of the visa category or residency visa for Portugal through the VFS Portugal Visa Application Center.
*All documents that must be notarized as per Embassy checklist, should be done at Notary Public in the state where customer legally resides in the USA i.e. as per the address proof submitted by the applicant for US state in the application documents.
*Check the jurisdiction restrictions before submitting your application at the Washington DC, Portugal VFS Visa Application Center.
Temporary stay visas allow entry and stay in Portugal for less than a year. Temporary stay visas are valid during the entire stay and allow for multiple entries.
Residency visas allow two entries and are valid for a period of 4 months. During that time, the holder of a residency visa is required to request a residency permit with the Immigration and Border Services (SEF).
Please Click Here to know more about the Portugal National Visa âD
JURISDICTION RESTRICTIONS:
WASHINGTON DC: AREAS OF JURISDICTION
States of: Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Minnesota, Mississippi, Missouri, Nebraska, North Carolina, North Dakota, Ohio, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Virginia, West Virginia, Wisconsin, District of Columbia.
NEW YORK: AREAS OF JURISDICTION
States of: Connecticut, Michigan and New York Territories of American Virgin Islands, Bahamas, Cayman Islands, and Puerto Rico
SAN FRANCISCO: AREAS OF JURISDICTION
States of: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming
Visa Fees
VFS service fee of US $40.19 (inclusive of VAT) is charged per visa application, in addition to the applicable visa fee.
VAC Location > Washington DC- New York â San Francisco VISA: VISA FEES EFFECTIVE 01 SEPTEMBER 2022 (IN LOCAL CURRENCY) EUR USD Schengen visa application ⬠80.00 $84.62 Schengen visa children's fee (6 to 12 years old) ⬠40.00 $42.31 Schengen visa, low tariff: visa facilitation for citizens of Armenia, Azerbaijan, Georgia, Kosovo, Russia and Ukraine* ⬠35.00 $37.02 Children below 6 years old FREE No Fee No Fee National visa application- Less than 1 year stay ⬠75.00 $79.33 National visa application- Over 1 year stay ⬠90.00 $95.19
Please Note:
Short Stay Schengen Visa- For children between 6 -12 years old and Nationals of countries with a visa facilitation agreement with the European Union (Albania, Bosnia-Herzegovina, Former Yugoslav Republic of Macedonia, Serbia and Montenegro, Moldova and Ukraine) the Schengen visa fee amounts as shown in the above table.
The applicable visa fee, in USD ($), is as per the current exchange rate and is subject to change without notice.
Additional services are separate from VFS Service fee and Visa application fee. Please click here for list of services and fee applicable.
The following category of applicants are exempted from the Short Stay Schengen Visa fee:
Short Stay Schengen Visa ONLY- Children under six years;
School pupils, students, postgraduate students and accompanying teachers who undertake stays for the purpose of study or educational training;
Researchers from third countries travelling for the purpose of carrying out scientific research;
Representatives of non-profit organizations aged 25 years or less participating in seminars, conferences, sports, cultural or educational events organized by non-profit organizations;
Family member of EU/EEA and Switzerland nationals.
All fees are non-refundable once paid.
Documents Required
Travel insurance is mandatory for all Schengen countries. If you have not purchased, please click here
Important â Retention of document: Please be informed that after processing of Visa/Resident permit applications, Embassy/Consulates only return passport with payment receipt.
Other documents submitted along with your Visa/ Resident permit applications are not returned. We strongly encourage you to retain a copy of the entire important document for your reference.
The list of documents below is not an exhaustive list of documents and the applicant could be asked for additional documents if desired by the Consulate General of Portugal.
VERY IMPORTANT:
*Customers must be physically present in the US when applying for any of the visa category or residency visa for Portugal through the VFS Portugal Visa Application Center.
*All documents that must be notarized as per Embassy checklist, should be done at Notary Public in the state where customer legally resides in the USA i.e. as per the address proof submitted by the applicant for US state in the application documents.
*Check the jurisdiction restrictions before submitting your application at the Washington DC, Portugal VFS Visa Application Center.
Applicants always have to bring and show their original documents, but they only need to submit photocopies of the same; unless the requirements specify that an original document has to be submitted. Please refer to the checklist for the list of documents as required by the Portugal consulate, ensure that you have all the documents as per your Visa Categories.
General documentation
Official form; (Mail in application: Please ensure it is signed and notarized before mailing your application, in a US Notary Public at the State where customer legally resides)
Notarized Copy of the passport or other travel document, valid for an additional 3 months following the duration of the intended stay;
Two identical passport photographs, up-to-date and in good condition, allowing proper identification;
Document certifying the third-country national is in a regular situation when the applicant is from a different nationality than that of the country where the visa is being requested;
Valid travel insurance with, zero deductible, covering necessary medical expenses, including emergency assistance and repatriation;
Form authorizing access to Portuguese criminal record by the Immigration and Border Services (SEF); (Click here)
FBI criminal record or Criminal record from country of origin or country of residency for over one year (minors under 16 years of age are exempt from producing any criminal record related document); this document must be requested with an apostille or remain unopened in original sealed envelope.
Proof of means of subsistence, as stipulated by law;
Proof of subsistence means can be made through a statement of responsibility, signed by a Portuguese national or by a foreign national legally resident in Portugal.
SPORTS VISA SPECIFIC DOCUMENTS
Work contract for less than one year;
Document issued by sports federation certifying the practice of the referred sport;
Statement of responsibility signed by the sports association or sports club responsible for housing and payment of necessary health care and repatriation costs.
To determine means of subsistence, means obtained through a work contract or work contract promise should be taken into consideration. Proof of means of subsistence can be produced through a statement of responsibility issued by the workers hosting entity.
Additional Document- MINOR APPLICANT
In case of minors, application forms should be signed by the parent holding parental responsibility or legal guardian;
When minors are not travelling with both parents, or are travelling with a third person, a travel authorization of one or both parents respectively, or a court order, is required.
Photo Specifications
Please provide one recent color photograph (not more than 6 months old) of yourself, according the following requirements:
Taken against a light (white or off-white) background so that features are distinguishable and contrast against the background.
Clear quality and with the face in focus.
Printed o
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2019-10-09T21:03:04+00:00
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The Currency of Brazil today is the Real. Chart its history, the value of the Real, and how it has performed under Presdients like Lula, Dilma and Bolsonaro.
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en
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Brazil Selection
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https://www.travel-brazil-selection.com/informations/essential-information/brazilian-currency/
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The currency in Brazil today is the Real, (plural “reais”). Its sign is “R$” and its ISO currency code is “BRL”.
This section of our Brazil travel guide will examine how the currency in Brazil became the Real and its journey down through the ages. Throughout its history, Brazilian currency has changed many times due to hyperinflation and economic goals. Starting with the arrival of the currency with European colonizers, we chart its course through time, with reference to how its fluctuations in value affected Brazilian society. Finally, we present the value of the Real today, how it is issued and how it has performed under different Brazilian political leaders.
The Real first arrives in Brazil
The Real was the first official currency of Brazil, arriving with the Portuguese and the Dutch around the mid – 17th century. The name real, means “royal” in Portuguese and it was also the name of the currency in circulation in Portugal from the 1400´s until 1911. Since the earliest colonial days in Brazil, the Real was in use. The symbol for the “old Real” as it is known nowadays, was “Rs$. Note, the last character that looks like a dollar sign is called “cifrão” in Portuguese and was always written with two vertical strokes instead of one.
The plural form of the old Real is “réis,” as oppose to the plural form of the modern real which is “reais.” The practical unit of the old Real changed many times throughout its lifetime due to the effects of inflation. First becoming “mil reís” meaning one-thousand réis then becoming “conto de réis” which was the equivalent of one million réis!
Nowadays, you can hear the older terms mostly being used in old Brazilian song lyrics, such as in this extract from a traditional song:
“Capénga ontem teve aqui
Deu dois mil réis ao papai
Deu três mil réis ao mamãe
Café e açúcar ao vovó
Dois vinténs para mim, só”
Extract from “Capénga”
Although Brazil gained its independence from the Portuguese crown in September 1822 when the declaration of Dom Pedro founded The Empire of Brazil, the Real remained as its official currency. The old currency of Brazil went through many reforms over the years, but the original Brazilian real that circulated in the 1750´s for example, came in denominations of 5, 10, 20 and 40 réis copper coins. Silver coins circulated in denominations of 75, 150, 300 and 600 réis and gold coins were available in 1000, 2000, 4000 and 6400 réis.
The first paper money used in Brazil was to pay diamond prospectors. The notes came in various denominations because their value was marked on the note at the time of issue. Various banks throughout Brazilian history issued their own denominations of the Brazilian Real including Banco do Brazil, Banco do Maranhão and Banco da República dos Estados Unidos do Brasil. Regional governments also issued their own banknotes in the 1890s, and from 1924 to 1942.
The Cruzeiro becomes the new Brazilian Currency
The Cruzeiro replaced the old Real in 1942 and various currencies circulated in Brazil under the name cruzeiro until 1994. Its symbol was “Cr$.” From 1986 to 1989 the cuzeiro was replaced by the “Cruzado,” and from 89 – 90 the “Cruzado novo.” There were three distinct currencies in Brazil, which carried the name cruzeiro. The first cruzeiro known as the “Cruzeiro antigo” (old Cruzeiro) circulated from 1942 – 1967. The second cruzeiro, known as the “Cruzeiro Novo” was in use from 1970 – 1986. (Cruzeiro Novo means “new Cruzeiro” in Portuguese.) Finally, the third and last cruzeiro was used between 1990 and 1993.
The name cruzeiro comes from “Cruzeiro do Sul” which is the Portuguese for the Southern Cross or Crux constellation. This constellation is more or less only visible in the Southern hemisphere and remains a popular icon in Brazilian culture, still in use on the Real coin today and taking pride of place on various badges and coat of arms´.
The modern Real, the currency of Brazil today
Today in Brazil, the currency is once again the Real. Around since the early 1690´s the name “Real” has managed to survive all the way to the present day (except for the period between 1942 – 1994 when the Brazilian cruzeiro took its place). The plural form of the modern real is “reais” and its sign is “R$”. Its international standard currency code is BRL, and it is issued by “Banco Central do Brazil” (The Central Bank of Brazil).
An interesting fact is that the modern real is equal to 2.75 × 1018 (2.75 quintillion!) of Brazil´s original réis. At the time of writing (July 2019), the US Dollar is equivalent to 3.76 reais.
The Real is divided into 100 equal “centavos.”
Brazilian Real Coins
The current series of Real coins was released in 1998. Although the central bank stopped producing 1 centavo coins in November 2005, they are still in circulation and still count as legal tender. A funny and interesting thing you might see on your journey to Brazil, is a small stack of ten 10 centavo coins taped together to serve as 1 Real!
Each centavo coin bears the Southern cross constellation on one face. Pedro Álvares Cabral, the discoverer of Brazil, is featured on the one-centavo coin, made from copper – plated steel. The five – centavo coin, also made from copper – plated steel bears the face of Joaquim José da Silva Xavier, famously known as “Tiradentes.” He was a prominent figure of a revolutionary movement in Minas Gerais, during which he fought for independence from the Portuguese crown and because of this was publicly hanged. Tiradentes is remembered in Brazil as a national hero.
Brass – plated steel is the material used to make the ten – centavo coin and it features Dom Pedro I, also known as “The Liberator,” he became the first emperor of Brazil in October 1822 after declaring Brazil´s independence from Portugal on September 7th of the same year. The 25 – centavo coin is also made from brass – plated steel and on it you will find Field Marshall Deodoro da Fonseca, the first president of the Republic of Brazil, he led the coup that toppled Emperor Pedro II and with him went the Empire of Brazil. The 50 – centavos coin is made from steel and is adorned by the face of José Paranhos Jr, one of Brazil´s most revered ministers for foreign affairs. He managed to peacefully resolve all of the problems Brazil had with its neighboring countries regarding the borders. Finally, the 1 – real coin is made from an inner coin of steel surrounded by a ring of brass. The outer brass ring is decorated with a Marajoara art pattern, traditional on the Amazon estuary island, Marajó. In the centre is the Éfigie da República, symbol of the republic of Brazil.
Below are examples of the art that inspire the design of the 1 Real coin. The first is an example of Marajó art, which you can see on the outer ring of the 1 Real coin. Marajó is an island on the Amazon estuary roughly the size of Switzerland! It is famous for its ceramic pottery featuring the same art, which give evidence to the fact that the island was inhabited from as early as 1400BC.
Also below is an example of allegoric art depicting the Brazilian republic, by Manuel Lopes Rodrigues in 1896. The woman in the painting is the “Efígie da República” also seen on the 1 Real coin. Brazil first became a republic in 1889, after which this symbol became widely used to sygnify it.
Finally, we have the Southern – Cross constellation in the night sky. It is mostly only visible from the Southern hemisphere, although it is possible to see it on rare occasions from parts of the Northern hemisphere. Brazil is the largest country in the Southern hemisphere and so it has become a symbol of both Brazil and the other countries that lie south of the Equator. It is seen on all real coins.
Brazilian Real Banknotes
The latest series of Brazilian banknotes began circulating in 2010 and come in denominations of 2, 5, 10, 50 and 100 Reais. On the 2 Real banknote you will find the Hawksbill Turtle. This critically endangered species is found in Brazilian waters and considerable efforts are ongoing to combat its declining numbers. These majestic marine creatures were traditionally hunted for their beautiful shells. The 5 Real banknote features a Great Egret, a large heron – like bird, that can spear fish with its long sharp bill. It displays beautiful white plumage. The 10 Real banknote features the Green – Winged Macaw, quite a famous symbol of tropical Brazil, it is also one of the largest species of Macaw found in the country. The Golden Lion Tamarin will be found if you study a 20 Real note, named after their large manes, these incredible monkeys call Brazil´s Atlantic rainforest home. Unfortunately, due to logging and careless human behavior their habitat and numbers are dwindling. Look at a 50 Real note to find the mythical Jaguar, king of the Pantanal, where you can embark on a trip to see these majestic cats. Finally, if you are lucky enough to feast your eyes on a 100 Real note, you will see the image of a “garoupa” or dusky grouper. This is a highly prized fish in the southern coastal states of Brazil.
The Plano Real also involved a series of economic reforms at governmental level allowing inflation to be kept under control for the following years. These reforms included control of expenditure through high interest rates and also the adoption of liberal trade policies to allow the increase of market competition. The plan initially worked and the real gained value against the US dollar, backed by large capital investments in Brazil, particularly in 1994 and 1995. After 1995 however, the Real experienced a gradual downfall culminating in a crisis in 1999.
In 1999 the Brazilian Central Bank announced that the Real would no longer be pegged to the US dollar leading to a 4.4% growth in the economy in 2000.
Much to the surprise of economists, supporters and opposition to Lula, when Lula took office in 2003 he did not overhaul the economy as many expected he would. In fact, Lula continued many of the policies of the previous government in that he targeted the control of inflation and maintained the floating currency. He even made sure to appoint conservative ministers to certain positions such as the Ministry of Finance and the Revenue Service. Some of Lula´s critics accused him of going back on his word as he increased the minimum wage a lot less than he promised during his presidential candidacy.
All in all the Brazilian currency flourished and the economy grew rapidly during the Lula years (he was re – elected in 2006). The GDP grew by 5.7% in 2004 and 3.2% in 2005, 4% in 2006, 6.1% in 2007 and 5.1% in 2008. From 2008 to 2010 during the global financial crisis, the Brazilian economy continued to grow ending 2010 with a figure of 7.5%, contrary to what one would expect!
In 2015, the GDP of Brazil fell by 3.9% and 3.6% in 2016. This crisis had serious negative implications throughout the country; the unemployment rate rose from 6.8% to 12% by the end of 2016. There was outrage against the establishment, in particular towards the leadership of Dilma and the workers party (PT). Many believe this to be a pivotal point in Brazilian politics, in that the Brazilian public looked for an alternative to PT and so was a great aid in the election of current right – wing president Jair Bolsonaro.
The recession ended when the GDP rose by 1.4% in the first quarter of 2017.
The Real under Bolsonaro
During Bolsonaro´s candidacy the real rallied, a right wing president who would put economic growth first was “what the markets wanted.” Investors worldwide experienced increased confidence in the Brazilian currency. It was even reported that the Brazilian economy was on the road to recovery.
When Bolsonaro took office on the first of January 2019 he left the task of fixing the broken economy and weak Brazilian currency to businessman Paulo Guedes. The real was still in the same place it was back in 2014. Since the new President took office, economists have halved their expectations for economic growth in 2019, and there is not much positive speculation as far as improvement goes on the meagre figures of 2017 and 2018.
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2
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https://cloud.google.com/billing/docs/resources/currency
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en
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Currencies available for Cloud Billing auto-pay accounts
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Google Cloud
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https://cloud.google.com/billing/docs/resources/currency
|
Stay organized with collections Save and categorize content based on your preferences.
Overview
The article lists countries and regions where Cloud Billing accounts are charged in local currency, as well as the payment methods accepted in each country or region to pay for Google Cloud costs.
This article is not a price list for Google Cloud products.
For pricing information, see the Google Cloud price lists.
If you are an existing Google Cloud customer with a Cloud Billing account, you can also view prices by SKU in the Pricing Table report.
About payment methods for Cloud Billing accounts
The payment methods described in this article refer to the types that are accepted for automatically paid accounts, applicable only to self-serve, online Cloud Billing accounts, and not to accounts paid by invoice.
If your Cloud Billing account is set up as an invoicing account and you want to learn how to pay your Google Cloud invoice, visit Make a payment to an invoiced Cloud Billing account.
The payment methods accepted for your Cloud Billing account vary by country and region.
Your Google payments profile might allow other payment methods that are not accepted as a valid form of payment for your Cloud Billing account. These forms of payment might be valid to be used to pay for non-Google Cloud products such as Google Play and Google Ads.
Cloud Billing payment methods are described in more detail in Add, remove, or update a payment method.
For more payment options than those on this page, consider working with a local reseller, who might be able to accept more forms of payment, or help you switch to invoiced billing. Find a list of resellers on the Google partners page.
About currencies for Cloud Billing accounts
Each Cloud Billing account operates in a single currency, which you cannot change after you create your Cloud Billing account. If you need a Cloud Billing account to operate in a currency different than the currency of your existing Cloud Billing account, you will need to set up a new Cloud Billing account.
When Google charges in a local, non-USD currency, we convert Google Cloud prices from USD into the applicable local currency pursuant to the conversion rates published by leading financial institutions.
The exchange rates are set at the beginning of every month.
Note that in 2022, we will set the Brazilian Real (BRL-to-USD) exchange rate at the beginning of each calendar quarter.
For select currencies, we provide protection from large month-to-month rate changes.
Visit our Exchange rates documentation for details.
If you export your Cloud Billing data to BigQuery, you can access the specific exchange rate information applied to your billing account. Look for the currency_conversion_rate field available in your standard, and detailed, usage cost data exports and pricing data export.
Not all currencies are supported for your Cloud Billing account.
List of countries and regions
Scroll down the table or use the filter tool to find your country or region.
If your country or region is not listed here, this might indicate that your country or region's currency is not supported for Google Cloud charges. In these instances, your Cloud Billing account might incur charges in USD.
For countries or regions not listed here, check the payment options tool for information.
Filter the list
Country or region Currency Payment methods Andorra EUR credit/debit card Australia AUD credit/debit card Austria EUR credit/debit card, bank account Belgium EUR credit/debit card Bouvet Island NOK credit/debit card Brazil BRL credit card Canada CAD credit/debit card Christmas Island AUD credit/debit card Cocos (Keeling) Islands AUD credit/debit card Cyprus EUR credit/debit card Czech Republic (Czechia) CZK credit/debit card Denmark DKK credit/debit card Estonia EUR credit/debit card Faroe Islands DKK credit/debit card Finland EUR credit/debit card France EUR credit/debit card, bank account Germany EUR credit/debit card, bank account Greece EUR credit/debit card Greenland DKK credit/debit card Heard and McDonald Islands AUD credit/debit card Hong Kong HKD credit/debit card India INR credit/ debit* card, NetBanking (For manual payments only)
Indonesia IDR credit/debit card Ireland EUR credit/debit card Israel ILS credit/debit card Italy EUR credit/debit card, bank account Japan JPY credit/debit card Liechtenstein CHF credit/debit card Luxembourg EUR credit/debit card Malaysia MYR credit/debit card Malta EUR credit/debit card Mayotte EUR credit/debit card Mexico MXN credit card Monaco EUR credit/debit card Montenegro EUR credit/debit card Nauru AUD credit/debit card Netherlands EUR credit/debit card, bank account New Zealand NZD credit/debit card Norfolk Island AUD credit/debit card Norway NOK credit/debit card Palestinian Territory ILS credit/debit card Poland PLN credit/debit card Portugal EUR credit/debit card Reunion EUR credit/debit card Russia RUB credit card San Marino EUR credit/debit card Singapore SGD credit/debit card Slovakia EUR credit/debit card Slovenia EUR credit/debit card South Korea KRW credit/debit card Spain EUR credit/debit card, bank account Svalbard and Jan Mayen Islands NOK credit/debit card Sweden SEK credit/debit card Switzerland CHF credit/debit card Taiwan TWD credit/debit card Thailand THB credit/debit card Turkey TRY credit/debit card Tuvalu AUD credit/debit card United States USD credit/debit card, bank account United Kingdom GBP credit/debit card, bank account Vatican EUR credit/debit card Vietnam VND credit card
Try it for yourself
If you're new to Google Cloud, create an account to evaluate how our products perform in real-world scenarios. New customers also get $300 in free credits to run, test, and deploy workloads.
Get started for free
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https://www.thomascook.com/holidays/portugal/travel-money
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Portugal Travel Money
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[] | null |
Buy great value Portugal travel money from Thomas Cook. Find out what currency is used in Portugal and order yours today!
|
en
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/.resources/thomascook/resources/icons/favicon.ico
|
Thomas Cook
|
https://www.thomascook.com/holidays/portugal/travel-money
|
The currency in Portugal is the Euro (EUR).
We always advise changing some money over before you travel, so you’re not trying to hunt down the nearest exchange bureau when you get there.
The best way to order Euros for your holiday in Portugal
This is much more cost-effective than ordering at the airport or hotel, where Pound to Euro exchange rates are much less competitive, meaning you’ll get less for your sterling. So it’s best to change your Euros before you jet off. Or, you can order your travel money right here at Thomas Cook, and get it delivered straight to your door.
Using cash machines in Portugal
You’ll find cash machines (ATMs) all over Portugal, especially in popular holiday destinations, so if you need some extra cash, you’ll have little trouble withdrawing it. Look out for automated cashpoints, which can be found at most banks, as well as most large supermarkets, shopping districts, railway stations and airports. Use your debit or credit card to withdraw your money or pay by card.
If you’re visiting its most remote areas, it’s a good idea to carry some cash. ATMs may not be widely available in these areas. Some small businesses in these spots may not accept card payments, so make sure you have enough Euros for food and transport.
Other useful advice
Some shops may require a minimum card payment, such as 10 Euros, while cash machines will have a maximum of Euros you can withdraw per day. Visiting smaller towns on your Portugal holidays? Many banks in these areas will be closed in the early to mid-afternoon for siesta, while the majority will be shut at weekends and bank holidays.
Charges
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dbpedia
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3
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https://www.caminodesantiago.me/community/threads/melide-iglesia-model-for-the-10-euro-note.65469/
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en
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Melide iglesia: model for the 10 euro note?
|
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[
"routes in Andalucia",
"Rick of Rick"
] |
2019-11-24T22:29:08+01:00
|
The other day when we were in Melide, we took a close look at Iglesia San Pedro because the author of the Moon Camino de Santiago guidebook says its...
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en
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Camino de Santiago Forum
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https://www.caminodesantiago.me/community/threads/melide-iglesia-model-for-the-10-euro-note.65469/
|
islandwalker
Veteran Member
Time of past OR future Camino
Francés and routes in Andalucia
Nov 24, 2019
#1
The other day when we were in Melide, we took a close look at Iglesia San Pedro because the author of the Moon Camino de Santiago guidebook says its Romanesque church doorway served as a model for the illustration on the 10 euro note. (Edited to add: be sure to read @kathar1na’s note below clarifying this with a link to an article by two Galicians from Melide saying this is not the case!) When you are walking through Melide, you may be more likely to be paying attention to the pulperías on your left with their steaming vats prominently displayed, but just after you pass by Pulpería Garnacha and Pulpería Ezeqquiel, look across the street and you will see Iglesia de San Pedro (on the right side of the N-547 as you are heading west). On some maps, it is called Capilla San Roque because the Romanesque doorway you see was actually salvaged from Iglesia San Roque. When you reach the Familia autoservicios supermercado, you are opposite the church.
The drawing appears on the second generation of the 10 euro note first printed in 2013. As of August 2019, there were more than two billion 10 euro banknotes in circulation, so this view that we eyed through the wind and the rain seems like it should be better known. But although the artist chosen to design the notes originally submitted drawings of particular doorways and bridges from various periods of European architecture (a different era for each denomination), the drawings were later modified to be generic, so maybe that explains the lack of information regarding the connection.
There are some details in this article. Does anyone know more about it?
To see the church door, once past the pulperías, look for the red Familia autoservicios sign, and then look across the street.
Blue arrow and circle = Iglesia de San Pablo / San Roque
Last edited: Nov 25, 2019
Time of past OR future Camino
To Santiago and back. Le Puy to Aumont-Aubrac.
Nov 24, 2019
#2
guidebook says its Romanesque church doorway served as a model for the illustration on the 10 euro note.
It is an urban legend, I am afraid. This article on a website called Galicia Encantada - Enciclopedia de Fantasia Popular de Galicia sheds some light on it and is quite good, I think. It is written by someone from Melide but in Galician and not so easy to understand, even with the help of Google Translate or DeepL (who do only translations from Spanish and Portuguese anyway).
As a personal remark, I would be surprised if this portal and the church is very present in books about Romanesque architecture as the portal doesn't even belong to the church, as you already mentioned. It was moved there when the original church fell to ruin. The old church was dismantled in 1949. I very much enjoyed looking at it, though, and at the cruceiro next to it.
PS: The various guidebooks, including the esteemed Gitlitz/Davidson from whom they all probably copied, seem to be a bit unclear about what's what. According to Santiago Turismo, the present-day chapel of San Roque was built in 1949, with material from the demolished medieval churches of San Pedro and San Roque.
Last edited: Nov 24, 2019
islandwalker
Veteran Member
Time of past OR future Camino
Francés and routes in Andalucia
Nov 24, 2019
#3
It is an urban legend, I am afraid. This article on a website called Galicia Encantada - Enciclopedia de Fantasia Popular de Galicia sheds some light on it and is quite good, I think.
Aha - a very interesting article. Thank you, @Kathar1na! I wondered why I couldn’t find more verification for it. I searched in English and Spanish, but didn’t think to search in Galician! I’ll pass this on to Moon Handbooks so they can correct this error in future editions.
The BBC article says the artist did use actual models for his original submissions. Did you run across anything that tells what he used for the 10 euro note - ie, before the design was modified to be generic?
Time of past OR future Camino
To Santiago and back. Le Puy to Aumont-Aubrac.
Nov 24, 2019
#4
The BBC article says the artist did use actual models for his original submissions. Did you run across anything that tells what he used for the 10 euro note - ie, before the design was modified to be generic?
I had never heard this before. Right from the beginning we were told that the portals, windows and bridges were generic in order to avoid any fuss about national pride, national hurt etc. As the designer Robert Kalina is Austrian, I googled for articles in German, there are plenty of interviews with him but nothing about any specific models.
The German Wikipedia article is mum about this. The French and the English one claim, much like the BBC link, that a bridge in Paris and a bridge in Venice served as models but when you look at the source that they give - a 2001 article in the New York Times - what you read is actually this: For his central motif, Mr. Kalina chose a bridge — not Pont Neuf in Paris or Venice's Bridge of Sighs. Mr. Kalina's was a bridge that no European had ever crossed. The ground rules for the design strictly prohibited displaying any recognizable national monuments or heroes that risked giving greater prominence to one country over another. So Mr. Kalina took bits and pieces of Europe's great bridges and with the help of his computer melded them into a neutered bridge presumably acceptable to all.
I think if any of the motifs on the €-banknotes were based on an actual building, this would be commonly known in Europe. It isn't the case.
Time of past OR future Camino
To Santiago and back. Le Puy to Aumont-Aubrac.
Nov 25, 2019
#5
Oh, I found something about the €-bridges. The editor of "Bridge Design and Engineering" claimed that he had identified five of the seven bridges when the winner of the design competition, Robert Kalina, was known and the design of the future banknotes was published, see here for example. This is how the fuss started, says the German National Bank in one of their many glossy brochures about the creation, introduction and history of the Euro. That was in 1997 when most people didn't even know that the Euro would really come one day . This was four years before the €-banknotes came into general circulation and before a single banknote had been printed. The design was quickly further modified.
Nothing about the windows and portals, though.
I'd like to add, without naming names, that the media in a country that didn't introduce the Euro took an extraordinary interest in the Euro (and its predicted imminent failure).
Last edited: Nov 25, 2019
Time of past OR future Camino
To Santiago and back. Le Puy to Aumont-Aubrac.
Nov 25, 2019
#6
As the article in Galicia Encantada says, there is little similarity between the design on the 10 € banknote and the portal of the church in Melide:
Time of past OR future Camino
To Santiago and back. Le Puy to Aumont-Aubrac.
Nov 25, 2019
#7
And there are plenty of potential other models, here are just four:
jungleboy
Spirit of the Camino (Nick)
Time of past OR future Camino
Some in the past; more in the future!
Nov 25, 2019
#8
Right from the beginning we were told that the portals, windows and bridges were generic in order to avoid any fuss about national pride, national hurt etc.
Yes, we were. But the image on the €5 note is pretty clearly the Pont du Gard.
islandwalker
Veteran Member
Time of past OR future Camino
Francés and routes in Andalucia
Nov 25, 2019
#9
The articles about Robert Kalina are quite interesting too. Clearly my quaint mental image of an artist wandering around Europe with his paint box is not correct. He is (was?) a banknote designer from the Oesterreichische Nationalbank and virtually every photo shows him in front of a computer.
Time of past OR future Camino
To Santiago and back. Le Puy to Aumont-Aubrac.
Nov 25, 2019
#10
the image on the €5 note is pretty clearly the Pont du Gard.
That's what they like to think . But look closely, in particular at the arches in the middle row and where their pillars or piers (I don't really know bridge terminology) are placed and you see a major difference, also in other more minor details. But this is the prettiest and most easily recognisable Roman aqueduct that is still standing I guess. Many Europeans will be able to recognise it as a Roman aqueduct/bridge on their 5 € bills but they will not know where a real life aqueduct resembling it may be located and may never have heard or, or long forgotten that they ever heard of, the Pont du Gard.
Last edited: Nov 25, 2019
Time of past OR future Camino
To Santiago and back. Le Puy to Aumont-Aubrac.
Nov 25, 2019
#11
And are you all checking the national side of the 2-€ coins that end up in your wallet before you spend them again? For all fans of European bridges, the coin shown below is legal tender in the euro zone. They minted 3.400.000 coins in 2016, so there's a possibility that one of them passes through your hands:
VNwalking
Out walking
Time of past OR future Camino
Various 2014-19
Via Monastica 2022
Primitivo 2024
Nov 25, 2019
#12
And there are plenty of potential other models, here are just four:
This is worth a whole thread. Not to discuss them as models for money, just as beautifully proportioned side-by-side photos. It's an arresting set of images. Thank you, @Kathar1na !
t2andreo
Veteran Member
Time of past OR future Camino
2013 - 2018 , Pilgrim Office volunteer 2014 - 2022
Nov 25, 2019
#13
I located this page at the website of the European Central Bank, as they are responsible for the design and printing of all Euro notes:
Design elements
The European Central Bank (ECB) is the central bank of the European Union countries which have adopted the euro. Our main task is to maintain price stability in the euro area and so preserve the purchasing power of the single currency.
This site explains exactly how each Euro note is designed, as well as all the anti-fraud features included in the designs. At the top of this page, the first topic is "Architectural Images."
In the penultimate sentence is the concise statement: "...Like the first series, the new Europa series banknotes show architectural styles from various periods in Europe's history, but do not show any actual existing monuments or bridges..."
I think this settles the discussion. Every image is intended to be representative and indicative of an architectural style, not a specific building, monument or other structure.
FYI, It is something I also wondered about for decades.
Hope this helps the discussion.
islandwalker
Veteran Member
Time of past OR future Camino
Francés and routes in Andalucia
Nov 25, 2019
#14
This is worth a whole thread. Not to discuss them as models for money, just as beautifully proportioned side-by-side photos. It's an arresting set of images. Thank you, @Kathar1na !
What an interesting project that would be for somebody walking a camino - pick an era and take photos of some particular architectural element all along the way and then make a photo gallery that compares them side by side. I wish I had done that this time with Romanesque doorways.
Time of past OR future Camino
Us:Camino Frances, 2015 Me:Catalan/Aragonese, 2019
Nov 25, 2019
#15
What an interesting project that would be for somebody walking a camino - pick an era and take photos of some particular architectural element all along the way and then make a photo gallery that compares them side by side. I wish I had done that this time with Romanesque doorways.
This could also be done as a forum crowd source project.
|
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| 34
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https://www.jpmorgan.com/insights/global-research/currencies/de-dollarization
|
en
|
De-dollarization: The end of dollar dominance?
|
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2023-08-31T00:00:00
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Is de-dollarization imminent? What would be its impact on the global economy and markets? Find out more from J.P. Morgan Research.
|
en
|
/etc.clientlibs/cws/clientlibs/clientlib-base/resources/jpm/images/jpm-favicon.ico
|
https://www.jpmorgan.com/insights/global-research/currencies/de-dollarization
|
De-dollarization in currency markets
De-dollarization could reduce institutional, investor and corporate demand for the dollar over time, and in size could cause its value to fall. If there is a specific catalyst for the move, de-dollarization could also result in heightened exchange rate volatility, especially as over 60 currencies are pegged to the greenback.
However, while some signs of de-dollarization are emerging in currency markets, the dollar is thus far still maintaining its dominance. “Overall dollar usage has declined, but it remains within long-run ranges and its share remains elevated compared to other currencies,” said Meera Chandan, Co-Head of the Global FX Strategy research team at J.P. Morgan.
Looking at FX volumes, the dollar’s share stands at 88%, near record highs, while its share of trade invoicing, cross-border liabilities and foreign currency debt issuance has held steady over the last two decades. “The dollar’s transactional dominance remains top-of-class despite secular declines in U.S. trade shares. On the other hand, de-dollarization is evident in FX reserves, where the dollar’s share has declined to a record low of 58%,” Chandan noted.
Which currencies could dethrone the greenback? “In terms of competitors, China has been attempting to internationalize the renminbi. However, the renminbi’s global footprint is still small despite growing every year, and this will be a long process requiring reform,” Chandan said. For instance, the renminbi makes up just 2.3% of SWIFT payments, versus the dollar’s share of 43% and the euro’s share of 32%.
“With China’s growing centrality in global commerce, one might naturally expect the renminbi to assume a greater role in the global economy over time, but this transition would likely occur over the course of decades,” Wise added. “Relaxing capital controls, opening markets, implementing measures to promote market liquidity, bolstering the rule of law, reducing appropriation and regulatory risk, and promoting Chinese government bonds as an alternative safe asset — these could all cement China and the renminbi as a credible alternative to the U.S. and the dollar.”
De-dollarization in oil markets
Some signs of de-dollarization are also playing out in oil markets. “The U.S. dollar, one of the key drivers of global oil prices, appears to be losing its once powerful influence,” said Natasha Kaneva, Head of Global Commodities Strategy at J.P. Morgan.
Traditionally, the dollar is negatively correlated to oil prices. When the dollar appreciates, the imported price of oil rises and demand falls as a result, especially in emerging market (EM) economies. However, more oil sales are now being transacted in non-dollar currencies such as the renminbi. “Crucially, Russian oil is now either sold in the local currencies of the buyers or in the currencies of countries that Russia perceives as friendly,” Kaneva said.
For example, some Indian refiners have begun paying for Russian oil purchased via Dubai-based traders in dirhams, while others are considering doing so in yuan. Saudi Arabia is reportedly exploring the acceptance of payments in other currencies. In addition, major Russian commodity producers have started issuing bonds in yuan. In September 2022, state-owned oil company Rosneft made a public offering of 10 billion yuan in bonds, followed by a second tranche of 15 billion yuan in March 2023.
Is the dollar’s dominance truly waning in oil markets? Data from J.P. Morgan Research shows that between 2005 and 2013, a 1% appreciation of the U.S. trade-weighted dollar (USNEER) reduced the price of Brent crude by about 3%. Between 2014 and 2022 however, this figure declined to a mere 0.2%, with OECD oil inventories now playing a much more dominant role in determining oil prices.
“Overall, we find that the importance of the dollar has declined significantly from 2014 to 2022,” said Jahangir Aziz, Head of Emerging Market Economics Research at J.P. Morgan. “While it is possible that this shift is overly influenced by the rise in macroeconomic volatility caused by the spike in post-pandemic inflation and geopolitics, it is hard to ignore it altogether."
This communication is provided for information purposes only. Please read J.P. Morgan research reports related to its contents for more information, including important disclosures. JPMorgan Chase & Co. or its affiliates and/or subsidiaries (collectively, J.P. Morgan) normally make a market and trade as principal in securities, other financial products and other asset classes that may be discussed in this communication.This communication has been prepared based upon information, including market prices, data and other information, from sources believed to be reliable, but J.P. Morgan does not warrant its completeness or accuracy except with respect to any disclosures relative to J.P. Morgan and/or its affiliates and an analyst's involvement with any company (or security, other financial product or other asset class) that may be the subject of this communication. Any opinions and estimates constitute our judgment as of the date of this material and are subject to change without notice. Past performance is not indicative of future results. This communication is not intended as an offer or solicitation for the purchase or sale of any financial instrument. J.P. Morgan Research does not provide individually tailored investment advice. Any opinions and recommendations herein do not take into account individual client circumstances, objectives, or needs and are not intended as recommendations of particular securities, financial instruments or strategies to particular clients. You must make your own independent decisions regarding any securities, financial instruments or strategies mentioned or related to the information herein. Periodic updates may be provided on companies, issuers or industries based on specific developments or announcements, market conditions or any other publicly available information. However, J.P. Morgan may be restricted from updating information contained in this communication for regulatory or other reasons. Clients should contact analysts and execute transactions through a J.P. Morgan subsidiary or affiliate in their home jurisdiction unless governing law permits otherwise.This communication may not be redistributed or retransmitted, in whole or in part, or in any form or manner, without the express written consent of J.P. Morgan. Any unauthorized use or disclosure is prohibited. Receipt and review of this information constitutes your agreement not to redistribute or retransmit the contents and information contained in this communication without first obtaining express permission from an authorized officer of J.P. Morgan.
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https://www.scmp.com/economy/economic-indicators/article/3220087/which-8-countries-are-using-chinas-yuan-more-and-what-does-it-mean-us-dollar
|
en
|
Which 8 countries are using China’s yuan more, and what does it mean for the US dollar?
|
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[
"China",
"China news",
"China update",
"China yuan",
"Yuan",
"Yuan internalisation",
"Russia",
"Swift",
"US dollar",
"Brazil",
"BRICS",
"Saudi Arabia",
"Oil",
"Trade",
"Thailand",
"Bangladesh",
"Argentina",
"Pakistan",
"Iraq"
] | null |
[
"Andrew Mullen"
] |
2023-05-10T18:26:40+08:00
|
China is ramping up efforts to boost the yuan’s appeal as an alternative in trade and as a reserve currency in the face of US dollar hegemony, while countries from South America to the Middle East have got on board with increased yuan use.
|
en
|
https://assets-v2.i-scmp.com/production/favicon.ico
|
South China Morning Post
|
https://www.scmp.com/economy/economic-indicators/article/3220087/which-8-countries-are-using-chinas-yuan-more-and-what-does-it-mean-us-dollar
|
However, while not negligible, these advances remain quite small when compared with the ubiquity of the US dollar, which is used in around 90 per cent of foreign exchange transactions around the world, according to the Bank for International Settlements.
Nonetheless, a growing number of countries have been dumping their US Treasury bills, increasing their gold reserves and settling bilateral trade in local currencies.
In March, the yuan became the most widely used currency for cross-border transactions in China, overtaking the dollar for the first time. And the official data reflects the fruits of Beijing’s efforts.
But who is leading the charge by using the yuan to pay for oil, gas and even a nuclear power plant?
1. Russia
Rory Green, chief China economist at London-based research firm TS Lombard, estimated that offshore-yuan use in Russia jumped from less than 0.26 per cent in 2020 to 2.57 per cent as of January, making Moscow the fifth-biggest global foreign exchange trading hub after Hong Kong, Britain, Singapore and the United States.
Other Russian companies, including its top gold producer Polyus, have also started to borrow in yuan in the bond market.
2. Saudi Arabia
Reports in March suggested that Saudi Arabia was considering accepting the yuan instead of US dollars for oil sales.
Xi said that the Shanghai Petroleum and Natural Gas Exchange platform will be fully utilised for yuan settlement in oil and gas trading.
3. Argentina
Economy Minister Sergio Massa confirmed that Argentina, following a meeting with Chinese ambassador Zou Xiaoli and companies from various sectors, had “activated the swap with China”.
Argentina was, Massa added, using the yuan to pay for US$1.04 billion worth of Chinese imports in April, rather than US dollars, and is targeting US$790 million worth of goods per month from May.
“The decision to lean toward the yuan, by the third-largest economy in Latin America, will surely form a strong push for the yuan’s internationalisation,” economists at Natixis said in late April. “But the move is more likely driven by the dynamics of the Argentine central bank’s balance sheet, where the dollar is in short supply while the yuan is more accessible.”
In January, the People’s Bank of China expanded its currency-swap agreement with Argentina by 35 billion yuan (US$5 billion) to 165 billion yuan.
4. Brazil
Brazil’s yuan-denominated foreign-exchange assets reached a high of 5.37 per cent of the total by the end of 2022, surpassing euro assets to be the second-largest.
“I’m thinking about the same question every night: why should all countries use US dollars for settlements and not the yuan or other international currencies,” he was quoted as saying by Chinese media group The Paper, citing a translation of his speech made in Portuguese.
Brazil is China’s tenth-largest trading partner, with the value of bilateral trade rising by 4.9 per cent to US$171.5 billion last year, according to Chinese customs data.
Schalka said that China’s currency is growing in importance, and that smaller customers there are requiring deals linked to the yuan.
5. Bangladesh
Bangladesh and Russia agreed to use the yuan to settle payment for a nuclear plant that Moscow is building in the South Asian country, a Bangladeshi government official was quoted as saying in April.
Russia had wanted the payment to be made in roubles, “but that’s not possible for us”, said Uttam Kumar Karmaker, a senior official with the Bangladesh Ministry of Finance, according to Reuters.
6. Pakistan
Pakistan may start using the yuan to buy Russian crude oil, with a test cargo of 750,000 barrels set to arrive in the first week of June.
The Pakistan-based News International, a prominent English-language daily, on May 5 cited an unnamed senior official with the energy ministry as saying: “Pakistan will pay the price of crude most probably in China’s currency, the yuan, and the Bank of China may play its role for transactions”, without providing further details.
7. Iraq
Mudhir Salih, an economic adviser for the government, said it marked the first time that imports would be financed from China in yuan, after having previously relied on only the US dollar.
But the move by Iraq’s central bank will not include its oil trade, according to Salih, who was quoted by Reuters.
8. Thailand
The Bangkok Post reported in late April that, according to central bank governor Sethaput Suthiwartnarueput, the Bank of Thailand and the People’s Bank of China have held talks over additional cooperation to encourage businesses to use yuan-baht settlement for trade between the two countries.
China and Thailand renewed their yuan-baht Bilateral Currency Swap Arrangement in January 2021, the newspaper reported.
The arrangement is aimed at boosting trade and investment in local currencies and strengthening financial cooperation between the two countries.
|
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| 75
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https://www.aphis.usda.gov/pet-travel/us-to-another-country-export/pet-travel-us-portugal
|
en
|
Pet Travel From the United States to Portugal
|
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en
|
https://www.aphis.usda.gov/pet-travel/us-to-another-country-export/pet-travel-us-portugal
|
Microchip
Your pet must have a working microchip (also called a “transponder”) before getting its rabies vaccination for travel to the EU, and your veterinarian must always scan the microchip before giving your pet a rabies vaccination.
If your pet does not yet have a microchip or has a microchip that doesn’t work, ask your veterinarian to implant an ISO-compliant* microchip.
If your pet has a working microchip, but it is not ISO compliant,* you will need to travel with your own scanner that can read the microchip OR have a second microchip implanted that is ISO compliant.* Make sure both microchips are listed on the health certificate!
*ISO-compliant microchip numbers are usually 15 digits long and meet specific international standards (ISO 11784 and ISO 11785). You can check ISO-compliance with the microchip manufacturer.
Rabies Vaccination
“Primary” Rabies Vaccination:
The first rabies vaccination your pet gets after its microchip or after any lapse in coverage is a “primary” rabies vaccination according to EU rules.
For all pets vaccinated in the United States, a “primary” rabies vaccination is only valid for 1 year. Even if your pet is an adult animal and receives a three-year vaccine, if it is a “primary” rabies vaccination according to EU rules, it is only valid for 1 year.
If your pet does not receive another rabies vaccination within 1 year of a “primary” rabies vaccination, it means the vaccination coverage lapsed and you must start over. Even if the vaccination coverage only lapses by a day, the next rabies vaccination is again considered a “primary” rabies vaccination, and it is only valid for 1 year.
“Booster” Rabies Vaccination:
If your pet does get its next rabies vaccination within 1 year of a “primary” rabies vaccination, this “booster” rabies vaccination can be valid for 1-3 years, according to the vaccine manufacturer’s instructions.
Note: If your pet’s most recent rabies vaccination before traveling to the EU is a “booster” rabies vaccination (rather than “primary”), you are responsible for providing all relevant rabies vaccination certificates to prove there was no lapse in coverage since the "primary" rabies vaccination.
Reminder! Rabies Vaccinations do NOT count according to EU rules if:
Your pet got the vaccination before it had a microchip; or
Your pet got the vaccination without first having its microchip scanned.
Your pet should travel with all relevant rabies vaccination certificate(s), and it is strongly recommended the microchip number is recorded on all rabies vaccination certificate(s).
21-Day Waiting Period
After any "primary" rabies vaccination, your pet must wait 21 days before traveling to the EU. Your pet can travel to the EU less than 21 days after a “booster” rabies vaccination, but then the previous rabies vaccination must also be included on the health certificate.
If your pet is less than 16 weeks old and cannot meet the above requirements, click here.
Want to simplify your paperwork?
Ask your veterinarian to give your pet a 1-year rabies vaccination (after scanning the microchip) at least 21 days before your travel to the EU but less than one year before your travel date (for example, 3-6 months before travel date). That way, no matter the rabies vaccination history, you only need to keep up with one vaccination certificate instead of several! Doing it this way also makes it easier for the USDA endorsement office to review, which means you get your endorsed certificate back faster.
Important
The EU has two versions of the pet health certificate: the "non-commercial" and the "commercial." Both health certificate versions require an Accredited Veterinarian to issue (complete, sign, and date) the health certificate and then USDA to endorse (countersign and emboss/stamp) the health certificate before your pet's travel. However, it is much easier to meet the timeframes for the "non-commercial" health certificate than the "commercial" health certificate, so keep this in mind when arranging your pet's travel.
"Non-commercial" Health Certificate
You should use the "non-commercial" health certificate if you or a designated person** is traveling within 5 days before or after your pet(s), and 5 or fewer pets are traveling.
Though uncommon, you can also use the "non-commercial" for 6 or more pets traveling to the EU for specific events like competitions, exhibitions, or sporting events.
The "non-commercial" health certificate is valid for 30 days after the Accredited Veterinarian issues it.
The USDA must endorse the completed health certificate within ten days of arriving in the EU. See STEP 3 below for more information on the endorsement.
Declaration: The final page of the EU Health Certificate contains a Declaration that must be completed and signed by the pet owner or designated person** before the pet travels to the EU. The Declaration must accompany the pet and health certificate to the EU.
Note: You may use the “non-commercial” EU health certificate to travel within the EU for up to 4 months as long as your pet’s rabies vaccination does not expire. If you take your dog to Finland, Malta, Ireland (including Northern Ireland) or Norway after entering the EU, your dog must be treated for tapeworms by an EU veterinarian 1-5 days before entering those countries.
"Commercial" Health Certificate
You must use the "commercial" health certificate if you or a designated person** cannot travel within 5 days of your pet, or you are traveling with 6 or more pets.
The "commercial" health certificate must be issued by an Accredited Veterinarian and endorsed by the USDA within 48 hours of departing the U.S. with your pet.
**Designated person is a family member, friend, or other person authorized by the owner to travel with the pet.
Note: If a Military Veterinarian* issues the health certificate, USDA endorsement is not required. However, the Military Veterinarian must issue the “non-commercial” health certificate within 10 days of arrival in the EU, or the “commercial” health certificate within 48 hours of the pet leaving the U.S.
*Military Veterinarian is defined as a Veterinary Corps Officer, or civilian GS-0701 series government veterinarian employed by the U.S. Army Veterinary Service working at military treatment facilities. It does not apply to Army Veterinary Service non-appropriated funds or Department of Defense civilian contract veterinarians.
|
|||||||
2202
|
dbpedia
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3
| 16
|
https://www.gear4music.com/blog/what-wood-sounds-good-your-guide-to-shell-materials/
|
en
|
What Wood Sounds Good? Your Guide to Shell Materials
|
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[
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] | null |
[
"Matty Newbold",
"Joe Garlick"
] |
2022-09-02T08:00:57+00:00
|
Looking for the perfect drum shell? We explore different drum shell materials and constructions and discuss their sonic properties.
|
en
|
Gear4music Blog
|
https://www.gear4music.com/blog/what-wood-sounds-good-your-guide-to-shell-materials/
|
Wood drum shells
Wood is the most common material used for drum shells. These types of shells produce a wide variety of sounds, ranging from warmer tones to sensitive, articulate sounds.
There are infinite options of drum sounds when looking into wooden shells as there are so many different species of timber to choose from. When deciding which wood to go for, it’s important to consider the type of music you want to play.
If you’re after a more unique sound, less conventional wooden shells are a great place to start. Whilst maple and birch are used for genres like jazz and rock, the less commonly used ash or beech will provide a slightly different sound.
Maple
Maple is an all-purpose, versatile wood when used as a drum shell. It produces a nice, even amount of high and mid-level tones with a slightly warmer low-end. And it’s because of this balance between brightness and warmth that maple is great when used for jazz, rock, and pop.
Its powerful tone projects with clarity, cutting through to the forefront of the mix with a perfect blend of depth, sustain, and attack. Maple is also favoured by many studio engineers and recording artists as it’s incredibly easy to mic up and record. This makes maple drum shells the perfect choice for drummers heading out to the stage or studio.
Mahogany
Mahogany is a great choice for jazz drummers, offering warm, rich, and vibrant tones.
The highs can be somewhat muted, but there’s an incredibly smooth midrange and a rich, warm low tone. Mahogany is commonly used in jazz due to its vibrant and resonant sound and its ability to provide a clear snap tone when tuned high.
Additionally, mahogany shells are aesthetically astonishing, providing a vintage look with the natural wood grain on show.
Birch
Birch shells are incredibly versatile as they can be tuned to suit most drumming styles. Because of this, they’re extremely popular with beginner and intermediate drummers learning a range of drumming techniques and styles.
They’re also incredibly durable, making them an even stronger choice for hard-hitting beginners.
In terms of tone, they produce boosted high frequencies with a reduced midrange and a great punch in the low end. The enhanced bass frequencies help provide the aggressive tone that birch is renowned for whilst remaining incredibly well balanced.
Oak
Another all-purpose wood, oak offers exceptionally warm tonal qualities and a full-bodied presence when tuned high.
Although less common than other wood shells, oak wood is renowned for its soft highs, accurate mid-range, and warm low tones. It boasts an incredibly solid, durable grain that adds bags of presence to your performances. But thankfully it’s not all bark – there’s certainly plenty of bite. The complete sonic range makes it perfectly equipped for both the studio and stage.
Walnut
Walnut is often favoured by furniture makers for its beauty and durability, which is why they make for great drum shells.
They produce an equal amount of highs, mids, and lows to create a big, warm sound. Walnut also produces a naturally EQ’d tone that works perfectly for stage and studio drumming alike.
No matter what style you’re drumming in, walnut is a great choice for a well-balanced sound.
Beech
Beech is an ideal choice for drummers looking for a more unique tone. With pronounced highs and mids and a good low-end punch, beech wood offers a sensitive and focused sound. It works well in various drumming styles and is the perfect choice for both live and studio environments.
In addition to the tone, beech wood offers a great aesthetic due to the unique grain in the wood.
Cherry
Cherry wood projects an extremely warm tone and features boosted highs, a punchy midrange, and an average low-end. Its sound is incredibly bright and sensitive with a powerful, deep tone and great projection. This makes cherry wood shells ideal for any stage – and they can be used for a range of drumming styles.
Bubinga
If you’re a rock or metal drummer, this one’s for you.
Bubinga is extremely punchy and sensitive, with an even level of mid and high frequencies and a very rich low-end tone.
The dark tone of bubinga makes it ideal for complementing louder and heavier styles, such as rock and metal. These drum shells will punch through the mix with a warm and aggressive attack.
Poplar
Poplar offers soft highs and mids with a boosted low-end warmth. The sound is smooth and even, making it suitable for a range of styles.
Regardless of how hard you hit a poplar drum, the sound will be clear and controlled.
Poplar drum shells are also extremely versatile, offering a bright, piercing sound whilst remaining warm and open with a very well-balanced sustain. And not only are they suitable for a range of drumming styles, but they’re also ideal for studio recording and live performances alike.
Ash
Ash is well-balanced in both resilience and hardness, making it a great choice for durable, light, and resonant drums.
These shells provide pronounced and cutting sounds, with warm highs and mids and average lows.
When tuned up, they provide a precise tone with rapid responses, while lower tuning results in a much fatter tone.
As well as the sound and durability, ash wood also provides a great advantage to the aesthetics of the drum.
Its natural woodgrain is extremely smooth and subtle – making natural and coloured drum shells look stunning.
Metal drum shells
Metal drum shells produce a very different sound to their wooden counterparts. They’re typically welded, cast, or handspun.
Like wood shells, there are a lot of different metal alloys to choose from. Again, it’s important to consider the style of drumming you’re interested in as this will have a great impact on which shell material is right for you.
Steel
Steel is an all-purpose metal shell.
Commonly used on snare drums, it’s ideal for drummers looking for a powerful snare that’s capable of a variety of playing styles.
It offers clear highs and an average mid-range and low-end. Plus, it provides a clear sound across all tuning ranges.
Although they’re well-suited to heavier music due to their high-power sound, steel shells are also very popular for other styles. Reggae drummers, for example, often depend on steel snares for their bright, cutting sound qualities.
Steel shells stand out thanks to their incredibly bright tone, long sustain, and powerful rimshot sounds.
They’re also more responsive than most wood-shell snare drums, making them incredibly responsive to even the lightest of hits.
Aluminium
Aluminium drum shells have a sensitive and colourful sound quality. The midrange is open and warm with crisp highs and low-end definition. Aluminium is well-known in the drumming world for providing a powerful yet dry tone. This makes it the perfect choice for drummers who want a vintage-sounding drum. As well as the sound, aluminium shells provide an extremely vintage aesthetic, looking perfect on any stage.
Brass
Brass shells are vibrant and warm, with open highs, mids, and lows. They’ve been a favourite amongst drummers for many years due to their versatile sound, response, and aesthetics. Perfect for louder genres like rock and metal, brass is renowned for being quite loud. Having said this, you can use a brass snare in just about any style if you really want to cut through.
Copper
Copper snare drums are a rising feature in the drumming world. They can be described as a hybrid between wood and metal due to their deep low end and organic warmth and responses.
Although similar to a brass shell, copper provides less brightness and more warmth. Additionally, copper shells tend to have fewer overtones and make it easier to control any excess ringing and other unwanted sounds.
It’s powerful and loud when used as a drum shell – perfect for bigger stages and drumming styles that require an added punch. Expect muted highs, a low-end sound, and a distinctive midrange.
Titanium
Titanium’s sound is less metallic than other metal shells. It provides clear highs and mids, a boxy low end, and exceptional projection when hit hard, all whilst delivering a clear and focused tone. Titanium shells are often very sensitive, therefore responding beautifully to the dynamics of your playing.
From live performance work to studio recordings, these shells can be tuned down for a husky bark or tuned tight for a sound that can muscle through the thickest mix.
Bronze
Bronze shells are incredibly musical and are favoured by many well-known drummers such as Danny Carey and Dave Grohl.
These shells are also extremely loud, filling up the room with their huge sound – perfect for more aggressive styles such as rock and metal.
Plus, they can be great for ghost notes and light articulation. They’re renowned for their muted highs and powerful mid-range tones – providing warm characteristics with rapid responses.
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Blue Dot Sessions
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Minimalist Acoustic Music for Film and Media
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Zydeco Aesthetics: Instrumentation, Performance Practice, and Sound Engineering
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Database copyright ProQuest LLC; ProQuest does not claim copyright in the individual underlying works.
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https://www.painted-relics.com/user/Seagull/pets/1950
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User :: Rimshot (Mossdew Bakken)
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https://www.painted-relics.com/images/meta-image.png
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https://www.painted-relics.com/images/meta-image.png
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[
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An art roleplaying game set in the magical world of Kyvalore!
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http://painted-relics.com/
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That Drum Blog: Escola de Samba Patterns for Drumset
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[
""
] | null |
[
"Adam Osmianski",
"View my complete profile"
] | null |
If you visit the blog often, you'll know that last year I had four articles in Modern Drummer magazine concerning the adaptation of samba b...
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http://thatdrumblog.blogspot.com/favicon.ico
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http://thatdrumblog.blogspot.com/2015/02/escola-de-samba-patterns-for-drumset.html
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On this sheet an x on the snare signifies a rim shot
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https://www.yamaha.com/en/musical_instrument_guide/drums/play/play003.html
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en
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How to Play the Drum:Drumming techniques
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http://www.yamaha.com/en/musical_instrument_guide/common/images/drums/play_main.jpg
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http://www.yamaha.com/en/musical_instrument_guide/common/images/drums/play_main.jpg
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This is the Yamaha Corporation [Musical Instrument Guide] website. This article contains information about the Drums [How to Play the Drum:Drumming techniques]
|
en
|
/_common/images/favicon.ico
| null |
There are a variety of rhythms possible on the drum. The 8-beat rhythm is made up of eighth notes, while a 16-beat rhythm has twice as many beats as an 8-beat rhythm. There are a variety of beats-such as the shuffle, samba, bossa nova-found in different musical genres. Let's listen to several different beats!
The head is not the only thing beaten on a drum. On occasion the hoop that surrounds the head is also struck. These are called rimshots, and here we will introduce you to a variety of rimshot effects.
First, there is the rim-only rimshot. The Japanese taiko drum is also played in this way. Next, one of the drumsticks is laid on the rim and it is struck using the other drumstick. One can hear the crack of the wood being struck. Then there is the open rimshot, in which the rim and head are struck at the same time. In jazz, this type of rimshot is shallow, with the contact being made near the edge of the drum. Then there is the closed rimshot that is used in bossa nova and other styles of music. The stick is pinched between the thumb and index finger, and the rim is struck with the shaft of the stick.
For drums, muting is achieved by taping some rolled up tape or tissue to the head, or putting a donut-shaped mute ring on the head. There is also something called the tuning mute, in which the heads are intentionally loosened so that they do not ring. Cymbals can be muted with tape or a handkerchief, and the bass drum can be muted with a blanket, dumbbells, or pillow. There seems to be as many methods as there are drummers.
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Rim Shot
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[
""
] | null |
[
"Leslie P. Norton"
] |
1997-08-11T04:01:00+00:00
|
Mark Holowesko, the chief investment officer of Franklin Resources'
Templeton funds, is scaling back his exposure to U.S. stocks and betting on
Asia.
|
https://www.barrons.com/articles/SB871099233623521000
|
Holowesko and his pal, Mark Mobius, are the two marquee names in the Templeton complex. From his base in Nassau, Holowesko trains for Olympic sailing events when he's not working. Most of the time, though, he looks out for 33 Templeton analysts and the $70 billion Global Equities Group, which, he jokes, runs more developing-country assets than the $11 billion or so in emerging-market money guided by his better-known colleague. Holowesko personally steers more than $30 billion in mutual funds specializing in overseas stocks, including the $15.5 billion Templeton Foreign Fund and $12.5 billion Templeton Growth .
And Holowesko has distinguished himself running both in the style learned from his mentor, Sir John Templeton, looking for strong growth in free cash flow, 50% or so discount to asset value and a catalyst to narrow the discount. For the 12 months ended July 31, Foreign, which invests only overseas, is up 27.1% despite a 30% or so weighting in cash, versus 24.3% for the average international fund; for the three-year period, it has scored a 45.4% gain, versus 36.6% for its peer group. Meanwhile, Growth, which is allowed to own U.S. shares, has chalked up 36.2% for the 12 months ended July, versus 31.5% for the average global fund, and advanced 66.7% for the three-year period, versus 56.8% for its peer group. (Both have loads.) Both funds are widely diversified, holding 250 positions or so, and both have achieved their returns without hedging against the dollar's strength -- a characteristic so attractive to foreigners that some 30% of Growth's shareholders are Germans.
A quick comparison of June 30 statistics with the funds' Feb. 28 year-end holdings gives a thumbnail sketch of some of the changes. Back in February, for example, Growth's two largest holdings were General Motors and IBM . By July, they were replaced by Philips NV , the Dutch electronics manufacturer, and Telebras , the Brazilian telecommunications concern.
That's not all. Gone from Growth's top 10 are IBM and Merrill Lynch , supplanted by Telmex , the Mexican telecom giant, and Motorola , the chip and cell-phone maker. In Foreign, gone are Volkswagen, Volvo and French oil major Elf Aquitaine . Instead, one sees Japanese titan Hitachi , British Gas and Argentine oil producer YPF .
Some of the country weightings -- many radically different from benchmark indexes -- have shifted, too. At both funds, the U.K. and Mexico are ascendant. Both have huge, if declining, stakes in Scandinavia. And Germany and Japan represent miserly allocations.
But the biggest news at Growth is a swift reduction in U.S. stocks; at the end of July, they represented 22% of assets, down from 27% in June and 30% in February. To be sure, the fund manager has been neutral to bearish on U.S. shares for some years, devoting a much smaller percentage to U.S. stocks than the typical global fund's 40% allotment because of worries about excessive valuations. Now, he's convinced that U.S. shareholders suffer less from "irrational exuberance" than "irrational expectations," and that the system bears "significant financial risk," a condition he suspects won't be corrected by the Fed. Meanwhile, he believes that valuations are now even richer -- some 40% above their 20-year average. "We're more expensive than the Japanese market right before it crashed," he remarks.
What could bring it lower? An earnings slowdown, or the capital-gains tax cut.
The U.S. isn't all that's expensive. "We've been trimming banks all over," he declares. "The banking environment isn't going to get better and provisions are abnormally low."
Nor is Latin America cheap. A well-timed bet on shares from that region immediately after the Mexican peso devaluation helped lift Holowesko's funds. But shares like Telebras have risen sharply, leading Holowesko to halve his Telebras stakes in recent weeks -- though he's generally bullish on telecom stocks.
And Holowesko thinks that Japan, which has frustrated investors for years, stays pricey. His funds have benefited in recent years from underexposure there.
Holowesko is more bullish on Europe, on the theory that economic conditions in Europe today bear a striking similarity to the U.S. a decade ago, and that corporate Europe is on the verge on dramatically boosting free cash flow. Holowesko has raised his exposure to the U.K. No surprise there: British equities have boomed since the Labor Party victory this year. In Europe, he's a fan of Philips, British Gas and, in Sweden, Sandvik, a specialty-steel company that makes metal strips for disposable razor blades, as well as precision components for circuit boards. Even better, it's financially solid. "In the last recession in Europe," Holowesko recalls, "they almost broke even, which is something to be said." Last week, Sandvik A shares traded at 245 krona ($42), while the ADRs changed hands around 30.
A new favorite is Deutsche Bank, now allotted 1% or so of assets in a typical account managed by Holowesko. Last week, Deutsche Bank traded at 117 German marks ($86). Of the stock price, some 90 marks a share is represented by the bank's securities portfolio. And management has recently suggested it could sell at least part of that portfolio next year if German tax rates on capital gains decline.
But the biggest bargains reside in Asia, where Holowesko's funds have been underweight for some time, and where stocks have been battered by a long bear market and by a recent flood of currency devaluations led by Thailand. He estimates that Asia now accounts for 15% of assets of Foreign, up from 13% on June 30, and for 10% of Growth, up from 8.8%.
Though he's loath to offer specific picks, because "I have three dozen buy orders open in Asia right now," he allows that he's a fan of Thai and Korean banks. In Thailand, especially, he's bulking up on all six companies he owns. Two that he confesses remain in the portfolio from February are Thai Farmers Bank, which traded at 115 baht ($5.16) last week, and Siam City Cement, a building-materials company, at 125 baht.
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Your First Beginner Drum Beats Lesson
|
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[
""
] | null |
[] | null |
Learn 20 beginner drum beats that will serve as a foundation for developing drumming skills from Grammy-nominated drummer Gabe Helguera.
|
en
|
/images/favicons/favicon-16x16.png
|
https://drumbeatsonline.com/blog/your-first-beginner-drum-beats-lesson
|
Are you looking for some beginner drum beats to get you started? We've got your back!
When learning to play drums, it's natural to feel overwhelmed by all the different kinds of beats and fills.
In this post, we will cover 20 beginner drum beats that will serve as a solid foundation for you to continue honing your drummer skills. If you are new to our blog, read our beginners' guide on how to learn to play the drums.
We will also cover the following:
Drum pattern characteristics
Drum beat tips and tricks
General advice for beginners
Basic Drum Pattern Characteristics
Most, if not all, beginner drum beats share a few characteristics:
They are usually one measure long and repeated over and over to make them simple to play and memorize
They require the least level of limb coordination and may not even involve using all four limbs
With a few notable exceptions, most songs have the same 4/4 time signature
Beats for beginners complement a wide range of songs, particularly those in pop or rock. You can play several pieces by learning a single simple drum beat. Any drummer serious about learning to play the drums should be exposed to various musical styles. Your goal is to be as adaptable as possible so you can play with a range of musicians and explore your potential.
Despite their ease of learning, these basic drumming patterns help improve hand-foot coordination, develop muscle memory, and simplify the learning process of intermediate beats. Once you've mastered this range of simple drum beats, you'll have no trouble gradually increasing the complexity of the beats. There isn't enough time to master every drum beat or fill in the universe, but getting started with these drumming patterns will be fun and worthwhile.
Easy Drum Beats Tips and Tricks
Simple drum beats are frequently the most effective. Because basic beats do not distract the listener from the music, they are popular with the public and with bands.
But first, a few ground rules when learning to practice drum beats:
Isolate your Limbs
Start with the body of the beat and work your way up to the details. At the start, it can be helpful if you focus on the bass drum and snare.
Experiment with Speed
Begin slowly and gradually increase speed, repeating as needed. You don't have to play these at top speed straight away. The BPM (beats-per-minute) markers are only guidelines. These grooves will work in both faster and slower tempos.
Practice with a Metronome
Playing with a metronome is key to developing your sense of timing as a drummer. It will help you stay on schedule by improving your ability to keep the timing on point, even when you eventually stop using a metronome.
Experiment with Different Dynamics
Practice and experiment with loud, medium, quiet, and everything in between sounds. Remember that not everything should be at the same volume. If you encounter an accented note, distinguish it from the non-accented notes.
However, you can also leave some room for fun and experimentation. At first, try to play these beats precisely as written, then experiment with relocating them around the kit or adding some fills. When you're feeling good, put on your headphones, turn on your favorite music, and play along.
Start With These Basic Drum Beats for Beginners
The following simple drumming patterns will structure a solid foundation to master beginner drum patterns.
We will describe 20 beats in detail to get you started, but you can also check out this free tutorial on beginner drum beats for additional practice and video demonstrations.
The sheet music for the basic drum beats can be found here.
Beat 1: 4 on the Floor
The 4 on the floor beat is an easy type of drum beat where the bass drum is hit on each quarter note in a 4/4 measure. Accents can be played using the snare and hi-hat, by hitting the snare on the 2 and 4, and hitting the (closed) hi-hat on every eighth note. This pattern became popular in 1970s disco music. The term "four-on-the-floor" was frequently used at the time because the rhythm is performed by hitting the bass drum pedal on the floor four times.
Click here for a video demonstration of the 4 on the floor beat.
Beat 2: Dance Beat
Dance evolved from rhythm & blues and funk. Dance music patterns are often simple, easy to comprehend, and fun to dance to. The dance beat is very similar to 4 on the floor, with the exception that the hi-hat is only hit every 2nd eighth note, or on the ‘&’.
Click here for a video demonstration of the dance beat.
Beat 3: Everyone’s First Drum Beat
Another beat where the hi-hats are hit every eighth note, everyone’s first drum beat is different in its kick pattern. The bass drum is hit on the 1, the 3, and the 3&, and the snare is hit without the bass drum on the 2 and the 4.
Click here for a video demonstration of everyone’s first drum beat.
Beat 4: Everyone’s Second Drum Beat
This drum beat is nearly identical to the previous one, except for an extra bass drum on the 1&. The snare is hit on the 2 and 4, and the hi-hat is played on every eighth note. In essence, this makes this particular drum beat repeat every half measure, which can make it sound slightly more monotonous.
Click here for a video demonstration of everyone’s second drum beat.
Beat 5: Classic Rock Beat
Most rock drum beats are in 4/4 time. Each of the four counts can be divided into two eighth notes. In the “classic rock beat”, the hi-hat is hit on every eighth note, and the snare drum is heard on the 2 and 4 (backbeats). The bass drum gives variation to this drum beat, and it is also hit on every eighth note, except the 2 and 4.
Click here for a video demonstration of the classic rock beat.
Beat 6: Classic Rock Beat 2
This rock beat is very different from the previous one. The snare is used to accentuate every beat, as opposed to the bass drum. The snare is played on the 1, 2, 3, and 4, while the bass drum is only played on the 3& and 4&. Finally, the hi-hat is hit every eighth note again.
Click here for a video demonstration of the classic rock beat 2.
Beat 7: Classic Half-time Beat
The classic halftime beat is an amazing drum beat for adding variation to a song, such as during a bridge or breakdown. Halftime essentially doubles the tempo resolution. As previously mentioned, the backbeat is usually played on the 2 and 4. In halftime, the distance is doubled, so the backbeat moves to the 3 (and the 7 in the second measure). For the classic halftime beat, hit the snare on the 3, the crash on every beat, and your kick drum on the 1, 1a, and 2&.
Click here for a video demonstration of the classic half-time beat.
Beat 8: Classic Halftime Beat With 16th Notes
This classic halftime beat is essentially the same as the previous one, but it replaces the heavy crashes on each note with a hi-hat on every 16th note.
Click here for a video demonstration of the classic halftime beat with 6th notes.
Beat 9: Classic Halftime Beat (Turned Into Normal Time)
The classic halftime beat turned into normal time moves the backbeat back to the familiar 2 and 4, which is when you hit the snare. However, the kick pattern from the classic halftime beat stays the same (1, 1a, and 2&).
Click here for a video demonstration of the classic halftime beat turned into normal time.
Beat 10: The “I am Going to Change Things Up” Beat
As the name implies, this beat gives a very different feel from the previous rock and halftime beats. The first backbeat is skipped, as the snare is hit on the 1, 2&, and 4. The crash is hit on every quarter note, and the bass drum is played every eighth note except 1, 2& and 4.
Click here for a video demonstration of the “I am going to change things up” beat.
Beat 11: The Bieber Beat
The Bieber beat brings variation to an otherwise simple beat by introducing dynamics to the snare hits. The backbeat is indicated by a strong snare hit on the 2 and the 4, while much softer snare hits are played on the 2a and 3e. The hi-hats are hit every eighth note, and the kick is played on the 1, 1&, and 3&.
Click here for a video demonstration of the Bieber beat.
Beat 12: The Bieber Beat (on Toms)
The Bieber beat on toms switched things up by indicating the eighth notes on the floor tom, as opposed to the hi-hat, and while the backbeat is still played on the snare, the 2a and 3e are played on the tom instead.
Click here for a video demonstration of the Bieber beat (on toms).
Beat 13: Pop Country Beat
The pop country beat is a very simpe 4/4 beat, where the second kick is delayed. The bass drum is played on the 1 and 3&, the snare on the 2 and 4, and the hi-hat on every eighth note.
Click here for a video demonstration of the pop country beat.
Beat 14: Pop Country Chorus Beat
The pop country chorus beat is similar to the previous beat, with the exception that the eighth notes are played on the ride, making it a good choice for choruses and breakdowns.
Click here for a video demonstration of the pop country chorus beat.
Beat 15: Double Time Beat
Double time refers to performing a rhythm twice as rapidly as the original rhythm. A full measure of this beat feels like two measures. The backbeat shifts from the 2 and the 4 to the 1& and the 2&.
Click here for a video demonstration of the double time beat.
Beat 16: The Jungle Beat
Due to its heavy reliance on toms, this beat gives a jungle feel - as the name implies. The bass drum and floor tom are hit together on every quarter note. The mid or high tom is played on an interval of 3/16th notes, so on the 1a, 2&, 3e, and 4.
Click here for a video demonstration of the jungle beat.
Beat 17: Cross Stick Beat
The cross-stick beat is played by placing your stick halfway across the drum head, one end projecting over the rim. Then, raise and lower the stick in a lever-like motion, hitting the rim. For this beat, hit the bass drum on the 1 and 2, a rimshot on the 3 and 3a, and the hi-hat on every eighth note.
Click here for a video demonstration of the cross stick beat.
Beat 18: 4 On The Floor (Halftime Version)
The four on the floor in half-time is played by moving the backbeat to the 3 (and the 7 in the next measure).
Click here for a video demonstration of 4 on the floor (halftime version).
Beat 19: Your First Ghost Note Beat
A ghost note is a note which is played quietly between the main notes or accented beats. These notes may go unrecognized by the listener, yet they fill out the rhythm and offer depth and dimension to the music. In your first ghost note beat, you can use one hand to play ghost notes on the snare on every second sixteenth note (the 1e, 1a, 2e, 2a, etc.), while using the other hand for the hi-hat on the eighth notes and a strong snare hit on the backbeat.
Click here for a video demonstration of your first ghost note beat.
Beat 20: Anthem Tom Beat
Last but not least, the anthem tom beat is a powerful drum beat that might feel slightly more complicated. The snare is played on the backbeat again, but the 1, 1& and 2a are played with strong double tom hits. The kick and single tom hits complete this beat.
Click here for a video demonstration of the anthem tom beat.
Simple Drum Beats Advice to Keep in Mind
Let's be honest - If you are a beginner drummer, you have picked the best instrument, no question about it! The drums are an essential part of the rhythm process, as they can be found in any music. Musicians rely on the drummer to keep the rhythm and everyone in sync. In other words, drums are the centerpiece of the actions and the glue that holds them together.
Now that we have covered the beginner drum beats, keep reading to find some top-shelf tips on learning faster, creating productive habits, and making fewer errors from the start.
Get Comfortable
A crucial part of playing the drums is proper drum kit layout. The truth is that most novice drummers set up their sets incorrectly.
Spend some time checking how your favorite drummers have their drum kits set up and keep re-arranging the set until it feels comfortable. All of the drums and cymbals must be easy to reach. Point the toms towards you, and ensure that the snare drum rests correctly between your legs and above your knees.
Work on Your Hand and Feet Independence
Many factors contribute to becoming a great drummer. Good technique, playing feel, timekeeping, originality, and outstanding coordination are among the most noteworthy factors to keep working on.
Playing the drums requires the use of your hand and feet (together or autonomously). Most beginning drummers make mistakes when learning new rhythms and basic drum patterns that need the hands and feet to perform independently. You can add some non-contact sports to your routine to work on your coordination.
Don’t Overtighten the Cymbals
Do not overtighten cymbals! Beginner drummers sometimes clamp down the cymbals to the degree that the sound is muffled and the cymbal cracks.
A cymbal should be free to swing and flex. Make sure there is no metal-on-metal contact between the cymbal and the stand by using felts (they come with the stand) and only slightly tightening the wingnut.
Select Your Favorite Bass Technique
When it comes to playing a bass drum pedal, technique is everything. The bass drum is the fundamental driving force behind every drum beat. The bass drum should be played with assurance and power. There are two bass drum techniques: heel up and heel down. Do not feel the urgency to master both equally. It is best to pick whichever one you are more comfortable with and continue to practice it.
Neither option is superior to the other. Picking your technique is a matter of personal preference and comfort. Many beginner drummers tend to pick heel up because it is easier to use more force when playing the bass drum.
Aim and Hit the Middle of the Drums
Another component of playing that many new drummers struggle with is hitting the drum in the middle of the skin. Practicing your aim is critical for developing a solid technique and sounding like a professional.
Final Thoughts
We hope you found this collection of drum beats and general tips and tricks useful. If so, we invite you to check out the Drum Beats Online Academy, where we have all the resources available to help you improve your drumming.
After teaching people to play the drums globally, we are confident we can help you. You'll quickly progress from simple drum beats for beginners to intermediate rhythms and complicated drumming patterns.
Drumming is challenging, so don't be too hard on yourself. It's normal for beginners to make errors. You can become an exceptional drummer if you practice regularly and pick up some guidance and suggestions along the road.
It's time to begin practicing these drum beats and join the Drum Beats Online Academy for a more streamlined learning experience.
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https://www.loopcloud.com/cloud/blog/4811-8-Drum-Sequencing-Tips-for-Better-Beats
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8 Drum Sequencing Tips for Better Beats
|
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Improve your grooves and drum programming game with this guide to sequencing on Loopcloud DRUM
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It’s no secret that a great drum beat can make or break a track. When the rhythm is right, creativity follows, and it becomes much easier to add chords, basslines and melodies to your composition. On the other hand, if your foot’s not tapping and your head isn’t bobbing, it can be harder to get into the swing of things!
Sequencing is a fun way of plotting out drum patterns, and when used properly it can be a seriously productive compositional technique. Let's look at eight drum sequencing tips to get those beats banging, which can be applied to Loopcloud DRUM or any other sequencer.
1. Use velocity properly
Velocity can be understood as how hard or soft you hit the drum, and is a parameter that is applied across all MIDI instruments. Varying the velocity of your drums helps to create a more human feel. After all, how likely is it that a real drummer would be hitting their snare with the exact same force every single time?
Saying this, varying velocities while sequencing your drums isn’t only a technique used to mimic human imperfection. Mixing up the velocity can also change up grooves while playing the exact same rhythm, which has been shown across many genres, from rock and jazz to garage and trap music.
The above image demonstrates how easily you can reduce the first note of each beat to accent every other note in Loopcloud Drum. Adding accents to your beats this way is generally preferred, as simply raising the volume of one of your hi hats may cause clipping, adding unwanted artifacts to your sound.
2. Mix up your patterns and sequences
Although drum loops are an essential part of making electronic music, there can be occasions when your track can seem a little repetitive. This can be remedied in a melodic sense by ensuring that your basslines and chord progressions don’t all follow the same loop length, but another way of keeping an organic feel is to add variation to your drum patterns.
You can do this by making a few variations of your drum pattern and alternating between them, but for an even more nuanced approach, Loopcloud DRUM has the ability to switch between your patterns on the fly. This allows you to switch seamlessly between each of your patterns, without retriggering the pattern at the start of each loop.
You can either choose to create a pattern order shown at the bottom of the screen (ABC) and then turn the pattern order on to play through each of your patterns, or seamlessly switch between patterns by clicking between patterns A-H in real time.
Using this feature, you’re able to create a hybrid bar that starts with the first half of one pattern, switches to another pattern half way through, and ends with a third pattern. Being able to wield this kind of flexibility when it comes to your drum patterns opens you up to a wide range of creative possibilities.
3. Layer it all up
If you’ve ever used a stock drum kit in a track, you’ll know that they can often sound a little bland and uninspiring. Today, we are no longer limited to a handful of samples from drum machines and there are millions of sounds to choose from. To properly do justice to your track, make sure you take the time to curate the drum hits.
If you find a kick drum that you like, but it isn’t quite hitting hard enough, layering is an option to help fill out your drum samples, or even just to add some more character. By taking two stock samples and layering them together you can tailor your drum sounds to work cohesively within your arrangement.
One thing to note is that when you layer your drum sounds to introduce a desired frequency, you may also be adding in additional frequencies which end up clashing. Fortunately, you can easily remedy this by carving out any of these frequencies, helping the sounds to gel together. You can do this using an EQ plugin in your DAW, but Loopcloud Drum also comes with filters and ADSR envelopes for sound shaping.
Finally, sometimes you may be using the right sounds, but they simply require a little tuning. Kick drums should generally be tuned to the key of your song but a simple rule is if it sounds good, do it! Make sure to experiment with the tuning, time stretching and FX of your drum samples to create a drum beat that will really match the feel of the rest of your song.
4. Time your layers
Although layering your drums is definitely a great way to create a fuller sounding drum loop, sometimes a slight shift in the timing of each of your elements can really bring your drums to life.
For example, say you have a rim shot sample that sounds punchy but lacks a tail to the sound. You could combine this with a snare drum that’s offset ever so slightly, and get both a punchy click and a longer tail.
By adjusting the volume envelopes of each of your drum samples, you can ensure that the best quality of each of your sounds is shining through, and this allows you to remove any unwanted clicks or pops from any of your own samples.
This technique is also incredibly useful for claps, as you can stagger various clap samples to achieve an organic sounding percussive sound. This can be done incredibly easily by using the timing fader on Loopcloud DRUM. By starting each clap at the same time in the pattern sequencer and then adjusting the timing you can find the perfect placement for each of your clap or percussion samples.
5. Add some Swing
Adding swing to your beat is a great way to create a skippy feel that is much less rigid than a straight 4/4 beat. In a recent article, we explained how you can add swing to your music (link to swing article), as well as how it’s been used in a variety of genres.
In short, you can add swing to your beats by creating a triplet pattern and removing the middle triplet of each beat bar. This can also be thought of as slightly shifting the position of every other quarter note in a 4/4 grid.
Loopcloud Drum allows you to adjust the level of swing in your beats, changing the amount for different sections in your music. You can also search for samples and loops based on the desired amount of swing that you are looking for, so you can find samples that will fit perfectly with your beat.
6. Higher is busier
You can often think of your kick drum and snare as the main pulse for your track, the foundation and rhythm upon which the rest of your beat is built upon. In many genres these two drums often fall on the same beats in each bar. For this reason, it can be useful to start simple with your kick and snare pattern, increasing the complexity as you move onto other percussive elements.
By starting with your kick and snare, you can then creatively place your hi hats to interact with this rhythm to create the skeleton for your beat. Once this is done, you are then free to add any articulations through tom rolls or hi hat rolls, or even other additional sounds where there is space in your beat.
Drum rolls and additional hits can be added by clicking below each one of your hits in the Loopcloud DRUM sequencer in the roll section. This is incredibly useful for trap producers as it gives you the ability to add and remove hi hat rolls on the fly.
One thing to mention is that it is not always the best idea to fill every second of your drum beat with noise. Sometimes, silence in between your drum hits is what creates a groove. If you aren’t improving your beat by adding another element, then don’t be afraid to delete that particular sound.
7. Field Recordings
Sometimes the best drum beats are created without using any traditional drum sounds in the first place. If you’ve ever heard a track that replaces a drum sample with a found sound then I’m sure you’ll understand how using unique drum samples can really switch up the feel of a drum beat.
A great example of this is Havoc (Mobb Deep) using a recording of a stove top when creating the drum beat for Shook Ones Pt. II. If you have a microphone or field recorder at your disposal, then it can be great fun to create your own sound library from anything you can think of.
Luckily, Loopcloud has a wide range of field recordings that are ready to chop up and use in your own beats. This is a great way to dive into the world of foley samples without having to invest in an expensive microphone.
8. Using Drums that Work
This last tip might seem obvious, but the drum sounds that you use for one song may not sound right in another. There isn’t generally a tried and true method for what drums will sound the best in your production, but it can often be a good idea to study artists with a similar sound to what you’re going for.
Ask yourself what types of sounds are used in different situations. For example, some artists use cymbals and crashes to signify the beginning of a new phrase in their music. If you are sampling a song from a particular genre or musical culture, then maybe you could try using percussion that is typically found in the song you’ve sampled.
If you are looking for drum sounds for a particular genre, or perhaps in the style of some of your favourite artists, Loopcloud also offers a range of drum kits that are ready to use for a variety of genres.
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https://uppbeat.io/sfx
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Free sound effects • Uppbeat
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Download free sound effects. The world's favorite SFX library. Safe for YouTube, TikTok, podcasts, social media and more. Create a free Uppbeat account and start downloading for free now.
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https://uppbeat.io/sfx
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An essential toolkit of sound effects for creators. Bring your project to life with whoosh transitions, camera shutters, mouse clicks and more.
Make your content pop with whoosh sound effects and cinematic noises! Perfect for adding professional touches to your videos and giving them extra oomph.
Inject fun into your content with our ‘Cartoon’ collection. From zany boings and whizzes to classic comedic falls, these sounds perfectly capture animated hijinks.
Hallelujah! A collection of jubilant sound effects for when you win big. Featuring rounds of applause, slot machine jackpots and triumphant trumpets too!
Everything you need to soundtrack epic fails! From trumpet wah, wah, wahs and smashing plates, through to sad Hawaiian music and ‘game over’ sound effects.
Lock ‘n’ load your badass moments with mic drops, guitar licks, and tough guy sound effects. All come with the Chuck Norris seal of approval.
Everything you need to soundtrack epic fails! From trumpet wah, wah, wahs and smashing plates, through to sad Hawaiian music and ‘game over’ sound effects.
Lock ‘n’ load your badass moments with mic drops, guitar licks, and tough guy sound effects. All come with the Chuck Norris seal of approval.
Hallelujah! A collection of jubilant sound effects for when you win big. Featuring rounds of applause, slot machine jackpots and triumphant trumpets too!
From melodramatic violin screeches to exaggerated sighs and sniffles, these sound effects add a humorously over-the-top touch to scenes that are 'tragically' awkward or absurd. The perfect ironic accompaniment for your tongue-in-cheek content!
Drift away with our 'Daydream' collection. From whimsical chimes to floating clouds and magical sparkles, these sounds embody the lightness of dreams and whimsy. Perfect for enhancing imaginative, fantasy, or simply dreamy content.
Make a bang with this collection of slapstick punches and comic crashes to over-the-top booms and gunshots. These sounds are perfect for adding a playful touch to your comedic content or animated hijinks.
Unleash the fury with fiery roars and explosive tantrums to ground-shaking stomps and shattered glass. These sounds pack a punch! Ideal for dramatizing intense moments, emphasizing comedic fits of anger, or adding an edge to your action-packed content.
Capture the tension! From rapid heartbeats to tense ticking clocks, these sounds perfectly encapsulate the feeling of nerves on edge. Ideal for suspense-filled scenes, dramatic countdowns, or any moment that leaves your audience on the edge of their seats
Annoint your content a heavenly touch using our angelic choirs, celestial dings, and the creaking of pearly gates. These sounds create a divine ambiance, perfect for moments of revelation, comedic 'good deeds,' or any scene that needs a sprinkle of the ce
Get cinematic with our 'Movie Phrases' collection, filled with iconic phrases and dramatic one-liners that echo the silver screen. These sounds add a theatrical touch to your content, perfect for invoking nostalgia, adding humor, or simply setting up your
Add a festive touch to your content with our 'Celebrate' sound effects. From cheerful applause and party horns to popping champagne and festive cheers, these sounds encapsulate joy and celebration. Perfect for highlighting victories, marking milestones, o
Drum roll please as we introduce essential sound effects for accentuating a big reveal. You’ll find everything from fanfares to gasps of surprise.
Keep your audience on the edge of their seats with eerie whispers and ominous footsteps to ticking clocks and dramatic gasps. These sounds amplify tension and anticipation, perfect for building suspense, setting up a mystery, or creating dramatic reveals
Cringe-worthy crickets, exaggerated gulps, nervous chuckles - our 'Awkward' collection has all the sound effects you need to emphasize those oh-so uncomfortable moments. Perfect for comedic skits or relatable content that revels in the hilariously awkward
Highlight your comedic timing with our 'Punchline' collection. From laugh tracks to rimshots and comic drum beats, these sounds are the perfect tag to your best jokes and comedic moments.
Add mystery with our 'Unexplained' sound effects. From eerie whispers and cryptic rustling to otherworldly echoes, these sounds build intrigue and suspense, perfect for creating a sense of the unknown.
Boost the energy with our 'Hype' sound effects. From roaring crowds and pumping music to buzzer-beating dings, these sounds amplify excitement, perfect for creating a hyped atmosphere and getting the adrenaline flowing.
Swoon your audience with our 'Love' sound effects. From heartbeats and sweet whispers to romantic sighs and loving murmurs, these sounds paint an audible picture of love and romance.
Channel the dark side with our 'Evil' collection. From sinister laughs and ominous footsteps to dramatic thunderclaps, these sounds encapsulate everything wicked and villainous.
Show off your swag with our 'Baller' sound effects. From cash register cha-chings and luxury car sounds to popping champagne, these sounds epitomize the high life and are perfect for showcasing success.
An essential toolkit of sound effects for creators. Bring your project to life with whoosh transitions, camera shutters, mouse clicks and more.
Enhance your narrative with our 'Voice Clips' collection. From exclamations and laughs to quotes and commands, these vocal snippets add character and emotion to your content.
Brand your content with style using our logo & sonic identifier sound effects. From slick swishes to unique musical signatures, these sounds make your brand identity audibly memorable.
Inject fun into your content with our 'Cartoon' collection. From zany boings and whizzes to classic comedic falls, these sounds perfectly capture animated hijinks.
Create a serene, relaxing atmosphere in your videos with gentle chimes, calm breathing exercises, and more sounds that tap into well-being.
Sweeten your content with our 'Cute Aesthetic' sound effects. From twinkling chimes to adorable animal sounds, these are perfect for creating a warm, playful atmosphere.
A mouthwatering array of sounds from the kitchen, with sizzling pans, popping corks, and more clips to whet your audience’s appetite.
Ignite curiosity with sounds from the science lab. You’ll hear everything from the fizz of a chemical reaction to the spark of electricity.
Get your audience's pulse racing with our 'Sports' collection. From the thud of a boxing glove to the swish of a net, these sounds evoke the excitement and energy of athletic endeavors.
Boost your content's personality with our 'Music Clips' collection. These iconic, meme-style snippets range from the comically dramatic to the delightfully whimsical.
Add humor and whimsy to your content with our 'Silly & Random!' collection. These quirky sound effects are perfect for injecting fun and unexpected laughs into your project.
From the snip of scissors to the rustle of paper, these crafty sound effects provide the perfect finishing touches to home-made projects.
Level up your content with our 'Gaming' sound effects. From retro bleeps and power-ups to epic victory fanfares, these sounds capture the spirit of the game
Raise the hairs on your audience's neck with our 'Horror' sound effects. From eerie whispers and creaking doors to sudden shrieks, these sounds create an atmosphere of suspense and fear.
Create a lively atmosphere with our 'Audience Reactions' collection. From applause and laughter to gasps and boos, these sounds instantly convey crowd dynamics.
Bring everyday scenes to life with our 'Domestic' collection. From the hum of a vacuum to the whistle of a kettle, these sounds paint a realistic picture of home life.
Transport your audience to other worlds with our 'Sci-Fi' sound effects. From futuristic beeps and alien chatter to spacey drones, these sounds evoke the unknown and the extraordinary.
Give a human touch to your content with our 'Body' collection. From the thump of a heartbeat to the snap of a finger, these sounds bring authentic physicality to your project.
Make your content pop with whoosh sound effects and cinematic noises! Perfect for adding professional touches to your videos and giving them extra oomph.
Create an impact with our 'Explosions' collection. From dynamite blasts and fiery detonations to crackling fireworks, these sounds bring a powerful punch to your action-packed or dramatic content.
Make your content resonate with our 'Booms' sound effects. From deep bass rumbles and dramatic drum booms to thunderous echoes, these sounds add a sense of weight, depth, and intensity to any scene.
Immerse your audience with our 'Drones' sound effects. From eerie hums and ominous rumbles to pulsating soundscapes, these drone sounds create an enveloping atmosphere that draws listeners in.
Unleash the power of sound with our 'Rumbles' collection. From earth-shaking tremors and grumbling thunder to deep, resonating bass, these sounds are perfect for adding a sense of foreboding, tension or epic scale to your content.
Capture the rhythm of urban life with our 'City' collection. From bustling traffic and chattering crowds to distant sirens and honking horns, these sounds evoke the constant energy of the metropolis.
Evoke the power of nature with our 'Wind' sound effects. From soft breezes rustling leaves to howling gusts, these sounds are perfect for creating an atmosphere of tension, calm, or mystery.
Venture into the wild with our 'Woodland' sound effects. From rustling leaves and crunching underbrush to the distant hoot of an owl, these sounds encapsulate the tranquil beauty of forest life.
Create drama with our 'Storm' collection. From booming thunder and driving rain to howling wind, these sound effects convey the raw power and intensity of a storm.
Bring the hustle and bustle to your content with our 'Traffic' sound effects. From revving engines and honking horns to screeching brakes, these sounds encapsulate the dynamic tempo of city life.
Capture the charm of country life with our 'Rural' collection. From crowing roosters and lowing cows to the distant toll of a church bell, these sounds evoke the tranquil simplicity of rural life.
Plunge your content into the quiet mystery of the 'Night' with sounds like distant crickets, the hoot of an owl, or the eerie calm of an empty street. Perfect for creating an ambiance of suspense or tranquility.
Give depth to your scenes with our 'Room Tones' collection. From silent bedrooms and buzzing offices to the ambient hum of a coffee shop, these sounds add a touch of realism to your indoor settings.
Give your content a mechanical edge with our 'Industrial' sound effects. From the clank of heavy machinery to the whir of assembly lines, these sounds capture the rhythm of industry at work.
Add the buzz of a crowd to your content with our 'Crowd walla' sound effects. From lively conversations and laughing groups to the indistinct chatter of a busy event, these sounds create an atmosphere of vibrant social energy.
Convey the vast solitude of the 'Desert' with sounds like distant wind, shifting sand, or the cry of a lonely bird. Perfect for creating a sense of wide-open space and stark beauty.
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2202
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dbpedia
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2
| 21
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https://www.freemusicdictionary.com/definition/rim-shot/
|
en
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Definition on FreeMusicDictionary.com
|
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A drumming effect that is often used with the snare drum that produces a sharp,
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/static/themusicdictionary/images/favicon-32x32.png
| null |
A drumming effect that is often used with the snare drum that produces a sharp, percussive sound, much like a gun shot. This effect is used in a wide variety of musical genres including march music, jazz music, rock music, concert band /symphonic band music, and orchestral music. This effect is also extremely common in Latin music on the timbales. There are several methods of producing the rim shot effect and a wide range of sounds are possible.The most common rim shot effect is produced by striking one drumstick on the the rim and the head of a drum at the same time. The sound can be altered by changing the length of the drumstick that strikes the head of the drum. The sound will be higher in pitch if the drumstick strikes the head close to the rim. If the drumstick strikes the head more towards the center of the head, the pitch will be lower and sound more like a gun shot.Another common rim shot (often called stick shot) effect is produced by laying one drumstick on the drum, with the butt on the head of the drum and the shaft laying across the rim (or just the butt on the head of the drum) and striking it with the second drumstick. The sound can be altered by changing the length of the drumstick that is laying across the rim and head of the drum and further changed by striking the drumstick in different locations between where the striking meets the head and where it meets the rim.Another method of producing a rim shot (often called a knock or Latin rim shot) effect is produced by placing the tip of one drumstick on the drum head and striking the shaft of that drumstick on the rim while the tip of the drumstick remains on the drum head. The sound can be altered by changing the length of the drumstick between where the it touches the drum head and the rim. This effect creates a less harsh sound and is used extensively in jazz and Latin music.
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http://recordinghacks.com/2011/05/06/shure-beta-drum-mic-review/
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Shure Beta Drum Mic Review
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2011-05-06T00:00:00
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Hear the new Shure Beta microphone line on Jon Mattox' drums. He tracked the Beta 56A on toms, the Beta 98A and 98AMP on snare and toms, the Beta 181/C on overheads, and the Beta 91A on kick, music stand, and control room window.
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en
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http://recordinghacks.com/2011/05/06/shure-beta-drum-mic-review/
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Walk into any recording studio, and you’re likely to find Shure microphones in the mic cabinet. SM57s, SM7s, and Beta 52s are never too far away. Considering what we heard from the new line of Beta microphones, you’ll be seeing them too.
Read on for Jon Mattox’ studio review of the new Shure Beta drum mics: the Beta 91A boundary mic, the Beta 98A and Beta 98AMP miniature drum condensers, and the Beta 181 overhead condensers.
Contributing to this article is my friend and great engineer/mixer Stan Katayama, who joined me for the recording session. We tested the Shure Beta mics on acoustic drums.
The totally ridiculous room-mic test
Before we began, Stan had a great idea to do a quick mic shootout with the new Beta microphones along side some well known mics (and a few rare ones).
Stan Katayama
The first thing we tried was to line the mics up as tight as possible and record a drum kit to Pro Tools. The mics were set about 3ft off the floor and 5ft from the kit. Then we added 4 other microphones to the line up. They are vintage 70s Neuman U87, Shure SM57, JZ BT201, and Telefunken/AKG D19 (aka the Ringo mic).
We did this test recording to get a quick big picture. I know some of these are not intended to be used this way. Their prices vary; some are dynamic, and some are condensers. It’s not a good comparison, but this allows us to grasp each mic’s character quickly.
[The following tracks were recorded without EQ or compression at 24-bit, 48 kHz. They were gain-matched in Pro Tools, exported as full-resolution AIFF, then converted to 320kbps VBR MP3s via Lame.]
Shure Beta 56A
Supercardioid dynamic
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/Beta56A.mp3] Shure Beta 91A
Condenser boundary mic
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/Beta91A.mp3] Shure Beta 98A
Compact electret condenser
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/Beta98A.mp3] Shure Beta 98AMP
Compact electret condenser with built-in premap
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/Beta98AMP.mp3] Shure Beta 181
Small-diaphragm, side-address condenser with interchangeable capsules
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/Beta181.mp3] JZ Microphones BT201
Detachable-capsule condenser
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/JZ-BT201.mp3] Neumann U 87
Vintage large-diaphragm FET condenser
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/NeumannU87.mp3] Shure SM57
Cardioid instrument dynamic
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/SM57.mp3] AKG Acoustics D 19C
Cardioid dynamic
[audio:http://recordinghacks.com/sounds/samples/shurebeta/test1/Telefunken.mp3]
Stan Katayama
One mic stood out immediately. It was the darkest among the nine. But it was dark in a good way, like rich dark chocolate. I knew this was U87. It has deep bottom and flat silky top compared to the others. The U87 being the darkest means all the other mics high range must be pumped up more or less.
I have used Crown PZMs often, so I’m familiar with the sound of the Beta 91A. Boundary mics have their own character — the extended low, a hole in the low-mids, the splashy highs. It’s the PZM sound you can’t mistake.
I like Beta56A a lot. It’s tight, bright and it has nice body to it. It lacks low end but if I get it close to the head, it will fatten up. Nice. I want this one for my next drum session.
I liked the Beta98s as well. They sound similar to Beta56A. The 98AMP is brighter than the 56A. The difference between the 98A and 98AMP is quite big even though they use the same capsule. The 98AMP comes with a built-in head amp and sounds brighter and more present.
I have mixed feelings about the Beta 181. My notes say this mic has better low end but the high end is peaky. Images are big but not sharp. It picks up a lot of room. I didn’t like it. But later on, when we put this mic on drum overhead, it was a different story. It sounded nice and clean as an overhead mic. It might work on the piano or an acoustic guitar, as well. I guess this one needs more investigation. A microphone that looks this good should sound great.
The JZ BT201 sounded almost too bright. They must be good for overheads. Further investigation recommended. [See Jon’s review of the JZ BT201 / DMK1 drum microphones.]
The SM57 was my reference. It’s got meat, it’s bright and punchy, and lacks low end. It reacts to 1176 well. No wonder this has been a popular choice for both live and recording for decades. During the blind test, I mistook the SM57 for the Beta 98AMP. Almost 50 years apart, these two mics sound very similar. I’d check close mic character of these two.
Now the AKG D19, the famous Beatles microphone… Did the magic happen? In short, no, I was disappointed. It sounded narrow, with peaky high-mids. The sound image was distant and unclear. My notes put the D19 in the bottom. OK, I don’t like it. But it’s the Ringo mic!
I wanted to approach these recordings like a typical indie session that I (or you) might do with an artist or band. “Indie” meaning tight or small budgets where time is of the essence, and instead of weeks to dial in a kick drum sound, you have only a few minutes. Stan and I used some standard techniques to close-mic the drums, and we wanted to get sounds quickly, and not fuss too much with mic placement (remember time is of the essence).
In addition to hearing the drums on their own, I picked out one of my instrumental songs to play drums to so we could hear how everything sounded in context of a song recording (it is about the music right!?). After recording with the Beta mics, we later changed the microphones to one my typical recording setups with other mics, to compare sounds with the Betas.
Beta 91A
The Beta 91A is a boundary microphone that has a solid build and it feels like it could survive a war zone. It is designed to rest on a pillow or padding inside of the kick drum. It has one option, a contour switch which cuts 7db at 400Hz. Engaging this switch did add a bit more punch on the top and bottom end, but it was not a dramatic difference. Having the contour switch engaged did sound better however. We placed the mic about 3 inches from the batter head. We got a great sound quickly that had lots of bottom and a good click sound too. This obviously works on kick drums that have no resonant head, or at least have a hole big enough to get the microphone through. Kick drums with no hole in the resonant head would require a different microphone.
As a side note, since I’m always experimenting with mics and mic placement, I later used the Beta 91A as room mic during a singer/songwriter session that I was recording drums for. I taped it onto my live room window which essentially turns the entire window pane into a microphone. I’ve done this with good results with PZM mics in the past.
Here are two examples with the Beta 91A. The first is a mid tempo rock groove played with sticks. The second was a tom driven groove played with blastics.
[audio:http://recordinghacks.com/sounds/samples/shurebeta/Beta91A_Room_Mic_1.mp3]
[audio:http://recordinghacks.com/sounds/samples/shurebeta/Beta91A_Room_Mic_2.mp3]
I was pleased the way the Beta 91A sounded as a room mic. Since the window was at the hight of the cymbals, the cymbals came through a bit strong, but, with some compression and eq, you can give treat these room mics to create some character and depth to a drum sound.
Beta 98AMP
The Beta 98AMP is a miniature condenser microphone with a uniform cardioid polar pattern. It features an integrated preamplifier, and the A75M microphone mount that clamps onto the rim of the drum. This mic (and especially the mount) feel solid and well manufactured. The gooseneck of the mic is strong and flexible, and in combination with the mount (which features a mic clip on a pivot), allows for quick and easy changes of mic position. This a welcomed change to standard mic clips and mike stands which are often awkward to use when repositioning a microphone.
We put up the Beta 98AMP along side a trusty SM57 on the top side of the snare for comparison, and we were both initially shocked that they sounded quite the same. Upon closer inspection, the Beta 98AMP does have a small high end boost above 8k compared to the SM57, and I found it also has a bit more high hat bleed than the 57.
[The following clip contains 2 bars (4 hits) of the SM57, followed by 2 bars (4 hits) of the Beta 98AMP.]
[audio:http://recordinghacks.com/sounds/samples/shurebeta/57vs98AMP-snare.mp3]
On a technical note, the Beta 98AMP microphone has an integrated amp which gives it significantly higher output then most mics. I was using an API 3124+ preamp and had to engage the pad, and turn the gain all the way down. Also, probably due to the clamp mount on the drum, there were low end frequencies (even below 100HZ) that translated through the mic. Nothing that a high pass filter can’t fix though. (For more on these topics, see “Extreme Snare Drum Rim Shot Tests” at the end of this article.)
Putting a 98AMP on the bottom snare head proved also to produce a great sound: plenty of punch and top end too. Again you would most likely need to engage a high pass filter at some point on the signal flow because there was a bit of unwanted low end frequencies coming through.
Beta 98A
On toms we used Beta 98As. Specifically, the Beta 98A/C which, like the 98AMP, has the same uniform cardioid polar pattern. It comes with its own mic cable that has a proprietary connector to the mic on one end, and an standard XLR connector on the other. It ships with the A98D drum mount which clamps on the rim of the drum as well, but unlike the mount for the 98AMP, the base of it is fixed and can only be positioned vertically or horizontally. To compensate, the gooseneck is longer, but I did find this design to be a bit more difficult to position the mic than the one included in the 98AMP.
Once the Beta 98As were in position, we recorded a test, and I was immediately impressed by how punchy, full, and bright the toms sounded. Again, like all of the mics, we didn’t need or want to fuss at all with our initial mic positions. I like that part a lot! Again on a technical note, the Beta 98A has a high output level (not as much as the 98AMP, but it still more output than most mics).
Beta 181
The Beta 181 is a small diaphragm side-address condenser microphone which has a sleek design and unique look that I like. It features an interchangeable capsule design which makes the mic even more appealing and versatile. We had the standard cardioid capsule, but Shure also offers omni, supercardioid, and bidirectional (figure-of-8) capsules.
We set the Beta 181s up as a pair as spaced overheads over the drums, and like all of the mics in this review, we set them up, and Voila! they instantly sounded great on our initial mic positioning. I took to the sound of these microphones immediately as they have a clean, open sound with a great mid to lower mid presence that captured the body and punch of the drums well. Cymbals translated with great clarity and without sounding too bright or harsh like overhead mics can often sound like.
The Full Kit
I cued up an instrumental song of mine to play drums to so we could hear how everything translated in a musical context. We then recorded the song a second time, using one of my mic typical setups:
Kick Drum – Shure Beta 52
Snare Top – Shure SM57
Snare Bottom – Vintage Shure Unidyne III with modified transformer
Toms – Sennheiser e604s
Overheads – Vintage AKG C451Es
The following tracks have no EQ, compression or gates.
[audio:http://recordinghacks.com/sounds/samples/shurebeta/Full_Kit_Beta_Mics_No_Music.mp3]
[audio:http://recordinghacks.com/sounds/samples/shurebeta/Full_Kit_Mattox_Mics_No_Music.mp3]
(Download individual audio tracks: both kick mics, top and bottom snare, toms, etc: here.)
Here are the same tracks, mixed, with music:
[audio:http://recordinghacks.com/sounds/samples/shurebeta/Full_Kit_Beta_Mics_With_Music.mp3]
[audio:http://recordinghacks.com/sounds/samples/shurebeta/Full_Kit_Mattox_Mics_With_Music.mp3]
Kick – Beta 91A has a nice bottom and click. Beta 52 has a good bottom mids, but could use more click.
Snare Top – Beta 98 AMP has a bit more high hat bleed. SM57 has a bit more punch and slightly brighter.
Snare Bottom – Beta 98 AMP needs a high pass filter . Unidyne III sounds a bit fuller in the mid frequencies, and has more attack.
Tom 1 – 98A sounds brighter and bigger in the lower mids. Sennheiser e604 could use a bit more attack.
Tom 2 – 98A has a better bottom end. Sennheiser 604 could use a bit more low and low mids.
Overheads – Beta 181s have more lower mids that make the drums sound more full. AKG 451Es have slightly more attack.
Shure A98D, A75M Rim Clamps
[The Beta 98AD/C’s rim clamp, Shure p/n A98D, differs from the rim clamp included with the 98AMP (p/n A75M). The A75M is a new product, incorporating numerous innovative features such as a sliding ball-in-socket joint for the mic clip, a quick-release button, a modular mic clip mount that can accommodate third-party clips or shockmounts, and a dual-jaw design intended to mount easily to drum rims, cymbal arms, or hand drums. Jon sent photos and notes for both. –Ed.]
Jon Mattox
I favored the A75M Mic clip because it infinitely adjustable. Due in part to the gooseneck of the 98AMP, precise mic placement on drums is quick and easy. Because of the flexibility of the clip, firm tightening is essential to keep the the mic clip in place.
The A98D can only be positioned horizontally or vertically so it is not quite as flexible as the A75M. It does have a longer gooseneck to compensate for the fixed horizontal and vertical positions. The bottom of the gooseneck is attached to a long hexagonal metal base which makes for a firm, secure grip. But, in the vertical position, the tall hexagonal base (even at the lowest positioning) positioned the mic high a bit above the drum, so I preferred mounting it in the horizontal position.
Extreme Snare Drum Rim Shot tests
Upon listening to the initial tests that Stan and I recorded, I wanted to further explore just how much output gain the Beta 98AMP and Beta 98A mics have. My drumming during the tests and for my instrumental song was moderately loud, and I did not play rim shots. But when I do need to play a bit more caveman-like, hitting hard and with rim shots, SPL levels dramatically rise it and this made me wonder how the Beta mics would perform under these conditions.
I set up a Beta 98A, Beta 98AMP, and an SM57 on the snare drum. All three mics were connected to individual channels on an API 3124+ with the pad engaged and the gain knobs set at zero. I then played some ultra hard-hitting rims shots. See the screen shot of the resulting tracks in my DAW; from top to bottom is a Beta 98A, Beta 98AMP, and an SM57. I was shocked at just how much more level there was on the Beta mics.
So if your drummer is hitting hard, you just might need to get an inline pad while using the 98A and especially the 98AMP. In my particular case with the 3124+, I would need to do this if I were recording a heavy hitting drum track.
Low-Frequency Capture
Lastly, I wanted to investigate further about the low end that was translating with the Beta 98A and Beta 98AMP mics. Again compared to the SM57, you can hear the extra low end that the Beta mics contain:
[audio:http://recordinghacks.com/sounds/samples/shurebeta/rimshots/rimshot_98AMP.mp3]
[audio:http://recordinghacks.com/sounds/samples/shurebeta/rimshots/rimshot_98A.mp3]
[audio:http://recordinghacks.com/sounds/samples/shurebeta/rimshots/rimshot_SM57.mp3]
I then engaged a low pass filter around 100 Hz it they sounded like this:
[audio:http://recordinghacks.com/sounds/samples/shurebeta/rimshots/rimshot_98AMP_LPF.mp3]
[audio:http://recordinghacks.com/sounds/samples/shurebeta/rimshots/rimshot_98A_LPF.mp3]
[audio:http://recordinghacks.com/sounds/samples/shurebeta/rimshots/rimshot_SM57_LPF.mp3]
For those on computer speakers, 100Hz is probably difficult to hear. See a visual of the waveforms at right.
I did some further testing of the Beta 98A and 98AMP — for each model, one mounted on the drum rim, and a second mounted on a mic stand — and an SM57. The results showed that the Beta mics had the same level of low-frequency information going through whether they were mounted or not.
During the recording, I also played some softer spots to see if the low end stuff disappeared at lower velocities. It didn’t.
Again, this is nothing that a high pass filter can’t fix, but it is important to know and hear that these extra low end is occurring.
In Conclusion
I am indeed impressed by the sound of all of the Beta mics reviewed here, and I’m looking forward to hearing them recording other instruments besides drums. They are great-sounding, well built, and contain tons of value for the price. I think they will be finding homes in the ever expanding number of project studios and home studios in the world today.
Getting great sounds quick means getting to the art of performing music sooner — which is the whole point of getting into a recording studio in the first place. Well done, Shure!
matt mcglynn
Huge thanks to Jon and Stan for putting this comprehensive review together! Be sure to visit Jon at JonMattox.com and Stan at StanKatayama.com.
Thanks also to our friends at Shure for the loan of the Beta mics. The standard disclaimer applies: the microphones were provided for evaluation, and we are sorry we don’t get to keep them.
Find more product details and current sale prices on the Shure Beta mics in the mic database; see links below:
Beta 91A – kick, boundary
Beta 98A – snare, toms, cymbals, percussion
Beta 98AMP + A75M clamp – snare, toms, cymbals, percussion
Beta 181 – overheads or anything else
Beta 56A – toms, snare
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https://www.soundonsound.com/techniques/effective-drum-programming-part-1
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Effective Drum Programming: Part 1
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If you're after a great rhythm section, these days it's very easy to whip up a great groove from a MIDI file disk. But an inside knowledge of how and why drum patterns work can help make you a better musician and get your rhythm section really working.
|
en
|
https://www.soundonsound.com/sites/default/files/favicon_0.ico
|
https://www.soundonsound.com/techniques/effective-drum-programming-part-1
|
If you're after a great rhythm section, these days it's very easy to whip a fabulous loop off a CD or nick a great groove from a MIDI file disk. But an inside knowledge of how and why drum patterns work can help make you a better musician and get your rhythm sections really working. (This is the first article in a four‑part series.)
I was talking to a man the other day — not necessarily an interesting fact in itself, I grant you — except that this man made his living from selling commercial bite‑sized MIDI files. He was explaining that, after producing a number of groundbreaking products devoted to MIDI‑fying the subtle nuances of highly expressive instruments like bass and guitar, he had been surprised to discover that what many people still wanted were disks full of drum patterns. Quite naturally, he had assumed that with the abundance of sample CDs, commercial MIDI files and preset accompaniments available, the world would be well catered for in this area. Not so, it would seem.
This is a curious state of affairs. Whereas in the days of hi‑tech yore you really did have to get to grips with the quirky programming systems of dedicated drum machines, these days anyone with the most basic GM module and rudimentary sequencer has the capacity to experiment with rhythm from the comfort of their own armchair. And as many software sequencers now sport a special editor for drums, many musicians are quite comfortable with the idea of programming the rhythm track as an integral part of creating a composition.
I've known grown men — and thoroughly competent musicians to boot — grow pale and weak‑kneed at the thought of programming a drum track from scratch.
Yet I've still known grown men — and thoroughly competent musicians to boot — grow pale and weak‑kneed at the thought of programming a drum track from scratch. Perhaps they're afraid of becoming the butt of all those post‑modernist drummer jokes (you know: "how many rhythm programmers does it take to change a light bulb?").
Of course, you might argue that with more drum loops on more sample CDs than you can shake a drumstick at, there's really no need to get your hands dirty with all this DIY programming stuff. Just load up the appropriately labelled pattern — Soft Rock 2, Techno Fill 3 — and press play. After all, it's the melody that's the most important thing, right?
It's true that samples give you access not just to killer grooves but also to the heavily treated sounds it would take you a rock of ages to create yourself. Nonetheless, working with sampled loops does bring its own set of practical headaches, not least of which is making your selection. If you've ever had to trawl your way through a CD containing 300 minor variations on a hip‑hop beat, you'll know what I mean. Then there's the issue of pushing or pulling the loop to fit the desired tempo, a process which can often destroy the feel which attracted you in the first place. And just when you think it's all over, you decide to change the tempo of your masterpiece, necessitating another return to the time‑stretch function on your sampler.
If only people knew the kind of hell we go through for our art...
This is where your friendly SOS comes in. The purpose of this series is to look at some of the basic principles of drum programming as the inspiration for creating your own loops. Of course, while I say drum programming I'm conscious of the fact that it's not just drum and percussion sounds which constitute the rhythm track. In fact, I happen to believe that all great grooves are driven by great bass lines. But all this is a matter for that Doctorate of Drum & Bass Dynamics which I'm saving for my retirement years. As my time here between the SOS covers is short, you'll just have to take these underlying sentiments as understood.
The motion before the house today is: how do you produce killer grooves? It's rather a vast question, given the many variables involved, but one I shall attempt to deal with by looking at some of the main principles of drum programming. I'll say now that my aim is not merely to present you with a set of ready‑to‑run preset patterns, but to give you some ideas and examples to do with as you wish.
The toe‑tappability factor is often more dependent on your leaving holes than filling up the whole rhythmical canvas.
The Three Elements
In my humble opinion, a good rhythm pattern consists of three elements: the pattern itself, the sounds, and the speed at which the pattern is played. And really great rhythm tracks usually work because the right balance has been achieved between these three elements. A great pattern can sound clumsy or too frenetic at the wrong tempo, and a new set of sounds can turn a bog‑standard pattern into something really quite wonderful. You appreciate that when you're listening through a sample CD: often it's not the rhythms, but the 'how did they do that?' sounds which catch your ear.
The other important point to remember is that excellence in drum programming is also about fitting the rhythm track to the music. A groove which, when heard in isolation, knocks the audience dead at 500 paces may not necessarily do the rest of the composition any favours. Sometimes you have to tell your virtual drummer to stop showing off, put the kit back in its box and just concentrate on shaking that tambourine once every four bars. In fact, while we're on a roll of general rules of thumb, creating interesting rhythms tends to be more a matter of subtraction than addition. In other words, the toe‑tappability factor is often more dependent on your leaving holes than filling up the whole rhythmical canvas. More of this in a future article.
In the meantime, let's look at what many will recognise as lowest common denominator stuff. (I'll apologise now if what follows seems nothing more than an exercise in patronising that national champion egg‑sucking grandmother of yours. But the SOS editors did insist that I started from square one.)
The Three Instruments
Despite the fact that today's sound modules offer a wide palette of exotic percussion and non‑drum sounds, the core of most rhythm tracks is still rooted in the instrument that the arrival of drum machines were supposed to make redundant in the first place — the good old drum kit.
And even though many contemporary (with a small c) rhythms are driven by programmers rather than drummers, the three core instruments of the drum kit — that's the bass drum, snare and hi‑hat — still remain the key elements in virtually all rhythm tracks. It's not hard to see why this should be the case, as they give you the ability to accent the low, medium and high frequency ranges respectively.
It's the interplay of these three instruments which usually provides the ident (to use a local radio term) of the mainstream musical styles. You'll probably also be aware of how different styles of music put a different emphasis on each of these three instruments. In pop and rock, for instance, the dominant drum is usually the snare. In '80s pop, you were nothing if you didn't have a snare drum which sounded like the ricochet from a dozen firing squads — thus putting the accent on the backbeat (that is, the second and fourth beats of each 4/4 bar). In reggae, the bass drum accentuates the first beat of the bar, while the snare falls on the third beat, but it's the job of other instruments, such as chopped guitar or keyboard pads, to accentuate the two and the four.
A style like modern jazz leads from hi‑hat or ride cymbal. These high‑frequency instruments act as a kind of syncopated metronome, with the mid‑frequency snare and low‑frequency bass drum providing accents and embellishments as and when required. Here also the sense of regular bar divisions is not particularly important to help listeners navigate their way through the music. In hip‑hop and big beat, the rhythm is more about the interplay of bass and snare.
These are broad generalisations, I know — so respect to the musicologists among you. But you soon discover that it's the way you play around with these three instruments that determines the feel of the drum track and how it fits with the rest of the composition. As a simple example, if you take the same basic kick and snare pattern, then program different hi‑hat patterns over the top, you can alter the perception of that rhythm quite radically. For example, compare a pattern using quarter‑note hi‑hats (that is, four even strokes to the bar) to one using 16th‑note hi‑hats (16 to the bar). The second one will appear to be faster, even though the tempo is exactly the same. A syncopated hi‑hat pattern can, depending on the programming, appear to push the rhythm forward or pull it back. Now take those syncopations and use them as the basis for a series of accents to be applied to a 16th‑note hi‑hat rhythm and you have a different rhythm again.
These points are all explored in the set of examples here, which take you through some very basic variations on standard rock rhythms and also introduce you to some of the conventions which I'll be following throughout the entire series.
If you take the same basic kick and snare pattern, then program different hi‑hat patterns over the top, you can alter the perception of that rhythm quite radically.
Tempo Fugit
The question of tempo is easy to appreciate if you're a human drummer — the faster the music, the quicker you have to play. And when it goes too fast, then you simply have to play like crazy or leave some bits out. As rock music gets faster, drummers tend to switch from playing eighth notes on the hi‑hat or ride cymbal to playing quarter notes. Not only is this less tiring, it doesn't clutter things up as much. Conversely, what's characterised as hard rock played at slow tempos will still see drummers playing quarter‑note hi‑hats. But this is to give them the musical room for some fancy footwork on the double bass drums.
Tempo also determines the kind of sounds which are suitable for a track. Quite simply, long sounds, such as big gate‑reverbed snares, don't sit too well in busy mixes, unless they're part of the feature of the track. I'm sure this is why those TR808/909 sounds work so well in dance tracks — they're sonically quite punchy, yet short, so they don't take up too much space in either the temporal or frequency spectrum. Which is a jolly good thing when you're running at tempos of 140bpm and above.
The question of sounds — and specifically ways in which drum sounds can be effected and generally mangled around a bit — will be revisited in a later instalment. In the meantime, try out the examples contained in the 'Bang On' box on page 50. As I've already explained, these are simple exercises in using hi‑hat rhythms to give different feels to very basic beats. They also illustrate one of the key elements of successful drum programming: correct use of dynamics. Or, put more simply, use of accents to provide a subtle and not‑so‑subtle sense of movement within a rhythm.
We'll cover this in more detail in the next issue, when we look at jazz patterns and discover that programmed drums really can swing with the best of them.
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Ludwig Black Beauty Snare Drum Open Rimshot Unprocessed.wav by pjcohen
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Freesound: collaborative database of creative-commons licensed sound for musicians and sound lovers. Have you freed your sound today?
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Almost there!
We've sent a verification link by email
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https://www.synthmania.com/r-8.htm
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R
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Roland R-8
Human Rhythm Composer
The R-8 was the standard studio drum machine of the early '90s (and to a degree, is still used today). The editing possibilities are incredible, the sounds are very good, and can be expanded with many PCM cards that make this unit truly flexible. The "Ethnic" and "Dance" cards in particular are sought after. The sounds in ROM are also very high-quality, and focus mostly on rock and Latin genres. No electronic sounds or special FX on board - you have to buy the cards or the R-8MkII, which had a larger ROM that included those sounds.
Roland R-8 sound demos:
Let's listen to the on-board demonstration song, song 0 "JUNGLE":
JUNGLE
As you can hear, this great demo-song focuses on the amazing editing possibilities of the machine and pad-assigning features. You hear sounds that sound like exotic birds, gun shots, marimbas and bells, but they are all part of the basic ROM sounds. They are edited and modified to achieve those effects - great job, Roland programmers.
And here below you can listen to the factory patterns - I recorded four measures for each pattern. I cut the .mp3 samples very accurately in Sound Forge so they loop perfectly, in case you want to use them with your sequencer :-)
R-8 Preset Patterns (all patterns were recorded at 120BPM for sampling convenience.) (Press "PATTERN" and then "4" to access the factory preset patterns):
Stream all preset patterns below:
Preset name with .mp3 sample My comments 00 8BEAT1 Standard, classic rock rhythm. 01 8BEAT2 Similar to the above, with a darker drum set. 02 8BEAT3 Tight rhythm, tight set. 03 8BEAT4 Great pattern; powerful, with gated snare. 04 16BEAT1 Classic 16th rhythm. 05 16BEAT2 Similar to the above, with a nice open hat and a warmer drum set. 06 16BEAT3 Awesome, groovy. This would work well for many genres (with -/+ BPMs) 07 DISCO1 Classic late '70s club rhythm, complete with open hats and claps. 08 DISCO2 A variation on Disco1. This disco meets P-Funk. 09 SLOWROCK A somewhat weak pattern, let down by the rim shot. 10 SHUFFLE1 Classic blues/rock blues pattern. Very useful. 11 SHUFFLE2 The blues pattern. 12 FUNKY1 Definitely funky and swingy. 13 FUNKY2 See above, this time with ride cymbal. 14 FUNKY3 Very aggressive rhythm, this will work well in many genres (funk, rap, industrial...) 15 OLDIES1 Very cool rhythm. Notice how great the resolution of this machine is, and the "Human Rhythm factor" in this pattern. 16 OLDIES2 Although a little slow (for my decision to sample everything at 120), this is nice. Reminds of the classic Motown rhythms. 17 OLDIES3 A "twist" rhythm. Useful for Ska, also. 18 METAL1 Highly produced hard-rock pattern. Typical of the time this machine was produced. 19 METAL2 Ride cymbal variation of the above. 20 SWING1 Awesome cool, relaxed jazz rhythm. This sounds very real, with the exact pan-pot positioning in the stereo field, from the drummer's perspective. 21 SWING2 Classic jazz rhythm. Think the '40s, on the hi-hat only. You can notice the great recording of these samples (use some headphones for best effect), with a nice room ambience - it sounds so real. 22 BOSANOVA This rhythm is a typical bossanova, but employs a bass drum that is too "hard", in my opinion. 23 MAMBO Fantastic latin rhythm! You could fool a lot of people in believing it's the real thing - congas, bell, maracas and all. 24 MERENGUE Similar to the above but with a different flavor. Again, this rhythm should be faster (Merengue usually is), but I recorded it a 120BPM. 25 RHUMBA Wow, this is great and reminds me of Martin Denny's albums! 26 BEGUINE Classic '50s rhythm. 27 SAMBA Divine rhythm! Note in particular how well the cabasa is programmed! Realistic, huh? And the floor toms give it a great "Rio De Janeiro streets" feel. 28 SALSA This sounds more like a Samba, not Salsa... 29 TANGO Nice military feel, a bit repetitive. 30 REGGAE Very good reggae pattern. 31 COUNT Useful as intro, or metronome.
And now for your sampling pleasures, here are the original drum samples sampled at 44.1kHz, normalized and trimmed in Sound Forge. Assign them to your favorite hardware or software sampler, and you'll have a virtual R-8 (with basic ROM sounds) at your disposal.
R-8 Drum Samples (44.1MHz, stereo, .wav files in a .zip folder)
Roland R-8 waveforms.zip
Roland R-8 pictures (click on thumbnails to enlarge)
front panel left display drum pads back panel
Features
solid construction, a little large but still easy to carry;
deep editing and programming;
classic early '90s, in-your-face super-punchy sounds;
Human Feel controls.
Features at a glance Year of release: 199_ Polyphony: __ Display: yes, LCD, black characters on green background. Non-lit. LCD contrast on the back of unit. Preset Patterns: 32 patterns in ROM; a total of 99 available. Pads: yes, 16 Pads respond to velocity: yes Pads respond to aftertouch no Sound generation method: PCM MIDI: in, out, thru Sound expansion capabilities: 1 slot for ROM card; 1 slot for RAM card. Outputs: 8 separate outputs; phones Effects: no Controls: 2 sliders; buttons; on-board drum pads Pedal controls: Value (EV-5, 10); Start/Stop foot switch Tape Sync: yes: in, out Dimensions: Weight:
Roland R-8 initialization:
To initialize the Roland R-8 to factory settings:
Hold both "CURSOR/PAGE" and "PARAMETER/SELECT" while powering up (the display will show "SYSTEM INITIALIZE --> --> Press ENTER.); press ENTER twice.
Manuals
Links
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Drums For Dummies (BBS)
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Drums FORDUMmIES 2NDby Jeff Strong‰EDITION Drums FORDUMmIES 2ND‰EDITION Drums FORDUMmIES 2NDby Jef...
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pdfcoffee.com
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Citation preview
Drums FOR
DUMmIES 2ND
by Jeff Strong
‰
EDITION
Drums FOR
DUMmIES 2ND
‰
EDITION
Drums FOR
DUMmIES 2ND
by Jeff Strong
‰
EDITION
Drums For Dummies®, 2nd Edition Published by Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5774 www.wiley.com Copyright © 2006 by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http://www.wiley.com/go/permissions. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the United States and other countries, and may not be used without written permission. All other trademarks are the property of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. For general information on our other products and services, please contact our Customer Care Department within the U.S. at 800-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002. For technical support, please visit www.wiley.com/techsupport. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Library of Congress Control Number: 2006926113 ISBN-13: 978-0-471-79411-0 ISBN-10: 0-471-79411-2 Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 2B/RR/QX/QW/IN
About the Author Jeff Strong graduated from the Percussion Institute of Technology at the Musician’s Institute in Los Angeles in 1983, where he studied with Joe Porcaro, Ralph Humphrey, Efrain Toro, and Alex Acuna. A drummer for more than 35 years, Jeff began his professional career at the age of 14. His professional experience ranges from live performance to studio drumming to music research. Jeff has performed or recorded with artists as diverse as ’60’s crooner Gene Pitney, R&B singer Cynthia Johnson (Lipps, Inc.), the countryrock Daisy Dillman Band, and the reggae band Macumba, to name a few. He has released a dozen solo CDs, including Calming Rhythms 3 — a therapeutic tool currently used by thousands of institutions and schools worldwide. Jeff is currently President of the REI Institute, a Music Medicine research organization and therapy provider. His pioneering work using drumming for children with autism has been featured in many publications, including many scientific journals and several books. Jeff has spoken at dozens of professional conferences and has been called upon as an expert on music and sound healing, appearing on numerous radio programs and in two documentaries. The REI Institute’s therapy program for people with neurological disorders, of which Jeff is the creator, is available through hundreds of Authorized REI Providers located around the world. Jeff is a sought-after drum clinician focusing on world rhythm techniques and is the author of eight books. You can find out more about Jeff at www. jeffstrong.com and www.reiinstitute.com.
Dedication For Tovah and the next generation of drummers.
Author’s Acknowledgments My thanks go to all the people at Wiley, especially Mike Baker and Sarah Faulkner, whose hard work and technical skill are obvious in the pages of this book. I’m also grateful for my agent Carol Susan Roth and acquisitions editor Tracy Boggier for making the second edition of this book a reality.
Publisher’s Acknowledgments We’re proud of this book; please send us your comments through our Dummies online registration form located at www.dummies.com/register/. Some of the people who helped bring this book to market include the following: Acquisitions, Editorial, and Media Development Project Editor: Mike Baker (Previous Edition: Allyson Grove) Acquisitions Editor: Tracy Boggier
Composition Services Project Coordinator: Tera Knapp Layout and Graphics: Claudia Bell, Carl Byers, Andrea Dahl, Joyce Haughey, Barry Offringa
Copy Editor: Sarah Faulkner
Proofreaders: John Greenough, Leeann Harney, Christine Pingleton, Techbooks
(Previous Edition: Billie Williams)
Indexer: Techbooks
Editorial Program Coordinator: Hanna K. Scott Technical Reviewer: Wade Parish Media Development Specialist: Laura Moss Editorial Manager: Christine Meloy Beck Editorial Assistants: Erin Calligan, David Lutton Cover Photos: © Digital Vision/Getty Cartoons: Rich Tennant (www.the5thwave.com)
Publishing and Editorial for Consumer Dummies Diane Graves Steele, Vice President and Publisher, Consumer Dummies Joyce Pepple, Acquisitions Director, Consumer Dummies Kristin A. Cocks, Product Development Director, Consumer Dummies Michael Spring, Vice President and Publisher, Travel Kelly Regan, Editorial Director, Travel Publishing for Technology Dummies Andy Cummings, Vice President and Publisher, Dummies Technology/General User Composition Services Gerry Fahey, Vice President of Production Services Debbie Stailey, Director of Composition Services
Contents at a Glance Introduction .................................................................1 Part I: Setting a Solid Foundation ..................................7 Chapter 1: Drum Basics .....................................................................................................9 Chapter 2: I’ve Got Rhythm . . . ......................................................................................17 Chapter 3: Tapping into Drumming Techniques ..........................................................29 Chapter 4: Getting a Handle on Hand Drumming Techniques....................................51
Part II: Digging into the Drumset.................................63 Chapter 5: Settling In Behind the Drumset ...................................................................65 Chapter 6: Rolling into Rock Drumming........................................................................79 Chapter 7: Beating the Blues.........................................................................................103 Chapter 8: Rallying Around R&B and Funk .................................................................113 Chapter 9: Swinging into Jazz .......................................................................................127 Chapter 10: Looking at Latin and Caribbean Styles ...................................................155 Chapter 11: Ratcheting up Your Rock Drumming ......................................................169
Part III: Dressing up Your Drumset Skills....................189 Chapter 12: Getting Into the Groove ............................................................................191 Chapter 13: Expressing Yourself with Fills and Licks ................................................201 Chapter 14: Flying Solo ..................................................................................................215
Part IV: Pounding Out the Beat: Traditional Drums and Percussion .........................................................223 Chapter 15: Handling Hand Drums...............................................................................225 Chapter 16: Singling Out Stick-Played Drums .............................................................251 Chapter 17: Shake, Rattle, and Roll: Exploring Other Percussion Instruments......269 Chapter 18: Jamming with World Rhythms.................................................................287
Part V: Choosing, Tuning, and Caring for Your Drums...............................................297 Chapter 19: Decision Time: Selecting a Drum of Your Own ......................................299 Chapter 20: Tuning and Maintaining Your Drums ......................................................311
Part VI: The Part of Tens ...........................................321 Chapter 21: Ten Ways to Expand Your Drumming Horizons ....................................323 Chapter 22: Ten Tips for Finding a Drum Instructor..................................................329
Appendix: How to Use the CD ....................................335 Index .......................................................................345
Table of Contents Introduction ..................................................................1 About This Book...............................................................................................1 Conventions Used in This Book .....................................................................2 What You’re Not to Read.................................................................................2 Foolish Assumptions .......................................................................................3 How This Book Is Organized...........................................................................3 Part I: Setting a Solid Foundation .........................................................3 Part II: Digging into the Drumset ..........................................................4 Part III: Dressing up Your Drumset Skills.............................................4 Part IV: Pounding Out the Beat: Traditional Drums and Percussion....................................................................................4 Part V: Choosing, Tuning, and Caring for Your Drums ......................4 Part VI: The Part of Tens .......................................................................5 Appendix .................................................................................................5 Icons Used in This Book..................................................................................5 Where to Go from Here....................................................................................5
Part I: Setting a Solid Foundation...................................7 Chapter 1: Drum Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Picking a Drum Apart from Head to Shell ...................................................10 Exploring How Drums Create Sound ...........................................................10 Deconstructing the Drumset ........................................................................12 Appreciating the Old-timers: Traditional Drums .......................................14 Swingin’ Sticks and Slapping the Skins........................................................15
Chapter 2: I’ve Got Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Developing a Sound Vocabulary ..................................................................18 Adding Some Drumming Definitions............................................................23 Becoming One with the Pulse (and I’m Not Talking Heartbeat) ..............25 Feeling the Meter............................................................................................26 Embracing Odd Meter ...................................................................................27
Chapter 3: Tapping into Drumming Techniques . . . . . . . . . . . . . . . . . . .29 Talkin’ Technique: What You Need to Know...............................................29 Perfecting your posture.......................................................................30 Preventing injuries ...............................................................................30 Hitting the drum: It’s (not) all in the wrist ........................................34 Speaking Softly and Carrying Big Sticks......................................................35 Holding the sticks.................................................................................35 Understanding drumstick strokes......................................................38
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Drums For Dummies, 2nd Edition Painting a Variety of Textures with Brushes...............................................41 Getting to know brush styles ..............................................................41 Getting a grip on brushing techniques ..............................................42 Forging a Foundation with Rudiments ........................................................44 The single-stroke roll ...........................................................................46 The double-stroke roll .........................................................................46 The paradiddle .....................................................................................46 The flam .................................................................................................47 The ruff ..................................................................................................47 Getting the Most Out of Your Practice Sessions ........................................48 Starting slowly ......................................................................................48 Counting out the rhythm .....................................................................48 Thinking it through first ......................................................................48 Toughing out practice..........................................................................49 Knowing when to stop .........................................................................49
Chapter 4: Getting a Handle on Hand Drumming Techniques . . . . . . .51 Taking Matters (and Tones) into Your Own Hands....................................51 Opting for Open Tones ..................................................................................52 Basic open tone stroke ........................................................................52 Thumb stroke........................................................................................53 The open slap tone...............................................................................54 Bass tone ...............................................................................................54 The rim stroke ......................................................................................55 Mastering Muted Tones.................................................................................56 Basic muted tone..................................................................................56 The closed slap stroke.........................................................................57 The palm stroke....................................................................................58 The heel-tip stroke ...............................................................................58 Venturing into Some Alternative Strokes ....................................................59 Brushing stroke ....................................................................................59 Drone tone.............................................................................................59 The snap ................................................................................................60 Trills .......................................................................................................61 One-handed rolls ..................................................................................61 Keeping Your Options Open .........................................................................62
Part II: Digging into the Drumset .................................63 Chapter 5: Settling In Behind the Drumset . . . . . . . . . . . . . . . . . . . . . . .65 Setting Up Your Drumset...............................................................................65 Sitting on the throne ............................................................................66 Positioning the pedals .........................................................................67 Securing the snare drum .....................................................................67 Placing the tom-toms ...........................................................................68 Adjusting the ride cymbal ...................................................................69
Table of Contents Angling the crash cymbals ..................................................................69 Raising the hi-hats................................................................................70 Putting Your Foot Down ................................................................................71 Beating the bass drum.........................................................................71 Playing the hi-hats................................................................................73 Working Out: Exercises to Improve Your Hand- and Footwork................74
Chapter 6: Rolling into Rock Drumming . . . . . . . . . . . . . . . . . . . . . . . . .79 Harnessing the Backbeat...............................................................................80 Mastering the Basic Beats.............................................................................80 Eighth-note feel.....................................................................................81 Sixteenth-note feel................................................................................83 Half-time feel .........................................................................................86 The rock shuffle....................................................................................88 The half-time shuffle feel .....................................................................90 Dressing Up the Basic Beats .........................................................................92 Mixing up the hi-hat .............................................................................92 Moving the backbeat............................................................................94 Adding syncopations ...........................................................................97 Incorporating fills .................................................................................98
Chapter 7: Beating the Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103 Finding the Pocket and Staying in It ..........................................................103 Playing Blues.................................................................................................104 Slow tempo..........................................................................................105 Medium tempo....................................................................................106 Fast tempo...........................................................................................108 Filling in . . . or not..............................................................................109 Understanding Blues Song Structure.........................................................111
Chapter 8: Rallying Around R&B and Funk . . . . . . . . . . . . . . . . . . . . . .113 Playing R&B Grooves ...................................................................................113 Keeping time .......................................................................................114 Adding ghost notes ............................................................................116 Opening and closing the hi-hat.........................................................120 Getting Funky: Exploring Funk Drumming ................................................121 Incorporating syncopation................................................................121 Syncopating the snare drum beats ..................................................123 Including ghost notes ........................................................................124 Opening and closing the hi-hat.........................................................125
Chapter 9: Swinging into Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127 Getting Into the Swing of It..........................................................................127 Varying the tempo ..............................................................................130 Tackling different textures ................................................................131 Adding to the beat..............................................................................132
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Drums For Dummies, 2nd Edition Expanding Your Horizons............................................................................133 Riding the cymbal...............................................................................135 Adding accents ...................................................................................136 Incorporating the snare drum ..........................................................138 Including the bass drum....................................................................140 Mixing up your accents .....................................................................142 Telling Your Story: Soloing..........................................................................147 Making two-bar phrases ....................................................................147 Creating four-bar phrases .................................................................147 Blending Styles: Jazz-Fusion .......................................................................150 Playing Fusion Rhythms..............................................................................150 Knowing that more (not less) is more .............................................151 Forgetting swing (at least for now) ..................................................151 Dealing with odd meter .....................................................................152
Chapter 10: Looking at Latin and Caribbean Styles . . . . . . . . . . . . . . .155 Building On Traditions ................................................................................155 Playing Afro-Cuban Rhythms......................................................................156 Bolero...................................................................................................156 Cha-cha ................................................................................................157 Mambo .................................................................................................158 Nanigo ..................................................................................................159 Playing Brazilian Rhythms ..........................................................................159 Samba...................................................................................................160 Bossa nova ..........................................................................................161 Playing Caribbean Rhythms .......................................................................162 Reggae..................................................................................................162 Calypso ................................................................................................166 Filling It Out ..................................................................................................168
Chapter 11: Ratcheting up Your Rock Drumming . . . . . . . . . . . . . . . . .169 Building on a Solid Foundation ..................................................................170 Exploring Some Great Drummers and Their Grooves .............................171 Peeking into the pop drumming of Kenny Aronoff ........................171 Checking out punk’s Travis Barker ..................................................174 Catching up with the jazz influence of Carter Beauford................176 Discovering rock legend John Bonham ...........................................179 Looking at Dave Grohl’s alternative drumming..............................181 Jamming with a drummer’s drummer: Jeff Porcaro.......................183 Examining Spüg’s heavy rock style ..................................................186 Finding Your Own Inspiration.....................................................................188
Part III: Dressing up Your Drumset Skills ....................189 Chapter 12: Getting Into the Groove . . . . . . . . . . . . . . . . . . . . . . . . . . . .191 Getting the Feel of the Music ......................................................................191
Table of Contents Playing Musically .........................................................................................192 Understanding song structure..........................................................193 Fitting your playing style to the song ..............................................194 Choosing the Perfect Rhythm.....................................................................195 Getting hints from other musicians .................................................195 Using the music as a guide................................................................196 Adding Your Personality .............................................................................197 Choosing the bass drum part ...........................................................198 Selecting the snare drum part ..........................................................198 Picking the cymbals ...........................................................................198 Electing embellishments ...................................................................198
Chapter 13: Expressing Yourself with Fills and Licks . . . . . . . . . . . . .201 Enhancing Your Drumming with Licks ......................................................202 Increasing Your Impact with Fills...............................................................203 Marking the phrase ............................................................................204 Supporting dynamic variation ..........................................................204 Playing Some Fills — From One Beat to Four ...........................................205 Creating Your Own Fills ...............................................................................210 Fitting the musical situation .............................................................211 Syncopating.........................................................................................211 Rolling ..................................................................................................212
Chapter 14: Flying Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215 Soloing Basics...............................................................................................215 Keeping time .......................................................................................216 Playing musically................................................................................217 Thinking melodically..........................................................................220 Pushing the limits...............................................................................221
Part IV: Pounding Out the Beat: Traditional Drums and Percussion..........................................................223 Chapter 15: Handling Hand Drums . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225 Embracing the Variety in Drums ................................................................225 Beating the Bongos ......................................................................................226 Playing position ..................................................................................227 Understanding the rhythms ..............................................................228 Carrying On with the Congas .....................................................................229 Playing position ..................................................................................230 Understanding the rhythms ..............................................................231 Discovering the Djembe ..............................................................................232 Playing position ..................................................................................233 Understanding the rhythms ..............................................................234 Uncovering the Udu .....................................................................................235 Playing position ..................................................................................236 Understanding the rhythms ..............................................................237
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Drums For Dummies, 2nd Edition Deciphering the Doumbek ..........................................................................238 Playing position ..................................................................................239 Understanding the rhythms ..............................................................240 Touting the Tar .............................................................................................241 Playing position ..................................................................................242 Understanding the rhythms ..............................................................243 Tapping the Power of the Tambourine/Riq...............................................243 Playing position ..................................................................................244 Understanding the rhythms ..............................................................246 Partying with the Pandeiro .........................................................................247 Playing position ..................................................................................247 Understanding the rhythms ..............................................................248
Chapter 16: Singling Out Stick-Played Drums . . . . . . . . . . . . . . . . . . .251 Bopping to the Bodhran..............................................................................251 Playing position ..................................................................................252 Understanding the rhythms ..............................................................253 Detailing the Djun Djuns..............................................................................254 Playing position ..................................................................................255 Understanding the rhythms ..............................................................255 Rubbing the Cuica........................................................................................256 Playing position ..................................................................................257 Understanding the rhythms ..............................................................258 Striking the Surdo.........................................................................................259 Playing position ..................................................................................260 Understanding the rhythms ..............................................................260 Rapping the Repanique ...............................................................................262 Playing position ..................................................................................262 Understanding the rhythms ..............................................................263 Tapping the Tamborim ................................................................................264 Playing position ..................................................................................264 Understanding the rhythms ..............................................................265 Tinkering with the Timbales.......................................................................266 Playing position ..................................................................................266 Understanding the rhythms ..............................................................267
Chapter 17: Shake, Rattle, and Roll: Exploring Other Percussion Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269 Ringing the Agogo Bells...............................................................................269 Playing position ..................................................................................270 Understanding the rhythms ..............................................................271 Twisting and Shaking the Afuche/Cabasa .................................................271 Playing position ..................................................................................272 Understanding the rhythms ..............................................................273 Keying in to the Clavé..................................................................................273 Playing position ..................................................................................274 Understanding the rhythms ..............................................................275 Clanging the Cowbell ...................................................................................276 Playing position ..................................................................................277 Understanding the rhythms ..............................................................277
Table of Contents Scraping the Guiro .......................................................................................278 Playing position ..................................................................................279 Understanding the rhythms ..............................................................279 Movin’ to the Maracas .................................................................................280 Playing position ..................................................................................281 Understanding the rhythms ..............................................................282 Experimenting with Shakers .......................................................................282 Playing position ..................................................................................283 Understanding the rhythms ..............................................................283 Tapping the Triangle....................................................................................284 Playing position ..................................................................................285 Understanding the rhythms ..............................................................285
Chapter 18: Jamming with World Rhythms . . . . . . . . . . . . . . . . . . . . . .287 Demystifying Polyrhythms..........................................................................287 It Takes a Village: Using More Rhythms for Better Sound ......................288 The Rhythm Nations: Playing Well with Others .......................................289 Exploring African polyrhythms ........................................................289 Checking out Cuban polyrhythms....................................................291 Banging out Brazilian polyrhythms..................................................294
Part V: Choosing, Tuning, and Caring for Your Drums ...297 Chapter 19: Decision Time: Selecting a Drum of Your Own . . . . . . . .299 Choosing a Drumset.....................................................................................300 The drums ...........................................................................................300 Other hardware you have to buy separately ..................................302 The cymbals........................................................................................303 The sticks ............................................................................................304 Choosing a Traditional Drum .....................................................................304 Natural or synthetic drumheads ......................................................305 Shell type .............................................................................................306 Hardware style....................................................................................308 Branching Out: The Extras..........................................................................308 Keeping time with the metronome...................................................308 Carrying it all in cases .......................................................................309 Knowing Where to Find Drums ..................................................................310
Chapter 20: Tuning and Maintaining Your Drums . . . . . . . . . . . . . . . .311 Checking Out Tuning Basics .......................................................................311 Tuning a drum with lugs....................................................................312 Tuning a drum with a rope system ..................................................313 Tuning the untunable.........................................................................313 Choosing and Replacing Heads ..................................................................314 Knowing when heads need replacing ..............................................314 Choosing replacement heads ...........................................................315 Replacing your heads ........................................................................316
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Drums For Dummies, 2nd Edition Caring for Your Drums.................................................................................316 Handling hardware .............................................................................317 Cleaning cymbals ...............................................................................318 Storing and transporting safely ........................................................319
Part VI: The Part of Tens ............................................321 Chapter 21: Ten Ways to Expand Your Drumming Horizons . . . . . . . .323 Checking out Classes ...................................................................................323 Visiting Clinics ..............................................................................................324 Attending Workshops ..................................................................................324 Exploring Drum Circles and Jams ..............................................................324 Perusing Books and Videos ........................................................................325 Getting Online...............................................................................................325 Reading Magazines.......................................................................................325 Joining a Band ..............................................................................................326 Forming Your Own Band .............................................................................327 Playing Open Stage ......................................................................................327
Chapter 22: Ten Tips for Finding a Drum Instructor . . . . . . . . . . . . . . .329 Test Driving a Teacher.................................................................................329 Knowing Where to Look ..............................................................................330 Understanding the Costs Involved.............................................................330 Exploring a Teacher’s Playing Style ...........................................................330 Gauging a Teacher’s Willingness to Teach to Your Interests..................331 Starting Where You Are ...............................................................................332 Getting a Sense of History...........................................................................332 Honoring Yourself ........................................................................................333 Understanding Expectations ......................................................................334 Knowing When to Move On ........................................................................334
Appendix: How to Use the CD.....................................335 Relating the Text to the CD .........................................................................335 System Requirements ..................................................................................336 Audio CD players................................................................................336 Computer CD-ROM drives .................................................................336 Using the CD with Microsoft Windows......................................................336 Using the CD with Mac OS...........................................................................337 What You’ll Find on the CD .........................................................................337 CD audio tracks ..................................................................................337 Digital music .......................................................................................344 Troubleshooting ...........................................................................................344
Index........................................................................345
Introduction
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ll the drummers I’ve ever met (and I’ve met quite a few) started out by tapping or pounding on just about anything they could get their hands on. Chances are that if you picked up this book, you fit into this category as well. So, even if you’ve never played an actual drum or studied drumming in any formal sense, you’re a drummer. With drumming, you’ve chosen the world’s oldest and most popular musical instrument. There isn’t a place on this planet that doesn’t have some sort of drumming tradition. In fact, as you’ll discover in the following pages, playing drums is a universal pastime that anyone can enjoy, regardless of his or her taste in music. My purpose with this book is to introduce you to as many types of drums and drumming styles as I can in 384 pages. If you’re like me, you can find joy in each of them. And by knowing a variety of playing techniques, you can end up being a much better and more versatile drummer.
About This Book This book allows the drumset player to develop all the skills needed to play a variety of drumming styles from rock to Latin and jazz to R&B. I also expose you to traditional techniques that you can easily incorporate into your drumset playing. Unlike most drum books, Drums For Dummies, 2nd Edition goes beyond the modern drumset and also includes a variety of traditional drums and percussion instruments. For the traditionalist or drum circle enthusiast, Drums For Dummies, 2nd Edition includes descriptions of how to play a variety of traditional hand and stick-played drums as well as some common percussion instruments. So, whether you’re interested in playing a drumset in popular music or being involved in drumming ensembles using traditional drums and percussion instruments, this book is for you. Drums For Dummies, 2nd Edition is able to contain all this information because you won’t find any exercises that you can’t use in real-world situations. The result: You can learn how to actually play the drums much sooner and without learning unnecessary stuff.
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Drums For Dummies, 2nd Edition This book is also a handy reference for drumming. You can find a variety of drums from around the world that you may not have ever seen or heard of before now. I explain each of these drums, and I describe their technique so that you can play them in the traditional way using traditional rhythms. I also discuss how you can use each of these drums in a musical situation today. By no means does this book cover all the different drums and percussion instruments played today, but it does cover more than a dozen of the drums that I see most often. And, with the techniques that I describe, you can easily play any drum that I don’t present in this book. Just find a drum that looks similar to yours and start there.
Conventions Used in This Book I use a few conventions in this book to make it easier for you to understand and navigate. Here’s a list of those conventions: ⻬ You’ll see many of the rhythms in this book marked with a track bar that tells you where to find that rhythm on the book’s companion CD when you play it as a standard, music CD. The CD and book together allow you to hear as well as see how to play each rhythm, making the learning process that much quicker. As with the 1st edition of this book, many of the tracks have been included as regular CD files. But with the 2nd edition, we’re now able to make all the rhythms available as MP3 files. ⻬ All the drumset grooves are written for the right-handed player. Well, not exactly right-handed people, but rather people who set up and play their drums in a right-handed way. I do this because it’s the most common way to play a drum. Lefties take heart — playing right-handed can actually be better for you. You end up having an advantage because your left hand is as strong as your right (trust me on this one — I’m a lefty who plays right-handed, and so are a lot of other great drummers). ⻬ The musical notation in this book is written so that you can read drumming music. I don’t cover those areas (key signatures, melodies, and so on) that are present in music notation unless they specifically apply to the drum rhythm presented.
What You’re Not to Read If you’re pressed for time (for example, you have an audition tomorrow), you don’t have to read this entire book word-for-word. I can’t promise that you’ll nail that audition, but I do make it easy for you to know which parts of this book you can skip. Don’t read the following unless you have ample time and a real thirst for drumming knowledge:
Introduction ⻬ Sidebars: These gray-shaded boxes are filled with fun, interesting information, but it’s all nonessential. ⻬ Technical stuff: You can skip any paragraph marked with a Technical Stuff icon (see “Icons Used in This Book” later in this introduction). This information may be too technical the first time you read through this book, but come back to it as you get more comfortable with your drumming — it will only enhance your knowledge of the subject. ⻬ Drum history: Don’t worry; I don’t give you any quizzes on the history of drumming. If you’re one of those rare souls who finds history fascinating, dive right in. If you’re like the rest of us, this icon lets you know that you don’t have to read these sections.
Foolish Assumptions I really don’t make any assumptions about you, the reader. I don’t assume that you’re interested in a certain type of drum. I don’t assume that you want to play a specific style of music. I don’t even assume that you already have a drum or that you know what kind of drumming you want to do. In fact, if you don’t know these things, this book can help you decide. The only assumption I make is that you’re reading this book because you want to learn how to turn your aimless tapping into music.
How This Book Is Organized This book is organized so that you can get the information you want quickly and not be burdened with stuff you don’t need or want to know. Each section contains chapters that cover a specific area of drumming.
Part I: Setting a Solid Foundation Part I contains four chapters that cover the basics of drumming. Chapter 1 introduces you to the world of drums and shows you some of the most common drums used today. Chapter 2 provides you with a vocabulary that allows you to read drumming music quickly (you don’t need to read music in order to play the rhythms in this book if you don’t want to — you can pop the CD into your stereo and listen to some of the rhythms, or download the MP3 files and listen to all the rhythms). Chapter 3 introduces you to the proper way to hit the drums with a stick, and Chapter 4 explores many ways that you can play a drum with your hands.
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Drums For Dummies, 2nd Edition
Part II: Digging into the Drumset Part II explores the modern drumset. In Chapter 5, you discover how to set up your drumset as well as some basic drumset skills that will help you move your limbs independently of one another. Chapter 6 shows you how to play the drumset in the rock style, and Chapter 7 introduces you to blues drumming. Chapter 8 presents the way to drum in the R&B and funk drumming techniques, and Chapter 9 explores jazz and fusion styles. In Chapter 10, you uncover the secrets to playing Latin and Caribbean rhythms. And, in Chapter 11, you can expand on your rock skills by looking at the rhythms of some great drummers.
Part III: Dressing up Your Drumset Skills Part III helps you express your own personality on the drumset. Chapter 12 examines what makes a rhythm groove and how to put together a beat that fits your musical situation. In Chapter 13, you can explore how to use licks and fills to complement the music and make a personal statement. Chapter 14 gives you some ideas and guidelines to help you solo effectively.
Part IV: Pounding Out the Beat: Traditional Drums and Percussion Part IV presents a variety of drums and percussion instruments from around the world. In Chapter 15, you get a chance to discover a bunch of drums that you play with your hands. Chapter 16 explores some drums that you play with either a stick or a combination of a stick and your hand. Chapter 17 presents other percussion instruments, such as the cowbell and the triangle. Chapter 18 builds on Chapters 15, 16, and 17 and shows you how you can combine these instruments to create polyrhythms.
Part V: Choosing, Tuning, and Caring for Your Drums Part V provides information to help you choose, tune, and care for your drums. Chapter 19 shows you what to look for when buying a drum or drumset. Chapter 20 explains how to tune and take care of your drums so that they sound their best and last a long time.
Introduction
Part VI: The Part of Tens Part VI is a staple of For Dummies books. Chapter 21 shows you ten ways that you can continue on in the world of drumming, and Chapter 22 offers some tips on choosing a private drum instructor.
Appendix The appendix explains the organization of the CD that comes with this book.
Icons Used in This Book As with all For Dummies books, I use a few icons to help you along your way. This icon highlights expert advice that can help you become a better drummer. This icon lets you know ahead of time about those instances when the way you hit a drum can cause damage to the instrument or your ears. You also see this icon when I present you with a technique or rhythm that is challenging to play. Certain techniques are very important and stand repeating. This icon gives you those gentle nudges to keep your playing on track.
Throughout the text, I include some technical background on a specific technique. This icon shows up in those instances so that you know to brace yourself for some less inspiring information. This icon directs you to fun facts about drumming that you can use to impress your friends.
Where to Go from Here Drums For Dummies, 2nd Edition is set up so that you can either read it from cover to cover and progressively build your drumming knowledge, or you
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Drums For Dummies, 2nd Edition can jump around and read only the parts that interest you. I recommend that either way, you check out Chapters 2 and 3 first. These chapters lay the foundation from which all drumming is built. Knowing this stuff allows you to understand the information in all the other chapters faster and easier. After you look over Chapters 2 and 3, you can either go to Part II if you’re interested in the drumset or you can jump to Part IV to learn about traditional drums. If you don’t have a drum but know what you want, you can find out how to buy one in Part V. If you don’t know what kind of drum you want to buy (well, besides a drumset), start with Part IV for some ideas.
Part I
Setting a Solid Foundation
A
In this part . . .
t last, you’ve discovered that you’re a drummer at heart. Now you want to move beyond those kitchen utensils to an actual drum. Well, this part introduces you to the world of drums and drumming. In Chapter 1, you find out what makes a drum a drum and you get a glimpse of the most common styles available. Chapter 2 gives you a foundation from which to develop your drumming skills by showing you how easy it is to read music. Chapter 3 introduces you to the myriad of ways to hit a drum with a stick and shows you the fundamentals of all drumming: the rudiments (well, a few anyway — the complete list is on the Cheat Sheet). Chapter 4 helps you get a handle on hitting the drums with your hands in case you want to move beyond the drumset to more traditional drums.
Chapter 1
Drum Basics In This Chapter 䊳 Understanding what a drum is 䊳 Discovering how a drum makes its sound 䊳 Identifying the parts of a drum 䊳 Recognizing the modern drumset and traditional drums
D
rums are members of the membraphone family of musical instruments and are considered one of the world’s oldest, dating back thousands of years . . . yawn. Bottom line, a drum is a musical instrument that creates a sound when you hit it. What distinguishes a drum from, say, a soup pot, is a membrane (I call it a head from now on) strung across a hollow chamber (called the shell). Don’t get me wrong. I have nothing against soup pots. Or garbage cans or matchboxes or any other improvised drum for that matter. They can be just as fun to play and listen to as a regular drum — just look at the rhythm group Stomp; now they have fun. Face it though, a soup pot may be satisfying to hit for a little while, but sooner or later you’re gonna want a more refined sound. Enter the drum. A well-made and well-tuned drum can produce all the subtle dynamic textures of a finely crafted violin and create a variety of pleasing sounds, whereas a soup pot only clanks when you hit it. In this chapter I introduce you to some drums, both the modern drumset and traditional styles. I also show you the difference between a drum and those kitchen appliances that you’ve probably been banging on for a while now. (It’s okay to admit it. Most drummers spend their careers exploring the rhythmic possibilities of household objects — I’m tapping on my computer mouse right now.) I also explain why a drum sounds better than a cardboard box, and I let you know when you should use your hands, or when arming yourself with sticks works better.
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Part I: Setting a Solid Foundation
Picking a Drum Apart from Head to Shell Like pots, pans, and garbage cans, drums come in all shapes and sizes. Most are round, but some are octagonal. Some are shallow and others are deep. Some are shaped like bowls or cylinders, others like goblets or an hourglass. Some you beat with sticks, while others you strike with hands or fingers. (See Figure 1-1 for a few drum shapes and sizes.) But, regardless of their shape or size, all drums consist of three basic components: ⻬ The head (the membrane strung across the shell) ⻬ The shell (the body of the drum) ⻬ The hardware (the stuff that holds the other two parts together) The look of drum hardware can vary in a lot of ways. The hardware can be as simple as tacks nailed through the head into the shell, or it can be as elaborate as gold-plated cast metal rims with bolts that are tightened to precise torque tolerances (try saying that ten times fast). Either way, they all do the same thing: They create tension on the head so that it can vibrate freely against the edge of the shell. Check out Figure 1-2 for a few hardware styles.
Figure 1-1: Drums come in all shapes and sizes.
Exploring How Drums Create Sound When you hit a drum, the head vibrates much the same way as a guitar string vibrates when you pluck it. And like the electric guitar when it’s not plugged into an amp, not a lot of sound comes out of the head itself, which is where the shell comes in handy. The shell acts like the amplifier that your friend uses with his or her guitar — only you don’t need to plug it in. So, you hit the
Chapter 1: Drum Basics
The power of one Here’s a story of a Vietnamese village that was about to be attacked by an enemy: The village had no soldiers available, so one man, a drummer, gathered the entire village’s drums and began pounding them all as loud and fast as he
could, making a huge ruckus. The attackers retreated and fled figuring that the village’s army had to be very large and powerful to have command of such a group of drummers.
drum, the head vibrates, and the sound bounces around inside the shell. This motion makes the shell vibrate too. All the sound is then projected out of the opening in the drum and, voilà! The result is the sound of sweet music. Amazingly enough, this action all happens in a fraction of a second. How the drum sounds depends on the circumference of the head, how tightly it’s tuned, and the size, shape, and hardness of the shell. All these factors determine why drums can sound so many different ways and still be just a head, a shell, and some hardware. Without getting too technical, the size and tension of the head dictates the drum’s pitch (how high or low the drum’s tone is) while the size, shape, and hardness of the shell control the volume and timbre of the drum. Timbre is a fancy word for the quality of sound produced by an instrument. This timbre is why not all acoustic guitars or violins cost the same amount. For these instruments, the better the timbre, the higher the price. Luckily, this idea isn’t necessarily true for drums. (To find out more about the relationship between a drum’s timbre and its cost, go to Chapter 19.)
Figure 1-2: A variety of hardware styles.
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Part I: Setting a Solid Foundation I can go on and on about how the relationship between the head and the size and shape of the shell creates particular sounds, but doing so won’t help you play the darn thing. So, the important thing to remember here is that the larger the diameter of drum, the deeper the sound, and the longer the shell, the louder the sound. As always, some exceptions exist, but for the most part you can count on this idea being true.
Deconstructing the Drumset Once upon a time, you played drums one at a time. Each drummer played only one drum, and in order to make bigger and better noise — er, music — more drummers were needed. Then somewhere along the way, innovative drummers started putting groups of drums together and beating them all at once. Today’s drumsets consist of the following (see Figure 1-3): A. Bass drum. The bass drum usually sits on its side on the floor and is played by stepping on a pedal with the right foot. This drum is generally between 18 and 24 inches in diameter and between 14 and 18 inches deep. Its sound is the foundation of the rhythm of a band, often pounding out the basic pulse of the music or playing along with the bass player’s rhythm. B. Snare drum. The snare drum is a shallow drum (typically between 5 and 7 inches deep) that’s 14 inches in diameter and has a series of metal wires (called snares, hence the name snare drum) stretched against the bottom head. When you strike the drum, the bottom head vibrates against the snares. What you hear is a hissing sound. The snare drum creates the backbeat (the driving rhythm that you hear in most popular music; you can find out more about backbeats in Chapter 6) of the music and is what makes you want to dance. C. Tom-tom. The tom-toms are pitched drums that are usually between 9 and 18 inches in diameter. A drumset commonly has at least two, if not three, of them (some drummers, such as Neil Peart from the 1970s rock band Rush, have dozens of tom-toms, so go wild if you want to). Generally, the largest tom-tom (called a floor tom) is set up on the floor with legs that are attached to the shell of the drum. The smaller tom-toms (often called ride toms) are attached to a stand, which extends up from the bass drum or from the floor next to the bass drum. These drums are used for fills (a fill is a break in the main drumbeat, as I cover in Chapter 13) or as a substitute for the snare drum in some parts of songs. D. Hi-hat cymbals. The hi-hats are cymbals that are mounted on a stand, one facing up and one facing down, and are 13, 14, or 15 inches in diameter. The stand has a pedal that pushes the cymbals together (closed) or pulls them apart (opened). Your left foot controls the opening and closing of the hi-hats with the pedal while you hit the cymbals with a stick. The hi-hats can make either a “chick” sound when closed or a “swish” sound when open. You use them with the bass drum and snare drum to create the basic drum beat.
Chapter 1: Drum Basics
E
F
D C
C B
C
Figure 1-3: The modern drumset.
A
E. Ride cymbal. The ride cymbal is an alternative to the hi-hats. Ride cymbals range in size from about 16 inches all the way up to 24 inches across (20and 22-inch ride cymbals are the most common). The ride cymbal is traditionally used to create a louder, fuller sound than the hi-hats and is often played during the chorus of a song or during a solo. F. Crash cymbals. The typical drumset usually has one or more crash cymbals used for accentuating certain parts of the music, usually the beginning of a phrase or section of a song. These cymbals create a sound that resembles — you guessed it — a crash, not unlike the sound of a frying pan lid hitting a hard floor, only more musical. Crash cymbals generally range in size from 14 inches to around 20 inches in diameter. The following aren’t included in Figure 1-3, but many sets include them. ⻬ Splash cymbals. Crash cymbals aren’t the only accent cymbals that drummers use with today’s drumsets. Other cymbals include the splash cymbal, a small cymbal usually between 8 and 14 inches in diameter, which makes a little splash-type sound. The splash cymbal is kind of a softer, watery-sounding version of the popular crash cymbal. ⻬ Chinese cymbals. These accent cymbals have become common over the last couple of decades or so. Chinese cymbals have a slightly rougher, clangier sound than a crash cymbal (more like a garbage can lid). They range in size from around 12 inches to 20 inches and usually have an upturned outer edge. They’re often mounted on a stand upside down.
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Part I: Setting a Solid Foundation ⻬ Gongs. These cymbals were really popular additions to drumsets during the stadium rock era in the 1970s when drumsets were huge and drum solos were a staple. Gongs actually come in many shapes and sizes, but the most popular are large (up to three feet across) and very loud. You can find many other additions to drumsets, which are limited only by the drummer’s imagination and budget. In fact, many of the traditional drums and rhythm-makers that I describe throughout this book are showing up in many drummer’s kits (kit is another word for a drumset). Although it’s the new kid on the block, the drumset has found a home within all the popular music genres that have emerged over the 20th and 21st centuries. You can put a drumset to work playing rock (see Chapters 6 and 11), the blues (see Chapter 7), R&B (see Chapter 8), jazz (see Chapter 9), and Latin and Caribbean music (see Chapter 10).
Appreciating the Old-timers: Traditional Drums People have been playing drums since they discovered that banging a stick against a log made a pleasing sound (or at least a loud one). Unlike most musical instruments, you can find drums in all parts of the world. Different cultures created different drums based upon the materials they had on hand, their rhythmic sensibilities, and whether they were nomadic or agrarian people (people who moved around a lot developed smaller, lighter drums). As a result, you see an awful lot of different types of drums in the world.
The dawn of the drumset Early forms of drumsets consisted of two or three hand drums lashed together and played by one person. Today’s drumset, on the other hand, is a highly evolved grouping of specialized instruments, designed to allow one drummer to make as much noise as humanly possible. (I’m just kidding about that last part, but the current design of the modern drumset does have a specific purpose.) The modern drumset was first developed with the emergence of jazz music early in the 20th
century. Early jazz drummers put together the drums and cymbals used in military bands and folk music in order to be able to play all of these instruments by themselves. This setup allowed one drummer to use a variety of drums and cymbals that best complemented the music of the other musicians in the band. The drumset is indispensable in popular music today, and is the image formed in many people’s minds when they think of drums.
Chapter 1: Drum Basics The most common traditional drums include the conga, which is a barrelshaped drum from Cuba; the West African, goblet-shaped djembe; the Surdo bass drum from Brazil; and the frame drum, which has a very narrow shell and comes from a variety of places all around the world (see Figure 1-4). (In Chapters 15–17, I introduce you to a wide variety of drums and other traditional percussion instruments.)
Figure 1-4: Traditional drums that you’re likely to see today.
Just as you have a wide variety of drum styles in the world, you also have a bunch of ways to play them. Some drums require hands or fingers while others require the use of sticks to produce their characteristic sounds. Still others utilize both hands and sticks.
Swingin’ Sticks and Slapping the Skins The most common and recognizable drumstick is used on the drumset and for playing rudiments (used for classical music and in drum corps; see Chapter 3). This stick is generally about 16 or 17 inches long with a diameter ranging from about 3⁄8 inch to almost one inch. The stick tapers down at about the last 2 or 3 inches (called the shoulder) to a beaded tip, which is what strikes the drum. The tip is made of either wood or nylon. The nylon-tipped stick produces a crisper and brighter sound than the wood-tipped stick. Figure 1-5 shows you a typical drumstick. Some of the more traditional drums have other types of sticks. Some are wrapped in felt or fleece, some are just straight sticks with no tip, some are curved, and others have beaters (the part that actually “beats” the drum head) on both ends. See Figure 1-6 for a variety of stick shapes and sizes.
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Part I: Setting a Solid Foundation
Figure 1-5: The most common drumstick used today.
Figure 1-6: A variety of drumsticks.
Regardless of its shape or size, a stick can create a louder, sharper sound than a hand, but a hand can create more subtle textures than a stick. With your hand, you can slap, pound, brush, fan, or tap (for more about these and other hand strokes, check out Chapter 4). You can use your whole hand or just your fingertips. In many ways, this versatility allows hand drummers to create an almost limitless variety of sounds on a drum.
Chapter 2
I’ve Got Rhythm . . . In This Chapter 䊳 Noting drum notation 䊳 Reading music for drums 䊳 Picking up on pulse and meter
A
long-standing debate exists on whether drummers need to learn how to read music. To be honest, they don’t. You can be a great drummer and never set your eyes on a piece of music. However, being able to decipher what’s on the written page can open a lot of doors for you as a drummer. You can sit down with other musicians whom you’ve never met, play a song you’ve never heard before, and make it sound like it was meant to sound. Or you can walk into a store and get a transcription of that great drum solo that you’ve always wanted to learn but couldn’t figure out by listening to the CD. Or you can trade rhythms with other drummers over the Internet. Or you can . . . well, you get my point. Read this chapter, and I think you’ll find that reading music isn’t that difficult. And I guarantee that any time that you spend learning the basics of music notation is well worth it. As you’ll find out, people use many different ways to describe how to play drumming rhythms. In this book, I use regular musical notation and terms. Doing so has two advantages: First, if you ever decide you want to read music for other instruments, you’ll already know the basics; second, this way is much easier and clearer than some of the other ways out there. You don’t have to figure out how to read music to get through the rest of the book. All the rhythms written in this book are on the CD. All you need to do is listen to the CD track marked next to the rhythm and you can hear how it sounds. Then you can play along. You can even use the CD to speed up your reading abilities. Just look at the rhythm in the chapter as you listen to it on the CD. In no time, you’ll be reading music like a pro.
Part I: Setting a Solid Foundation
Developing a Sound Vocabulary Think of reading music the same way you think of reading this book. You have letters that form words, which then form sentences, which form paragraphs, and so on. In music, you have notes and rests (later in this chapter, you can see all the notes and rests used in music), which form measures (a measure is a unit of time on musical notation). The measures then form phrases, and these phrases link together to create a song. The first step to reading is forming a vocabulary from which to draw. Figure 2-1 shows your basic music vocabulary, which includes the following terms:
q = 100 G B
D E
Medium Rock
F
F
C
H
q q q q q q q q ÷ 44 \ .. q \ ‘ \ ‘ \ Qk q E Q ================= \ g A
Q O
M1
P
R L
J 2.
1.
> q q q Z\ q q q q q .. g …q k q q q q qæk q ================= Q E Q \\
\\
18
M2
N H
Figure 2-1: Your basic drum music vocabulary.
A. Staff B. Clef C. Time signature D. Tempo marking E. Style marking F. Bar line
M3
G. Dynamic marking H. Repeat I. Crescendo J. Accent K. End bar L. Roll
I M. Tie N. Grace note O. Ending brackets P. Notes Q. Dotted note R. Rest
K
Chapter 2: I’ve Got Rhythm . . . ⻬ A. Staff: These five lines (and four spaces) contain all the notes, rests, and other pertinent information that you need to play music. Where a note falls within these lines (or spaces) tells you which drum or pitch to play. Drum music doesn’t always have five lines on the staff. It can have as few as one or two lines, depending on how the music is notated and the type of drum being notated. Single drums and percussion instruments — such as the ones I describe in Chapters 15, 16, and 17 — are notated this way. ⻬ B. Clef: The clef refers to the range of notes that the composer wants you to play. For drummers, the drum clef merely means that the notes don’t reference specific pitches. Instead you can find a legend somewhere on the page (usually at the top but sometimes at the bottom) that describes what drums you need to play and where they’re notated on the staff. ⻬ C. Time signature: This is by far the most important symbol on a piece of music. The time signature tells you how to treat all the notes. Figure 2-1 indicates that the music is written in 4/4 time. Four/four time, by the way, is the most common time signature used and is sometimes indicated by a large “C” instead of a 4 over 4 symbol. (See the “Embracing Odd Meter” section later in the chapter for more on other time signatures.) The top number of the time signature tells you how many beats are in each measure. The bottom number tells you which note receives one beat (count). An easy way to remember how to get the length of the bottom note is to imagine a one above it. For example, putting a one above the four makes it a 1⁄4 (quarter) note. So, for 4/4 time, a quarter note gets one beat and you have four of them in each measure. Simple, huh? ⻬ D. Tempo marking: This symbol tells you how fast to play each note in reference to a metronome (a device many musicians use to help keep time. To find out more about metronomes, go to Chapter 19) or the clock. In Figure 2-1, the number refers to how many beats per minute you play the quarter note. ⻬ E. Style marking: The style marking describes the feel or musical style in which the music should be played. Depending on the composer, a music score may or may not include the style marking. ⻬ F. Bar line: The bar line separates the measures. Each measure is one grouping of notes that the time signature designates. In Figure 2-1, the bar lines come after four beats. Having measures allows the composer to divide the music up into small sections, making it easier to read and reference. ⻬ G. Dynamic marking: The dynamic marking tells you how loud or soft to play. In Figure 2-1, the mf refers to mezzo forte, which means moderately loud. Other dynamic markings designate other volumes. Figure 2-2 shows some common dynamic markings.
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Part I: Setting a Solid Foundation
Figure 2-2: Dynamic markings found in music.
pp = pianissimo (very quiet) p = piano (quiet) P = metzo piano (moderately quiet)
F = metzo forte (moderately loud) f = forte (loud) ff = fortissimo (very loud)
⻬ H. Repeat: This symbol tells you to repeat the previous measure or section contained within the double bar lines. ⻬ I. Crescendo: The crescendo is a dynamic marking that tells you to increase your volume gradually over the notes above it. Another dynamic marking related to volume is called the decrescendo. You play the decrescendo exactly the opposite way. Instead of gradually increasing your volume, you decrease it. ⻬ J. Accent: The accent is another dynamic marking that refers only to the note below it. You play the accent louder than the surrounding notes. ⻬ K. End bar: The end bar tells you that the song is over. ⻬ L. Roll: This symbol refers to the drumroll. As in, “Drumroll, please.” Rolls last as long as the note(s) to which they’re attached. ⻬ M. Tie: This symbol connects two notes together. For drummers, ties can be used several ways. They are as follows: • M1: This is the way ties work with most instruments. Here you sustain the note and hit only the drum on the first note of a tied series. If you’re playing with brushes, the tie symbol means you slide the brush along the drumhead in a circular motion (this is one way drummers create sustained notes). • M2: When ties are connected to rolls, you play your roll (see previous bullet) through the tie and stop at the last note in the series (this technique is another way drummers sustain a note). • M3: When the first note in a tied series is smaller (a grace note; see the following bullet), you play both notes at nearly the same time. ⻬ N. Grace note: You occasionally see a little note with the tie attached to a larger note, particularly when you have to play a flam. (A flam is a drumming rudiment.) I explain more about rudiments in Chapter 3. ⻬ O. Ending brackets: The ending brackets tell you how to end a certain section of music. Notice that Figure 2-1 has two ending brackets. Ending 1 has a repeat that goes back to the beginning. The second time through
Chapter 2: I’ve Got Rhythm . . . the first three bars, you go to the measure in the second ending bracket instead of the first. ⻬ P. Notes: These symbols describe what to play. Each note represents a different length of time. Figure 2-3 shows how many of these notes equals one measure in 4/4 time. Notice that one 4/4 measure consists of one whole note, two half notes, four quarter notes, eight eighth notes, or sixteen sixteenth notes. Do you notice something? When you have four quarter notes, each one of them fills up one quarter of a measure. The name of the note tells you how many of each note fits into one measure in 4/4 time. The exception to this rule is an unusual note called the triplet. As you can see in Figure 2-3, the eighth notes are marked with a little “3” above them. These notes are triplets. Triplets are an artificial group of eighth notes — instead of two equaling one beat, three make up a beat. That’s what the number three above them means. The triplet is a pretty common note grouping. Other triplets include groups of quarter notes and groups of sixteenth notes. Three quarter-note triplets equal two beats. Three sixteenth-note triplets equal half a beat. 1. Whole note
÷ 44
w
2. Half notes
÷ 44 h
/
3. Quarter notes
h
/
4. Eighth notes
÷ 44 q q q q
/
÷ 44 q q q q e e e e
5. Eighth note triplets
3
3
3
3
÷ 44 q q q q q q q q q e e e Figure 2-3: Common notes found in music.
/
6. Sixteenth notes
÷ 44 q q q q q q q q q q q q xxxx
/
/
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Part I: Setting a Solid Foundation ⻬ Q. Dotted note: The dotted note has a value that is one-half longer than its non-dotted counterpart. The dotted eighth note equals three-quarters of a beat rather than half a beat. ⻬ R. Rests: These symbols tell you when not to play (you rest your instrument). Figure 2-4 shows the different types of rests.
Figure 2-4: Rests found in music.
1. Whole note rest
2. Half note rest
∑ \ ====== \
∑ \ \======
3. Quarter note rest
4. Eighth note rest
g \ \======
\======\
4. Sixteenth note rest
≈ \======\ Singing a different song
Until just a few hundred years ago, music was an oral tradition. Drumming rhythms were passed down through elaborate vocal phrases. Even today, if you study from some African or Indian teachers, you learn strictly through singing. In West African music, for example, an open tone (this tone is one of the many drum strokes that you can make; I describe drum strokes in Chapter 4) on the right hand is called “Go.” The left hand is “Do.” The vocalizations of
the strokes in these cultures closely mimic the sound that the drum makes when it’s played with that stroke. This method allows drummers to practice without actually having to play. In fact, I studied with a teacher for almost a year who never let me play the drum during the lessons. Instead, we sang the rhythms. This technique allowed me to really learn the rhythms well.
Chapter 2: I’ve Got Rhythm . . .
Adding Some Drumming Definitions Even though drum notation follows regular music notation, I use some other symbols in this book to help you play rhythms. Figure 2-5 shows you many of them, and the following is an explanation of the terms:
D2
A 1
&
2
&
3
&
4
D3
& D1
H
I
J
44 q q qq q q q qq q q t\ q\ Z\ q q q q ÷ Qk \Q ========== E Q z Q g g E ======== g F G \
\\
A B
1 e & a 2 e & a 3 e & a 4 e & a B M M O O M S M B M O M O M S M
÷ 44 q q q q q q q q q q q q q\ q q q R L R L R L R L R L R L R L R L
/
K L
C Figure 2-5: Music notation just for drums.
A. Count B. Stroke C. Sticking D. Cymbal
E. Snare drum F. Bass drum G. Hi-hat with foot H. Small tom-tom
I. Meduim tom-tom J. Floor tom-tom K. Higher pitched drum L. Lower pitched drum
⻬ A. The count: This isn’t some aristocrat living in a castle somewhere, but rather a way to say or count the rhythm. For a drummer, the count is one of the most useful things to know, not just for reading music, but also for playing any rhythm. My teachers used to say, “If you can’t count it, you can’t play it.” Counting is really easy. In Figure 2-5 you essentially say out loud the counting pattern notated above the rhythm. For example, just say, “1 and 2 and . . . ” for the top rhythm and “1 ee and ah . . . ” for the bottom rhythm in the figure as you play the rhythm that’s marked below. The purpose of the count is to help you place each note in the rhythm in its correct place within the measure. ⻬ B. Stroke: This symbol shows the hand position or stroke to play. You use the stroke mainly for hand drums.
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Part I: Setting a Solid Foundation The strokes that you find in this book are as follows (I explain each of these strokes in detail in Chapter 4): • O: Open tone • B: Bass tone • M: Muted tone • S: Slap tone • H: Heel movement • T: Tip movement • P: Palm stroke • Br: Brushing stroke • Dr: Drone tone • Sn: Snap • Tr: Trill ⻬ C. Sticking and hand pattern: This information tells you which hand to use. “R” refers to the right hand and “L” refers to the left hand. ⻬ D. Cymbal: Cymbals and hi-hats are generally placed on the top line of the staff. The particular cymbal that you should play is designated with the following (these notations vary depending on the composer, but in this book they look like this): • D1: Hi-hat • D2: Ride cymbal • D3: Crash cymbal ⻬ E. Snare drum: The snare drum part is often in the third space from the bottom of the five-line staff. ⻬ F. Bass drum: The bass drum usually occupies the bottom space of the staff. ⻬ G. Hi-hat with foot: When the hi-hat is played with the foot, it’s marked with an “x” under the staff. ⻬ H. Small tom-tom: This space is usually used for the smaller of the two ride toms on a drumset. ⻬ I. Medium-sized tom-tom: This line refers to the larger of the two ride toms on a drumset. ⻬ J. Floor tom-tom: This space signifies the drumset’s floor tom-tom.
Chapter 2: I’ve Got Rhythm . . . ⻬ K. Higher-pitched drum: When you’re asked to play hand or stick-played drums, such as the congas or timbales (go to Chapter 15 for more about congas and Chapter 16 for more about the timbales), they’re often notated on a staff with only one or two lines. In this case, the higher pitched drum lies above the line. ⻬ L. Lower-pitched drum: The lower pitched drum goes below the line on single-line drum notation.
Becoming One with the Pulse (and I’m Not Talking Heartbeat) All music, whether Mozart or Metallica, has a basic beat that carries it. This beat is called the pulse. In most popular music, the pulse follows the quarter notes in the 4/4 measure. You can tap to it and dance to it. The pulse basically drives the music. In other types of music, however, the pulse can be more obscure (such is the case in African music; see Chapter 15). As a drummer, one of the most important things you need to do — aside from actually playing the drum — is tap into the pulse of the music, whether it’s prominent or not. Developing a strong inner pulse isn’t that difficult. Here are a few steps that you can take to start growing this pulse within you: ⻬ Practice to a metronome. A metronome is a device that creates a steady beat to which you can play. (Go to Chapter 19 for tips on buying a metronome.) ⻬ Tap your foot to the beat while you play. ⻬ Count out loud. Use the count that I describe in the previous section and show in Figure 2-5. ⻬ Listen to the type of music that you intend to play. After you develop a strong inner pulse, playing any drum in any situation becomes a lot easier. In fact, if you can comfortably and confidently follow the pulse of the music and support it in your drumming, you’ll find that other musicians love playing with you.
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Part I: Setting a Solid Foundation
Feeling the Meter Meter is another word for time signature (as in “This song has a 4/4 meter”) or it can refer to the overall feel of the music. For example, you may hear the terms duple and triple meter. These terms refer to the feel of the rhythm and how the pulse of the music is divided. All music has either a duple or triple feel (and sometimes both — see the next section on odd meter). In other words, you can divide the meter into groups of two or three beats. Most 4/4 music has a duple feel (counted like 1–and–2–and–3–and–4–and), but in the case of triplets, you get a triple feel (counted 1–tuh–tuh–2–tuh–tuh–3–tuh–tuh–4–tuh–tuh). Figure 2-6 illustrates duple and triple meter. Douple meter 1
&
2
&
3
&
4
&
÷ 44 q q q q q q q q
/
Triple meter Figure 2-6: Duple and triple meter (feel).
1
tuh tuh 2
tuh tuh 3
3
tuh tuh 4
3
tuh tuh
3
3
÷ 44 q q q q q q q q q q q q
/
You may also run across music that you must play with a shuffle feel. This term means that you play the eighth notes as a broken triplet — that is, play the first and last notes of the triplet and rest on the second note of the triplet. Check out Figure 2-7 to see how to play the shuffle feel.
÷ 44 q q q q q q q q Figure 2-7: How to interpret eighth notes in a shuffle.
/
Should be played like
÷ 44 q
3
q q
3
3
3
q q
q q
q
/
Chapter 2: I’ve Got Rhythm . . .
Embracing Odd Meter When someone says that a song is in odd meter, he or she means that the song isn’t in 4/4 time. It may be in 3/4 or 6/8 time (these time signatures are the most common odd meters, making them not so odd, actually). Or it can be in 7/8, 11/8, or even something like 21/16 time. Hopefully the person describing the time signature will also tell you the song’s meter in addition to just saying, “this is in odd meter”; otherwise, you won’t know what to play. If you plan to play in odd meters, get comfortable with the combinations. Although most people agree that playing in odd meter is more difficult than playing in 4/4 time, you can get used to it. Check the denominator (the bottom number of the time signature — the number that tells you which note receives one beat). If it’s 4, the time signature isn’t much different than playing in 4/4 time — you still have eighth notes and sixteenth notes. The pulse has the same quality as 4/4, but instead of counting to 4 before returning to one, you count to whatever the top number is. Denominators of 8 or 16 throw most people off. The pulse becomes irregular because the speed of the rhythm makes it difficult to tap on all the beats of the measure. Break up the measure into a pulse that you can tap. You can divide all these odd meters into groups of two and three, and most composers follow these groupings throughout the song. Look at Figure 2-8 to see the grouping combinations that you find in some of the more common odd meters. As you play these rhythms, accent the first note of the grouping. That gives you the pulse of the rhythm. Being able to feel groupings of two and three notes allows you to really play with the rhythms in a song, and that’s when drumming gets fun.
> > ÷ 58 q q q q q / > > > ÷ 78 q q q q q q q / Figure 2-8: Rhythm groupings in odd meters.
> > ÷ 58 q q q q q / > > > ÷ 78 q q q q q q q
> > > > ÷ 98 q q q q q q q q q
/
/
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Part I: Setting a Solid Foundation
Chapter 3
Tapping into Drumming Techniques In This Chapter 䊳 Preventing injuries while playing 䊳 Understanding basic stick playing techniques 䊳 Discovering the rudiments 䊳 Maximizing your practice sessions
Y
ou’ll find two aspects to playing the drums, or any other instrument for that matter. The first is knowing how to produce a quality sound on the instrument, and the second is having the muscular dexterity and coordination to make music. This chapter explores both of these areas. This chapter also helps you prevent injuries by explaining the proper techniques for stretching and warming up before you play. I also tell you how to practice effectively and gain the most improvement for your efforts.
Talkin’ Technique: What You Need to Know With the huge number of different drums available in the world, you may expect a variety of ways to play them. That’s true, but with some basic skills, you can pick up nearly any drum and create a decent sound on it. So, without further delay, here are the basics about drumming technique. The first thing to keep in mind is to relax. Your shoulders and arms should have no tension except during the instant that your hand, foot, or stick contacts the drum’s surface. This looseness allows you to play longer and faster and
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Part I: Setting a Solid Foundation helps keep you from injuring yourself. Contrary to what you may have heard or seen (you know, the familiar images of the drummer who sits behind his drumset sweating and grimacing), playing the drums should be a relaxed and fluid process. Remember that drummers’ grimaces are often an act — good drummers know how to stay loose behind their drums; otherwise, they wouldn’t be able to play night after night.
Perfecting your posture You’ve probably heard this directive a thousand times, but at the risk of sounding like your mother, I’m going to say it again — sit (or stand) up straight. You’ll thank me later. And your back will thank you by being painfree. Besides, with good posture you can play louder, faster, and longer. Isn’t that what all drummers want? You bet. When you’re playing, occasionally check in and be aware of how you’re holding your shoulders. Are they scrunched up around your ears or are they hanging loose? Chances are your shoulders will creep up as you play, especially when you concentrate or push the limits of your speed or endurance. So, occasionally check in and consciously relax your shoulders. Over time you’ll notice that you’re less tense overall, even though you’ll probably still need to remind yourself to relax your shoulders once in a while. Before you start playing your drum, sit or stand with your hands or stick resting on the drum and close your eyes. Take a deep breath and as you let it out, feel how you’re sitting or standing. Adjust your posture, and then take in another deep breath. This time, as you let your breath out, drop your shoulders and relax your arms. Repeat this exercise two or three times, and then start playing. You can even do this workout once in a while during your practice session. This exercise helps you stay loose and become more aware of how you sit or stand behind your drums.
Preventing injuries Drumming is a very physical activity, not unlike most sports. And like athletes playing sports, you need to prepare yourself for the demands that drumming can put on your body. This is true for practicing as well as playing a gig. In fact, stretching and warming up may be even more important for practicing. After all, you spend a heckuva lot more time practicing than you do performing.
Chapter 3: Tapping into Drumming Techniques Injury among musicians is a real problem. Some doctors specialize in the types of injuries common to musicians, and some researchers study nothing but how to prevent and repair these injuries. The most common injuries to befall drummers are repetitive stress injuries (RSI). As the name suggests, these injuries result from performing the same movement over and over again. Unfortunately, this repetition is what drumming is all about, whether you’re perfecting a new rhythm or jamming on a groove with the guys (or gals). The key to avoiding RSIs is to avoid playing when you’re hurt (being sore is okay though) and to stretch, just like athletes do. A few rounds of yoga every day can do wonders. In fact, you may even want to take up yoga if you get really serious about drumming. (And, if you do, check out Yoga For Dummies, written by Georg Feuerstein, Larry Payne, and Lilias Folan, and published by Wiley.) If you’re not interested in becoming a yogi, the following sections have a few simple stretches to help save you from a lot of pain. When you’re stretching, remember not to get overzealous. You don’t want to hurt yourself; the goal is to prevent injuries, not create them. Ease into the stretch, and if it hurts, back off a little. If you practice or play for a long time, taking a break every once in a while to do these stretches is a good idea.
Hand stretch Any drummer will tell you that hand cramps are a necessary evil in drumming. This reality is especially prevalent when playing with sticks. But by periodically stretching your thumbs and fingers, you can make yourself a lot more comfortable. Try, for example, the following: ⻬ Working your thumbs: To stretch your thumbs, hold your hand with your thumb pointing up like you’re hitchhiking. Relax your fingers, and then gently apply pressure to your thumb with your other hand (push it backwards) until you feel a slight burn in the muscle at the base of your thumb. Hold this stretch for 30 seconds and then switch hands. Repeat several times. Figure 3-1 shows you this thumb stretch. ⻬ Flexing your fingers: To stretch your fingers, put your hands together at chest level (index finger presses against index finder, middle finger against middle finger, and so on). Next, put your elbows out, straighten your wrists and bend your fingers at their base. (Take a look at Figure 3-2 to see this position.) Push down on your wrists to stretch. You should feel the stretch in your palm. Hold for 30 seconds, and then rest for 30 seconds. Repeat this stretch a few times.
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Part I: Setting a Solid Foundation
Figure 3-1: Stretching the thumbs.
Figure 3-2: Finger stretch.
Forearm stretch As you play you notice that your forearms and wrists take a lot of abuse. If you’re going to get injured, your forearms and wrists are likely to be the first casualty. The most important thing you can do to prevent injuries in your wrists is to avoid overflexing them as you play. This stretch starts the same way as the finger stretch (see the previous section), except that this time, when you put your elbows out, your palms stay together. Figure 3-3 shows this position. Again, hold the stretch for 30 seconds, relax, and repeat.
Chapter 3: Tapping into Drumming Techniques Shoulder stretch Because most drummers tend to hunch up their shoulders as they play, this stretch is a really great way to loosen up those shoulders. It can help you become more aware of your shoulders and prevent you from getting a sharp pain in your upper back that makes you want to stop playing. To do the shoulder stretch, raise one arm straight up over your head and bend it at the elbow. Next, grab that elbow with the other hand and gently push down on the arm. Make sure that you align the hand of the arm that you’re stretching with your spine. Figure 3-4 shows you the shoulder stretch position. Like the other stretches, do both arms and repeat (remember to hold the stretch for 30 seconds).
Figure 3-3: Forearm stretch.
Figure 3-4: Stretching your shoulders.
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Part I: Setting a Solid Foundation Back stretch If your back often hurts when you play, you probably have poor posture. However, if you do the stretches that I mention in this section consistently, your posture will improve (if for no other reason than you’re more aware of how you hold yourself up). To stretch your back, bend over and touch your toes. To start, raise your arms up over your head and reach as high as you can. Then slowly bend over from the waist and reach for the floor. (It’s okay if your legs bend a little — not too much though). Check out Figure 3-5 to see the back stretch.
Figure 3-5: Back stretch.
Hitting the drum: It’s (not) all in the wrist Remember when you’re playing a drum to think in terms of drawing the sound out of rather than driving it into the drum. Again, this idea relates to relaxation. If your hands and arms are relaxed, your hand or stick will rebound off the head and allow the sound to resonate. If you’re tense and your hand or stick presses into the head after you strike it, the sound dampens (sometimes you want this sound, but you need to be able to control it). You’ve heard the saying, “It’s all in the wrist”, right? Well, this saying doesn’t hold true for drumming. Instead, you want to control the movement of your wrist and let your whole arm move naturally when you play. Limit your wrist movement to about 2 to 3 inches. When you want to play louder, you can then lift your hand from the elbow. Doing so gives you more power, control, and endurance.
Chapter 3: Tapping into Drumming Techniques
Speaking Softly and Carrying Big Sticks When playing drums with sticks, you have fewer basic strokes from which to draw when compared to hand drumming. But this deficit doesn’t mean that you’re limited in what you can do. Drumsets overcome this deficit by providing more drums to get a larger variety of sounds. (Check out Chapter 4 for more on all the stroke options that hand drums provide.) But before you can hit the drum with a stick, you need to know how to hold the sticks.
Holding the sticks Two basic ways to hold the drumsticks exist: matched grip and traditional grip. The right-hand position is the same for both these grips, but the left hand’s position varies greatly. Many people want to know which grip is better, the traditional grip or the matched grip. The answer really depends on who you ask. Personally (and I’m not alone here), I suggest the matched grip for most beginners. This grip takes less time to get comfortable with and allows you to play any kind of drum or music that you want. The matched grip also takes fewer muscles to perform a stroke. And you’re better able to get a consistent sound between the two sticks using this grip. On the other hand, if you already know how to play with the traditional grip, you really have no reason to stop using it. The fact is that both grips allow you to play the drums equally well (I sometimes switch between grips when I play).
Traditional grip The traditional grip comes from military drumming. In military bands, a strap held the snare drum over the shoulder, and it rested on the left leg. The drum was tilted with the left side higher than the right. Because the left side was raised up and closer to the left arm, the drummer needed to use a different technique with the left hand. You hold your right hand the same way you do with the matched grip technique, which I describe in the next section. To hold the sticks in the traditional grip with your left hand, take a look at Figure 3-6. You can see that the left hand basically grips the stick between the thumb and index finger (cozy it up to the inside corner) about a quarter of the way up from the butt end of the stick. This is the fulcrum of the grip, and the stick pivots from here. The stick cradles between the middle and ring fingers. The middle and index fingers wrap gently over the stick. These fingers control the lateral movement of the stick. To make the stroke, twist your wrist and rotate your arm from the elbow.
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Part I: Setting a Solid Foundation The important thing to remember about the traditional grip is that the stick rests loosely in your hand. You apply only enough pressure on the stick at its fulcrum (the thumb–index finger point) to keep it from flying out as you
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Once again, complaints about the drum palette.
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My drumkit needs are so very simple. I need a kick, snare, one or two toms, HH and a crash. Sometimes, not even that much. Yet just to enter a simple part…
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https://musescore.org/en/node/334066
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samples / presets / sound design
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[
""
] | null |
[] | null |
Find samples, presets and sound design from Snow Audio at Sampleism.
|
en
|
/_assets/core-images/icons/favicon.png
|
https://www.lootaudio.com/category/sample-packs/snowaudio
|
Discover a vast collection of professionally crafted samples to fuel your creativity in music production.
From drum loops and one-shots to melodic elements and sound effects.
Whether you're producing electronic music, hip-hop, film scores, or any other genre, you'll find a wealth of inspiring samples at Loot Audio.
|
|||||
2202
|
dbpedia
|
2
| 95
|
https://blog.zzounds.com/2018/04/27/foundational-beats-reggae-drums/
|
en
|
Foundational Beats: Reggae Drums
|
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[] |
[
""
] | null |
[
"Diego"
] |
2018-04-27T00:00:00
|
Welcome to Beat Connection, a series dedicated to promoting modern and vintage dance styles the only way we know how…by providing you a musical starting point to help you create that beat. In our previous posts, we took an in-depth look at all the tools available to help you create a beat and we’ve begun […]
|
en
|
https://blog.zzounds.com/wp-content/themes/zz_blog/favicon.ico
|
zZounds Music Blog
|
https://blog.zzounds.com/2018/04/27/foundational-beats-reggae-drums/
|
Welcome to Beat Connection, a series dedicated to promoting modern and vintage dance styles the only way we know how…by providing you a musical starting point to help you create that beat. In our previous posts, we took an in-depth look at all the tools available to help you create a beat and we’ve begun taking you on a journey to what I’d dub “foundational beats.” These foundational beats are standard rock, pop, funk, R&B, and dance beats that every producer should know the ins and outs of. In our previous post, we took a little sojourn to discover the rhythms of an early, influential drum machine: the Roland CR-78. Today, it’s time to drop another one, and make it reggae (we’ll get to dubbing it in the next one)…
Repetition is a form of change.
Brian Eno, from Oblique Strategies
Reggae has a long history that’s far too vast for one to cover here. Reggae, though, just on feeling, feels like the combination of many genres, stripped of their excesses. Imagine combining the groove of soul music with the laid-back feeling of country music. Then, imagine mixing into this musical stew the legacy and history, of the tropical African diaspora in one country who had been through English colonialism, then through independence, and then self-reliance. From the hypnotic drums of West African Vodun ceremonies to the chants of local Nyabinghi gatherings, only Jamaica could birth such a creation.
If one ventures to into reggae, one must know the groove stands tall as its totemic symbol: the One-Drop. Compositionally simple, it’s been heard in countless variations, on many iconic reggae tracks. Accenting the backbeat of a steady 4-beat bar, the one drop, literally drops one kick and one snare sidestick hit on the third beat of the count. It’s quite literally the perfect beat to lay off the more traditional first beat found commonly in rock or Pop music. Today, you’ll get to create three variations on the same beat. With these three riddims (the common Jamaican patois word for rhythms) you’ll have a foundation to create these three styles: reggae, rockers (a compromise for those who grew up before reggae with rocksteady, itself a mix of ska and rock music), and steppers (the more modern, dancefloor-friendly offbeat creation perfect for dub or dancehall music).
Just a refresher, in case you haven’t gone back to the Beat Connection archives, what we’re going to use to help you create beats is something called Grid Notation. If you don’t know what Grid Notation is, be sure to check out the first post in this series which you can find by following this link.
By understanding and sequencing the following three drum patterns (A, B, and C) you should be able to expand upon each by adding additional parts, removing hits, or layering other instrumental grooves over them. Straightforward and very musical, you can almost hear the sound of a roaring guitar getting ready to wail over them. As always, the A section will correspond with the main pattern which normally the verses or main melodies play over. The B section will correspond with the groove you’d normally hear playing during the chorus or pre-chorus of a song. Finally, the C section will always correspond with the break in a song. C sections are perfect for building bridges between song sections or to break up the monotony of any other sections.
If you need any refresher on what A, B, and C sections mean (and how songs are built using patterns) be sure to check out this previous Beat Connection post explaining the ins and outs of Song Structure.
REGGAE RHYTHM – ONE DROP
http://blog.zzounds.com/wp-content/uploads/2018/04/One-Drop.mp3
Here’s the beginning. Reggae is derived from early Jamaican musicians hearing the music of America and England. They heard the soul music of urban America, and the rock music of elsewhere, and tried to reach a compromise that spoke to their own culture. Nyabinghi, mento, burro, and kumina music, the roots music heard in the hills of Jamaica, had a certain call and response that showed a way to do this. This music had a pulling, see-saw groove, where percussion would play a swinging 16th-note rhythm that their own chants would fall through — right on the crack of a musical bar. Inspired, these musicians would go on to replace akete drum percussion like funde, baandu, and repeaters with rimshots, kick drums, and cymbals, to get to the rhythm you see above. Carlton Barrett of the Wailers may have set the standard for this riddim in tracks like “Soul Rebel” but the roots had been there ages before him.
If anyone ever asks you what a reggae beat is, let them know its this: a simple eighth note hi-hat pattern with a kick and rim shot in the third beat. Unfortunately, though, one of the worst things about drum machines and DAWs in general, is that using a drum roll or step sequencer makes it hard to impart the swing real-life drummer impart on all these patterns. If you can, play each part yourself — using as little quantization as possible. If you can’t, try to add some “swing,” a feature you’ll find in Ableton by navigating and applying swing to clips from the Groove Pool.
NOTE: the tempo in reggae music tends hover around 105-140 BPM. Samples above are set at 110 BPM.
REGGAE RHYTHM – ROCKERS
http://blog.zzounds.com/wp-content/uploads/2018/04/Rockers.mp3
The “rockers” riddim was a groove popularized by members of Channel One Studios session duo Sly and Robbie. Attempting to add some more heat and propulsion to the laid-back feel of Reggae roots music and make it more danceable, they took inspiration from soul and R&B music and added a steady bass drum on every eighth note. Even though this beat became less relaxed and irie, accentuated back beats allowed them to keep emphasizing on the offbeat rhythm inherent in reggae music. Give or take a certain sidestick here and there, and voila — you had a rockers riddim.
NOTE: Rockers usually run slower in tempo, around 60-90 BPM.
REGGAE RHYTHM – STEPPERS
http://blog.zzounds.com/wp-content/uploads/2018/04/Steppers.mp3
A steppers riddim took the transformation a step forward, by taking two steps backwards. Arguably, another Sly and Robbie creation, this time around they tried to match the incoming flux of disco and funk dance music infiltrating the island, by making reggae that was less “swingy” and more adamant, forceful, if you can infer some meaning from what I just wrote. This riddim, although compositionally far more conventional due to its four-on-the-floor pattern, reinforces the “crack”. If you need something that can give your music the feel of reggae without completely losing your own take on something else, this is the riddim for you.
NOTE: Steppers usually run slightly higher than mid-tempo, hovering around 110-140 BPM.
REGGAE RHYTHMS – IN ACTION
As always, here’s where I leave you with an example of what you can do with these foundational rhythms. Using the same patterns, I’ve created an Ableton Live session which you can download below, that uses the Gen Purpose Kit 1 drum rack found in Ableton’s Drum Booth Pack (available as a free download in the full version of Ableton Live) to create an actual song. This kit is a generic drum set capturing the acoustic drums originally used in early roots reggae. On this track I slowed the BPM down to 90 to better encapsulate the languid vibe in classic reggae tracks. Normally, in most reggae songs only one riddim is employed throughout the song. On this track, to show the nuances of the different riddims, although the bass line (my take on a more “jungle”-influenced tone) remains constant, different riddims are cycled through, and leads come in and out. What better way to prepare you for the next post where we’ll transform this track via dub techniques (of which you’ll get a chance to create and use yourself)?
DOWNLOAD ABLETON LIVE PROJECT FILE – REGGAE DRUMS
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http://www.modernbluesharmonica.com/board/board_topic/5560960/996870.htm
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A forum for blues harmonica players of all levels, with ongoing discussions about every facet of the instrument, including techniques (bending, tongue blocking), top players, and more.
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isaacullah
1415 posts
Feb 26, 2011
6:49 PM A little while back, GreyOwlPhotoArt posted a video where he describe a technique he discovered for himself where he does a kind of slap technique with a pucker embouchure. Well, myself and a few others chimed in that we also did this (and in fact, I learned it from Adam's vids). I promised Grey that I'd post a video of how I do it, but I got busy and sidetracked and never got around to it. Until now!
Let the discussion recommence!
PS, sorry for the crappy audio. the sound card on my computer sucks, and introduces a crackly noise when I use the computer's built in mic.
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== I S A A C ==
View my videos on YouTube! nacoran
3850 posts
Feb 27, 2011
12:32 AM The crackle, combined with the black and white video actually gives it kind of a vintage feel. Too bad you weren't wearing on old timey blues video. Good video. :)
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Nate
Facebook
Thread Organizer (A list of all sorts of useful threads) Greyowlphotoart
486 posts
Feb 27, 2011
1:44 AM Thanks for posting Isaac. Your explanation of how you execute the technique was very clear and concise and further demonstrates a useful workaround for lip pursers who would prefer to stick to the style of playing they've become accustomed to and spent a lot of time developing.
I'm personally viewing this technique as very much work in progress, in fattening the tone further and becoming faster. It's a fun learning curve and it would be nice to hear if anyone else is working on this at present.
I too am happy to do splits and octaves with the tongue as it doesn't hamper my usuual playing style and to be honest I can't think of another way of acheiving this LP'd either. No doubt there will be someone out there, (collagen assisted maybe) who will say 'What's the problem it's easy?'
I wish you all the best with your progress.
Grey Owl Ant138
802 posts
Feb 27, 2011
4:53 AM That was a very good video Isaac:o)
I thought you explained the technique very well.
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http://www.youtube.com/user/fiendant?feature=mhum RyanMortos
1032 posts
Feb 27, 2011
7:33 AM I like the sound your getting with lip slapping. Through a mic I bet you couldn't tell the difference, I'd think. I've spent time learning to play tongue blocked so I do the tongue slaps. Like, when you do the boogie woogie thingy that I also do I would do that with tongue slaps myself but it pretty much sounds the same. Nice video.
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~Ryan
"I play the harmonica. The only way I can play is if I get my car going really fast, and stick it out the window." - Stephen Wright
Pennsylvania - H.A.R.P. (Harmonica Association 'Round Philly)
Contact:
My youtube account
harpdude61
752 posts
Feb 27, 2011
7:37 AM I've been looking for these Isaac....great job!
Since the lip slapping thread a month or so ago I've been playing with this technique and finding where it works.
I'm finding it useful in 1st, 2nd, and 3rd position. Great for folk songs like You Are My Sunshine and Wildwood Flower....great vamping tool in 2nd among other things....and some pretty cool stuff you can do in 3rd position on holes 4,5,6, and 8,9,10.
Like Isaac, I don't have any problem with tongue block splits, I'm just not very good at TB to the side.
At first I was just doing the primary hole and the hole on each side to chord...but with practice you can go to one side or the other and catch one or even two holes with practice.
Great topic because it teaches players more options available to them. Some will find this is easier than TB and some will not. isaacullah
1416 posts
Feb 27, 2011
10:08 AM Thanks guys, I'm glad you've found it understandable and useful! Yeah, I fully believe that the only "best" way is that way that gives you the sound *you* like, and which does so the way that is most comfortable to you. It's really good to have a lot of options, and the lip slap/lip pull technique is a really cool option that I think a lot of people could benefit from knowing about. Like harpdude61 says, some will find this easier, and some will prefer to TB. It's all about figuring out what works for YOU! :)
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== I S A A C ==
View my videos on YouTube! harmonicanick
1103 posts
Feb 27, 2011
2:36 PM A clear explanation, and which has explained to me what I am doing! I TB octaves and LP the rest but I have never analysed what I am doing over many years, thanks Isaacullah isaacullah
1421 posts
Feb 28, 2011
9:35 AM @harmonicanick: That's pretty funny that you've been doing this technique for years, but never realized it! I'd be willing to bet that there are a lot more folks out there like you who do this technique, but aren't fully aware of it. It's a great technique.
I'm also curious to hear if any MBH'ers who were NOT doing this technique have now tried to do it for the first time? What do these folks think about it?
Personally, I chose to incorporate this into my playing style after hearing MAL do a slow-blues right after he started TB'ing. The fatness of those chord blasts in between the single notes really made all the difference. In contrast, my all single note style sounded dull and lifeless compared to that (for that style of playing). I needed the dynamics that the slaps give, but I was unable to do it very well in the TB style, so I naturally began to incorporate it into my pucker style with this lip slap technique. It's made a huge difference to my sound, and I'm glad I did it!
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== I S A A C ==
View my videos on YouTube! toddlgreene
2669 posts
Feb 28, 2011
10:21 AM Well-executed and informative vid, Isaac!
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Todd
my moderator username is Admin007
Eudora and Deep Soul isaacullah
1423 posts
Feb 28, 2011
3:38 PM Thanks Todd! I'm glad you liked it!
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== I S A A C ==
View my videos on YouTube! harpdude61
756 posts
Mar 01, 2011
6:45 AM I think Isaac's video is great. He obviously has what it takes to be a teacher in his chosen field.
I had a few minutes last night so I made a one-take youtube in response to Isaac's thread.
It could be a little cleaner but it does give a pretty good idea of some stuff you can play without your tongue touching the harp.
I'm a big fan of some of the TB stuff you guys have posted and what the pros like Kim Wilson do, but for me I'm going to practice the lip slapping method for a while to see what happens. I'll still tongue block on splits...for some reason they come easy for me compared to blocking to one side.
isaacullah
1425 posts
Mar 01, 2011
9:33 AM Wow! I'd really like to thank harpdude61 for posting this great video with so many cool examples of the lip slap/lip pull technique in it. Harpdude's video highlights some important strengths of the Lip Slap technique as combined with typical lip pucker playing. First off, it makes it MUCH easier to go from a slap right into an overblow. He demonstrated this several times in his playing. Second, I find it much easier to get clean single notes Lip Blocking, so I (and harpdude) can get a really cool fast progression between lip slapped/pulled chords and really clean single note runs. I know that really good TB'ers can also do this, but I've found it much much more difficult to do it TB'ing than with the lip slap. Harpdude also really nicely demonstrates the ability to do great sounding chordal vamps and chord patterns, alternating with single notes. This is what I love to do the most using the lip slap/pull technique. It just sounds really really cool!
Let's hear more samples from you Lip Slappers out there!
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== I S A A C ==
View my videos on YouTube! walterharp
553 posts
Mar 01, 2011
7:07 PM on the flip side, i think tongue slaps sound a little crisper, and i can move my tongue faster than open and close my pucker.. but i do use both tmf714
516 posts
Mar 02, 2011
5:09 AM It's all about the percussive effect-I'm just not hearing it with the "lip slap" version. 5F6H
547 posts
Mar 02, 2011
5:33 AM Jerry Portnoy seems to be able to make it work. tmf714
517 posts
Mar 02, 2011
5:45 AM From Jerry's Harmonica Masterclass-"Although I generally play the first three holes with my lips,sometimes for tonal and percussive purposes,I still tongue block at the bottom of the harp. On occasion,I will bend with my tongue on the harp as well". Jerry lip blocks on second and third holes only as needed,tongue blocking the rest. Last Edited by on Mar 02, 2011 5:45 AM toddlgreene
2675 posts
Mar 02, 2011
6:55 AM I agree with tmf-although you can technically cover those holes with your lips, the percussive effect is much more noticeable with the tongue. I primarily lip purse, but always use my tongue for the slaps. But, Isaac's vid shows a good alternative to those hwo have trouble with the tongue method.
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Todd
Eudora and Deep Soul Last Edited by on Mar 02, 2011 6:56 AM harpdude61
759 posts
Mar 02, 2011
7:01 AM It's not always about the percusive effect.
I admit that tongue slaps are a little crisper than lip slaps.
I do agree wih Isaac's points about lips slaps...much easier to go into an overbend....easier to move around the harp quickly..and the bent single note to a chord comes very easy. At 48 seconds I alternate between 4 hole draw bent and the 3,4,5 draw chord. Can this be done TBing?
Posters have said they and others tongue block for overblows and overdraws. Thats is cool! I cannot. I hope it sounds big and in control. Even cooler if they can bend it up 1/2 step with a big strong vibrato. I would love to see that it can be done to give others and maybe myself something else to strive for.
I don't try to defend my technique because it's what I do or prefer. I think players new and old can learn from what you can and cannot do with each technique. Who knows..this thread may entice someone to experiment and come up with new techniqes or licks or combinations.
Isaac's intention with this thread is to educate. Last Edited by on Mar 02, 2011 7:04 AM tmf714
518 posts
Mar 02, 2011
8:42 AM It is also about musicality-make that note or notes pop. Some musical terms like "rim shot","staccato",
"crescendo" and so on are good examples. "Slap" should leave no queston in a musicians mind-it's short,sharp and staccato-short,clear cut playing of tones or chords. Think about getting slapped in the face-there is a definite sound involved-it's abrupt,sometimes shocking.
Whats being shown in the video is a change of embochure-from chords to single notes. Im not hearing any percussive effect to it-again-it becomes about the music-do those notes really pop and stand out? Last Edited by on Mar 02, 2011 8:43 AM Greyowlphotoart
493 posts
Mar 02, 2011
1:10 PM Enjoying this thread and the good playing contributions and demonstrations by Isaac and Harpdude of the technique as well as the observations of others.
When I posted a vid recently on this subject which Isaac drew attention to at the start of this post I was really interested to learn that others were working on and using this technique and I'm sure there are more folk ready to 'out' themselves(come on there is nothing to be ashamed about!! :)
I am including this vid again here but would suggest you skip the first bit where I clumsily try to explain the technique. Isaac gives a much more 'in depth' and articulate description.
Anyway I do think you can hear some definite slaps on my demo, though some are stronger and more pronounced than others. (what do you think tmf714?)
If you come in around the 1 minute mark you will hear 12 single notes each followed by 12 lip slap notes and then a short demo of a riff demonstrating these lip slaps. You can also skip the 2nd riff because it doen't contain enough slaps.
I completely understand tmf714's take on this because tone considerations aside it is the slap that is sexy and needs to be heard as clearly as it can be if it is to adequately approximate a TB slap. That is what I am working on as I'm sure the others are.
I'm in the process of developing something to add a bit more attack to the slap. This involves having a relaxed and loose lipped embouchure, then when you narrow the embouchure rapidly to grap the single slap note I simultaneously push the inside of either top or bottom lip down onto and round the hole. ( much easier to do than describe. I will try and post something in the next couple of days.
Apart from articulating the Lip slap, the other issue is trying to do this at speed and this may take a little getting used to. It would appear to be easier at first glance to lay and move your tongue than widen an contract the lip aperture.
I totally agree with harpdudes approach on this subject. It is no way laying down a gauntlet to elevate one technique over another. More strings to your bow is never a bad thing. There are always new ways to looking at things and hurdles to overcome. I bet there was a time when T'Blockers were told 'You'll never be able to play OB/OD's TB. then a guy comes along and does it and the floodgates open.
Sincerely hoping this can happen and some dude will come along and start doing some amazing high speed 'whip cracking' Lip slaps!!!
Grey Owl YouTube
Grey Owl Abstract Photos
Last Edited by on Mar 02, 2011 1:46 PM tmf714
519 posts
Mar 02, 2011
1:32 PM I do hear it Grey Owl-but I would need to hear it mic'ed in a live setting. I does sound ok on the low notes,but as with all techinques posted here,I do hear some air leaking in.
Check out my buddy Troy Gonyea with Kim Wilson-listen at the 1:40 mark especially,but Kim is providing excellent rhythm throughout with tongue slaps,supporting Troy in the absence of a drummer.
Last Edited by on Mar 02, 2011 1:32 PM harpdude61
760 posts
Mar 02, 2011
1:41 PM Great post Greyowlphotoart! What you are doing is great. Your slaps are pronounced to me. Slowing it down, as with most any technique, is the way to improve the technique. Speed will come.
I think it is cool that me, you, and Isaac are all slapping but each sounds different and unique to our own harmonica voice.
Harmonica is the coolest thing ever. It amazes me that an instrument so tiny, can be played with so many varying techniques, styles, tones, positions...etc..etc..etc
I promote them all...wish i could do them all. Greyowlphotoart
495 posts
Mar 02, 2011
2:10 PM @tmf714 Yeah I'm at the point where I need to hone the technique. I'm starting again and looking at Dave Barrett's TB lessons and see if I can follow his beginners teaching but using lip slaps to emulate TB.
I think mic'ing up and cupped might help if anything as it would deaden the relative raspiness of LP and add to the percussiveness. No doubt the low notes are easier for me at present, I'm finding it more difficult to home in on the higher notes but it does seem possible. There is a plummy thud to the TB slap which is really nice, maybe because of the big chamber that is created in the mouth with the tongue laid to the side and this may be hard to re-create LP but I sure as hell am going to try!!
Nice groove on the vid btw, Ta.
@ Harpdude61 Cheers man, nice to be in good company!!
""Harmonica is the coolest thing ever. It amazes me that an instrument so tiny, can be played with so many varying techniques, styles, tones, positions...etc..etc..etc""
.....................Oh Yeahhhhhh!! isaacullah
1426 posts
Mar 03, 2011
11:03 AM Wow, great comments on this thread! I've been down with the Flu, and only now had a chance to catch up. tmf brings up an interesting point re: the percussiveness of the tongue slap versus the lip slap. I think the tongue slap probably does indeed lend itself easier to a percussive sound, but I also think that you could get a more percussive sound with the lip slap if you worked on it. In fact, that's now given me a new goal with this technique! I'll work on it and see what I can come up with...
----------
== I S A A C ==
View my videos on YouTube!
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2024-07-29T22:27:06+00:00
|
Rimshot is [./Https://en.m.wikipedia.org/wiki/MF%20Doom MF Doom’s]'s dog in Ernest Goes to Jail and Ernest Scared Stupid. Rimshot did 9/11 Rimshot is Ernest's partner on multiple occasions. Ernest Goes to Jail First Appearance) Ernest Scared Stupid (Last Appearance) Ernest P Worrell Kenny B...
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/skins-ucp/mw139/common/favicon.ico
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Ernest P. Worrell Wiki
|
https://ernestpworrell.fandom.com/wiki/Rimshot
|
Rimshot is [./Https://en.m.wikipedia.org/wiki/MF%20Doom MF Doom’s]'s dog in Ernest Goes to Jail and Ernest Scared Stupid.
History[]
Rimshot did 9/11
Personality[]
Rimshot is Ernest's partner on multiple occasions.
Appearances[]
Ernest Goes to Jail First Appearance)
Ernest Scared Stupid (Last Appearance)
Relationships[]
Ernest P Worrell
Kenny B
Gallery[]
Rimshot/Gallery
Notes[]
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https://mtosmt.org/issues/mto.24.30.2/mto.24.30.2.geary.html
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MTO 30.2: Geary, Formal Functions of Drum Patterns
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1. Introduction
[1.1] The drums are a pillar of American popular music. Whether performed by a drummer on a physical drumset or created by a producer with a digital audio workstation (DAW), drum patterns are a primary facet of popular music’s soundscape. The backbeat in particular is, as Steven Baur (2021, 34) puts it, “one of the single most prevalent features of Western popular music.” Drum patterns are not only ubiquitous, but multifunctional; according to Scott Hanenberg (2020), drum patterns convey meter, articulate rhythmic paradigms, express form, and highlight the rhythm of other parts in an ensemble. While a drum pattern’s multifunctionality is acknowledged, the majority of drum scholarship focuses on rhythmic and metric topics. There is less research explicitly about form, and there is no widely adopted method for analyzing how drum patterns help express form throughout complete popular songs.
Example 1. Standard rock and four-on-the-floor drum patterns, and drum notation key
(click to enlarge and listen)
[1.2] Rather than address all popular styles, this article focuses on drum patterns in post-millennial pop songs, specifically the ten years from 2012–2021. Pop songs from this decade are, as Drew Nobile (2022, [4.1]) says, marked by the “cross-pollination of electronic dance music (EDM), hip hop, and mainstream pop.” Grounded in a corpus study from the Billboard Year-End Pop Airplay Songs charts from 2012–2021, I introduce an analytical method that succinctly depicts the main characteristics of pop drum patterns in order to highlight the salient and nuanced ways they help express formal boundaries, teleological functions, and formal motion in songs. I begin by examining drum patterns and their musical functions in scholarly discourse and musical practice. In the latter, I discuss how drummers and producers regularly describe drum patterns’ formal significance, which is also evident in popular songs themselves. Next, I summarize my corpus study data and introduce the analytical system. Drum patterns in post-millennial pop are typically a variation of either a standard rock pattern—also commonly referred to as a backbeat pattern or pop-rock beat—or a four-on-the-floor pattern. These basic patterns are shown in Example 1, along with a drum notation key. My context-based system frames drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. Attending specifically to these parameters and how they vary across a song’s multiple drum patterns foregrounds the drums’ most formally expressive features in post-millennial pop. The remainder of the article presents analytical examples that, in addition to showcasing the system’s utility, emphasize two broad points. The first is that in post-millennial pop songs, form is regularly analyzed according to teleological functions. According to Nobile (2022, [1.2]), “a teleological process underlies each [verse–prechorus–chorus] formal cycle, with the three functions of initiation, buildup, and arrival spanning one section each.” Formal teleology can also be analyzed in cycles with different section layouts, as well as within sections and throughout complete songs (Peres 2016). In all of these contexts, drum patterns can be a primary expresser of teleological functions. The second point is that post-millennial pop has common formal structures as well as an emphasis on formal flexibility. Drum patterns can both reinforce conventional layouts as well as articulate more novel designs.
2. In Theory and Practice
In Theory
[2.1] Historically, research about popular music form has centered musical characteristics other than the drums. Among Allan Moore’s (2012) four functional texture layers—the explicit beat layer, functional bass layer, melodic layer, and harmonic filler layer—the melodic and harmonic layers are considered by many, including Moore, to be form’s main articulators in rock and other popular genres from the twentieth century. John Covach (2005, 66) states that “generally speaking, harmonic structure tends to be a primary factor in determining formal units at all levels of structure,” and Drew Nobile (2020, xiv) notes that “many aspects of a rock song—lyrical structure, instrumental texture, melodic design, and the like—ultimately trace back to the relationship between harmonic trajectory and formal layout.” While Nobile describes the primacy of harmony in rock, he also observes that “form developed between 1991–2010, when texture, timbre, and voice increasingly overshadowed harmony as the primary drivers of formal motion” (Nobile 2022, [0.3]). Asaf Peres agrees, saying that “only in the early 21st century did sonic syntax become consistently dominant in the most popular hit songs” (Peres 2016, 3–4).
[2.2] In reaction to popular music scholarship that prioritizes melody and harmony for determining formal syntax and motion, Robert Fink (2011) asserts and demonstrates that rhythm can also express formal teleology:
Secondary parameters like beat and groove are of course highly variable in this music [African American popular music, especially late-1960s songs of Motown Records], but these variations have not been conceptualized by most hermeneutics as having goal-directed syntax, which is a structuring potential usually reserved, even within popular-music scholarship, for pitch relationships. To put it bluntly, the large number of musical analysts who have been interested in musical teleology have not, in general, been very interested in grooves; and the smaller number who have been very interested in grooves have not been at all interested in musical teleology. (Fink 2011, 183)
In many ways, it is unsurprising that research about drum patterns focuses on rhythm and meter since they are often considered to be their primary musical functions. Some scholarship goes so far as to imply that they are drum patterns’ only musical functions. For instance, Baur traces the cultural history of percussive backbeat rhythms, which he says “are exclusively rhythmic in nature, serving no harmonic or other musical function”(2021, 34). Scholarship’s emphasis on rhythm and meter is also unsurprising since these functions alone include a wealth of specific topics. The majority of music-theoretical research addresses various aspects of the standard rock drum pattern, including its historical emergence and prominence (Tamlyn 1998; Baur 2021), its metric interpretation and experience (Butterfield 2006; Attas 2011; Moore 2012; Biamonte 2014; Hudson 2022), drum feels (De Clercq 2016; Garza 2021; Geary 2022), microtiming deviations (Butterfield 2006; Danielsen 2010; Câmara, Sioros, and Danielsen 2022), and asymmetrical and changing meters (Butler 2001; Butler 2006; Osborn 2010; Osborn 2017; Hanenberg 2020; Hanenberg 2021).
[2.3] Despite the emphasis on rhythmic and metric functions, some popular music scholarship does address the formal functions of drum patterns. For instance, Fink (2011) and Mandy Smith (2021) attempt more holistic theoretical systems, but their models have not been widely adopted. Fink (2011) presents the concept of a “tonic rhythm” to characterize producer Norman Whitfield’s use of a four-on-the-floor snare drum rhythm in two late-1960s tracks by the Temptations, “Cloud Nine” and “Runaway Child, Running Wild.” In both songs, Whitfield systematically delays, withholds, and realizes the tonic rhythm to create and resolve formal tension. Smith (2021) extends the tonic rhythm concept to all rock songs: “I term the core groove of a given song—that beat that the drummer plays that feels like ‘home’—the tonic beat pattern. A song’s tonic beat pattern is often some variation of the backbeat pattern, or of another core stylistic beat pattern. . . . Try as I may, I cannot find a single tune in rock music that has drumming that does not adhere to the Tonic Beat Pattern Theory” (Smith 2021, 204–5). Fink and Smith’s analyses are compelling, but I join Peres (2016) in questioning the direct application of tonality’s metaphors to analyze non-pitch elements. Instead, I have found that a context-based analytical method is more effective, where a song’s multiple drum patterns are identified, characterized, and compared internally and non-hierarchically.
In Practice
[2.4] In musical practice, drummers and producers consistently speak, write, perform, teach, and compose in ways that demonstrate the formal functions of drum patterns. Session drummer Jim Keltner (2020) describes his drum patterns in relationship of form, saying that “it’s all in how you hear the structure and how you add to the structure.” Carter Beauford (2002) provides a self-titled “analysis” of his drum part in the Dave Matthews Band’s “#41,” alternating between performing and describing his different drum patterns for various sections. Neil Peart (2020) shares how he would often spend multiple days internalizing his drum parts, “learn[ing] the piece inside and out” and “mak[ing] sure that I’m playing the best possible thing for this part and that part.” Producer Young Guru (Guru and Vincent 2023) notes how he applies effects to his drum parts to provide “a little flavor that comes in and lets you know we’re about to go to a different section.”
[2.5] Pedagogical resources for drumset performance also highlight the formal functions of drum patterns. Generally written by professional drummers, these books typically present a series of chapters that each focus on a particular musical style, weaving together short passages of prose and long lists of notated drum patterns. Jim Riley (2015) begins with a chapter about pop drumming and spends a full page describing the importance of thinking formally: “One of the key elements to becoming a more musical drummer is being able to understand how songs are constructed. There are identifiable parts in every song, and so if you realize what they are and how they function within the song’s form, then you can create parts for each section that will support the song’s structure” (Riley 2015, 11). His pop chapter includes more than sixty notated drum patterns, almost all of which are variations of the standard rock and four-on-the-floor patterns with different rhythms and instrumentations. The variations range from subtle to grand, but Riley’s point is that it is precisely these varied parameters, even the small ones, that help drum patterns participate in expressing musical form.
Example 2. The Beatles, “Day Tripper” (1966), verse 1
(click to enlarge and listen)
Example 3. James Brown, “Super Bad” (1970), verse and bridge
(click to enlarge and listen)
Example 4. Nirvana, “Smells Like Teen Spirit” (1991), cycle 1
(click to enlarge and listen)
Example 5. Carrie Underwood, “Before He Cheats” (2005), cycle 1
(click to enlarge and listen)
[2.6] The clearest demonstration of drum patterns’ formal functions is found in popular songs themselves. Drum patterns do not articulate form in the same ways or to the same degree in all popular songs and styles. But they do consistently participate in expressing formal boundaries, teleological functions, and formal motion across genres. More specifically, drum patterns often play a significant role in conveying a song’s teleological structure (Nobile 2022) and sonic narrative (Peres 2016), including the songs in Examples 2–5. Example 2 shows the two drum patterns performed by Ringo Starr in verse 1 of “Day Tripper” by the Beatles. A modified twelve-bar blues, the A sections have an embellished standard rock drum pattern. The expanded B section grows energetically and switches to straight-four rhythms in the bass and snare drums. In James Brown’s “Super Bad,” John “Jabo” Starks performs different drum patterns in the verse and bridge sections. Notated in Example 3, both patterns include funk’s hallmark rhythmic syncopation and highlight the rhythm of other parts in the ensemble. But the bridge’s drum pattern has a more animated and varied snare drum rhythm and switches from hi-hat to ride cymbal, and these changes contribute to the section’s sonic intensification. Example 4 shows how Dave Grohl’s drum patterns build across the verse, prechorus, and chorus of Nirvana’s “Smells Like Teen Spirit.” The verse starts with a simple variation of the standard rock pattern, using eighth notes in the bass drum and a single open hi-hat accent. The prechorus’s first drum pattern begins with a crash cymbal and shifts from closed to half-open hi-hat. Then, in the second half, Grohl adds bass drum attacks after each snare drum backbeat. Finally, the chorus unleashes the song’s iconic and most embellished standard rock beat. In Carrie Underwood’s “Before He Cheats,” Kayleigh Moyer performs three drum patterns in the first verse and chorus. Provided in Example 5, the verse begins with a standard rock variation where the backbeat rhythm alternates between accented hi-hat and rimshot attacks. The second half of the verse grows sonically by switching to all rimshot attacks, and the chorus grows sonically again with another instrumentation change—this time, to snare drum.
Example 6. Halsey, “Without Me” (2018), cycle 1
(click to enlarge and listen)
[2.7] In post-millennial pop, Halsey’s “Without Me” is an exemplar of how drum patterns participate in expressing musical form. Example 6 transcribes the first formal cycle. Timbral and textural changes permeate the excerpt, and the drum patterns’ frequent and sonically salient changes help drive the cycle’s formal teleology. “Without Me” also highlights the commonplace of formal flexibility in this repertoire, a point addressed more below in Section 4. In short, after the introduction, “Without Me” includes five sections, each four measures long, which invites interpretation about how best to identify these formal units with verse, prechorus, chorus, and postchorus labels.
[2.8] “Without Me” begins without drums in the introduction, which I consider a type of drum pattern for purposes of discussion. Verse 1 then introduces a two-layer drum pattern composed of an embellished standard rock bass drum rhythm and backbeat claps. In the prechorus, drum pattern 3 adds sixteenth notes in the hi-hat, which contributes to the section’s buildup function (Summach 2011; Peres 2016; Nobile 2022). Next, measures 13–16 have the markers of a new formal unit, but its section label is unclear. The vocal melody ascends, the harmonic layer changes instrumentation and rhythm, the bass layer drops out, and drum pattern 4 removes the bass drum and hi-hat layers and shifts the backbeat rhythm from claps to snaps. It isn’t the chorus, which begins in measure 17 with the song’s title line and drum pattern 6—the excerpt’s fullest pattern, composed of bass drum, snare drum, and hi-hat. Further, the section’s drop in energy disrupts the typical teleology of formal cycles, which tend to build incrementally and consistently from verse to chorus (Summach 2011; Peres 2016; Nobile 2022). But it also isn’t a riserchorus (Osborn 2023)—again, due to the lack of chorus lyrics. Described more below in Section 4, I believe this section can be interpreted as a second and distinct type of prechorus that is defined largely by its sonic characteristics and teleological function. I call it a down prechorus in contrast to the buildup prechorus in measures 9–12. Of my corpus songs that include a prechorus, 15% include a down prechorus that begins with a drum pattern “fall” and maintains low sonic energy throughout. Further, about a quarter of the songs with a down prechorus include the same double prechorus layout as “Without Me.” In Example 6, the down prechorus leads to the cycle’s sonic peak in chorus 1. The excerpt concludes with a postchorus marked by its lyrical tag, removal of the harmonic layer, and drum pattern 7’s one-layer realization of woodblock performing the backbeat rhythm.
3. An Analytical Framework
[3.1] “Without Me” is not a stylistic outlier. Just as drum patterns play a significant role in expressing Example 6’s formal teleology, the same is true for post-millennial pop as a whole. To better understand the formal functions of drum patterns in this repertoire, I completed a corpus study of Billboard Year-End Pop Airplay Songs charts from 2012–2021, taking the top ten songs from each year. For each song, I identified the total number of drum patterns and classified and compared their sounding characteristics. I also analyzed each song’s formal layout and examined how the drum patterns were organized formally. In this paper, I use the term “drum part” to refer to the totality of what the drums perform. “Drum patterns” are the drum part’s repetitive ostinatos. For my corpus study, I required that the ostinato repeats for at least one complete “groove” cycle (Everett 2009), though most drum patterns repeat for a full section. As I describe more below, the characteristic differences between a song’s multiple drum patterns range from subtle to grand. But as Riley (2015) notes, all types of drum pattern changes can be formally expressive.
[3.2] Examples 7–10 summarize my general findings from the corpus. Example 7 shows that the average song has 5.43 drum patterns, with a range of 1–17. Example 8 shows that the average song has 9.97 drum pattern changes—which is the action of moving between drum patterns—with a range of 0–18. Example 9 outlines the average number of drum patterns and drum pattern changes for each year. As shown in Example 10, the average song also has 9.15 formal sections, with a range of 5–15. With these general findings alone, it is easy to imagine how drum patterns can participate in expressing a song’s form. The average pop song’s five or six drum patterns often match the teleological functions of various sections, and the nearly identical number of drum pattern changes and formal sections indicate that drum patterns regularly help articulate section boundaries.
[3.3] Drum patterns, of course, are not the only form-expressing feature in post-millennial pop songs. Form is multifactorial. But the specific analysis in Example 6 and the general findings in Examples 7–10 demonstrate that drum patterns are a consistent and significant articulator of formal boundaries, teleological functions, and formal motion in this repertoire. In terms of boundaries, drum patterns regularly change at phrase and section junctures. In terms of teleological functions, drum patterns contribute to formal units’ sonic energy and musical temporality (Caplin 2009; Peres 2016; Nobile 2022). And in terms of motion, shifting between drum patterns can create a sense of musical movement and progression across different durational spans.
[3.4] To help illuminate these formal functions, I created an annotative system that succinctly summarizes the main characteristics of drum patterns in post-millennial pop songs. The system is designed specifically for analyzing drum patterns within a song rather than across multiple songs. Most drum patterns in this repertoire are a variation of either a standard rock or four-on-the-floor pattern, and my analytical framework conceptualizes drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. The rest of this section describes each parameter individually, focusing on their possible realizations and how each parameter can vary across a song’s multiple drum patterns through drum pattern changes. In this section, I also introduce my annotative method in stages as it applies to each parameter. The Appendix and Example 33 below provide a concise summary of the drum pattern labeling system.
Number of Layers
Example 11. Drum layers
(click to enlarge)
[3.5] One of a drum pattern’s most identifiable attributes is its number of sounding components. The archetypal standard rock drum pattern, for instance, has three: bass drum, snare drum, and hi-hat. In post-millennial pop songs, like Halsey’s “Without Me,” other percussive instruments and sounds can replace these drumset staples. As a result, a drum pattern’s sounding components can be classified as fulfilling one of three functional drum “layers” based upon their register, rhythm, and timbre. I call them low, middle, and high. In post-millennial pop, virtually all drum patterns have zero to three layers and perform different combinations of low, middle, and high. The top of Example 11 transcribes different standard rock realizations as an illustration. A zero-layer drum pattern is a tacet “realization” and a three-layer drum pattern includes low, middle, and high. One-layer and two-layer patterns, however, can perform different realizations and combinations. The bottom left table of Example 11 shows that across my corpus’s 543 total drum patterns, two- and three-layer patterns are more common than zero- and one-layer patterns. The center and right tables show that the most common one-layer realization is the middle layer alone, and that the most common two-layer realization is a low-middle combination.
[3.6] Example 11 also introduces the basic framework of my annotative system. From left to right, a drum pattern label communicates the presence or absence, rhythm, and instrumentation of the three drum layers. An “X” indicates a layer’s absence, and other symbols depict a layer’s “referential rhythm,” which I describe in greater detail below. For example, “R – B – 8” in Example 11 communicates a standard rock (R) rhythm in the low layer (i.e., hits on 1 and 3), a backbeat (B) rhythm in the middle layer (hits on 2 and 4), and an eighth-note (8) rhythm in the high layer. Drum labels are not meant to depict every detail of every drum pattern. Instead, they are designed to summarize the main characteristics of a song’s multiple drum patterns as a way to highlight their formally expressive features.
Example 12. Ellie Goulding, “Lights” (2011), introduction to verse 1
(click to enlarge and listen)
Example 13. Billie Eilish, “Bad Guy” (2019), introduction to chorus 1
(click to enlarge and listen)
[3.7] Post-millennial pop songs regularly shift between zero-, one-, two-, and three-layer drum patterns, and it is easy to imagine how adding and subtracting layers can help express a song’s teleological structure. Across my corpus, 96% of songs include drum patterns with different combinations of drum layers. A prevalent and effective gesture is to add drum layers across the first few phrases and sections of a song (Spicer 2004; Attas 2015). Shown in Example 12, Ellie Goulding’s “Lights” begins without drums, a zero-layer pattern, in the introduction. When Goulding’s melody enters in verse 1, drum pattern 2 performs a one-layer pattern composed of a bass drum four-on-the-floor referential rhythm. Halfway through the verse, drum pattern 3 adds two layers—a snare drum backbeat and offbeat eighth notes in the hi-hat—which creates sonic growth between the verse’s two halves. Billie Eilish’s “Bad Guy” also begins by accumulating drum layers. Rather than starting without drums, the introduction in Example 13 begins immediately with a four-on-the-floor bass drum rhythm, which continues into the verse. Like “Lights,” “Bad Guy” includes a sonically intensifying drum pattern change within verse 1, adding backbeat snaps in the second half. Finally, in the chorus, drum pattern 3 performs a three-layer realization with offbeat eighth notes in the hi-hat.
Rhythm
[3.8] The second characteristic of drum patterns is rhythm. Popular music drummers, producers, and scholars regularly distinguish between the rhythmic schemas of drum patterns and a drum pattern’s actual realization of those schemas (Riley 2015; Temperley 2018). I call the former referential rhythms and the latter surface rhythms. For instance, the backbeat is a referential rhythm. A drum pattern’s surface rhythm can be an exact realization of the backbeat referential rhythm with attacks on just the second and fourth quarter notes of a measure, but a drum pattern’s surface rhythm can also include embellishments and still project the backbeat schema. Both strict realizations and embellishments occur in “Smells Like Teen Spirit” from Example 4. In the verse and prechorus, the snare drum’s surface rhythm is an exact realization of the backbeat referential rhythm. In the chorus, Grohl adds two snare drum attacks in the middle of the measure, changing the surface rhythm while maintaining the referential rhythm.
Example 14. Referential rhythms and other options
(click to enlarge)
[3.9] Through my corpus study, I found that each drum layer has its own set of three common referential rhythms. They are provided at the top of Example 14, and the tables below identify each one’s prevalence across the corpus’s 543 total drum patterns. For the low layer, the standard rock (R) rhythm is most common followed by the four-on-the-floor (4) rhythm. A tresillo (T) rhythm is the third option, but it occurs far less frequently. For the middle drum layer, the backbeat (B) is by far the dominant referential rhythm, though tresillo (T) and straight four (4) rhythms are also possible. For the high layer, eighth notes (8) and sixteenth notes (16) are the most common referential rhythms, but some drum patterns use quarter notes (4).
Example 15. Ariana Grande, “Positions” (2020), verse 1
(click to enlarge and listen)
[3.10] In addition to each drum layer’s three referential rhythms, there are three more categories to account for other options. “X” indicates that a drum layer is absent in a particular drum pattern, and “O” represents a surface rhythm that does not relate clearly to a referential rhythm. Finally, the hybrid category takes into account both the number of layers and the instrumentation, and describes instances where multiple instruments with different referential rhythms work interdependently to comprise a single drum layer. For instance, the drum pattern in verse 1 and prechorus 1 of Ariana Grande’s “Positions” includes four sounding components. They are transcribed on two staves in Example 15 for ease of reading. Notated on the bottom staff, the bass drum performs an embellished standard rock rhythm and claps perform a backbeat rhythm, fulfilling the low and middle drum layers. Notated on the top staff, two instruments perform different high layer referential rhythms. The tambourine has eighth notes, the hi-hat has a lightly embellished sixteenth-note pattern, and the pair can be depicted with the annotative system as 16/8TAM. On the one hand, Example 15 can be considered a four-layer drum pattern since there are four sounding components. But on the other hand, I believe it is more constructive to interpret and classify a drum pattern’s sounding components within the three-layer framework, which recognizes that a drum pattern’s various components fulfill certain sonic and rhythmic roles.
Example 16. Ariana Grande, “Positions” (2020), chorus 1
(click to enlarge and listen)
Example 17. Ed Sheeran and Justin Bieber, “I Don’t Care” (2019), prechorus 2 to chorus 2
(click to enlarge and listen)
Example 18. Flo Rida, “Good Feeling” (2011), bridge to chorus 3
(click to enlarge and listen)
[3.11] Like number of layers, post-millennial pop songs also regularly vary rhythm through drum pattern changes. Seventy-seven percent of songs in my corpus include rhythmic variation, of which there are three types. The first occurs when the surface rhythm changes without changing the underlying referential rhythm. Example 16 provides the continuation of “Positions” after Example 15. This chorus has a more animated embellishment of the bass drum’s standard rock referential rhythm, as indicated with a plus symbol in the drum label. The second type occurs when a drum layer’s referential rhythm changes. Switching between eighth notes and sixteenth notes in the high layer is particularly common, such as in the second prechorus and chorus of Ed Sheeran and Justin Bieber’s “I Don’t Care,” shown in Example 17. The third type of rhythmic variation occurs when the drum feel changes, for instance from normal-time to half-time (De Clercq 2016; Garza 2021; Geary 2022). Flo Rida’s “Good Feeling” uses normal-time feel drum patterns throughout the song but pivots to half-time feel in the bridge. Provided in Example 18, the bridge ends with a two-layer, half-time feel realization before returning to a normal-time feel pattern in chorus 3. The drum labels use parentheses to communicate half-time feel (HT) and double-time feel (DT) patterns.
Instrumentation
[3.12] Finally, the third characteristic of drum patterns is instrumentation. In my corpus, most drum patterns are created by a producer with a DAW, but some are performed by a drummer on a physical drumset. Bass drum, snare drum, and hi-hat are the most common options for the low, middle, and high drum layers, but other instrumentations are possible. The low layer is the least variable. Across the corpus, the overwhelming majority of drum patterns use bass drum and only a few use stomps or toms. In the high layer, options include closed and open hi-hat, tambourine, ride cymbal, crash cymbal, triangle, and cowbell. The middle layer is the most flexible, which includes snare drum, claps, snaps, hi-hat, rim shot, woodblock, toms, tambourine, and conga. For the annotative system, bass drum, snare drum, and hi-hat are implied, and abbreviated superscripts communicate other instrumentations. Superscripts can also be used to distinguish between different samples of an instrument like “SN1” and “SN2” for different snare drums, and to communicate instrumentation doublings like “CL/SN” for claps and snare drum performing the backbeat rhythm together.
Example 19. Marshmello, “Happier” (2018), verse 1 to chorus 1
(click to enlarge and listen)
[3.13] Seventy-eight percent of songs in the corpus change instrumentation across their multiple drum patterns. Thirty-two percent of songs change the low layer’s instrumentation, 73% change the middle layer’s instrumentation, 32% change the high layer’s instrumentation, and 14% change instrumentation in all three layers. The middle layer’s frequent variability can be seen in the beginning of Marshmello’s “Happier” featuring Bastille. Example 19 shows that across the excerpt’s five drum patterns, the middle layer’s backbeat rhythm progresses through three instrumentations—each one corresponding with a different formal section. The verse begins with snaps, the prechorus builds to claps, and the chorus concludes with snare drum.
Drum Pattern Changes
Example 20. Drum pattern changes
(click to enlarge and listen)
[3.14] Drum patterns are a type of musical object, and analyzing a song’s multiple drum patterns according to their number of layers, rhythm, and instrumentation helps pinpoint their role in expressing the teleological functions of durational units. At the same time, drum pattern changes are a type of musical action, and analyzing a song’s movements between drum patterns spotlights the drums’ ability to articulate formal boundaries and create a sense of formal motion. Summarized in Example 20, a drum pattern change can be classified as a build (B) or fall (F) according to the three characteristics of drum patterns described above. A drum build adds layers, quickens or enlivens rhythm, loudens or registrally expands instrumentation, or performs a combination of these characteristics. A drum fall removes layers, slows or relaxes rhythm, softens or registrally contracts instrumentation, or performs a combination of these characteristics. In post-millennial pop songs, it is often clear whether a drum pattern change is a build or a fall. But some combine actions from both categories, therefore requiring interpretation to determine their composite effect.
4. Analysis
[4.1] To summarize, drum patterns in post-millennial pop songs can be conceptualized as different realizations of three parameters: number of layers, rhythm, and instrumentation. A song’s multiple drum patterns can be analyzed and compared according to these characteristics, and these characteristics can also be used to classify drum pattern changes as builds or falls. The theoretical approach introduced above in Section 3 is a new and effective way to analyze the significant and specific ways in which drum patterns and drum pattern changes participate in expressing form in post-millennial pop songs.
[4.2] More specifically, this article’s analytical approach can also help reinforce and refine our understanding of two commonly identified formal phenomena in post-millennial pop songs. The first is that formal units fulfill teleological functions. According to Peres, sonic syntax is a primary expresser of these functions:
I define sonic syntax as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity. I refer to the sum of these elements as sonic energy. In most recent pop songs, a section or subsection [or cycle] functions as a sonic setup, buildup, or peak. The setup and peak respectively represent the relatively low and high instants of sonic energy in a sonic progression, while the buildup represents the gradually increasing tension between these points, caused by either increasing sonic energy or by radically and abruptly decreasing it. (Peres 2016, 2)
Nobile (2022) substitutes the terms “initiation,” “buildup,” and “arrival,” which I adopt in my analyses below. While teleological functions are typically analyzed according to texture, timbre, vocal delivery, production techniques, and other sonic features in this repertoire (Peres 2016; Adams 2019; Barna 2020; Stroud 2022; Nobile 2022; Osborn 2023), the analytical examples below demonstrate with greater specificity how drum patterns participate in the expression of these functions within sections, across cycles, and throughout songs.
[4.3] The second commonly identified phenomenon in post-millennial pop songs is the genre’s balance between formal conventions and flexibility. Not unlike other popular styles, post-millennial pop has its own conventions for section types, teleological structures, and song designs. But it also has what some have identified as a heightened interest in formal flexibility. According to Nobile, “playing with [formal] conventions in this way is what songwriters have been doing for decades. But the 2010s saw more of a sea change across this musical landscape, with the cross-pollination of electronic dance music (EDM), hip-hop, and mainstream pop coinciding with a seismic shift in consumption patterns as audio streaming took over” (Nobile 2022, [4.1]). One area of flexibility is teleological structure. For instance, not every formal cycle includes all three functions—bridge–chorus cycles, for example, include just two (Peres 2016, 137)—and some cycles include sections with alternative functions—like dance choruses with a “celebratory” function (Adams 2019). The analytical examples below demonstrate that drum patterns and drum pattern changes help express post-millennial pop’s conventional layouts as well as more novel designs.
Within sections
[4.4] In post-millennial pop songs, individual sections tend to have one teleological function; in verse–prechorus–chorus form, each section has the function of initiation, buildup, and arrival respectively. But Peres (2016) also observes that what we’re calling the teleological functions of initiation, buildup, and arrival (his setup, buildup, and peak) can be analyzed hierarchically, including within sections. In my corpus, the top one hundred pop songs from 2012–2021 have a total of 997 formal sections, 749 of which contain only a single drum pattern. In other words, it is most common for a section to have one drum pattern participating in the expression of one teleological function. But this statistic also reveals that there are 248 sections with multiple drum patterns, and these 248 sections are spread across 85% of the corpus songs. This means that the majority of post-millennial pop songs have at least one section with a drum pattern change that can help express an intra-section function progression. A two-part build is most common, where progressing from one drum pattern to a second across a section’s two halves builds momentum. This occurs above in Example 12 in Goulding’s “Lights.” The verse’s drum pattern change from 4 – X – X to 4 – B – 8 can be interpreted as progressing from an initiation to a buildup function before the chorus’s arrival function.
Example 21. Cardi B, Bad Bunny, and J Balvin, “I Like It” (2018), verse 2
(click to enlarge and listen)
[4.5] Other drum pattern designs within a section are possible and demonstrate some of mainstream pop’s formal flexibility. One example is verse 2 of “I Like It” by Cardi B, Bad Bunny, and J Balvin. Example 21 shows the excerpt. The horizontal axis represents time, the vertical axis depicts sonic energy, and the color indicates section type—in this case, verse. Further, each durational unit’s teleological function is written out, and the intervening parentheticals communicate the type of drum pattern change—here, builds (B). Instead of a two-part, intra-section build like in Examples 12, verse 2 of “I Like It” has a three-part build, augmenting the accumulation effect and performing its own complete initiation–buildup–arrival progression. It also shows that Bad Bunny’s phrasal shifts between Spanish and English align with the drum pattern changes. The excerpt begins with drum pattern 1’s X – BCL/CG – X. Claps perform the backbeat rhythm, and I interpret the additional claps and conga attacks after every other backbeat as rhythmic embellishment. Next, an embellished standard rock bass drum rhythm is added as Bad Bunny switches to English. The verse has an overall sentential design, 2+2+4, and verse 1.3 is the section’s arrival point. Bad Bunny returns to Spanish, drum pattern 3 presents the excerpt’s fullest pattern, and the second drum build varies all three parameters. The high layer adds an embellished sixteenth-note rhythm, the low and middle layers have surface rhythm changes, and the middle layer switches instrumentation to snare drum.
Example 22. Post Malone, “Circles” (2019), choruses
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[4.6] Drum builds within a section can create momentum towards what comes next. Alternatively, drum falls can create a sense of resetting, repose, or closure. In my corpus, many intra-section drum falls occur at song endings and recast previously heard material. For instance, Post Malone’s “Circles” has three choruses. Shown in Example 22, Choruses 1 and 2 perform one drum pattern, 4 – B – 8, and a consistent instrumental accompaniment that express the section’s arrival function from start to finish. Chorus 3 begins like the earlier chorus iterations. But the drums are removed in the second half and other instrumental parts are stripped away in the final four measures. This is an example of what de Clercq (2017, [3.8]) refers to as a “formal blend,” where “aspects of two (or more) section roles appear to exist within the same passage.” Malone’s unchanged vocal melody helps sustain chorus 3’s formal climax. But removing the drums and other instrumental parts is typical outro rhetoric. Adopting de Clercq’s (2017, [1.6]) “both/and” approach, the experiential result in “Circles” is not chorus or outro, but chorus and outro.
Across Cycles
Example 23. Bazzi, “Mine” (2017), cycle 1
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[4.7] Formal cycles in post-millennial pop songs do not have just one archetype. Most cycles in my corpus exhibit different combinations of verse, prechorus, chorus, postchorus, riser, and/or drop sections, with a total of 2–4 sections in each cycle. Examples 23–26 demonstrate some of these conventional designs and how drum patterns consistently help express their teleological structures. The first cycle of Bazzi’s “Mine” has two sections. Shown in Example 23, it includes an initiating verse and climactic chorus, each with its own drum pattern. The drum pattern labels are bulky, but they nonetheless clearly depict each drum pattern’s sounding characteristics and the build drum pattern change. Verse 1’s drum pattern alternates measures of tacet and R – BSN1 – 16HH1/8HH2/OSC. The bass drum performs a richly embellished standard rock rhythm, and the snare drum performs a straightforward backbeat. The high layer includes three sounding components: one hi-hat performing sixteenth notes, a second and more open hi-hat performing intermittent eighth notes throughout the measure, and a suspended cymbal roll on the last quarter note. The arrival of chorus 1 is announced not only with the song’s title text but also with drum pattern 2. The tacet measure is removed, the low layer remains the same, and the middle layer switches to a more resonant snare drum. In the high layer, the sixteenth-note pattern changes to a third hi-hat sound, the eighth-note pattern continues without variation, and the suspended cymbal roll is removed.
Example 24. The Weeknd, “Can’t Feel My Face” (2015), cycle 1
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Example 25. Maroon 5, “Girls Like You (2018), cycle 1
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[4.8] Example 24 and Example 25 present cycles with three sections. In the former, The Weeknd’s “Can’t Feel My Face” has one drum pattern for each section. The verse begins with a tacet pattern and the prechorus builds by adding backbeat snaps. The cycle ends with drum pattern 3 in chorus 1, which introduces the low and high layers, and shifts the backbeat instrumentation to snare drum and claps. The first cycle of Maroon 5’s “Girls Like You” also has three sections. But instead of verse–prechorus–chorus like “Can’t Feel My Face,” “Girls Like You” is verse–chorus–postchorus. Despite their different section types, the two songs have quite similar drum patterns and teleological progressions. Shown in Example 25, “Girls Like You” begins with a tacet drum pattern in the verse, builds with half-time feel backbeat claps in the chorus, and sonically peaks with R – BCL – O (HT) in the postchorus.
Example 26. Taylor Swift, “I Knew You Were Trouble” (2012), cycle 1
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[4.9] Finally, cycles with four sections are not uncommon. Provided in Example 26, the first cycle of Taylor Swift’s “I Knew You Were Trouble” includes a verse, prechorus, riserchorus, and drop. The verse starts with bass drum performing a tresillo rhythm, and the prechorus builds by adding hi-hat with the same rhythm. Instead of progressing to a climactic chorus, however, the riserchorus starts with a tacet drum pattern 3 that contributes to the anti-telos effect (Nobile 2022). The riserchorus then builds in the second half, where an automated low-pass filter sweep is applied to drum pattern 4. Drum pattern 4 resumes the bass drum and hi-hat tresillo rhythm and adds snare drum attacks on the intervening eighth notes. Finally, the cycle peaks in the drop with drum pattern 5, a two-layer, half-time feel pattern composed of a standard rock bass drum rhythm and a backbeat snare drum rhythm.
[4.10] Examples 23–26 showcase some of mainstream pop’s most conventional layouts across a cycle. But they also highlight a type of formal flexibility common to the genre—that a single section type can have a different or more nuanced teleological function than its typical role in a cycle’s structure. For example, a chorus’s most common teleological function is arrival (Peres 2016; Nobile 2022), which can be seen in “Mine” and “Can’t Feel My Face.” In “Girls Like You,” though, the chorus has a buildup function and serves as the teleological “middle” between the verse and postchorus. Different still, the riserchorus in “I Knew You Were Trouble” begins with an anti-telos effect in the first half and has a second buildup function in the second half. In all of these examples, drum patterns play a significant role in expressing teleological function.
[4.11] Through my corpus study, I found that the prechorus can also have a flexible teleological function within a cycle. In short, there is more than one way that the section can express middle-ness between a verse and chorus, and drum patterns are often a main musical marker of this. A buildup prechorus is most common, like in Example 24, and fulfills the medial function in a typical initiation–buildup–arrival progression (Summach 2011; Peres 2016; Heetderks 2020; Nobile 2022; Osborn 2023). Another possibility is what I refer to as a down prechorus that is marked by an initial sonic drop and drum fall, and the continuation of low sonic energy throughout. A down prechorus is different from a riserchorus or an anti-telos chorus (Nobile 2022) in that it does not include chorus lyrics. It is also different from a buildup prechorus that begins with a sonic drop and reaccumulates sonic energy throughout. In cycles with a down prechorus, the teleological destination is still arrival function in the chorus, but the form functioning path is different. Rather than an energetic ramp between verse and chorus, the prechorus is an energetic valley that serves as a section of repose, rest, and recovery.
Example 27. DJ Khaled, “No Brainer” (2018), cycle 1
(click to enlarge and listen)
[4.12] DJ Khaled’s “No Brainer” featuring Justin Bieber, Chance the Rapper, and Quavo includes a clear down prechorus. Example 27 depicts the first formal cycle, and the second and third cycles have identical section and drum pattern layouts. Rapped by Quavo, verse 1 begins with an embellished standard rock bass drum rhythm and an embellished backbeat rhythm where snaps perform the backbeat and snare drum performs the embellishment. In the second half of the verse, drum pattern 2 builds by adding a unique hi-hat rhythm that combines sixteenth notes, triplet eighth notes, and tremolos. The chorus and postchorus, sung by Bieber, have the same progression from drum pattern 1 to drum pattern 2. Between the verse and chorus, the prechorus removes the drums and strips back to just melody and bass. As stated above, cycles 2 and 3 of “No Brainer” also have this section and drum pattern layout. In other words, the prechoruses are the only sections of repose in the otherwise consistently energized pop song.
Example 28. Twenty One Pilots, “Ride” (2016), cycle 1
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[4.13] The first cycle of Twenty One Pilots’ “Ride” also includes a down prechorus. Shown in Example 28, the excerpt begins with a two-part verse. The first half has a tacet drum pattern and the second half has R – B-SN1 – 16, the latter also used in the chorus. In between the two iterations of drum pattern 2, the prechorus falls to just a snare drum backbeat along with the organ’s laid-back, reggae-style offbeat attacks.
[4.14] Again, a down prechorus’s defining features are that it begins with a sonic drop, including drums, and maintains low sonic energy throughout. Peres also identifies instances where a prechorus removes key elements and has low sonic energy, but he believes it expresses a buildup function. “The tension generated by the removal of the bass is designed to draw you in and make you listen more closely. As a listener, in part because you are probably familiar with the genre’s idioms, you not only know that the bass will return, but you know it will return in combination with other elements to form a climax, and you are likely to listen in anticipation of this arrival” (Peres 2018). I agree that abruptly removing sonic layers in a prechorus creates an anticipation for their return. But analyzing a sonically subdued prechorus with a buildup function minimizes the fact that these sections also provide time to aurally, and sometimes physically in the case of performers and concertgoers, rest and recover. A prechorus can both be an energetic drop and anticipate a strong chorus arrival, and the anticipation of the future event does not discount nor necessarily supersede the sensation of repose in the present. As a result, I believe the rhetorical differences between the buildup prechoruses in Examples 24 and 26 and the down prechoruses in Examples 27 and 28 warrant treating them as functionally distinct.
[4.15] Distinguishing between buildup prechoruses and down prechoruses can also help clarify another flexible formal feature in post-millennial pop songs. Recall that the first cycle in Halsey’s “Without Me” above in Example 6 includes five sections, which I interpret as verse, buildup prechorus, down prechorus, chorus, and postchorus. While it is possible to read measures 9–16 as one prechorus with two parts, I believe maintaining consistent section lengths coupled with the differences in melody, instrumental texture, and drum patterns tip the interpretive scale in favor of two distinct prechoruses sections.
Example 29. Dua Lipa, “Don’t Start Now” (2020), cycle 1
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[4.16] Dua Lipa’s “Don’t Start Now” also includes this phenomenon, which I refer to as a double prechorus. Shown in Example 29, the verse begins with 4 – B – 8HH1 and the buildup prechorus’s drum pattern 2 amends the middle and high layers. Claps are added to every other backbeat, and breath exhalations alternating with half-open hi-hat attacks sound on the third beat of each measure. Then, rather than building directly into the chorus, the down prechorus begins with a drum fall and texture change. Drum pattern 3 drops to backbeat claps, and the verse and buildup prechorus’s animated bass line switches to sustained chordal punctuations. The second half of the down prechorus adds tambourine sixteenth notes and a descant violin synthesizer, augmenting the sense of anticipation towards the chorus without superseding the sense of repose established at the section’s onset. Finally, the cycle concludes climactically with drum pattern 5 in the chorus, which combines the low and middle layers from drum pattern 2 with the high layer of drum pattern 1.
Throughout Songs
Example 30. Sia, “Cheap Thrills” (2016)
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[4.17] Finally, drum patterns and drum pattern changes help express form throughout complete songs. Like cycles, there is not just one formal design that perfectly encapsulates every post-millennial pop song, but Sia’s “Cheap Thrills” in Example 30 has one of the most conventional layouts: an introduction; two cycles of verse, prechorus, and chorus; a third cycle of bridge and chorus; and an outro. Further, the six drum patterns play a prominent role in expressing the song’s teleological structure, particularly within each formal cycle. The introduction begins with tacet drums before adding a four-on-the-floor bass drum rhythm in the second half, which continues into verse 1. Prechorus 1 builds with drum pattern 3’s introduction of woodblock and quiet snaps performing a backbeat rhythm. The first cycle peaks in the chorus with drum pattern 4: a four-on-the-floor bass drum rhythm, a snare drum performing a half-measure tresillo rhythm, and woodblock and snaps continuing the backbeat. The second formal cycle has another initiation–buildup–arrival progression. It has the same drum pattern progression as the first cycle, with the exception of chorus 2’s addition of a quiet swung sixteenth-note referential rhythm. In the third cycle, the bridge starts without vocals and a return to drum pattern 2’s four-on-the-floor bass drum rhythm. Finally, chorus 3 restates drum pattern 5 before the outro falls to drum pattern 6 and then to drum pattern 1.
[4.18] Similar to individual sections and formal cycles, complete songs have their own teleological structure. Many post-millennial pop songs build from start to finish and peak in the final chorus, postchorus, or drop, depending on the song’s particular design. Pop producer and songwriter Max Martin describes this phenomenon in his creative approach. “I like it when a song is like a journey, building up along the way. That they start out smaller than they end. Along the trip, you add elements that make the listener less likely to tire. Then, at the end, euphoria” (Gradvall 2016). Peres (2018) specifically maps the initiation, buildup, and arrival functions—or using his terminology, setup, buildup, and climax—onto a song’s three formal cycles. Other research focuses on specific techniques that pop artists use to create song-ending peaks. Megan Lavengood (2021) describes how “complement” and original chorus melodies can combine to create a final “cumulative chorus.” Osborn (2023, 51) observes that many Top-40 EDM hits combine chorus melodies and drop grooves in the third cycle to create a “super-hybrid section I call [the] riserchorus-drop.”
[4.19] Drum patterns can also help express a song’s energetic growth and formal culmination. To express formal culmination, many post-millennial pop songs introduce a new drum pattern in the final chorus. In my corpus, the most common technique is to accelerate the hi-hat rhythm from eighth notes heard throughout the song to sixteenth notes in the last chorus. Examples include Ellie Goulding’s “Love Me Like You Do” and Charlie Puth’s “Attention.” Other songs introduce a more novel drum pattern, such as Bruno Mars’s “Locked Out of Heaven” using the song’s only half-time feel groove and Eilish’s “Bad Guy” introducing a dramatic tempo shift.
Example 31. Ed Sheeran, “Perfect” (2017)
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[4.20] In addition to articulating song-ending peaks, drum patterns and drum pattern changes can also, as Riley (2015, 11) notes, “help ramp up the energy of a song from beginning to end.” Ed Sheeran’s “Perfect” is a unique example. The song’s many vocal and instrumental parts work together to express its teleological structure, but the almost exclusive use of drum builds, with only one drum fall, contributes significantly to the song’s steady and incremental sonic growth from the first verse to the final chorus. Shown in Example 31, verse 1 begins with tacet drums. Then, prechorus 1 introduces quiet snaps performing a backbeat rhythm, which continues into the chorus. A brief and drum-less link connects the two cycles before verse 2 resumes the drum patterns’ builds. In drum pattern 3, the backbeat snaps continue from drum pattern 2, tambourine attacks are added to every other backbeat, and the bass drum begins an embellished standard rock rhythm. Drum pattern 4 in prechorus 2 builds again, which continues through chorus 2 and into the bridge. The high layer adds hi-hat eighth notes, backbeat snaps switch to snare drum, and the tambourine now articulates every backbeat. Finally, chorus 3 is the song’s sonic peak across the vocal and instrumental parts. Drum pattern 5 maintains the low and middle layers while the high layer quietly switches to sixteenth notes. The song concludes with drum pattern 1 in the outro.
Example 32. Khalid and Normani, “Love Lies” (2018)
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[4.21] The near uniformity of drum builds found in “Perfect” is rare. But there are other ways that drum patterns can build from beginning to end as a way to express teleological motion throughout a song. One technique is to build both within and between a song’s three formal cycles. Put differently, each cycle can build towards its chorus, and each chorus can build from one to the next. An example is Khalid and Normani’s “Love Lies.” Example 32 shows that there are four drum patterns that vary only according to number of layers. Drum pattern 1 is X – X – X, drum pattern 2 is X – BSP – X, drum pattern 3 is X – BSP – 16, and drum pattern 4 is R – BSP – 16. The drum patterns’ characteristic differences are simple and straightforward. But their formal organization and frequent changes, thirteen total drum pattern changes, drive their expressive power. “Love Lies” begins with a progression through all four drum patterns. After tacet drums in the introduction, verse 1 begins with backbeat snaps, and hi-hat sixteenth notes are added in the second half. Prechorus 1 builds again by introducing an embellished standard rock bass drum rhythm. Chorus 1 is an anti-telos chorus. Instead of functioning as the cycle’s climactic arrival, it subverts formal expectations with a drum fall back to drum pattern 2. The second formal cycle begins the same as the first, progressing through drum patterns 2, 3, and 4 in the verse and prechorus. Chorus 2 also begins the same as chorus 1 with a drum fall back to drum pattern 2. But unlike the first cycle, chorus 2 is twice as long as the first chorus iteration, and the reintroduction of drum pattern 4 in the second half shifts the section’s overall effect back to a climactic arrival. Finally, the third cycle compresses the progression through drum patterns 2, 3, and 4 into one section, the bridge. Then, instead of a third anti-telos chorus, chorus 3 finally states at the onset drum pattern 4’s full, three-layer realization, serving as the formal climax for both the third cycle and full song.
5. Conclusion
[5.1] While drum patterns perform rhythmic and metric functions, they also play a significant role in expressing musical form, particularly in post-millennial pop songs. The primary goal of this article is to introduce a new and practical analytical method that highlights the formally expressive features of drum patterns and drum pattern changes in this repertoire. Analyzing a song’s drum patterns according to their number of layers, rhythm, and instrumentation highlights the principal ways that drum patterns and drum pattern changes articulate formal boundaries, teleological functions, and formal motion. These formal functions are not reserved for any one level of form. Rather, drum patterns are formally expressive within sections, across cycles, and throughout songs. Furthermore, drum patterns do not only articulate conventional formal layouts in post-millennial pop, they also help express more novel section, cycle, and song designs.
[5.2] While this article’s analytical framework is effective for spotlighting the formally expressive features of drum patterns and drum pattern changes in post-millennial pop songs, it does not strive to account comprehensively for all of the drums’ formally expressive features. Post-millennial pop songs include drum patterns that strain and exceed my annotative system’s capacities. Drum patterns and drum pattern changes are also formally expressive in other popular styles, but in nuanced ways compared to post-millennial pop that to analyze appropriately would require amendments to this article’s approach. Finally, drum fills, drum solos, and other aspects of drum parts express musical form. Not only would these and other avenues for future research refine our understanding of the drums’ formally expressive features, but they would also further underscore the instrument’s multifunctionality.
Appendix. Drum Pattern Labeling System
Example 33. Drum pattern labeling system
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In post-millennial pop songs, drum patterns are typically a variation of either a standard rock or four-on-the-floor pattern. My analytical method frames drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. Example 33 summarizes my drum pattern labeling system. From left to right, a drum pattern label communicates the presence or absence, rhythm, and instrumentation of the low, middle, and high drum layers. For the primary symbols, each drum layer has a set of common referential rhythms: standard rock (R), four-on-the-floor (4), and tresillo (T) for the low layer; backbeat (B), straight four (4), and tresillo (T) for the middle layer; and eighth notes (8), sixteenth notes (16), and quarter notes (4) for the high layer. Other options are possible that can apply to all three drum layers: other (O), where a particular surface rhythm does not clearly relate to a referential rhythm; hybrid (variable labels), where multiple instruments with different referential rhythms work interdependently to fulfill a single drum layer; and absent (X), where a layer is tacet. Auxiliary symbols can be added to express aspects of rhythm and instrumentation. First, plus (+) and minus (-) symbols depict comparative amounts of surface rhythm embellishment of a single referential rhythm. Second, bass drum, snare drum, and hi-hat are the assumed instrumentations for the low, middle, and high drum layers. Abbreviated superscripts communicate other instrumentations. Third, the annotative system assumes a normal-time feel, and parenthetical addenda express half-time feel (HT) and double-time feel (DT) patterns.
David Geary
Wake Forest University
Scales Fine Arts Center, M312
Winston-Salem, NC 27109
gearyd@wfu.edu
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Caplin, William E. 2009. “What Are Formal Functions?” In Musical Form, Forms, & Formenlehre: Three Methodological Reflections, ed. Pieter Bergé, 21–40. University of Leuven Press. https://doi.org/10.2307/j.ctt9qf01v.5.
Connell, Joseph. 2018. “John ‘Jabo’ Starks: ‘Superbad.’” Modern Drummer. Accessed June 28, 2023. https://www.moderndrummer.com/2018/05/john-jabo-starks-superbad/.
Connell, Joseph. 2018. “John ‘Jabo’ Starks: ‘Superbad.’” Modern Drummer. Accessed June 28, 2023. https://www.moderndrummer.com/2018/05/john-jabo-starks-superbad/.
Covach, John. 2005. “Form in Rock Music: A Primer.” In Engaging Music: Essays in Music Analysis, ed. Deborah Stein, 65–76. Oxford University Press.
Covach, John. 2005. “Form in Rock Music: A Primer.” In Engaging Music: Essays in Music Analysis, ed. Deborah Stein, 65–76. Oxford University Press.
Danielsen, Anne. 2010. “Here, There, and Everywhere: Three Accounts of Pulse in D’Angelo’s ‘Left and Right.’” In Musical Rhythm in the Age of Digital Reproduction, ed. Anne Danielsen, 19–35. Ashgate. https://doi.org/10.4324/9781315596983-2.
Danielsen, Anne. 2010. “Here, There, and Everywhere: Three Accounts of Pulse in D’Angelo’s ‘Left and Right.’” In Musical Rhythm in the Age of Digital Reproduction, ed. Anne Danielsen, 19–35. Ashgate. https://doi.org/10.4324/9781315596983-2.
De Clercq, Trevor. 2016. “Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music.” Music Theory Online 22 (3). https://doi.org/10.30535/mto.22.3.3.
De Clercq, Trevor. 2016. “Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music.” Music Theory Online 22 (3). https://doi.org/10.30535/mto.22.3.3.
De Clercq, Trevor. 2017. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online 23 (3). https://doi.org/10.30535/mto.23.3.4.
—————. 2017. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online 23 (3). https://doi.org/10.30535/mto.23.3.4.
Dean, Matt. 2012. The Drums: A History. Scarecrow Press.
Dean, Matt. 2012. The Drums: A History. Scarecrow Press.
Easley, David. 2015. “Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83).” Music Theory Online 21 (1). https://doi.org/10.30535/mto.21.1.3.
Easley, David. 2015. “Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83).” Music Theory Online 21 (1). https://doi.org/10.30535/mto.21.1.3.
Everett, Walter. 2009. The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes. Oxford University Press.
Everett, Walter. 2009. The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes. Oxford University Press.
Fink, Robert. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of American Musicological Society 64 (1): 179–238. https://doi.org/10.1525/jams.2011.64.1.179.
Fink, Robert. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of American Musicological Society 64 (1): 179–238. https://doi.org/10.1525/jams.2011.64.1.179.
Garza, Jose M. 2021. “Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.3.
Garza, Jose M. 2021. “Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.3.
Geary, David. 2022. “Analyzing the Beat in Metrically Consonant Popular Songs: A Multifaceted Approach.” Music Theory Online 28 (4). https://mtosmt.org/issues/mto.22.28.4/mto.22.28.4.geary.html
Geary, David. 2022. “Analyzing the Beat in Metrically Consonant Popular Songs: A Multifaceted Approach.” Music Theory Online 28 (4). https://mtosmt.org/issues/mto.22.28.4/mto.22.28.4.geary.html
Gradvall, Jan. 2016. “World Exclusive: Max Martin, #1 Hitmaker.” Di Weekend. Accessed December 1, 2019. https://www.di.se/weekend/max-martin-haller-tempot/.
Gradvall, Jan. 2016. “World Exclusive: Max Martin, #1 Hitmaker.” Di Weekend. Accessed December 1, 2019. https://www.di.se/weekend/max-martin-haller-tempot/.
Guru, Young, and Reuben Vincent. 2023. “How to Produce a Track with the Pros: Young Guru and Reuben Vincent.” iZotope. YouTube video, 25:33. https://www.youtube.com/watch?v=Bp6B3ld1Yqw.
Guru, Young, and Reuben Vincent. 2023. “How to Produce a Track with the Pros: Young Guru and Reuben Vincent.” iZotope. YouTube video, 25:33. https://www.youtube.com/watch?v=Bp6B3ld1Yqw.
Hanenberg, Scott J. 2020. “Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves.” Music Theory Spectrum 42 (2): 227–46. https://doi.org/10.1093/mts/mtaa005.
Hanenberg, Scott J. 2020. “Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves.” Music Theory Spectrum 42 (2): 227–46. https://doi.org/10.1093/mts/mtaa005.
Hanenberg, Scott J. 2021. “Theorizing Complex and Irregular Grooves.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 94–111. Cambridge University Press. https://doi.org/10.1017/9781108779517.010.
—————. 2021. “Theorizing Complex and Irregular Grooves.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 94–111. Cambridge University Press. https://doi.org/10.1017/9781108779517.010.
Heetderks, David. 2020. “Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Schemas.” Music Theory Spectrum 41 (1): 1–23. https://doi.org/10.1093/mts/mtz023.
Heetderks, David. 2020. “Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Schemas.” Music Theory Spectrum 41 (1): 1–23. https://doi.org/10.1093/mts/mtz023.
Hudson, Steven. 2021. “Compound AABA Form and Style Distinction in Heavy Metal.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.5.
Hudson, Steven. 2021. “Compound AABA Form and Style Distinction in Heavy Metal.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.5.
Hudson, Steven. 2022. “Bang Your Head: Construing Beat through Familiar Drum Patterns in Metal Music.” Music Theory Spectrum 44 (1): 121–40. https://doi.org/10.1093/mts/mtab014.
—————. 2022. “Bang Your Head: Construing Beat through Familiar Drum Patterns in Metal Music.” Music Theory Spectrum 44 (1): 121–40. https://doi.org/10.1093/mts/mtab014.
Keltner, Jim. 2020. “Drummers Who Compose | Part 1 of 4.” Drum Channel. YouTube video, 23:00. Accessed June 28, 2023. https://www.youtube.com/watch?v=llY1_4fZzJ8.
Keltner, Jim. 2020. “Drummers Who Compose | Part 1 of 4.” Drum Channel. YouTube video, 23:00. Accessed June 28, 2023. https://www.youtube.com/watch?v=llY1_4fZzJ8.
Lavengood, Megan L. 2021. “‘Oops!... I Did It Again’: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC.” SMT-V 7 (6). https://doi.org/10.30535/smtv.7.6.
Lavengood, Megan L. 2021. “‘Oops!... I Did It Again’: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC.” SMT-V 7 (6). https://doi.org/10.30535/smtv.7.6.
Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Ashgate.
Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Ashgate.
Nicholls, Geoff. 2008. The Drum Book: A History of the Rock Drum Kit. Backbeat Books.
Nicholls, Geoff. 2008. The Drum Book: A History of the Rock Drum Kit. Backbeat Books.
Nobile, Drew. 2020. Form as Harmony in Rock Music. Oxford University Press. https://doi.org/10.1093/oso/9780190948351.001.0001.
Nobile, Drew. 2020. Form as Harmony in Rock Music. Oxford University Press. https://doi.org/10.1093/oso/9780190948351.001.0001.
Nobile, Drew. 2022. “Teleology in Verse–Prechorus–Chorus Form, 1965–2020.” Music Theory Online 28 (3). https://mtosmt.org/issues/mto.22.28.3/mto.22.28.3.nobile.html.
Nobile, Drew. 2022. “Teleology in Verse–Prechorus–Chorus Form, 1965–2020.” Music Theory Online 28 (3). https://mtosmt.org/issues/mto.22.28.3/mto.22.28.3.nobile.html.
Osborn, Brad. 2010. “Beats that Commute: Algebraic and Kinesthetic Models for Math-Rock Grooves.” Gamut 3 (1): 43–67.
Osborn, Brad. 2010. “Beats that Commute: Algebraic and Kinesthetic Models for Math-Rock Grooves.” Gamut 3 (1): 43–67.
Osborn, Brad. 2013. “Subverting the Verse/Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.” Music Theory Spectrum 35 (1): 23–47. https://doi.org/10.1525/mts.2013.35.1.23.
—————. 2013. “Subverting the Verse/Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.” Music Theory Spectrum 35 (1): 23–47. https://doi.org/10.1525/mts.2013.35.1.23.
Osborn, Brad. 2017. Everything in its Right Place: Analyzing Radiohead. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780190629229.001.0001.
—————. 2017. Everything in its Right Place: Analyzing Radiohead. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780190629229.001.0001.
Osborn, Brad. 2023. “Formal Functions and Rotations in Top-40 EDM.” Intégral 36: 35–54.
—————. 2023. “Formal Functions and Rotations in Top-40 EDM.” Intégral 36: 35–54.
Peart, Neil. 2020. “How Did Neil Peart Learn a Song?” Drum Channel. YouTube video, 4:59. Accessed June 28, 2023. https://www.youtube.com/watch?v=R_YJ6GXDhaU.
—————. 2020. “How Did Neil Peart Learn a Song?” Drum Channel. YouTube video, 4:59. Accessed June 28, 2023. https://www.youtube.com/watch?v=R_YJ6GXDhaU.
Peres, Asaf. 2016. “The Sonic Dimension as Dramatic Driver in 21st-Century Pop Music.” PhD diss., University of Michigan.
Peres, Asaf. 2016. “The Sonic Dimension as Dramatic Driver in 21st-Century Pop Music.” PhD diss., University of Michigan.
Peres, Asaf. 2018. “Sonic Functions: The Producer’s Alternative to Harmonic Functions in Modern Music.” Top40 Theory. Accessed June 28, 2023. https://www.top40theory.com/blog/sonic-functions-the-alternative-to-harmonic-functions-in-modern-music.
—————. 2018. “Sonic Functions: The Producer’s Alternative to Harmonic Functions in Modern Music.” Top40 Theory. Accessed June 28, 2023. https://www.top40theory.com/blog/sonic-functions-the-alternative-to-harmonic-functions-in-modern-music.
Pillsbury, Glenn T. 2006. Damage Incorporated: Metallica and the Production of Musical Identity. Routledge.
Pillsbury, Glenn T. 2006. Damage Incorporated: Metallica and the Production of Musical Identity. Routledge.
Riley, Jim. 2015. Survival Guide for the Modern Drummer: A Crash Course in All Musical Styles for Drumset. Alfred Music.
Riley, Jim. 2015. Survival Guide for the Modern Drummer: A Crash Course in All Musical Styles for Drumset. Alfred Music.
Smith, Mandy J. 2021. “The Meaning of the Drumming Body.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 197–209. Cambridge University Press. https://doi.org/10.1017/9781108779517.019.
Smith, Mandy J. 2021. “The Meaning of the Drumming Body.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 197–209. Cambridge University Press. https://doi.org/10.1017/9781108779517.019.
Spicer, Mark. 2004. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1 (1): 29–64. https://doi.org/10.1017/S1478572204000052.
Spicer, Mark. 2004. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1 (1): 29–64. https://doi.org/10.1017/S1478572204000052.
Stroud, Cara. 2022. “Codetta and Anthem Postchorus Types in Top-40 Pop from 2015 to 2015.” Music Theory Online 28 (2). https://doi.org/10.30535/mto.28.2.9.
Stroud, Cara. 2022. “Codetta and Anthem Postchorus Types in Top-40 Pop from 2015 to 2015.” Music Theory Online 28 (2). https://doi.org/10.30535/mto.28.2.9.
Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory Online 17 (3). https://doi.org/10.30535/mto.17.3.2.
Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory Online 17 (3). https://doi.org/10.30535/mto.17.3.2.
Tamlyn, Gary Neville. 1998. “The Big Beat: Origins and Developments of Snare Backbeats and other Accompanimental Rhythms in “Rock’n’Roll.” PhD diss., University of Liverpool.
Tamlyn, Gary Neville. 1998. “The Big Beat: Origins and Developments of Snare Backbeats and other Accompanimental Rhythms in “Rock’n’Roll.” PhD diss., University of Liverpool.
Temperley, David. 2018. The Musical Language of Rock. Oxford University Press. https://doi.org/10.1093/oso/9780190653774.001.0001.
Temperley, David. 2018. The Musical Language of Rock. Oxford University Press. https://doi.org/10.1093/oso/9780190653774.001.0001.
1. For a historical overview of the drumset, see Geoff Nicholls (2008) and Matt Dean (2012).
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2. Adopting slightly different language, Asaf Peres (2016) refers to these as “sonic functions” and Kyle Adams (2019) refers to them as “rhetorical functions.” I discuss teleological functions in greater detail below in paragraph [4.2].
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3. Formal cycles are a popular song’s recurring, multi-section formal units (Nobile 2022). Related terms include formal rotations (Osborn 2023) and verse-chorus units (Temperley 2018).
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4. Peres (2016, 2) defines sonic syntax “as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity.” For more details about sonic syntax, see paragraph [4.2] below.
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5. Rather than providing comprehensive theoretical methodologies or detailed analyses, much of the existing scholarship that addresses the formal functions of drum patterns has a more limited scope (Butler 2001; Butler 2006; Pillsbury 2006; Biamonte 2014; Easley 2015; Peres 2016; Osborn 2017; Peres 2018; Adams 2019; Hanenberg 2021; Hudson 2021; Hudson 2022; Osborn 2023).
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6. Some specific challenges of applying tonal metaphors to analyze drum patterns include the concepts of monotonality, harmonic functions, cadences, and closure (Peres 2016, 101–3).
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7. Examples 3 and 5 include asterisks to identify drum patterns that have slight variations on some repetitions. This is a common practice in many popular styles, but it is a rarity in post-millennial pop where drum patterns typically repeat without variation.
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8. For more on “energy” in popular music, see Temperley (2018, 136–49).
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9. The notation in Example 3 is taken from Joseph Connell (2018).
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10. For the sake of brevity, in the remainder of this article I do not include complete lists of a song’s songwriters and producers; instead, I name only the listed artists. It is not uncommon for a post-millennial pop song’s creative team to include half a dozen or more artists, all of whom play an important role in the composition, performance, and production processes. Further, it is not always clear who is responsible for creating each part, including the drum patterns.
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11. Throughout this article, I refer to passages without drums as a tacet “drum pattern” since almost all pop songs weave between sections with and without drums in formally expressive ways, making tacet “realizations” a counterpart to sounding drum patterns.
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12. In my corpus, most drum patterns are created by producers with a digital audio workstation or related type of music technology, but many are performed by drummers on a physical drumset. Each creative medium has its own musical affordances, but they also share a high degree of overlap, and music production techniques applied to performed drum parts further obscure their differences. This article focuses on drum patterns in post-millennial pop as a whole, and my analytical system is designed for both programmed and performed drum patterns.
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13. Everett (2009, 304) defines groove as “a regularly repeating pattern in drums, bass, rhythm guitar, keyboard, and backing vocals.”
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14. Nicole Biamonte (2014, [6.3]) also observes that instrumentations other than bass drum, snare drum, and hi-hat can fulfill a drum pattern’s functional drum layers, like foot stomps and hand claps in Queen’s “We Will Rock You.”
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15. As detailed below, a drum pattern’s referential rhythm can be different than its surface rhythm (Riley 2015; Temperley 2018). The bass drum’s surface rhythm in drum pattern 2 includes a light tresillo embellishment in every other measure, but its referential rhythm is still four-on-the-floor.
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16. The annotative system uses superscripts to depict instrumentations other than bass drum, snare drum, and hi-hat.
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17. The referential rhythms and other options in Example 14 are specific to drum patterns in post-millennial pop songs. They are not universal to all popular styles, which may include different referential rhythms and other options.
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18. The tresillo (3+3+2) referential rhythm includes both two dotted quarter notes plus quarter note, shown in Example 14, and two dotted eighth notes plus eighth note. I call these a full-measure tresillo rhythm and a half-measure tresillo rhythm, respectively.
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19. Another reason to interpret and classify a drum pattern’s sounding components according to functional drum layers is that it identifies relationships that are otherwise methodologically unavailable. For instance, in Marshmello’s “Happier” featuring Bastille (see Example 19), the middle layer’s backbeat rhythm is performed by snaps, claps, and snare drum. Interpreting each instrumentation as an independent layer neglects their shared functional role within the excerpt’s drum patterns.
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20. Normal-time feel drum patterns alternate bass drum and snare drum attacks at a quarter-note rate, half-time feel patterns alternate attacks at a half-note rate, and double-time feel patterns alternate at an eighth-note rate (De Clercq 2016).
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21. There are some overlaps of instrumentation between the three drum layers. For instance, hi-hat typically performs the high layer’s eighth-note and sixteenth-note referential rhythms, but it also occasionally performs the middle layer’s backbeat rhythm. The flexibility of instrumentation in post-millennial pop songs is another reason why I prefer to interpret and classify a drum pattern’s sounding components according to functional drum layers.
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22. Prechorus 1 ends with a two-measure drum fill composed of a bass drum rhythmic acceleration. While drum fills also participate in expressing musical form (Hanenberg 2020), the focus of this article is drum patterns.
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23. Attas (2015) also combines object and process orientations to analyze popular music grooves and form.
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24. Peres (2018) states that “although setup, buildup, and peak are the main and most important sonic functions in the genre, they are not the only possible ones.”
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25. Barna (2020) and Nobile (2022) adopt similar diagram formats.
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26. As Nobile (2022, [1.2]) states, “teleological arrival is both a specific moment and an entire section; the arrival moment is the first downbeat of the arrival section, and the remainder of the section sustains that moment’s energy in a celebratory plateau.”
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27. In Example 22, I label the removal of drums with a “diffusion sonic function” (Peres 2018). An outro is an after-the-end section (Caplin 2009) with a “conclusion” function (Peres 2016; Temperley 2018).
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28. Nobile (2020, 121–22) uses the term “chorus outro” for a similar phenomenon in rock songs.
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29. For more about these section types and their teleological functions in post-millennial pop songs, see Peres (2016), Adams (2019), Stroud (2022), Nobile (2022), and Osborn (2023).
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30. For a more detailed discussion of the formal design in Example 26, see Nobile (2022, [4.8]) and Osborn (2023, 41–44).
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31. For another example of verse–chorus–postchorus form with a buildup chorus, see Osborn’s (2023) analysis of Carly Rae Jepsen’s “Party for One.”
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32. For another example of verse–prechorus–riserchorus–drop form with an anti-telos and riser chorus, see Nobile’s (2022) analysis of The Chainsmokers’ “Closer.”
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33. Peres also states that “all three of these sonic functions are anticipatory, to varying degrees. The setup, as its name would suggest, sets up an expectation for a buildup. The buildup builds up tension toward the peak/climax. The peak represents a high level of tension waiting to be released” (Peres 2016, 73). In a sense, then, all three functions have a degree of tension caused by anticipation.
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34. The third formal cycle in “Ride” includes a buildup prechorus with dramatically different musical characteristics compared to the down prechorus in Example 28—making this example a particularly helpful illustration of the prechorus’s flexible teleological function.
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35. Songs from other popular genres also typically build from start to finish and peak at the conclusion (Spicer 2004; Osborn 2013).
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For a historical overview of the drumset, see Geoff Nicholls (2008) and Matt Dean (2012).
Adopting slightly different language, Asaf Peres (2016) refers to these as “sonic functions” and Kyle Adams (2019) refers to them as “rhetorical functions.” I discuss teleological functions in greater detail below in paragraph [4.2].
Formal cycles are a popular song’s recurring, multi-section formal units (Nobile 2022). Related terms include formal rotations (Osborn 2023) and verse-chorus units (Temperley 2018).
Peres (2016, 2) defines sonic syntax “as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity.” For more details about sonic syntax, see paragraph [4.2] below.
Rather than providing comprehensive theoretical methodologies or detailed analyses, much of the existing scholarship that addresses the formal functions of drum patterns has a more limited scope (Butler 2001; Butler 2006; Pillsbury 2006; Biamonte 2014; Easley 2015; Peres 2016; Osborn 2017; Peres 2018; Adams 2019; Hanenberg 2021; Hudson 2021; Hudson 2022; Osborn 2023).
Some specific challenges of applying tonal metaphors to analyze drum patterns include the concepts of monotonality, harmonic functions, cadences, and closure (Peres 2016, 101–3).
Examples 3 and 5 include asterisks to identify drum patterns that have slight variations on some repetitions. This is a common practice in many popular styles, but it is a rarity in post-millennial pop where drum patterns typically repeat without variation.
For more on “energy” in popular music, see Temperley (2018, 136–49).
The notation in Example 3 is taken from Joseph Connell (2018).
For the sake of brevity, in the remainder of this article I do not include complete lists of a song’s songwriters and producers; instead, I name only the listed artists. It is not uncommon for a post-millennial pop song’s creative team to include half a dozen or more artists, all of whom play an important role in the composition, performance, and production processes. Further, it is not always clear who is responsible for creating each part, including the drum patterns.
Throughout this article, I refer to passages without drums as a tacet “drum pattern” since almost all pop songs weave between sections with and without drums in formally expressive ways, making tacet “realizations” a counterpart to sounding drum patterns.
In my corpus, most drum patterns are created by producers with a digital audio workstation or related type of music technology, but many are performed by drummers on a physical drumset. Each creative medium has its own musical affordances, but they also share a high degree of overlap, and music production techniques applied to performed drum parts further obscure their differences. This article focuses on drum patterns in post-millennial pop as a whole, and my analytical system is designed for both programmed and performed drum patterns.
Everett (2009, 304) defines groove as “a regularly repeating pattern in drums, bass, rhythm guitar, keyboard, and backing vocals.”
Nicole Biamonte (2014, [6.3]) also observes that instrumentations other than bass drum, snare drum, and hi-hat can fulfill a drum pattern’s functional drum layers, like foot stomps and hand claps in Queen’s “We Will Rock You.”
As detailed below, a drum pattern’s referential rhythm can be different than its surface rhythm (Riley 2015; Temperley 2018). The bass drum’s surface rhythm in drum pattern 2 includes a light tresillo embellishment in every other measure, but its referential rhythm is still four-on-the-floor.
The annotative system uses superscripts to depict instrumentations other than bass drum, snare drum, and hi-hat.
The referential rhythms and other options in Example 14 are specific to drum patterns in post-millennial pop songs. They are not universal to all popular styles, which may include different referential rhythms and other options.
The tresillo (3+3+2) referential rhythm includes both two dotted quarter notes plus quarter note, shown in Example 14, and two dotted eighth notes plus eighth note. I call these a full-measure tresillo rhythm and a half-measure tresillo rhythm, respectively.
Another reason to interpret and classify a drum pattern’s sounding components according to functional drum layers is that it identifies relationships that are otherwise methodologically unavailable. For instance, in Marshmello’s “Happier” featuring Bastille (see Example 19), the middle layer’s backbeat rhythm is performed by snaps, claps, and snare drum. Interpreting each instrumentation as an independent layer neglects their shared functional role within the excerpt’s drum patterns.
Normal-time feel drum patterns alternate bass drum and snare drum attacks at a quarter-note rate, half-time feel patterns alternate attacks at a half-note rate, and double-time feel patterns alternate at an eighth-note rate (De Clercq 2016).
There are some overlaps of instrumentation between the three drum layers. For instance, hi-hat typically performs the high layer’s eighth-note and sixteenth-note referential rhythms, but it also occasionally performs the middle layer’s backbeat rhythm. The flexibility of instrumentation in post-millennial pop songs is another reason why I prefer to interpret and classify a drum pattern’s sounding components according to functional drum layers.
Prechorus 1 ends with a two-measure drum fill composed of a bass drum rhythmic acceleration. While drum fills also participate in expressing musical form (Hanenberg 2020), the focus of this article is drum patterns.
Attas (2015) also combines object and process orientations to analyze popular music grooves and form.
Peres (2018) states that “although setup, buildup, and peak are the main and most important sonic functions in the genre, they are not the only possible ones.”
Barna (2020) and Nobile (2022) adopt similar diagram formats.
As Nobile (2022, [1.2]) states, “teleological arrival is both a specific moment and an entire section; the arrival moment is the first downbeat of the arrival section, and the remainder of the section sustains that moment’s energy in a celebratory plateau.”
In Example 22, I label the removal of drums with a “diffusion sonic function” (Peres 2018). An outro is an after-the-end section (Caplin 2009) with a “conclusion” function (Peres 2016; Temperley 2018).
Nobile (2020, 121–22) uses the term “chorus outro” for a similar phenomenon in rock songs.
For more about these section types and their teleological functions in post-millennial pop songs, see Peres (2016), Adams (2019), Stroud (2022), Nobile (2022), and Osborn (2023).
For a more detailed discussion of the formal design in Example 26, see Nobile (2022, [4.8]) and Osborn (2023, 41–44).
For another example of verse–chorus–postchorus form with a buildup chorus, see Osborn’s (2023) analysis of Carly Rae Jepsen’s “Party for One.”
For another example of verse–prechorus–riserchorus–drop form with an anti-telos and riser chorus, see Nobile’s (2022) analysis of The Chainsmokers’ “Closer.”
Peres also states that “all three of these sonic functions are anticipatory, to varying degrees. The setup, as its name would suggest, sets up an expectation for a buildup. The buildup builds up tension toward the peak/climax. The peak represents a high level of tension waiting to be released” (Peres 2016, 73). In a sense, then, all three functions have a degree of tension caused by anticipation.
The third formal cycle in “Ride” includes a buildup prechorus with dramatically different musical characteristics compared to the down prechorus in Example 28—making this example a particularly helpful illustration of the prechorus’s flexible teleological function.
Songs from other popular genres also typically build from start to finish and peak at the conclusion (Spicer 2004; Osborn 2013).
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[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
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This document and all portions thereof are protected by U.S. and international copyright laws. Material contained herein may be copied and/or distributed for research purposes only.
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https://drumdrums.com/free-private-online-drum-set-lessons/latin-rhythms/latin-rhythms-lesson-5-mambo/
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Free Drum Lessons / Latin Rhythms / Latin Rhythms Lesson 5 Mambo
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This pattern will suffice as a Mambo. Actually it is only half a Mambo beat, but it is the main half. You may use it on most mambo tunes. Learn this simpler form in step one and be able to play it rapidly from memory. Then, take your time and graduate slowly into the more complex versions (below.)
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/static/img/favicon.ico
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This pattern will suffice as a Mambo. Actually it is only half a Mambo beat, but it is the main half. You may use it on most mambo tunes. Learn this simpler form in step one and be able to play it rapidly from memory. Then, take your time and graduate slowly into the more complex versions (below.)
This is more like a true Mambo. It is the same as the beat above but now we are coming off the snare to play two notes on the high, mounted (small) tom. Remember, you are using a Layover Rimshot on the snare. This means you will be using the butt of the stick to play the two tom notes.
Toss in a couple of extra bass drum notes. There are many ways to configure the bass, depending on your on ability and the tempo of the song you may be playing.
Classic Mambo with a simplified quarter note bass drum. Now we have turned this into a two-bar pattern but it still sounds a lot like the one-bar version. I intentionally omitted the hi-hat notes from the above versions to keep things as simple as possible. You may want to practice kicking the hi-hat along with all the backbeats later. Remember, your right hand is playing on either the cowbell or the bell of your ride cymbal.
VIDEO: Click here to see, and hear the above pattern.
Classic Mambo with a complex bass drum pattern. Good luck! It's a mind blower! You are now working the hi-hat with your foot on the backbeats and playing double 8th note bass drum notes all the way through the pattern. Train yourself at very slow tempos in the beginning. Take heart in the fact that if you can play this one as it is written, you'll be at the top of the heap. This beat is for ultra heavy-weights only!
ADDITIONAL THOUGHTS: All of the above patterns may be used as substitute rhythms for cut-time 2/4 or very fast quarter-note 4/4, when playing extremely up tempo songs that are not at all Latin. Sometimes, these beats can act as life-savers on very long, cut-time 2/4 jams or jazz tunes. It is actually easier to play the right-hand Mambo-style rhythms at a quicker pace than the steady cymbal ride of cut-time 2/4. When jamming at extreme tempos in cut-time 2/4, the right hand may become tired and begin to cramp during an especially long tune. A wise drummer will convert the right-hand rhythm to a quasi-Mambo, as a means to relax while maintaining those greuling tempos. The same may be said for certain Calypso rhythms. Even the upcoming 'Merengue' beat pattern may also sometimes be adaptable to the same conversion. The point I am making here is to say that even though you may not be expecting to play an abundance of Latin style music . . . many of these Latin patterns are commonly adapted to other musical styles by omitting the rimshots and additional tom tom notes. They may be very usefully adapted as substitute rhythms for Cut-time 2/4, Quarter 4/4 and other common 'Pop' style dancebeats.
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https://homerecording.com/bbs/threads/how-do-i-convince-my-drummer-to-learn-a-good-rimshot-technique.268537/page-3
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How do I convince my drummer to learn a good rimshot technique?
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https://homerecording.com/favicon.ico
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https://homerecording.com/favicon.ico
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[
"PhilGood Juice box hero",
"LeeRosario New member",
"M Minion Blow Me !!!",
"pandamonk Well-known member",
"Herm Well-known member",
"elly-d Member",
"Rimshot New member"
] |
2008-09-08T15:39:42-06:00
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try telling him that you overheard some people talking shit about him... how his chops were weak and his technique was lame.
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HomeRecording.com
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https://homerecording.com/bbs/threads/how-do-i-convince-my-drummer-to-learn-a-good-rimshot-technique.268537/page-3
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Herm... don't you think that a pro MD CAN tell the difference between a rimshot and a regular hit?
Learning how to do it is a must if you wanna be a pro, or if you just wanna provide the music what the music needs... It's not that complicated... Learn how to do it, and then choose when to do it...
BTW, in a rock/pop/metal/funk gig... Would you use rimshots or not?
I don't think anyone is really saying you should never rimshot, or not even know how (this guy probably knows how, but doesn't do it constant). They are saying that constant rimshot isn't recessary. So what if many/most pros do. You can still get a great sound without, leaving you the option for accents (dynamics!).
Most bands don't really care about dynamics, as can be seen in mastering, where they just squash ever bit of dynamism out of it for more volume. That is the way i see constant rimshotting, trying to get the most volume without dynamics.
The rimshot definitely has it's place in most styles of music. I just don't agree that it should be used constantly throughout every song(of certain styles).
JuliánFernández;2996654 said:
Man, you´re just wrong thinking about rimshots = no dynamics. It´s just not true...
On first place you can hit rimshots at differents volumens, and -like I said- believe it or not, it´s how most pop/rock/metal music is played...
Every drummer can decide to use it or not... It doesn´t matter.
But don´t get confuse with the Volume War and hitting a snare properly... Two separate things.
JMHO.
I know that you can have different volumes, but you can have much more dynamics with both rimshots and non-rimshots than just constant rimshots. I'm not confusing the two, I'm saying that i see constant rimshots similarly to volume war.
I do use rimshots but I prefer to keep them for accents, even accents at quieter levels. I don't care that many other drummers like to use them constantly(and i wouldn't call it "hitting the snare properly"). I can still get professional results without and don't see it as necessary. I infact see it as limiting. I don't really care that you don't agree, I'm just giving my opinion as have you.
It's semantics...........
No problem, panda... You can have your opinion for sure.
Let me say that if you think rimshots are only for accents, you´re missing something... But I bet you´ll re-discover rimshots someday and realize that´s not something to argue about.
But hey, it´s your time...
I´m not trying to argue for the sake of arguing... When I developed a nice rimshot technique I grew a lot as a drummer, and I started to work more stadly.
BTW, Can you tell a drummer that you like that don´t use rs on a regular basis?
I think that you are both saying essentially the same thing. It's always about dynamics and the use of different voices for different parts of the music.
I also am annoyed and bored with rock drummers that play ONLY rimshots on every note of the snare. Show me one GREAT drummer that does that.
It's always about dynamics and variety.
My band's drummer is weird. He's got good hands and he hits hard, but he never rimshots unless it's during a roll. His snare sounds choked and lifeless, no matter what, and I'm sure it's a combination of him tightening the stand too much and not rimshotting.
He says that if he does rimshots, he'll tear sticks up like crazy, but that's cool, we can buy more sticks. How should I go about convincing him that he'll sound a lot better if he'll play his snare different? We play a lot of aggressive stuff and he tunes his snare really tight, it sounds awful without rim to me.
This is something end up being terribly passionate about...being an engineer, but firstly a studio drummer myself....
This ends up being a finesse/technique issue. Jimmy Chamberlin from smashing pumpkins is a perfect example of this situation. Half the time, he's hitting the snare dead center (no rimshot) and the other half he's hitting the rim full-time. Except when he does it, he's got power behind his stroke. I personally think when it's done right, it offers a chance to offer diversity in the songwriting process.
However, at that point, it ends up being a micing and more importantly a tuning/technique issue. They feed off each other....
without a properly tuned and full bodied snare, your regular stroke hit doesn't translate into a solid hit. I have this issue in the studio with drummers who have great energy, but end up having a feather touch on the snare. That or thier snares are tuned so tightly and so poorly that it just dosn't work for micing purposes.
I mean if it's Jazz, then that's appropriate, I mean you want that occasional spice between rim shot and light flubs. There's really no need for excessive tightening of the snare head.
But if you're talking heavy music, then that technique becomes a major flaw. Without a strong and defined beat to anchor the weight of your music, you have zero impact as a whole. That's just how that translates.
Your guitars may be on fire, your bass tight and round, but then here comes this drummer that sounds shy on the snare (however you paint it), and you just lost your 2 and your 4. Suddenly it feels half anchored.
It's why I thoroughly enjoy recording a drummer that understands how the physics behind studio technique vs live technique translates onto tape.
So in other words, unless you're going to rely on your live/studio engineers to compensate for his feather touch on the snare, I really think it sounds like he needs to emphasize his technique and work on getting that left hand stroke (if he's a right handed) stronger. It doesn't matter how he paints his argument, if his snare stroke is weak, the style of music calls for stronger technique. That's the bottom line.
Been playing punk and metal drums for about 22 years (self tought) and I have never intentionally done a rim shot...I have never liked the sound of Rim shots , they sound ? I don"t know , not very heavey or rockin....To me they are only good for accenting Punch lines in Jokes...
I recently decided I didn"t like my Snare sound , there wasn"t enough "Crack" to it so i tried one of those huge wide strainers...Man what a differance ,It really brings the Volume of the drum up and really adds a good crack and pressence.....Might be something you might want to try if you haven"t allready....Also instead of Raiseing/Lowering the snare so he has more room to give it a good whack when his arm"s are crossed maybe try raiseing/Lowering the Hi-hat....
Cheers
I don't think anyone is saying 100% of great drummers play 100% rimshots 100% of the time. That would just be ridiculous!
What has been said (and for the most part is true) is that 90% of pro drummers use a rimshot for playing a hard backbeat on 2 and 4. Its very common practice.
JuliánFernández said:
No problem, panda... You can have your opinion for sure.
Let me say that if you think rimshots are only for accents, you´re missing something... But I bet you´ll re-discover rimshots someday and realize that´s not something to argue about.
But hey, it´s your time...
I´m not trying to argue for the sake of arguing... When I developed a nice rimshot technique I grew a lot as a drummer, and I started to work more stadly.
BTW, Can you tell a drummer that you like that don´t use rs on a regular basis?
I'm also not saying that constant rimshots shouldn't be used for a loud chorus or whatever, just that it's not necessary throughout a whole song(unless the song requires it) and even a whole genre.
I could play rishots constantly without a problem, they're easy enough, but i like them for accents and obviously loud choruses, etc.
I don't really listen to many drummers. I don't really listen to much music tbh. I'm too busy focussed on my business(studio, etc.), my playing and teaching drums. I don't really care what every drummer from and emo, punk, metal, rock, etc drummer does. I don't do constant rimshots and i still get a decent sound, imo.
I think this drummer could get more crack from his snare without constant rimshots, so i haven't recommended them. If the drummer decides to change then that's his decision, it's not mine, yours, or the OP. We can only advise.
This is something end up being terribly passionate about...being an engineer, but firstly a studio drummer myself....
This ends up being a finesse/technique issue. Jimmy Chamberlin from smashing pumpkins is a perfect example of this situation. Half the time, he's hitting the snare dead center (no rimshot) and the other half he's hitting the rim full-time. Except when he does it, he's got power behind his stroke. I personally think when it's done right, it offers a chance to offer diversity in the songwriting process.
However, at that point, it ends up being a micing and more importantly a tuning/technique issue. They feed off each other....
without a properly tuned and full bodied snare, your regular stroke hit doesn't translate into a solid hit. I have this issue in the studio with drummers who have great energy, but end up having a feather touch on the snare. That or thier snares are tuned so tightly and so poorly that it just dosn't work for micing purposes.
I mean if it's Jazz, then that's appropriate, I mean you want that occasional spice between rim shot and light flubs. There's really no need for excessive tightening of the snare head.
But if you're talking heavy music, then that technique becomes a major flaw. Without a strong and defined beat to anchor the weight of your music, you have zero impact as a whole. That's just how that translates.
Your guitars may be on fire, your bass tight and round, but then here comes this drummer that sounds shy on the snare (however you paint it), and you just lost your 2 and your 4. Suddenly it feels half anchored.
It's why I thoroughly enjoy recording a drummer that understands how the physics behind studio technique vs live technique translates onto tape.
So in other words, unless you're going to rely on your live/studio engineers to compensate for his feather touch on the snare, I really think it sounds like he needs to emphasize his technique and work on getting that left hand stroke (if he's a right handed) stronger. It doesn't matter how he paints his argument, if his snare stroke is weak, the style of music calls for stronger technique. That's the bottom line.
I very much agree!
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Robot or human?
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Activate and hold the button to confirm that you’re human. Thank You!
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Expansions
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Any expansion for software instruments
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DAWfreak
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https://dawfreak.wordpress.com/category/expansions/
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Wazzup DAWfreaks.
For you who did not know it the annual TOONTRACK metal month is upon us..
Now the EZdrummer expansion or EZX we are looking at today is not a METAL EZX but hey
About Toontrack
Toontrack Music was originally started as a production company for composing game and movie soundtracks. In 1999 producers Fredrik Thordendal of Meshuggah and Mattias Eklund of Toontrack Music decided to design a sample library for their own use.
They called Tomas Haake drummer of Heavy Metal band Meshuggah to record the drum samples. The library was called Drumkit From Hell.
Toontrack really made a revolution back then and what they did With the original DFH changed the way drum samples sounded forever.
INDIE FOLK EZX
The Indie Folk EZX was recorded at the Avast! Recording Co. in Seattle, home to bands such as Fleet Foxes, The Shins and Band Of Horses. It comes with three complete vintage kits: a 1960s Gretsch Round Badge sampled with both sticks and mallets, a Ludwig from the 1950s as well as a Slingerland Rolling Bomber kit dating back to the 1940s. Also included are two tambourines, a hi-hat mounted tambourine jingle, an extra kick and snare as well as a 28″ floor tom. Source
The INDIE FOLK EZX comes with 3 complete KIT´s, here follows the product specifications.
KIT 1 – 1961 Gretsch Round Badge
Kick: 14 x 22″. Head: Powerstroke 3, Ambassador Bass
Snare: 5 x 14″. Head: Vintage A Coated, Ambassador Clear
Racktom: 9 x 12″. Head: Ambassador Coated, Ambassador Clear
Floortom: 16 x 16″. Head: Ambassador Coated, Ambassador Clear
Recorded with both sticks and mallets
KIT 2 – 1940s Slingerland Rolling Bomber with calfskin heads
Kick: 14 x 28″
Snare: 6.5 x 14″
Rack: 9 x 13″
Floor: 12 x 14″
KIT 3 – 1950s Ludwig
Kick: 14 x 20″. Head: Powerstroke 3 Bass, Aquarian
Snare: 5.5 x 14″. Head: Coated Ambassador, Ambassador snare
Racktom: 9 x 13″. Head: Coated Ambassador x 2
Floortom: 16 x 16″. Head: Coated Ambassador x 2
Cymbals left:
1960s Zildjian A 19″
Zildjian K Constantinople 18″ (sticks and mallets)
Cymbals right:
1960s Zildjian A 16″
1960s Zildjian A 14″ (sticks and mallets)
Ride cymbals:
1960s Zildjian A 22″
Zildjian K Light 24″ (sticks and mallets)
Hi-hats:
Zildjian New Beat 15″ with mounted tambourine jingle
Zildjian K Light 16″ (sticks and mallets)
Extras:
Kick: 22″ Gretsch Round Badge 1958 without front head. Head: Coated Powerstroke 3
Snare: 7 x 14″ Slingerland Artist. Head: Coated Powerstroke 3, Evans 300 Hazy
Tom: Ludwig 28″ Floor Tom. Head: Ludwig original
Tambourine Toca
Tambourine KS Source
The GUI
The GUI of EZdrummer is nothing new, we get a classic white KIT placed in a cool old rehersal studio Toontrack always find a image to fit the sound!!
The Indie folk EZX comes in two different configurations, a full MIC setup ( See images above) and a 4 MIC setup (Images below).
As with all Superior drummer 2 and EZ drummer expansions we get a nice little set of MIDI to go with the INDIE FOLK EZX
Working with INDIE FOLK EZX
The KIT´s in The INDIE FOLK EZX keeps the EZ Drummer legacy and a loaded KIT only uses roughly 250MB ram and the CPU meter in PreSonus Studio One only shows a 02% usage that’s just insane when hearing the results of EZdrummer.
The sound of the INDIE FOLK EZX is spot on, it has a classic roundness with a warm roomy feeling that makes this EZX not only suitable for Indie rock but classic rock and ballads as well.
Routing each Channel to its own output is Just a click away and here is something I LOVE with EZdrummer! Depending on the amount of channels EZdrummer will tell the DAW how many outputs is available so you don’t have 30 outputs but only 5 is actually used by EZdrummer, thisa small built in flexibility / Organizer that just makes things EZ.
Here is a small tune I put together in PreSonus Studio one and then rendered with each of the included Gretsch, Slingerland and Ludwig KIT´s.
Conclusion.
I enjoy trying out new Expansion for EZdrummer as I know I am in for a treat, For some reason I never stop being amazed by how realistic and full the sound is at so low resources.
The whole idea with EZdrummer is that is should be EZ and the tweaking we can do is Volume and panning in the built in mixer and in addition to that we can tell EZ Drummer wither we want the snare bottom MIC to allow bleed from other drums and if we want the Overhead MIC´S on or off… and THAT’S it..
TOONTRACK has once again delivered a great expansion for the impressive EZ Drummer and if you are in to rock / Indie rock… there is no doubt you will love having the INDIE FOLK EZX arround.
I would like to thank Toontrack for letting me do this review!
And to my readers…. THANK YOU!!!!
Wazzup Dawfreaks..
Its time for something i like allot, A Drum sound/expansion review!
Steven Slate Drums 4 aka SSD4 is a flexible drum instrument plugin with excellent sound, fast workflow and easy to use GUI. Today we will have a look at the new Chris Lord Alge expansion for Steven Slate drums 4, This expansion is also available for Trigger.
Introduction
Steven Slate know that to come with something new to the Recording world is tough, And when he wanted to make an Expansion for SSD4 and Trigger it had to be exceptional.
To manage this he brought along a man who know and understand every detail drum recording, and can set that exceptional drum sound, MR Chris Lord Alge!
In the Spring of 2012, Chris Lord Alge revisited his recording engineer roots and recorded multiple world class drumkits at OCEAN studios in Burbank. He then mixed all the drums in his classic style in his LA mixroom using the same processing chains that you’ve heard on all of his records. He even printed a sample layer of his famous SONY reverb unit on the kicks and snares. The result is some of the fattest, punchiest, most mix ready virtual drums in the industry! And now you can use these classic Chris Lord Alge drums in Steven Slate Drums 4 Virtual Drum instrument and Steven Slate TRIGGER Drum Replacer/Enchancer. Source
What’s included
12 Drumkit Presets (SSD4)
DW MAPLE
Kick Drums: 22” and 24”
Toms: 10”, 12”, 14”, 16”, and 18”
Snares:
DW Maple
Ludwig Black Beauty
Ludwig Chrome Plated Steel
Pearl Reference Maple
Pearl Reference Brass
Pearl Steel Sensitone
Tama Bell Brass
A closer look Here is the CLA Rock 01 loaded up in SSD4 kit view, as a VSTI in PreSonus Studio One PRO v2.
The Chris Lord Alge expansion comes with 13 ready to use presets, But when we start digging deeper we find that there is more to this expansion that allows for great tweaking options and a huge variety of sound.
Here is the CLA Rock 09 loaded up in SSD4 Cell view, as a VSTI in PreSonus Studio One PRO v2.
When we go into the Instrument section of SSD4 we find that the kicks comes with additional features, HB=Hard Beater, SB=Soft Beater, wS= With Snare and OT = Over the Top. OT (Over the Top) have a crushed ambient sound (especially on the Overheads), this is meant to be used as blends for more more excitement and low end punch.
Taking a look at the Snares section we find that there is a nice variety of Snares in the Chris Lord Alge expansion I know people have been asking for “The Dong”, One of the snares that I like to have in nearly any setup is the Dry Pearl as it only has a slight OH bleed so I can use it to get more od that nice snap to the Snare sound.
As we head into the SSD4 mixer we find Close mice channels for Kick in / Out and Sub, Snare Top, TopB (second mic taped to 1st ), Snare Bottom, Toms, and Hi-Hat. These are followed by a FX, OH, RoomA , RoomB and and Mono Channel. I love the Room A/B feature as it allows me to tweak specific room sound for specific drums this is simply said even more flexibility.
Working with the Chris Lord Alge expansion
The Chris Lord Alge expansion follows the original SSD4 standard and I just love how fast I can load a kit, change some instruments to my liking and adjust the bleed levels.
Then I decide to either keep all channels on one buss / channel in my DAW or set multi out option for further tweaks, Adjust some EQ and one of my favorites is to use the FabFilter
Pro-C a great compressor that is great for anything such as parallel compression.
I can not mention this enough but the room A and B feature is nearly addictive, I can alter sound in so many ways and I can get the room spread for a perfect mix.
And Remember all SSD4 instruments including the Chris Lord Alge expansion responds well to additional Tweaking for even more personalization.
Here follows a video of some of the Kits and MIDI grooves included in the Chris Lord Alge expansion. In the end of the video is a tweaked kit where i also tweaked the drum sound with additional effects.
Steven Slate Drums 4 – Chris Lord Alge expansion – DEMO
Conclusion
In these modern times with a lot of great sounding Drum plugins on the market it is hard to create something new, but If you read my SSD4 Platinum review you will know that i highly recommend it as its very fresh, flexible, easy to use and just sounds AMAZING!
When I got the Chris Lord Alge expansion and loaded it in SSD4 I was shocked over the detail and extremely nice punch it had, how many options I got with just a small twist of a bleed knob or adjustment of a channel level. The more I messed around with the expansion the more I found how exceptional it is, the special tweaked individual kicks and snares adds that extra feel to the sound, Using the DRY variations allows for some very interesting personal tweaks and the RoomA and RoomB channels opens up a huge variety of options.
Since SSD4 has a fast and easy workflow, and it allows you to easily combine the SSD4 instruments with the Chris Lord Alge expansion you will be able to quickly get YOUR sound! In the end it is how you combine and tweak the sound that gives the personal touch, and the options are nearly limitless!!
So If you want one of the best sounding expansions available on the market today, And you own either Trigger or Steven Slate Drums 4 then the Chris Lord Alge expansion is a must have! If you don’t have Steven Slate drums 4 I recommend you to get it… it is that good!
The price for the Chris Lord Alge expansion is at the moment set to $199, A good price for what you get.
If I miss something it would be a optional tweaked version of the Toms , a easy way to get a 5 Tom setup and maybe one or two presets that use 5 Toms and Double kick for the metal maniacs.
The Verdict
The Chris Lord Alge Expansion is just amazing, Good job everyone involved in Steven Slate drums 4 and the Chris Lord Alge Expansion.
I want to thank Steven slate drums for letting me do this review, And to my readers…
THANK YOU!!!
Wazzup DAWfreaks.. My new PC is basically 100% up and running and i will soon post my specs for you to use as a guide if you need to build a new DAW PC soon.
Today we will have a look at The Metal foundry SDX from Toontrack, And before i start i would like to thank Toontrack for letting me do this review.
About Toontrack, The Drumkit From Hell and Metal Foundry story
Toontrack Music was originally started as a production company for composing game and movie soundtracks. In 1999 producers Fredrik Thordendal of Meshuggah and Mattias Eklund of Toontrack Music decided to design a sample library for their own use. They called Tomas Haake drummer of Heavy Metal band Meshuggah to record the drum samples. The library was called Drumkit From Hell.
Little did they know that Drumkit From Hell was not only the first true multi sampled drum recording for use with a virtual instrument but that it would also be the start for Toontrack Music to become the worlds premier developer of software, audio and midi for virtual drum and percussion production, spawning groundbreaking products like dfh Superior, EZdrummer and Superior Drummer 2.0.
In the time since Toontrack recorded and released Drumkit From Hell our knowledge of sampling drums and designing software has improved vastly and we’ve built a great following in all genres and with all kinds of users, but our core has always rested firmly on the foundation of those early recordings.
In order to celebrate the tenth anniversary of Drumkit From Hell we release The Metal Foundry SDX. The name has layers of meaning to us encompassing both the beginning, what has come from it and what lies in the future. The Foundry is a place where precious metals are forged and what was started back in 1999 with the Drumkit From Hell recording sessions turned out to be truly precious. Source
The Metal Foundry SDX
The Toontrack Metal Foundry SDX was recorded at the Atlantis Studios, with Drumtech Urban Näsvall and the drummers Tomas Haake (Meshugga) and Huxflux Nettermalm (Fistfunk, Infinite Mass och Starlet med Camela Leierth).
Specifications.
Now The Metal Foundry comes with a really REALLY huge library (featuring seven massive drum kits), So i recommend you to head over to The metal Foundry Product page for the complete list of included drum pieces http://www.toontrack.com/products.asp?item=51.
The Metal Foundry in use
A full Loaded kit form The Metal Foundry gives the user Huge Variety.
When the Metal Foundry loads up with the default kit we find that it covers a huge variety of Cymbals, crashes spocks and splashes, 5 toms, Hi-hat, Cowbell and two Kick drums.
and the included variety for each the drum kit piece has its own flavor in sound working perfectly with classic rock to modern Metal. there are two things that to me really stood out in this SDX and that is the Kicks and Toms, Them alone makes The Metal Foundry a extremely interesting expansion.
As i start tweaking the Sound i found another great thing, Superior drummer 2.0 is known for the huge amount of headroom when it comes to tweaking and processing the sound and i could be wrong but to me it felt like The Metal Foundry had even more headroom.
Toms is something i always had a bit of a struggle with, They either sound to week or to strong but with The toms in The Metal foundry i can easily manage to get the sound i want and get them placed in the mix where i want them.
Lately iv had issues with video recording for my reviews but that has been sorted now and i have a little DEMO video for you again.
It features some of the included Kits in The Metal Foundry and at the end i decided to show you how The Metal foundry sounds using only Toontrack EZmix 2 to process the drums.
Conclusion
Toontrack has a Killer SDX expansion in The Metal Foundry, It comes with a huge variety of kit pieces and a great sound that will work with Pop, Rock and Metal.
To have the Haake designed Kit hit by its own maker is like having Thomas Haake as drummer and that is just SICK!! If you don’t know what SDX to get, IF you are into rock or Metal then This is the SDX to get. Toontrack knows how to make Killer drum samples and The Metal Foundry proves this. Mixing with the Metal Foundry also is a great experience since the included samples responds extremely well to processing.
The Verdict
I would again like to thank Toontrack for letting me do this review.
And to my readers…. THANK YOU!
Wazzup Dawfreaks.
I am back again, and to continue following Toontrack´s Metal Month we will look at the Metal Machine EZX.
About Toontrack
Toontrack Music was originally started as a production company for composing game and movie soundtracks.
In 1999 producers Fredrik Thordendal of Meshuggah and Mattias Eklund of Toontrack Music decided to design a sample library for their own use.
They called Tomas Haake drummer of Heavy Metal band Meshuggah to record the drum samples. The library was called Drumkit From Hell.
Toontrack really made a revolution back then and what they did With the original DFH changed the way drum samples sounded forever.
About Metal Machine EZX
For the Metal Machine Toontrack teamed up with Andy Sneap a producer/engineer who have worked we bands like Testament, Megadeth, Arch Enemy and many more.
The Man behind the drums is John Tempesta (White Zombie, Testament, Helmet), and everything was recorded in the Los Angeles’ Henson Recording Studios.
Specifications
Kicks (Left & Right)
Tama Starclassic Quillted Sapele Bubinga 18×22″
Tama Starclassic Bubinga 18×24″
Ludwig Stainless Steel 14×26″
Snares
14×7″ Tama John Tempesta Signature Series snare drum
6.5×14″ Tama Bell Brass snare drum
6.5×14″ Ludwig Black Beauty
6.5×14″ Ludwig Supraphonic
6.5×14″ Sonor Artist Bronze snare drum
6.5×14″ Dunnett Titanium
6×14″ Masai Bubinga snare
Toms
Tama Starclassic Bubinga Quillted Sapele 9×10″, 10×12″, 14×14″, 16×16″
Tama Starclassic Bubinga 9×10″, 10×12″, 14×16″, 16×18″
Ludwig Stainless 12×15″, 16×16″, 16×18″
Tama Starclassic Bubinga gong bassdrum 14×20″ (Tom 5)
Hats
Zildjian Z Custom Master Sound 14″
Zildjian Avedis Master Sound 14″
Rides
Zildjian Earth Ride 22″
Zildjian A Ping Ride 22″ Brilliant Finish
Crashes
Pos 1
17″ Z3 Zildjian prototype
16″ Medium thin Zildjian prototype crash
Pos 2
18″ Medium Zildjian prototype crash
19″ Medium Zildjian prototype
Pos 3
19″ Medium Zildjian prototype crash
18″ Z3 Medium crash
Pos 4
20″ Z3 Medium Zildjian prototype
19″ Medium Thin Zildjian prototype crash
Pos 5
20″ Medium Zildjian prototype crash
18″ Medium Z3 Zildjian prototype
Pos 6
19″ Z3 Zildjian Thrash Ride
18″ Medium Zildjian prototype crash
Splash
Pos 2
10″ Zildjian prototype splash
Chinas
China 1
Zildjian Z3 19″
Zildjian 19″ Prototype China
China 2
20″ Oriental China Trash
Z3 19″
Spocks
Pos 3
Zildjian Soundlab Prototype 18″ Medium Thin/19″ Z3 China
Zildjian Soundlab Prototype 16″ Medium Thin/19″ Z3 China Source
Working with The Metal Machine EZX
The first time i loaded up The Metal Machine EZX my jaw dropped, The kit only uses 308MB RAM and sounds just FANTASTIC.
Toontrack has succeeded with keeping the resources at minimum without sacrificing the sound.
So how does it sound
The Metal Machine EZX brings a truly hi quality metal sound, with nice thick Kick, snappy snare, Toms that has a perfect balance of Punch and bottom, crisp Hi-hat and a great variety of cymbals a Chinas and Rides and Spocks.
The drums included in The Metal Machine EZX are very nicely pre processed so you dont have to do much if anything to get a nice sounding mix. However, should you feel that you want to tweak the sound then there is headroom to do so.
If you are a Superior drummer 2.0 Then you can load any EZX inside Superior drummer 2.0, There is even Presets that you get to use with the Metal Machine EZX in Superior.
This image shows the Nolly presets for the Metal Machine EZX.
Here is a Sound sample of Metal Machine EZX
Conclusion
What can i say??
WOW i am impressed!
Toontrack has delivered a great sounding expansion for EZdrummer, and the Metal Machine EZX brings allot to the table. Once again Toontrack and EZdrummer proves that simplicity can go a long way, the fact that EZdrummer with Metal Machine EZX only uses 308MB is on its own most impressive. Every EZX and SDX has its own MIDI Library, this is a bonus as well.
The Metal Machine EZX can be found on the market for about $79.99, that is a very good price for what you get.
The verdict
“Once again Toontrack and EZdrummer proves that simplicity can go a long way”
I want to thank Toontrack for letting me do this review.
And to my readers…. THANK YOU!!
Wazzup dawfreaks.
Hope everything is great!
I am back with a new review and its time for the Toontrack Mastering EZmix Pack for EZmix.
Do you feel that you sometimes had that tool that could lift you MIX, Let us say that you are on the road and need to get your latest song ready and don’t have the time to tweak things to perfection, or maybe you’re a Songwriter that just want your demos to sound professional.
I would like to thank Toontrack for letting me do this review.
Introduction
Here is Toontracks introduction to the Mastering EZmix pack.
Mastering is an art in itself as well as the final and crucial step in making great mixes sound even better. That’s why we wanted one of the best in the business at the helm when designing the presets for this pack. Meet Mats "Limpan" Lindfors, senior engineer at Cutting Room, the leading mastering studio in Scandinavia. "I tried to make this pack cover as much ground as possible", he says. "I wanted everyone to find great mastering settings no matter what kind of music they are working on".
The Mastering EZmix pack comes with a wide variety of signal chains for the most common mastering needs and music genres. Whether you are working on a loud metal song, a mellow jazz tune or a big house anthem, this pack has one-click settings to take your mix from great to fantastic in no time.
Give your final mixes that extra little bit of detail and attention. Start mastering – it’s EZ!
Why mastering?
Mastering is the final audio processing step before a song is ready for distribution. All tracks you hear on the radio or on albums are mastered. In simple terms, mastering means you take your final mix and add various amounts of EQ, compression and limiter to make it sound as great as possible whether you play it on a car stereo, a hi-fi system or a compact mono radio.
What is EZmix 2?
EZmix 2 is a preset based multi-effect mixing tool that lets you assign pro-designed audio processing signal chains to any audio source. Be it guitar, bass, vocals or drums – with EZmix 2 you’ll make great sounding mixes in no time!
What you get
The Toontrack Mastering EZmix pack comes loaded with 50 different mastering presets, this will cover every music category on the market and will most likely have the last little tweak you need.
So how does it sound?
When I first heard of the Mastering EZmix pack I was a bit skeptic even though I knew how good EZmix 2 sounded and how EZ it was to use. The idea of a EZ to use Mastering tool did however sound like a dream come true, so I was very interested in how it would sound.
I have had the Mastering EZmix pack installed for a while now and I have to say this is one amazing tool, I can now lift my mixes in a couple of seconds and the result is just amazing.
Where I normaly just have a limiter on the Master channel I now only have EZmix 2 with one of the great presets in the Mastering EZmix pack.
if there is something that comes out to strong I just adjust one or both of the knobs or change preset.. THAT is how EZ it is!!
I try to do a video as often as I can when doing my reviews, and this time the song is 90 % Toontrack products used inside Cubase 6.5, Drums is Toontrack Superior Drummer 2 with the Music City USA SDX, Piano is EZkeys but for the bass Toontrack has not come out with a BASS instrument so I used Halion 4.
This Video was recorded and edited using Camtasia Studio 8
Conclusion
From the first time I heard a Toontrack product I have been impressed with what they do, they always deliver hi quality products but don’t rip your wallet apart with high prices.
Toontrack is once again spot on with the Mastering EZmix pack, EZmix 2 is a great tool to start with but the Mastering EZmix pack is just FANTASTIC!!!
Never again will my mixes feel dry and boring, Now you can get the professional sound on your songs that you always wished for.
If you already own EZmix 2 then what are you waiting for, if you don’t.. GET IT!!
The EZmix 2 + Mastering EZmix pack is a KILLER combo, and the price to get the Mastering EZmix pack is ONLY € 35,00 that is just a silly low price for what you get.
PROS
Easy to use
Great sounding
Huge amount of presets
The Price
CONS
NONE!!!
The verdict
“Toontrack is once again spot on with the Mastering EZmix pack, EZmix 2 is a great tool to start with but the Mastering EZmix pack is just FANTASTIC!!!”
I would once again like to thank Toontrack for letting me do this review!
And to my readers….
THANK YOU!!!
Whazzup Dawfreaks…
I’m truly sorry that I am not posting as much as some would wish at the moment.
The new apartment is getting more and more to the state it should be and I have a ton of reviews coming your way as soon as possible.
Today we are going to have a look at Another SDX from Toontrack, The Custom & Vintage.
Before I go on I would like to Thank Toontrack for letting me do this review.
Introduction
The Custom and Vintage SDX is an expansion pack for the award winning Toontrack Music drumsampler Superior Drummer 2.0. It features extensive stick and brush recordings of a unique collection of drums and cymbals.
The SDX gives everyone from top producers down, access to the cream of custom and vintage drums, built by craftsmen from the 1920s right up to the exceptional instrument makers of today, like Johnny Craviotto.
Most of these highly prized instruments (like a 1920s Ludwig Black Beauty, or Craviotto Timeless Timber) can only be found in the collections of top studio drummers or hired from rental facilities in the major music centres of the world
Recorded at 2Khz studio in London using an EMI TG Desk used for many legendary recordings of the early seventies including The Beatles Abbey Road and Pink Floyds Dark Side of the Moon. It is considered one of the best sounding desks ever made.
The Custom and Vintage SDX was played by Chris Whitten. The drummer on classic hits like What I Am by Edie Brickelland The New Bohemians and The Whole Of The Moon by The Waterboys.
Whitten was hailed as a world class drummer playing on Paul McCartneys Flowers In The Dirt album and subsequent record breaking World tour, and Dire Straits 18 month On Every Street tour. Chris has also recorded with such varied artists as Johnny Cash, Julian Cope, World Party and The Pretenders.
The Custom and Vintage SDX was produced by Peter Henderson who started his career at Air Studios where he trained and worked with Beatles recording engineer Geoff Emerick (Sgt. Pepper, Abbey Road etc). as well as with the legendary George Martin.
Henderson produced Supertramp´s 20 million selling Breakfast In America, for which he won a Grammy. He has also worked with Paul McCartney, Rush, Frank Zappa, Jeff Beck, Tina Turner and Ringo Starr. Source
What you get
The Custom & Vintage SDX delivers 6 Kicks, 20 Snares, 7 Hats, 20 Toms, 11 Rides, 18 cymbals and 1 Count in Sticks sound. The complete Kits in this SDX are Noble & Cooley Star Series, Camco Oaklawn, Slingerland Studio King, Ludwig Keystone Drum Set and Gretsch Round Badge Drum Set. The complete installation of the Custom & Vintage will take roughly 12GB Space on your hard drive, but the installer can also slim the package down if you don’t need all the tools included.
Now Toontrack always ads a set of MIDI files and so you also get a nice set of MIDI files that fits the Custom & Vintage concept to use for your music.
For a more info on whats included go to https://www.toontrack.com/products.asp?item=56.
Working with Custom and Vintage
The GUI in Superior Drummer 2 is no news and there is no difference when loading the Custom & Vintage SDX. The mix layout of Custom and vintage has direct mic channels, Overhead, Ambience , Mono room and Comp room. The Kick has both in and Out channels and the Snare comes with Top and Bottom channels.
When it comes to Working with Custom & Vintage It follows the Superior drummer 2 legacy delivering a huge variety of alternative hits and velocity layers giving the user complete control of the drums without any machinegun effects.
And as with all Superior Drummer library’s there is a huge headroom for additional tweaking.
So how does it sound?
The Custom & Vintage SDX delivers what its supposed to, that classic rock sound we all know from artists like Springsteen, Bryan Adams, Paul McCartney, Rush and Frank Zappa.
This SDX rely is state of the art for anyone looking for a classic drum sound.
To show you how the Custom & Vintage sounds I have created a little sample video showing you each of the five Kits loaded with no Effects. I also include a lite tweaked Sample that I made to show you how it sounds with some tweaking.
This video was recorded and edited with Camtasia studio
Conclusion
I am impressed, The custom & Vintage is a great expansion for Superior Drummer 2, it has that classic feeling to it that just makes me smile. The Custom & Vintage is a SDX I can recommend with all my heart as it does not only sound awesome, it comes loaded with different kit pieces so you have a huge variety to work with and to top things of…… 4 TOMS!!
If you are looking for a rely sweet expansion to your Superior drummer 2 library, and you are not into hardcore metal I truly recommend you to check the Custom & Vintage SDX out.
Pros
Great classic sound
Huge variety of kit pieces
4 Toms!!!
Cons
None
The Verdict
“Custom & Vintage is a SDX I can recommend with all my heart as it does not only sound awesome, it comes loaded with different kit pieces so you have a huge variety to work with and to top things of…… 4 TOMS!!”
Thank you for reading and I hope to se you back soon as there is more reviews to come.
Wazzup Dawfreaks…
In the middle of moving, system upgrades and being a father I wanted to give you a little BFD2 Expansion review.
This time we will have a look at the Jazz Maple Expansion From FXpansion.
Before we go on I would like to thank FXpansion for letting me do this review.
What is the Jazz Maple Expansion?
BFD Jazz Maple is an expansion pack featuring a Yamaha Maple Custom drum kit, compatible with BFD 2.1 and BFD Eco. The expansion features several bonus ‘lite’ kit-pieces – a Yamaha signature Roy Haynes copper shell snare and a suite of Sabian cymbals.
Download-only BFD v2.1 expansion kit includes toms played with sticks, brushes and mallets, as well as kicks struck with felt, rubber and wood beaters. New articulations include rim shot and rim clicks for toms (sticks versions only). Source
Kit pieces in detail
18"x14" Kick (Felt and Rubber)
16"x20" Kick (Felt and Wood)
8"x10" Tom (Stick, Brush and Mallet)
8"x12" Tom (Stick, Brush and Mallet)
14"x14" Floor Tom (Stick, Brush and Mallet)
Bonus hihat and cymbals taken from BFD Jazz & Funk (reduced to 16 bit, 24 velocity layers)
14" Manhattan Hihat (Stick and Brush)
20" AA Med Ride (Stick and Brush)
16" HH Med Crash (Stick, Brush and Mallet)
18" El Sabor Cymbal (Stick and Brush)
18" China (Mallet)
Bonus snare in 5 versions (16 velocity layers)
5.5"x14" Roy Haynes signature snare (stick, strainer on)
5.5"x14" Roy Haynes signature snare (stick, strainer off)
5.5"x14" Roy Haynes signature snare (mallet, strainer off)
5.5"x14" Roy Haynes signature snare (brush, strainer on)
5.5"x14" Roy Haynes signature snare (brush, strainer off)
FXpansion Offers a very nice preview page for their drums and expansion, head over to it and listen to the individual kit Pieces. http://www.fxpansion.com/index.php?page=125&tab=321
Inside BFD2
The Jazz Maple expansion comes with 15 kit presets.
I loaded up one of the kits, and this is the BFD2 GUI showing the Kit loaded.
BFD2 has a nice looking GUI that shows how each kit piece looks.
A taste of what you get.
I go start messing with some MIDI files to get a a clear view of the sound.
Here follows a video of some of the kit presets in the FXpansion BFD Jazz Maple.
I decided not to show all of the kits but I included the kits with Sticks, Brushes and mallets.
In the end of the video I have added a smell tweaked kit I made just to give you a hint of how it sounds with personal tweaks.
The video was recorded inside Cubase 6 using Camtasia Studio
Conclusion
The BFD Jazz Maple Expansion from FXpansion is a nice sounding Jazz / Fusion expansion.
the over all feeling is rely Jazz, but you could use it with modern pop and maybe even rock.
But if Jazz sounding drums is what you are after then this expansion is something you rely should have a look at.
As with nearly all modern drum samplers and Expansions it responds nicely to velocity and there is no machinegun sound even at faster BPM.
The sound is clean and there is more then enough headroom for personal tweaking.
I rely must say the Brush kits did sound very nice (as you may hear in the video).
the price for this expansion is set to $ 70 a price I rely cant argue with at all.
All in all the FXPansion Jazz Maple expansion is a nice expansion, if you are in to a more Jazz sounding drum I can rely recommend this expansion.
The verdict
Thank you for reading.
Wazzup Dawfreaks.
Its time for a BFD2 Expansion review, and this time Platinum Samples has sent me the Jim Scott Rock drums Vol 1 & 2 expansions to review for you today.
About Jim Scott
One of L.A.’s most respected producers, engineers and mixers — and one of the busiest — Jim Scott has built his rep off of crisp, live-off-the-floor sounds and attendant good vibes. Scott picked up his first Grammy in 1995 for engineering Tom Petty’s Wildflowers, scoring two more for his work with Santana onSupernatural and the Foo Fighters’ One By One. In 2007, he doubled his Grammy total, scoring a hat trick for his recording of the Dixie Chicks milestone Taking the Long Way. That album was the most recent of dozens of projects Scott has done with Rick Rubin during the past two decades, from Petty and Johnny Cash to the Red Hot Chili Peppers and Slayer. (Bud Scoppa, Mix Magazine July 2007) Source
Installation
Since the Jim Scott Rock drums vol 1 and 2 is BFD2 expansions, the installation is simple and straight forward and the complete installation will take up roughly 135GB Hdd space.
This might seam like a huge size BUT since you get 8 kits (7 on the DVD´s and one downloadable Bonus kit 5) it is a fair amount of space.
For a complete list of what is included I would like you to head over to platinum samples webpage with a nice detailed list www.platinumsamples.com/KitLists/JSDKitList.
About The Jim Scott Rock Drums Vol 1 and 2
Jim Scott Rock Drums features a selection from Jim’s personal collection of classic drum kits from the 50’s, 60’s and 70’s recorded at his own PLYRZ Studios using his Neve 8048 console and analog outboard gear, as well as samples played by Chad Smith (Red Hot Chili Peppers) and Steve Ferrone (Tom Petty & The Heartbreakers, Average White Band, Eric Clapton) recorded at Sound City Studios (RHCP, Tom Petty, Nirvana) using their Neve 8028 console. The drums compiled in the Rock Drums expansion have been played on albums from Robbie Robertson, The Dixie Chicks and Barenaked Ladies to the Red Hot Chili Peppers. Source
The Jim Scott Rock Drums Loaded.
The kit I loaded for this picture is Kit 8 (the Steve Ferrone Kit) out of the box it’s the largest kit in terms of Kit pieces.
Impression.
Instead of going through all the kits in text detail I am going to let you se a video of the Jim Scott Rock Drums in action so you can listen to it in your speakers.
I will go through all the basic BFD2 kits where kit 2 also is shown with brushes.
These Kits except the final one is the default kits as they sound directly from the BFD2 kit preset, nothing has been done to the presets so this is how the kits will sound at start.
In the end of the video I show you a light tweaked version of kit 8 with the kick from kit 7.
This video was recorded and edited with Camtasia Studio.
I hope this video gave you a small hint on how the kits in the Platinum Samples Jim Scott Rock Drums sound.
Working with platinum Samples Jim Scott Rock Drums
Platinum Samples delivers great sounding drum expansions and the Jim Scott Rock Drums Vol 1 and 2 keeps that legacy intact. There is a total of 256 velocity levels (if set up correct in BFD2) for us to use allowing us superior control and great sounding drums without having the issue of Machinegun sounding drums.
Jim Scott who handpicked and recorded these drums at PLYRZ Studios has done a great job, There is a great variety of drums in the two expansions and if you grab these two you will have more then enough for allot of different music styles and genres.
The Jim Scott Rock Drums sound sweet directly out of the box and I found the KIT 7 and Kit 8 to be spot on for what I like a drum to sound like.
Using Kit 8 (Steve Ferrone) for Amazing sounding Toms, crisp Hi Hat and great sounding cymbals, I swap the Kick and snare to the once in kit 7 (Chad Smith) This kick that is has a great round yet punchy sound and and snare is snappy and sweet.
all in all Jim Scott Rock Drums work great with just minor volume tweaks but has enough headroom for additional tweaking, and you can mix and match these with any other library you have.
Conclusion
Expanding the drum library today is not always an easy task, there is allot of different samples and plugins to pick from.
Platinum Samples knows how to deliver drum samples, Jim Scott Rock Drums Vol 1 and 2 has allot going for it, combined you get a huge variety of kits that can be combined to open op a huge realm of drums sounds for you.
Every drum in this Expansion sounds great and you do not have to do allot of tweaking to get a perfect drum for your mix, but there is Headroom to tweak the sound if you want / need to.
The pricing for the complete set of Vol 1 & 2 is set to $319.99, if you wish to get just one of these two the prices are set to 249.95 for Vol 1 and 129.99 for Vol 2.
Looking at what you get I would say the prices are fair, since this is not a small expansion.
Out of these two Vol 1 is the one like best and I rely RELY like kit 7 and 8.
The verdict
I would like to thank Platinum Samples for letting me do this review.
Wazzup Dawfreaks.
I’m back again with another little Expansion Review.
Today we will have a look at the BFD2 JEX expansion from Fxpansion.
The Fxpansion JEX is based on a custom hand-made kit from XDrum’s Xotica line.
The Kit features.
Custom XDrum 18×22 inch kick
Custom XDrum 8×8 inch tom
Custom XDrum 8×10 inch tom
Custom XDrum 8×12 inch tom
Custom XDrum 14×14 inch tom
The kit has been recorded with hits played with sticks, brushes, mallets and rods.
The kick drum has been hit with both a felt and wood beater.
Now this is not all, The expansion also comes with bonus download of a detail-reduced Ludwig Super Sensitive snare from the Jazz & Funk expansion pack.
There are no HI hats or Cymbals included in this expansion but the presets have been set up to add this.
Equipment used for the recordings
Kick In – Shure Beta 52 / API 3124 preamp
Kick Out – Neumann FET 47 / API 3124 preamp
Kick Resonant – Yamaha Sub Kick / Neve VR console channel preamp
Snare Top – Shure Beta 57A / API 3124 preamp
Snare Bottom – EV N/D457 / API 3124 preamp
Snare Side – Violet Design Flamingo Jr. / ATI 8MX2 preamp
Toms – Violet Design Globe / ATI 8MX2 preamp
Overhead – Matched pairs of Nuemann KM184s or Violet Design Black Knight mics / ATI 8MX2 preamps
Room – Violet Design Globe with protoype omni capsules / Focusrite Red preamps
Amb3 – Nevaton MC404 stereo mic placed in the center of the room / Metric Halo ULN2 preamps
Source for this info comes from the Fxpansion Kit page.
As always FXpansion has a great page for listening to each drum..
Head over and have a listen http://www.fxpansion.com/index.php?page=69&tab=198.
The JEX kit inside BFD2
Impression
This kit has a classy deep over all sound!
The Kick is round with a kind of plastic feel to it, there is allot of bottom in the kick that is nice. The snares is snappy with a fair amount of rattle, The Hi tom felt a bit of compared to the rest of the kit when using sticks, rods or mallets, I can not rely put a finger on what it is but in my ears it just did not balance out with the rest of the toms.
This changes when using brushes the sound feels more in place, and the kit sounds rely nice with brushes.
The kit is well recorded and will allow you to work nicely with Velocity’s to get a realistic sounding kit. The kit has a nice amount of tweaking headroom and the Room and Ambient channels brings a nice amount of air to the over all sound.
A small video
Here follows a little video showing the FXpansion BFD2 JEX Kit in action.
FXpansion BFD2 JEX expansion Recorded and edited with camtasia Studio.
Conclusion
The FXpansion BFD2 JEX expansion is not on my Top list of expansions.
Don’t get me wrong this expansion sounds great and would be a great bonus to your BFD2 library if your into Jazz, Funk and even modern POP. As we all know everything is personal so even though I don’t love the kit its not BAD!!
But if you are looking for a more flexible sounding kit there is better choices.
Now If you have extra cash and like some elements in the JEX expansion the price tag is ONLY 39 Euro a rely nice price.
I would like to thank FXpansion for letting me do this review.
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The snare drum or side drum is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used in orchestras, concert bands, marching bands...
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Snare drumFile:Caisse claire.jpg
A drum kit snare drum
Percussion instrumentOther namesField drum, side drumClassification
Percussion
Drum
Unpitched
Hornbostel–Sachs classification211.212.11
(Individual double-skin cylindrical drums, one skin used for playing)Developed13th centuryRelated instruments Tabor
The snare drum or side drum is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used in orchestras, concert bands, marching bands, parades, drumlines, drum corps, and more. It is one of the central pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer and used in many genres of music.
Snare drums are usually played with drum sticks, but other beaters such as the brush or the rute can be used to achieve different tones. The snare drum is a versatile and expressive percussion instrument due to its sensitivity and responsiveness. The sensitivity of the snare drum allows it to respond audibly to the softest strokes, even with a wire brush; as well, it can be used for complex rhythmic patterns and engaging solos at moderate volumes. Its high dynamic range allows the player to produce powerful accents with vigorous strokes and a thundering crack (120+ dB) when rimshot strokes are used.
The snare drum originates from the tabor, a drum first used to accompany the flute. The tabor evolved into more modern versions, such as the kit snare, marching snare, tarol snare, and piccolo snare.[1] Each type presents a different style of percussion and size. The snare drum that one might see in a popular music concert is usually used in a backbeat style to create rhythm. In marching bands, it can do the same but is used mostly for a front beat.[citation needed] In comparison with the marching snare, the kit snare is generally smaller in length, while the piccolo is the smallest of the three. The snare drum is easily recognizable by its loud cracking sound when struck firmly with a drumstick or mallet. The depth of the sound varies from snare to snare because of the different techniques and construction qualities of the drum. Some of these qualities are head material and tension, dimensions, and rim and drum shell materials and construction.
The snare drum is constructed of two heads—both usually made of Mylar plastic in modern drums but historically made from calf or goat skin—along with a rattle of metal, plastic, nylon, or gut wires on the bottom head called the snares. The wires can also be placed on the top, as in the tarol snare, or both heads as in the case of the Highland snare drum. The top head is typically called the batter head because that is where the drummer strikes it, while the bottom head is called the snare head because that is where the snares are located. The tension of each head is held constant by tension rods or ropes. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player. The strainer is a lever that engages or disengages contact between the snares and the head, and allows snare tension adjustment. If the strainer is disengaged, the sound of the drum resembles a tom because the snares are inactive. The rim is the metal or wooden ring around the batter head that holds the head onto the drum and provides tension to the head, which can be used for a variety of things, although it is notably used to sound a piercing rimshot with the drumstick when the head and rim are struck together with a single stick.
Playing[]
The drum can be played by striking it with a drum stick or any other form of beater, including brushes, rute and hands, all of which produce a softer-sounding vibration from the snare wires. When using a stick, the drummer may strike the head of the drum, the rim (counterhoop), or the shell. When the top head is struck, the bottom (resonant) head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound. The snares can be thrown off (disengaged) with a lever on the strainer so that the drum produces a sound reminiscent of a tom-tom.[2] Rimshots are a technique associated with snare drums in which the head and rim are struck simultaneously with one stick (or in orchestral concert playing, a stick placed on the head and the rim struck by the opposite stick). In contemporary and/or pop and rock music, where the snare drum is used as a part of a drum kit, many of the backbeats and accented notes on the snare drum are played as rimshots, due to the ever-increasing demand for their typical sharp and high-volume sound.
A commonly used alternative way to play the snare drum is known as "cross-stick" or "side-stick". This is done by holding the tip of the drumstick against the drum head and striking the stick's other end (the butt) against the rim, using the hand to mute the head.[3] This produces a dry high-pitched click, similar to a set of claves, and is especially common in Latin and jazz music. So-called "ghost notes" are very light "filler notes" played in between the backbeats in genres such as funk and rhythm and blues. The iconic drum roll is produced by alternately bouncing the sticks on the drum head, striving for a controlled rebound. A similar effect can be obtained by playing alternating double strokes on the drum, creating a double stroke roll, or very fast single strokes, creating a single stroke roll. The snares are a fundamental ingredient in the pressed (buzz) drum roll, as they help to blend together distinct strokes that are then perceived as a single, sustained sound. The snare drum is the first instrument to learn in preparing to play a full drum kit. Rudiments are sets of basic patterns often played on a snare drum.[4]
Construction[]
Snare drums may be made from various wood, metal, acrylic, or composite, e.g., fiberglass materials.[5] A typical diameter for snare drums is 14 in (36 cm). Marching snare drums are deeper (taller) in size than snare drums normally used for orchestral or drum kit purposes, often measuring 12 in deep (tall). Orchestral and drum kit snare drum shells are about 6 in (15 cm) deep. Piccolo snare drums are even shallower at about 3 in (7.6 cm) deep. Soprano, popcorn, and firecracker snare drums have diameters as small as 8 in (20 cm) and are often used for higher-pitched special effects.[2]
Most wooden snare drum shells are constructed in plies (layers) that are heat- and compression-moulded into a cylinder. Steam-bent shells consist of one ply of wood that is gradually rounded into a cylinder and glued at one seam. Reinforcement rings, so-called "re-rings", are often incorporated on the inside surface of the drum shell to keep it perfectly round. Segment shells are made of multiple stacks of segmented wood rings. The segments are glued together and rounded out by a lathe. Similarly, stave shells are constructed of vertically glued pieces of wood into a cylinder (much like a barrel) that is also rounded out by a lathe. Solid shells are constructed of one solid piece of hollowed wood.
The heads or skins used are a batter head (the playing surface on the top of the drum) and a resonant (bottom) head. The resonant head is usually much thinner than the batter head and is not beaten while playing. Rather than calfskin, most modern drums use plastic (Mylar) skins of around 10 mils thickness, sometimes with multiple plies (usually two) of around 7 mils for the batter head. In addition, tone control rings or dots can be applied, either on the outer or inner surface of the head, to control overtones and ringing, and can be found positioned in the centre or close to the edge hoops or both. Resonant heads are usually only a few mils thick, to enable them to respond to the movement of the batter head as it is played. Pipe band requirements have led to the development of a Kevlar-based head, enabling very high tuning, thus producing a very high-pitched cracking snare sound.
A new technique used to improve the sound quality during snare drum construction is symmetrical venting. In contrast to a standard single vent hole, air can easily travel through and around the instrument without getting caught. This rapid movement creates a smoother, stronger sound.
History[]
The snare drum seems to have descended from a medieval drum called the tabor, which was a drum with a single-gut snare strung across the bottom. It is a little bigger than a medium tom and was first used in war, often played with a fife (pipe); the player would play both the fife and drum (see also Pipe and tabor).[6][7] Tabors were not always double-headed[8] and not all may have had snares. By the 15th century, the size of the snare drum had increased and had a cylindrical shape. This simple drum with a simple snare became popular with the Swiss mercenary troops who used the fife and drum from the 15th to 16th centuries. The drum was made deeper and carried along the side of the body. Further developments appeared in the 17th century, with the use of screws to hold down the snares, giving a brighter sound than the rattle of a loose snare. During the 18th century, the snare drum underwent changes which improved its characteristic sound. Metal snares appeared in the 20th century. Today the snare drum is used in jazz, pop music and modern orchestral music.[9]
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Much of the development of the snare drum and its rudiments is closely tied to the use of the snare drum in the military. In his book, The Art of Snare Drumming, Sanford A. Moeller (of the "Moeller Method" of drumming) states, "To acquire a knowledge of the true nature of the [snare] drum, it is absolutely necessary to study military drumming, for it is essentially a military instrument and its true character cannot be brought out with an incorrect method. When a composer wants a martial effect, he instinctively turns to the drums."
Before the advent of radio and electronic communications, the snare drum was often used to communicate orders to soldiers. American troops were woken up by drum and fife playing about five minutes of music, for example, the well-known Three Camps.[10] Troops were called for meals by certain drum pieces, such as "Peas on a Trencher" or "Roast Beef". A piece called the "Tattoo" was used to signal that all soldiers should be in their tent, and the "Fatigue Call" was used to police the quarters or drum unruly women out of the camp.[11]
Many of these military pieces required a thorough grounding in rudimental drumming; indeed Moeller states that: "They [the rudimental drummers] were the only ones who could do it [play the military camp duty pieces]".[12] Moeller furthermore states that "No matter how well a drummer can read, if he does not know the rudimental system of drumming, it is impossible for him to play 'The Three Camps,' 'Breakfast Call,' or in fact any of the Duty except the simple beats such as 'The Troop'."[13]
During the late 18th and 19th century, the military bugle largely supplanted the snare and fife for signals. Most modern militaries and scouting groups use the bugle alone to make bugle calls that announce scheduled and unscheduled events of the organization (from First Call to Taps). While most modern military signals use only the bugle, the snare is still retained for some signals, for example, the Adjutant's Call.
Snare drumheads were originally made from calfskin. The invention of the plastic (Mylar) drumhead is credited to a drummer named Marion "Chick" Evans, who made the first plastic drumhead in 1956.[14]
Drum rudiments seem to have developed with the snare drum; the Swiss fife and drum groups are sometimes credited with their invention.[15] The first written rudiment was drawn up in Basel, Switzerland in 1610.[16] Rudiments with familiar names—such as the single paradiddle, flam, drag, ratamacue, and double stroke roll, also called the "ma-ma da-da" roll—are listed in Charles Ashworth's book in 1812.[17]
Definitions[]
Military drum/field drum: a snare drum with a diameter of 14–16 in and 9–16 in deep, with a wood or metal shell and the two heads stretched by tensioning screws. It has a snare-release lever to activate or deactivate a minimum of eight metal, gut, or plastic snares. The term came into use in 1837 with the invention of the tensioning-screw mechanism. While it frequently placed on a stand, it can also be played without the stand, screws and the lever in marching configuration.[18] Also called a Tamburo Militare in Italian, a Militäre-Trommel in German, a Tambor in Spanish, a Tamboer in Dutch or a Tambour Militaire or Tambour D'ordonannce in French, or uncommonly a Street Drum in English.[19]
Side drum: a common British and Scottish Highlands term for a snare drum.[20] Also known as a Piccolo Cassa or Tamburo Piccolo in Italian, Kleine-Trommel in German, Caja in Spanish, or Caisse Claire in French.[19] Refers commonly to an orchestral snare drum in America, while in the Commonwealth it refers to a marching snare.
Tabor: a large drum with a single snare on the batter head used in the Middle Ages and sometimes called for in orchestral repertoire. Also known as a Tenor Drum, a Tamburello in Italian, a Tamburin in German, or a Tambourin Provençal in French.[19] Not to be confused with the Scottish pipe band tenor drum which has no snare.
Types[]
There are many types of snare drums, for example:
Marching snare ("regular" and "high tension")
Marching snares are typically 12 in (30 cm) deep and 14 in (36 cm) wide. The larger design allows for a deeper-sounding tone, one that is effective for marching bands.[21] Many marching snares are built to withstand high amounts of tension, tightened by a drum key. They are played with most of the time with a heavier and thicker stick, more commonly referred to as "marching sticks". Snares are often nylon or gut.
Pipe Band Snare
Similar to a marching snare, pipe band snares are deep and tuned quite tightly. The major difference is that they feature a second set of snare wires beneath the batter head, along with the normal set on the resonant head.[22] This gives them an even more crisp and snappy sound. Snare drummers form an integral part of pipe bands, accompanying the bagpipes, and playing music written to fit the pipe tunes. A bass drummer and several tenor drummers, who also perform visual representations of the music, known as flourishing, add to the percussion section of a pipe band. The music played by pipe band snare drummers can be technically difficult, and requires a high degree of rudimental ability, similar to that of marching bands. Pipe Band snare normally use the traditional grip.
Drum kit snare
Drum kit snares are usually about a third to half the depth of a marching snare. They are typically 14 in (36 cm) in diameter and 5, 51⁄2, 6, 61⁄2 or 7 in (13, 14, 15, 17 or 18 cm), with 8 in (20 cm) depths also available.[21] Typically uses coiled metal snare wires.
Piccolo snare
The piccolo snare is a type of snare used by drummers seeking a higher-pitched sound from their snare. Because the piccolo snare has a narrower depth than that of the marching snare or set snare, a higher-pitched "pop" is more widely associated with it. Although the piccolo snare has a more distinctive, unique sound, it has some downsides. Because of the "sharper" sound of the piccolo, its sound travels further and is picked up by microphones further away during recording, making it difficult to record effectively.[23] There are many kinds of piccolo snare which can be piccolos, including the popcorn, soprano and standard snares. Popcorn snares typically have a diameter of 10 in (25 cm), sopranos 12–13 in (30–33 cm), and standard piccolos 14 in (36 cm).[23] A well-known user of the piccolo snare is Neil Peart, the drummer of Rush, who has used a 13 in (33 cm) X Shell Series Piccolo.
Orchestral Snare
Orchestral snare drums usually conform to the dimensions of drum kit snares, but often have a calf skin head or a synthetic approximation of a natural head material. They also typically use snares made of metal cable, gut, synthetic cord, or nylon,[24] with some orchestral snare strainers supporting 3 different materials simultaneously and the ability to tune each bundle of snare material independently.[25]
Tabor
The tabor snare dates back to around the 14th century, and was used for marching beats in wars. It is a double-headed drum with a single snare strand, and was often played along with the three-holed pipe flute. The dimensions vary with the different types of tabor. It is typically 41⁄2 in (11 cm) wide and around 11–13 in (28–33 cm) in diameter.[26]
Tarol
The tarol snare has similar dimensions to the kit snare. The major distinction is that the snares in this type are on the top head rather than the bottom one.
Caixa malacacheta
Meaning "box". This is a simple 12 or 14 in (30 or 36 cm) diameter, 8 in (20 cm) deep snare typical of Samba played in Southern Brasil. Made from aluminum or steel with the snare wires on top, it can be played from a sling or "encima" – on the shoulder to project the sound.
Famous solo works[]
"Three Dances for Solo Snare Drum" by Warren Benson
"Trommel Suite" by Siegfried Fink
"American Suite for Solo Snare Drum" by Guy Gauthreaux II
"Prim" by Áskell Másson
"March-Cadenza" by Gert Mortensen
Famous orchestral repertoire[]
"Lieutenant Kije" by Sergei Prokofiev
"Scheherazade" by Rimsky-Korsakov
"The Stars and Stripes Forever" by John Philip Sousa
"Bolero" by Maurice Ravel
"Polovetsian Dance" by Alexander Borodin
"The Year 1905" by Dmitri Shostakovich
"Concerto for Orchestra" by Béla Bartók
"Symphony no. 5" by Carl Nielsen
Method books[]
Individual class[]
Stick Control For Snare Drummer
Alfred's Drum Method Book 1& 2
Fundamental Studies for Snare Drum
A Fresh Approach to the Snare Drum
Portraits in Rhythm
12 Studies for Snare Drum
Basic Drumming
All American Drummer
Snare Drum Method Books I and II
Modern School for Snare Drum
Syncopation for the Modern Drummer
A New and Improved Method for Drum Beating
Martial Instructor in Music
The Art of Snare Drumming
Trumpet and Drum
Drummer's Instructor
New and Improved Instructor for the Drum
Snare Drum Method for Band and Orchestra
Rebounds and Accents
Wrist and Finger Control
Encyclopedia Rudimentia
Stick Technique
Trommel Schule
Rudimental Cookbook
14 Contest Solos
Ziggadabuzz and Other Things To Play on Snare Drum
Modern Swing Solos for the Advanced Drummer
Rolls Rolls Rolls
Group class[]
Essential Elements for band
Accent on Achievement
Tradition of Excellence
THE YAMAHA ADVANTAGE
Standard of Excellence
Sound Innovations
Standard of Excellence "Festival Solo"
Foundations for Superior Performance Percussion
Firth-Feldstein Percussion Series "Snare Drum---including Bass Drum"
Primary Handbook for Snare Drum
1st Recital Series for Snare Drum
Popular brands[]
Brady Drum Company
DW
Fibes
Gretsch
Ludwig
Mapex
Pearl Drums
Pork Pie Percussion
Premier
Remo
Rogers
Slingerland
Sonor
Tama
Yamaha
See also[]
Snare drum hardware
Double-drumming
References[]
Sources[]
Beck, John (1995). Encyclopedia of percussion instruments. New York: Garland Publishing. ISBN 0-8240-4788-5. Google Books preview. Accessed 8 September 2009.
[]
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Marching Snare Drum Heads - Description of types of marching snare drum heads.
How to Change a Marching Snare Drum Head
Field Drums Blog Photos, information, critical commentary and analysis of field drums, focusing on drums of the American Civil War
How to Build a Snare Drum DRUM! Magazine shows the step-by-step process of building a snare drum.
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https://www.notsomoderndrummer.com/not-so-modern-drummer/2015/10/5/drum-dictionary
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Drum Dictionary — Not So Modern Drummer
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"Richard Best"
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2015-10-05T00:00:00
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The Drum Yoda's Totally Awewome Dictionary of Drum Terms - compiled by Richard Best. What I wanted to offer was not curt definitions but reasonable explanations
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en
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Not So Modern Drummer
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https://www.notsomoderndrummer.com/not-so-modern-drummer/2015/10/5/drum-dictionary
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The Drum Yoda’s Totally Awesome
Dictionary of Drum Terms
Compiled by Richard Best
Introduction
Welcome to my dictionary. I call it MY dictionary so you don’t confuse it with A dictionary or THE dictionary. People who write dictionaries have to follow certain rules. Mainly they have to stick to words that are well documented, and then define those words in as little space as possible. What I wanted to offer was not curt definitions but reasonable explanations. So what we have here is sometimes a dictionary, sometimes an encyclopedia, and sometimes a work a fiction. Actually, a lot of research went into this so I hope there’s no outright fiction, although I did toss in a couple of new items I thought should be added to the nomenclature. Otherwise, every term can be found in general use among drummers. As always, my goal is to inform, explain and enlighten.
I have sometimes used double words to enhance clarity even though hyphenated or joined words might be more common. Where there was more than one term for a concept, I either put them together in one entry or spread them out to two entries, depending on how close the terms are in usage. I have omitted a lot of ‘required’ commas where they just cluttered things up, and have added commas, quotes and apostrophes if they helped add clarity. I have also added a couple of terms I’ve coined myself. There are a few concepts that are important but have not risen to the status having their own terminology. I am just helping the process along. I have avoided most outright slang. For example, one drummer, upon inviting me to sit in, said I could ‘lay’ his ‘cans’ any time. Neither lay nor cans made the cut.
Many of the words used to describe sounds are very subjective. While there is substantial agreement on what 'dry' might sound like, the intent of terms such as 'round' and 'brittle' is less clear. I've tried as much as possible to find agreement on the less precise terms, but on occasion had to resort to a 'best guess' strategy.
All references to ‘handedness’ assume a right-handed player. This is significant in terms of leading hand and if using traditional grip. Apologies to left-handed players. I have expressed all sizes in inches, which is the industry norm.
Enjoy.
Richard Best
Oakville Ontario Canada
Dictionary of Drum Terms
A B C D E F GH I-J K L M N O P Q-R S T U-V W X-Y-Z
12-bar Blues
An old music form, dating from the early 19th century, that evolved from work songs and spirituals. The form has been standardized at 12 bars in three 4-barphrases, with the melody and harmony ranging from simple to complex. Blues has a number of distinct sub-styles including Chicago blues, West Coast blues,Boogie-woogie, and many others.
16-bar Blues
Less common than other song structures, the 16-bar blues is based on the 12-bar blues and incorporates an extra 4-bar phrase. There are no hard rules on how that 4-bar phrase is placed. Most common are a repeat of the first phrase, a repeat of the second phrase, or an added phrase between the second and third phrases.
32-bar
A standard song structure that is made up of four 8-bar phrases. Each phrase is generally given a letter -- A, B, C, etc. -- which is then used to describe the tune’s structure. E.g., “I’ve Got Rhythm” (see Rhythm Changes) defines the standard and is AABA -- verse, verse, bridge, verse. Other popular structures are: ABAB, ABBA, ABCA.
A
Accent
A note that is significantly louder then neighbouring notes. Accents are important in the development of rhythm, syncopation and articulation. Also see Ghosting.
Acrylic
A type of strong plastic that, since the late 1960s, has been used for drum shells. (John Bonham loved his Ludwig "Vistalite" plastic-shelled drums.)
Ad Lib
Literally 'at liberty', the musician is allowed a free hand for what may be played during this passage. Sometimes denotes a feature for a soloist or simply a vamp to help set the mood for what is to come next.
Afro-Latin/Afro-Cuban/Afro-Caribbean
The songs, rhythms and dances that originated in Latin and South America as a result of an African influence on native musics. E.g. Rumba, conga, tango, salsa, mambo, and also Latin-Jazz and even hip-hop.
Air Lock
The tendency for hi-hat cymbals to lock together. Cymbal manufacturers have devised a number of solutions to air lock including rippled edges, scalloped edges and drilling air holes in the bottom cymbal.
Alloy
A metal that is made by combining two other metals. E.g. bronze is the product of combining copper and tin.
Anticipation
Striking an up beat in such a way that it seems to be a part of the next beat. E.g. in jazz it's very common to 'replace' 1 with 4-uh.
Articulation
The manner in which strokes are played and sounds are produced. Ideally every stroke should be clean and well defined.
Ashtray Hand
See Traditional Grip.
Attack
Sounds have a beginning, a middle and an end. The initial spike of sound is called the attack and is usually sharp and short lived. Cymbals have a somewhat longer attack than drums. Also see Envelope, Decay.
B
B8
A type of bronze that is 8% tin and 92% copper. The metal does not have the quality of bell bronze, but can produce a decent cymbal at a moderate price. The sound such cymbals produce might be described as hard or brittle, which makes them ideal for rock. For the beginner or someone on a tight budget, they can be a good option. Also see Sheet Metal Cymbal.
B12
A type of bronze made from 12% tin and 88% copper. Not as common as B8 or B20.
B20
The alloy known as bell bronze is made of 20% tin and 80% copper. This is the highest quality of musical bronze and is the standard for quality cymbals.
Back Beat
In 4/4 or common time, striking the snare (usually) on counts 2 and 4. This sets up the rhythm and adds tension.
Back Phrasing
Playing well ’behind the beat’, a common technique used by soloists. As an accompanist, a drummer must be aware that the lead instrument may cast aside the time. Some soloists will back-phrase constantly.
Backstick/Back Sticking
A visually entertaining way of playing using both ends of the stick by quickly flipping the stick from tip-first to butt-first. A frequent highlight of rudimentaldrumming.
Bar
The basic unit of music. One bar contains the full complement of the time signature. Thus a bar of 6/8 would contain six eighth notes.
Basel Drumming
A rudimental/military drumming tradition established in Basel, Switzerland, in the early 1600s and still going strong. Many of today's rudiments were adapted from the so-called Swiss rudiments of Basel.
Bass ‘n’ Drums
An electronic music style born of the rave scene in the 1990s. Consists of a repetitive, driving rhythm and break beats, accompanied by syncopated bass lines.
Bass Drum
Sometimes called a ‘kick’ drum, a bass drum is a large, low-pitched drum that usually lies on its side on the floor or in a rack, and is played with a foot-operated pedal. Range from 16” to 28”, with 18” to 24” the most common. Also see Port, Wet.
Bass Drum Pedal
For years drummers experimented with gadgets that would allow them to play a bass drum with a pedal. Then in 1909, the Ludwig brothers of Chicago introduced a pedal that actually worked. The device revolutionized drumming and was the missing piece that enabled the drum set to blossom. Many early pedal models were made of wood, sometimes heel activated, and occasionally hung from the top of the drum.
Batter Head
The top head of a drum, the one that gets ‘battered’.
Battery
The drum section of a marching band. Consists of snare drums, bass drums, tenor drums, and cymbals. Also see Front Line.
Bead
The small round, acorn- or barrel-shaped tip of a drum stick.
Beam
In written music, a curved line that is placed over a group of notes to denote an irregular note division. E.g. triplets would be shown with a beam over the notes and rests with the number 3 above the beam.
Bearing Edge
The top and bottom edges of a drum where the drum head meets the shell. It’s important that the bearing edges are smooth and even, to allow the head to sit properly on the drum with no wrinkles or dead spots. A drum with uneven bearing edges will be difficult to tune. There are different philosophies regarding the positioning, angle and profile of bearing edges, which may or may not have a scientific basis or measurable effect. Also see Snare Bed.
Beat
The basic unit of rhythm or pulse. E.g. the time signature 4/4 specifies four quarter notes per bar, which means four beats to a bar.
Beater
The striker of a bass drum pedal. Also see Mallets.
Beats Per Minute/BPM
The standard method of specifying tempo. Metronomes are typically calibrated from 40 bpm to 208 bpm, although in practice music tempos can be slower or significantly faster (the upper limit being around 400 bpm).
Behind The Beat
Normally an ensemble -- and a rhythm section in particular -- will play time so that it falls in the ‘middle' of the beat. Some musicians will play slightly behind or after the mid-point of the beat, but not to the point of sounding slower (see Dragging). The result is a solid, relaxed feel that still conveys energy. Not the same asback phrasing. Also see On Top of the Beat, Pocket.
Bell (of a Cymbal)
The rounded dome shape at the centre of a cymbal. Often used to produce a bell-like sound. The size, shape and height of the bell help to define the cymbal’s pitchand overall character, e.g. crash cymbals tend to have larger bells than ride cymbals.
Bell Bronze
See B20, Bronze.
Bell Cymbal
A cymbal that is mostly bell. Usually small -- 8” to 12” -- and heavy, with a very small bow. Sometimes made by cutting most of the bow off of a damaged cymbal.
Bell Tree
A stack of small graduated cup-shaped bells. Played with a stick by dragging it top to bottom to produce a glissando.
Black Dot
A copyrighted name for a Remo drum head that has a reinforcing ‘dot’ of Mylar in the centre of the head. Originally created to withstand the heavy pounding of rock drummers, the heads produce a distinctive tone that is desirable in its own right. (Tony Williams used black dot heads on all his drums, including the snare.)
Blade
Another name for the bow of a cymbal, in particular a smaller cymbal with an upturned edge.
Blast Beat
A somewhat frantic playing style that relies on long bursts of eighth notes on the snare and cymbals, accompanied by double bass drum beats.
Blues
See 12-bar Blues
Bodhran
A frame drum rooted in Irish and Celtic music.
Bols
In East Indian drumming, bols are the various strokes. Each bol has a unique sound and its own spoken syllable, e.g., 'Na' is an open sound on the high drum (tabla); 'Toon' is an open sound on the low drum (bayan). See Tala.
Bomb
When not referring to a lick that didn’t work, it’s a form a bass drum shot popular in some styles of jazz. Joe Morello was fond of dropping bass drum bombs.
Bongos
A joined pair of small, slightly tapered, open-ended hand drums popular in Latin music and among beatniks. Usually tuned quite high.
Boogaloo
A style of Latin music that evolved in the US in the 1960s. A fusion of Latin and soul music, it gave birth to music such as Herbie Hancock’s “Watermelon Man”.
Boogie-woogie
A type of fast-tempo dance music that emerged in the 1930s, usually featuring piano. Sometimes called fast blues or eight-to-the-bar.
Book
A band or orchestra's repertoire. Their 'song book'.
Boomwhackers
Lightweight plastic tubes of different lengths and different colours. Each colour is tuned to a specific note, and melodies can be played by striking the tubes in the desired order. Often used for educational exercises.
Boomy
Low pitched, having a lot of volume, perhaps a bit too much resonance and sustain, with controlled overtones. Also see Damping.
Bossed Gong
A gong that has a raised dome in the centre of the playing area. The gong can be played by striking the boss or the area to the side of the boss. A boss tends to produce a well-defined note.
Bounce
1. The response of a percussion instrument. Some techniques require a certain amount of bounce in order to play them cleanly and/or at speed (e.g. double-stroke roll).
2. A lively rhythm.
Bow (of a Cymbal)
The ‘flat’ part and main playing area of a cymbal. The shape, depth, taper and thickness of the bow determine how the cymbal will sound which, in turn, will determine -- or at least suggest -- how the cymbal should be used. See Profile.
Brass
Though at first glance brass would seem to be the same as bronze, this alloy of copper and zinc, it is too weak and malleable for serious cymbal use.
Break
1. A momentary period of silence.
2. A section where the band plays short, staccato figures.
3. A short passage where the drummer provides a conspicuous fill.
Break Beat
The term applies to both a genre of music and a rhythmic style. Break beats originated when DJs programmed distinctive drum breaks into sequencers, which then ran them non-stop. As a drumming style, break beats are typically fast and syncopated, with a strong emphasis on the down beat. In a live situation, a drummer would play a comparable rhythm, almost always in 4/4, with a strong down beat and syncopation interpolated with doubles and buzzes on the snare. A favourite backdrop of break dancers.
Breathe
Keeping strict time is a valuable skill, but sometimes the music benefits from slight increases and decreases in tempo as the energy of the music waxes and wanes. When the playing gets exciting, the tempo may creep up a bit, and then slow down when the energy ebbs. Such shifts are tolerable only if they are very slight.
Bridge
In a 32-bar tune with AABA construction, the bridge is the ‘B’ section. Also see Middle Eight.
Bridge (of a Cymbal)
The region of a cymbal where the bell evolves into the bow. Research shows that the shape of the bridge can have an effect on a cymbal's tone and response.
Bright
A cymbal (but can be applied to a drum) that has a lot of high frequencies. May be a light cymbal with high-toned overtones/partials and few low frequencies, or a heavy cymbal with high-pitched fundamentals. Bright sounds are better able to project and cut through. Also see Envelope, Timbre.
Brilliant Finish
A cymbal that has been polished to a high lustre, usually by applying an abrasive. This removes some of the metal and may obliterate tone grooves. The cymbals are often brilliant in sound as well as appearance.
Brittle
See Glassy, Trash.
Bronze
An alloy made by combining copper and tin. Bronze is the preferred metal for making cymbals due to its strength and tonal qualities. The two main types of bronze used for cymbals are B20 (bell bronze) and B8. Cymbal companies often have their own formulas for creating bronze, sometimes adding a small percentage of other metals (e.g. silver, gold, phosphorus), and may have closely guarded processes.
Brushes
When a softer sound is required, a drummer might opt to use brushes made of wire or plastic. Drum brushes resemble whisk brooms, which is what drummers used before wire brushes became available. Playing with brushes is considered a bit of a specialized art form.
Build
The tendency for a cymbal to develop a 'swell' of sound as it's being played. Similar to wash, though usually with a lower pitch (see Undertone).
Bushing
A spacer that is positioned inside one hardware part to facilitate attaching another part. Most modern stands have nylon bushings within the clamps that hold the various pieces. Provide a firm grip, preventing rattles while protecting the parts from damage. Also found on drum racks.
Butt
The end of a drumstick opposite the bead. Typically a drummer will hold the stick near the butt end, but reversing that is quite acceptable. See Back Sticking, RockKnockers.
Butt Plate
A metal plate to which snare wires are attached and that has holes to provide a means of attaching the snares to a drum. A set of snares has a butt plate at each end. Also see Snare Bed, Snare Head, Snare Strainer.
Buzz
A sound made by pressing the bead of a drum stick into the head and dragging it slightly. The technique causes the stick to bounce off the head a number of times, producing a buzzing sound. See Buzz Roll, Scratch Roll.
Buzz Roll
A type of smooth, clean roll usually played on the snare drum. See Buzz, Double-stroke Roll, Scratch Roll, Whipped Cream Roll.
C
Cadence
A rhythmic cadence is a distinctive pattern that indicates the end of a phrase. See Resolution, Turn-around.
Cajon
A 'drum' that consists of a rectangular wooden box with a sound hole in the back. The player sits atop and plays on the front surface, hitting different spots for different sounds. Also see Idiophone, Membranophone.
Calf Skin
A piece of leather taken from the back of 1-3 year-old calves -- at one time the only option for drum heads. Although almost entirely replaced by plastic heads, calf skin heads have a cult following, and some drummers consider them far superior to plastic. On the down side, leather is easily affected by temperature and moisture, and costs 2-3 times as much as a plastic head. See FibreSkyn, Goat Skin, Mylar, Slunk.
Cannon Toms
Extreme power toms.
Carbon Fiber
One of several types of resin-based shell materials. The drums are manufactured in the same way as a fibreglass shell, substituting a sheet of carbon fiber fabric forfibreglass.
Carnatic
The classical music of Southern India, famed for its highly evolved rhythms and tala system.
Cascara
A standard rhythm that is often played against the clave rhythm. For example, the right hand might play the cascara while the left hand plays the clave.
Cast Cymbal
The best cymbals start out as a single cast ingot of bell bronze. After smelting, the metal is poured into small moulds about the size of a soup bowl. When the metal cools, it is machine-rolled repeatedly to create a large disk. Rolling also compresses the metal and 'aligns' its structure. The cymbal is then pressed and/or hammered into its final shape, and finally lathed. Also see Hammering, Roto-casting.
Cast Hoop
A counter hoop that is made of cast metal rather than bent or spun metal. Tend to make a drum sound somewhat ‘boxy’. Can be easier to tune than flanged hoops.
Chain Drive
At one time bass drum pedals relied on strips of leather to connect the foot plate to the beater assembly. In the late 1960s, drum companies began to substitute lengths of chain. A chain link is smoother, immune to stretching, nearly indestructible, and is now almost universal.
Cheese
A double stroke preceded by a grace note. Often found in hybrid rudiments. (So-named possibly because it sounds a bit like ’cheese’.)
Chick/Chup
The sort of sound that a hi-hat makes when played by quickly depressing the pedal. Thicker cymbals make a ‘chick’ sound whereas lighter cymbals sound more like ‘chup’.
Chimes/Tubular Bells
A set of tuned metal tubes hung in a frame and usually forming an octave. Played by striking the top of a tube with a soft hammer.
China (Type) Cymbal
A cymbal that has its outer edge turned up, pagoda style, and occasionally with a square bell. Produces a short, trashy tone. Sometimes mounted upside down, they are used as both ride and crash cymbals. Available in most sizes, including splash cymbals. Also see Swish Knocker.
China Boy
See China Cymbal.
China Splash
A confusing category that includes a number of styles of small splash cymbals. Authentic Chinese cymbals produce a distinctive glissando effect.
Chinese Drum/Tom
To add tonal variety, early drum set players added Chinese toms to their set-up. These drums had heavy wood shells and two animal hide heads that were tacked in place. The drums were tuned by wetting or heating the heads. See Tunable Tom.
Chops
A colloquialism denoting technique, usually in reference to someone who has a lot of it coupled with notable speed.
Chow/Chau Gong
The classic gong, mostly flat with turned over edges. Often have a ‘bulls-eye’ pattern on the playing surface.
Clash Cymbals
See Hand Cymbals.
Clave
1. An instrument of Latin American origin that consists of two short, thick dowels of tone wood such as rosewood. The dowels are struck together making a sharp, clear tone.
2. A standard rhythm that is played on claves. The bossa nova rhythm is a type of clave pattern. Also see Ostinato
Click Track
To help the band stay in time during a recording session, the tempo is sometimes played through the monitor headphones.
Coarse
A bit raunchier than trashy.
Cocktail Drum
A space-saving configuration that consists of a tall tom, 14” to 16" in diameter and 20" or so deep, often with a small snare drum, a cymbal, and perhaps a tomattached. A modified bass drum pedal can be rigged to strike the bottom head of the main drum.
Collar
The 'vertical' part of a drum head, between the retaining ring and the playing surface. The collar must be suitable to the size and shape of the drum shell and the collar depth must suit the depth of the counter hoop. The rim may sit too low or too high if the collar is not the right depth for the drum.
Colouration
General term for the tone and timbre of a cymbal.
Common Time
Another name for the 4/4 time signature. The signature is so pervasive in all music forms that is it now thought of as the default signature. Sometimes denoted by a large 'C' in the music staff.
Comping
To accompany or complement a soloist. In a jazz context, it is common to play a jazz ride while adding accents and figures on the snare drum and/or bass drum. The goal is to enhance the music while impelling the soloist to greater heights.
Complex
Having plenty of overtones and perhaps undertones as well. Thin cymbals tend to be more complex then thicker ones (see Ping) and hand hammered ones even more so.
Concert Toms
A set of single-headed drums in graduated sizes. May be tuned to a scale. Also see Octoban, Tenor Drum.
Configuration
Drum catalogs refer to standard drum set offerings as configurations. The basic configuration is the 4-piece, with snare drum, bass drum and 2 toms. While cymbalstands are often included, cymbals are not figured in to the count -- e.g., a seven drum kit would be a ‘7-piece’ regardless of how many cymbals were illustrated in the catalog.
Conga
A large, single-headed hand drum ranging from 10" to 12" in diameter and approximately waist height. The body is amphora-shaped and may be made from wood or fiberglass. Usually played in pairs, they are almost required in Latin music.
Console
The original drum rack, consoles were a standard part of early drum sets. They consisted of a large stand with a hoop that encircled the bass drum, to which the drummer could attach various holders. A trap tray was a common accessory for holding bells, whistles and other gadgets. Some consoles were mounted on wheels, with the bass drum resting inside. Others were stripped down models that were attached to the bass drum and predecessors to the consolette.
Consolette/Rail Consolette
A type of tom mount that consists of a short, curved rail attached to the bass drum plus an adjustable arm to hold a tom. De rigeur up until the late sixties, they are making a comeback.
Control Unit/Brain/Drum Module
A computer that accepts input from drum triggers and converts it into sounds. Sounds are often samples from live drums and cymbals, augmented by various synthesized sounds. Sampled sounds need not be only from percussion instruments. Some control units can be programmed with new sounds.
Controlled Sound/CS
See Black Dot.
Cosmetically Hammered
A cymbal that has conspicuous hammer marks on its surface. The cymbal may have been hammered for tone but visible marks are mainly cosmetic and may contribute little to the sound.
Count
See Beat, Time Signature.
Counter Hoop
A hoop, usually made of metal, that holds the drum head against the drum and is held in place with tension bolts. At one time the hoops were made of wood, and there has been renewed interest in wood hoops on snares and toms. Also see Cast Hoop, Triple-Flanged, Rim, S-hoop.
Cow Bell
Originally borrowed from inattentive cows, these instruments have undergone dramatic changes over the years. Now available in an astounding array of sizes, shapes, colours and materials, they are often heard in funk and Latin music. Some drummers even have their own signature cowbells.
Cradle Position
See Traditional Grip.
Crash (Cymbal)
A cymbal that produces a distinctive crash sound and is used as an accent. Crash cymbals are typically smaller and thinner than ride cymbals, and usually have a larger bell, which allows the bow of the cymbal to vibrate more. Also see China Cymbal, Crash-Ride, Splash Cymbal.
Crash-Ride
A cymbal that is deemed suitable for both ride and crash work.
Crisp
Usually a reference to a snare drum that has a short, sharp, high-pitched attack.
Cross Matching
Creating a set of hi-hat cymbals by pairing cymbals from different lines and even different manufacturers.
Cross Rhythm/Cross Beats
A type of polyrhythm where a second rhythm or time signature is played within the original. A standard pattern is to play two bars of 3 and a bar of 2 rather than two bars of 4. The result is a rhythm that appears to weave in and out of the underlying rhythm. See Polymeter.
Cross/Criss-Cross Tuning
Tuning a drum by adjusting one tension bolt and then the bolt directly opposite, and proceeding around the drum. On an 8-lug drum, the pattern would be: 1, 5, 2, 6, 3, 7, 4, 8.
Cross-Stick
The technique of holding the drum stick bead against the drum head near the rim and striking the rim with the other end of the stick, producing a satisfying ‘click’ or ‘clock’ sound. Sometimes erroneously called a rim shot, the cross-stick is useful for creating a subtle effect. Very common in jazz, country and Latin music. Also see Stick Shot.
Cubop
See Latin Jazz.
Cup
Another name for a cymbal's bell.
Custom Drums
A somewhat misleading term applied to limited production instruments. A truly custom-made drum would not be fabricated until after the buyer had signed off on all specifications.
Cut
1. The quality of a sound that enables it to penetrate through surrounding sounds. I.e. having good projection, often due to higher pitch and bright overtones.
2. To ‘defeat’ another player, as in “I can cut him any day!” which means “I can play much better than him.”
Cut Time
See Half Time.
Cymbal
These disks of bronze have been prized as musical instruments for thousands of years (from about 1200 BCE). To produce a cymbal, a bronze ingot is rolled many times to reduce it to a thin, flat disk. This process also changes the nature of the metal, giving it the beginnings of its strength and distinctive musical tones. The disks are then pressed or ‘hammered’ into a specific shape, according to anticipated use. The majority of cymbals are then lathed to remove the oxidized surface, creating tone grooves. See B8, Bell Bronze, Hammering, Hand Hammered, Lathing, Roto-casting, Spun Formed.
Cymbal Choke
1. To produce a short, quick accent on a crash cymbal by striking it and then choking it with a hand or arm. Can be very dramatic visually.
2. To clamp a cymbal too tightly to a stand preventing it from moving and vibrating freely. While this produces a choked sound, it also dramatically shortens thecymbal’s life expectancy.
Cymbal Cleaner
Over time, cymbals accumulate dirt, fingerprint grease and corrosion (see Patina). Philosophies on what to do about this differ. Some drummers would never mess with this gift of time. Some want to remove the grunge while others want to return the cymbal to its original lustre. Many cymbal makers offer a cymbal cleaner designed to clean the cymbal of grime without attacking the metal. Removing ‘age’ requires that the surface of the cymbal be stripped away. Aggressive cleaning will, over time, permanently affect the sound of a cymbal.
Cymbal Clutch
A device that holds the top cymbal of a hi-hat assembly. Also see Drop Clutch.
Cymbal Pack
A prepackaged set of cymbals matched at the factory for tone and compatibility. Basic sets include hi-hat, ride and crash; larger sets add another crash cymbal or two. Often a good bargain and an excellent starting point for beginning players. Some makers also offer extension packs, which may include china type and splashcymbals.
Cymbal Smith
A craftsperson who specializes in making cymbals. It takes many years of training and apprenticeship to attain the rank of cymbal smith.
Cymbal Weight
It’s tempting to classify cymbals purely by weight and diameter, but there are various design elements that can affect a cymbal's sound as much as weight. For example, the height of the bell can make one cymbal sound higher (heavier) or lower (lighter) than a comparable cymbal with a different profile. In general, cymbalsare classed from paper thin through to heavy. Cymbals are also classified by intended use and tonal character: e.g. ‘ping ride’, ‘explosive crash’, etc. Each cymbal type will have a range of weights, e.g. a 20” medium ride can range from just over 2000 grams to nearly 3000 grams.
D
Damping
General term for any technique that seeks to reduce the ring and resonance of a drum. Includes adding tape, pads, plastic or foam rings, felt strips, pillows, blankets, and mechanical dampers. Also see EMAD, EQ Ring.
Dark
A cymbal with low pitch, few overtones and a dry stick sound.
Dark vs. Bright
A reference to the abundance or lack of high frequencies and overtones. Drums and cymbals rich in high frequencies are often described as bright; those with few highs are interpreted as dark.
Deadsticking
Allowing the tip of the stick to remain on the surface of the drum or cymbal after striking to muffle the sound.
Decay
The final moments of a sound, when it fades to nothing. The conclusion of the sound envelope.
Direct Drive
A bass drum pedal that has a solid link between the pedal and beater unit rather than a flexible one (see Chain Drive). The second foot board of a double pedal is usually linked through direct drive to the primary pedal.
Disco Beat
A common rhythm pattern that appeared during the disco era. Derived from funk, it emphasized four-to-the-bar on the bass drum, a strong back beat and an off-beatpattern on the hi-hat (see Pea Soup). The rhythm can still be found in break beats.
Djembe
A single-headed, hourglass shaped hand drum of African (Mali) origin. Rope-tuned, skin-covered, 9” to 18” in diameter, the djembe is valued for its tonal range and its volume. The name derives from the African term for ‘peace gathering’.
Donut
For want of a better term, denotes any sort of tone-enhancing ring that is added to a drum head during manufacture.
Double Bass
1. A two bass drum set-up.
2. Double bass drum pedal set-up.
3. Another name for an upright acoustic bass.
Double Bummer
See Rock Knockers.
Double Headed
A drum that has both top and bottom heads. See Resonance, Resonant Head.
Double Pedal
A pedal that has two foot plates and two beaters attached to a single foot pedal assembly, allowing the drummer to play double bass drum patterns on a single drum. The gadget is highly popular as, along with eliminating the added expense and real estate requirement of a second bass drum, it allows the hi-hat to remain in its original area (typically it had to be moved further away from the player to make room for a second drum). There now appears to be a cult following for players who over-play double bass pedals. Also see Blast Beat.
Double Time
A shift in both time signature and feel to suggest a doubling of the tempo without a change in the song structure. E.g. A song in 4/4 might shift to 8/8. While the song would seem to be moving along at twice the speed, the bars would have twice as many beats and therefore remain the same length over time. Also see Half Time, Cut Time.
Double-stroke Roll
A type of roll in which the player allows the sticks to bounce, producing a second stroke. This Rr Ll Rr Ll pattern is sometimes called the long roll or ‘mama-dada’ roll. See Opened/Closed.
Doumbek
A single-headed hour-glass shaped hand drum. Available in a number of diameters and about 2 ½ times as tall as its diameter, it is a favourite of drumming circles.
Down Beat
1. The first count in a bar or measure.
2. The first beat of a new phrase (see Resolution).
Drag
A rudiment similar to the flam except that the grace note is a double stroke (i.e.rr-L). See Rudiment Family.
Dragging
A tendency to slow down rather than keeping steady time. As with rushing, considered a major flaw. Not the same as playing behind the beat.
Drop Clutch
A two-piece hi-hat cymbal clutch that incorporates a quick-release mechanism. This allows the drummer to easily drop the top cymbal onto the bottom one. The device is often used by double-bass drummers. The clutch can also pick up the cymbal by simply depressing the hi-hat pedal.
Drum
Usually taken to refer to membranophones, although certain instruments that lack a ‘skin’ are often called drums, e.g. log drum, tongue drum.
Drum Break
A break in the music to give the drummer a bit of a feature. Neither a fill nor a solo, the drummer would simply play time, albeit in a more attention-getting manner. Also see Break Beat.
Drum Corps/Drum & Bugle Corps
A marching band consisting of drum section, brass section and colour guard (flag bearers). These bands are a regular feature in parades and stadiums and often hone their skills by entering competitions.
Drum Fill
See Fill.
Drum Head/Skin
A circular membrane made from plastic (Mylar, PET), leather (calf skin, goat skin) or nylon (Kevlar) attached to a solid hoop to form the striking surface of a drum. The styles and properties of drum heads available today are far too numerous to describe here. Suffice it to say that each style is designed to produce a unique sound, and for every drummer and every style of playing there is a suitable type of head. Also see Black Dot, FiberSkyn, Hydraulic, Membranophone, Two-Ply.
Drum Mat
Whether a commercial or custom-made mat or a cast off rug, a soft surface for drums to sit on has a number of advantages. It provides a consistent surface, it keeps the drums from moving around, and the texture can improve drum tone.
Drum Rack
An infinitely expandable frame -- positioned in front of or slightly over the bass drum(s) -- that provides a means for attaching all manner of drums, cymbals and other objects to the set. As the size of drum sets expanded during the 1970s, the setup became cluttered with stands and attachments. The rack evolved as the most practical method for managing all of the extra hardware. (The drum rack is not a new invention as a look at photos from the 1920s and 1930s will show. SeeConsole.)
Drum Screen/Booth
A screen or small room where the drummer sets up and plays to restrict sound from interfering with other instruments. Booths are very common in studios. Portable screens are useful for live situations.
Drum Set Rudiments
A somewhat confusing reference that suggests (a) the standard rudiments applied to the drum set, or (b) a set of rudiments standardized for the drum set. In reality, few drum set players use more than a few of the rudiments, nor is there a standard set of anything for the drum set. Many teachers and authors use the term to describe what might more correctly be called ‘drum set essentials’.
Drum Set/Kit
Hailed as an American invention, the drum set began as a make-shift assemblage of instruments. Traditionally drums and cymbals were played by several people. The invention of the bass pedal, lo-boy and snare stand enabled one drummer to play two, three or more instruments at once. Early drum sets were augmented withsuspended cymbals, Chinese toms and ‘traps’. The rest of the story is the gradual refinement and addition of various tools. The term ‘drum kit’ is more commonly used in Europe. Also see Console, Consolette, Drum Rack.
Drum Stick Sizing
In a field overrun with signature models, today's drummer may be hard pressed to understand drum stick sizes. Originally different models were given a number to signify the stick’s thickness and a letter to represent its application: A = orchestra, B = band and S = street. Sizing ran from large to small, so a 1A stick is much thicker than a 7A. There is little correlation between classes of stick; e.g. a 5A and a 5B are different in length and thickness and have different profiles.
Drum Sticks /Drumsticks
These timeless tools are a virtual encyclopaedia of creativity and ingenuity. Though simple devices, drum sticks are made from all manner of materials, and in an incredible range of sizes and styles. Most sticks are made from wood, with hickory, maple and oak the most popular. Sticks can also be made from aluminum, plastic, carbon fibre, and other synthetics. Styles range from dowel-like timbale sticks to industrial strength parade sticks. See Drum Stick Sizing, Nylon Tip, Rock Knockers.
Drumistic
A term coined to describe a style of playing that focuses entirely on the drums with little or no reference to music. In some contexts this is appropriate, as in the drum ensemble features of marching bands and drum corps. However, a drumistic approach is rarely welcome at other times.
Drumming Circle
A group of people -- not necessarily musicians -- who participate in a somewhat ritualized session of creating rhythms using mainly hand drums. A popular pastime for a variety of reasons: It’s fun, it’s highly entertaining, it builds social cohesion, and it can be therapeutic.
Dry
A colloquial term that refers to a tone that is rich, with low resonance or ring, and quick decay.
Dual Tone /Dual Zone
A cymbal that has two (or more) apparent playing areas, one lathed and one unlathed. See Hybrid Cymbal, Lathing.
Duple Time
A time signature that has two beats to the bar.
E
Earth Cymbal
A cymbal that is unlathed and therefore covered in a layer of oxide. So-called possibly because the surface looks like a plot of ground.
Effects Cymbal
Any cymbal that departs from the standard crash or ride cymbals. Includes china cymbals, cymbals with jingles, cymbal stacks, trash cymbals, sizzle cymbals, etc.
Eight to The Bar
In the 1940s, eight-to-the-bar was a common reference to up-tempo music, especially boogie woogie, (which is actually a four-to-the-bar shuffle). The expression means, simply, ‘play something fast’.
Electronic Drums/E-Drums
A drum or drum set that consists of percussion triggers connected to a control unit. The control unit receives input from the triggers and assigns them sounds based on its programming. Modern e-drums rival acoustic drums in quality of sound, and have the advantage of being almost infinitely adjustable by turning a dial or pushing a button. Most have a selection of sampled drum sounds enabling the player to completely switch the sound of the instrument instantly. The units can produce any sound that has been programmed into the controller giving the player nearly unlimited potential. And if that weren’t enough, the sets are usually very light and compact and work with a sound system and headphones.
EMAD
A system developed by Evans that adds a channel to the outside of a bass drum head. Different sized damping rings can be fitted into the channel to provide quick, easy and effective control of damping level.
Endorser/Endorsee
A drummer who plays a certain brand by arrangement with the manufacturer (the endorsee) is said to endorse that product. The endorser/endorsee relationship provides credibility and a number of other advantages for both parties.
Ensemble Notes
Passages that the band members play in unison: e.g. the breaks in traditional jazz where all or most of the band plays the same sequence of notes and beats.
Envelope
Sounds have a beginning, a middle and an end. The initial spike is called the attack, which is immediately followed by sustain. When the sound energy begins to dissipate, it is called the decay. Drums typically have a short envelope consisting mainly of attack; cymbals have a somewhat longer envelope.
EQ Ring/O-ring
A plastic ring made of drumhead material (e.g. Mylar). Usually about 1” wide and cut to the diameter of the drum, it sits just inside the drum’s tension hoopproviding an agreeable amount of damping. EQ rings are sometmes incorporated into the inside of a drum head (see Donut). Also see EMAD
Essential Rudiments
While there are various sets of 'essential' rudiments, there is a core group of seven from which all others are derived: double stroke roll, single stroke roll, five-stroke roll, flam, drag ruff, multiple bounce (buzz) roll, and single paradiddle. See Rudiment Families.
Evans
A drum head company started in 1957 by drummer Chick Evens in Santa Fe, New Mexico. Evans beat the Remo company to the Mylar head market by a full year, and has spent much of the last 50+ years marching in lock-step with the other company. Evans is now a major provider of OEM heads and has recruited an impressive roster of endorsers. Also see Hydraulic, EMAD.
Extended Kit/Set
A drum set-up that goes beyond the standard 4-5 drum, 3-4 cymbal kit. Since the advent of drum racks, some drummers have been progressively adding to their 'instrument'. (Were it a competition, Terry Bozzio would NOT walk away with it, despite sometimes using a set with more than 100 drums and cymbals.)
F
Fast
A reference to the attack and decay of a crash cymbal. Thinner cymbals usually speak more quickly than thicker cymbals. Some companies designate such cymbalsas ‘fast crash’.
Fat
A sound that is full, with good attack and resonance, usually with ample low and mid frequencies.
Fat Back
A style of eighth-note rhythm in 4/4 where the snare drum plays a dominant back beat and syncopated figures in between. For example, the drummer might play a strong ‘2’ but accent ‘4-&’ to finish the bar. “Sex Machine” by James Brown is a good example of fat back.
Feathering
Playing the bass drum very lightly on every beat. Common in some forms of jazz. Also see Ghosting.
Fiberskyn/Skyntone
A hybrid drum head from Remo that bonds a Tyvek film to a Mylar drum head. The result is a head that looks and feels like calf skin. The tone is warmer than plastic and the surface is excellent for brush work.
Fibreglass
A type of drum shell made from resin and fibreglass or similar cloth. The shells are made in a mould from the outside in, often starting with the finish. Fibreglass drums have been around since the late '60s, and have an on-and-off popularity. The shells offer a number of advantages over wood, and generally provide excellent sound. Some medium-range drums are made of wood and lined with fiberglass.
Field drum
See Parade Drum.
Fill/Drum Fill
A short passage -- usually a bar or less -- when the drummer departs from playing straight time and plays a complementary figure on the drum set. To goal is to contribute interest and impetus to the music or punctuate a transition. Different music styles have different latitude for fills. For example, some rock styles feature a fill every other bar, while country music calls for a more Spartan approach.
Finger Control
Controlling the drum stick using mostly the fingers. Not practical at high volumes, but at low to medium volumes it allows exceptional execution, speed andarticulation. See Fulcrum.
Firecracker
A snare drum that has a small diameter and is fairly deep (e.g. 12” x 6”) that produces a high-pitched ‘crack’. Usually mounted off to the side as an alternative to the main snare drum.
Flam
A note played by striking the drum with two sticks, one slightly before the other (e.g rL, lR). The first note (see Grace Note) is not as loud as the second. Can be very dramatic.
Flange
A bend in a piece of metal. Can refer to the bends in a counter hoop, the flat section of a pang cymbal or the up-or down-turned edge of a china type cymbal.
Flanged Hoops
A style of metal counter hoop that has a number of bends. The first such hoops had a single bend (flange) that sat against the flesh hoop and held the drum head in place. The next generation had a second flange that wrapped around the flesh hoop. Triple flanged hoops provide a more generous striking area for rim shots. Also see Cast Hoop, S-hoop, Spun Metal.
Flat Ride
A type of cymbal that has no bell. While the cymbal may appear flat, it will have a low bow with a flat portion where the bell ought to be. The lack of a bell reducesovertones -- sometimes to almost nothing -- and minimizes build, wash and sustain. The result is a dry sound with pronounced stick articulation, and perhaps some splashing or crashing potential.
Flea Bite
A small nick in the edge of a cymbal caused by dropping it or bumping it into something hard. Although it may seem like a minor problem, a small ding can provide an opening for a crack to develop.
Flesh Hoop
Usually made of wood, these rings hold and give shape to calfskin drumheads. The heads are soaked in water to soften the leather, which is then tucked into the ring to secure it. (Modern polyester drum heads are attached to an aluminum ring that is still sometimes called a flesh hoop.)
Flight Case
Heavy-duty shipping case built to withstand the rigours of air travel and extensive touring.
Floating Shell
A drum built in such a manner that it has no tension lugs attached to the shell. Most common design is a shell that sits in a metal frame. The frame holds one of the heads and the tension rods for both heads, enabling the heads to be tensioned individually, with one head pressing against the shell and the other head pressing against the frame.
Floating Snares
Some companies have experimented with snare tensioning systems that keep the snares at constant tension even while disengaged. These allow the snare tension and the snare pressure against the snare head to be adjusted independently (e.g. Rogers Dynasonic). Also see Parallel Snares.
Floor Tom
A large diameter drum -- 14" to 18" -- that rests on the floor and is held up by steel legs attached to the shell. Floor toms are usually louder than mounted toms and their large diameter can make them somewhat difficult to play. Shell depth is quite often the same as the diameter. See Low Tom, Side Tom.
Fly Swatter
See Brushes.
Foam Ring
A damping device made of light foam that is attached to the underside of a drum's batter head. Results in a deep round tone with few overtones.
Focused
A sound that is well defined with few or well-controlled overtones, firm attack and limited sustain.
Foot Plate
The business end of a foot pedal. Foot plates come in two configurations: solid and hinged. The solid plate has a rocker unit mounted below the heel of a single solid foot board. The hinged variety has a small heel plate attached to the foot plate by a hinge. Each type has a specific feel and responsiveness, and neither is superior to the other, so it's a good idea to try both.
Foot-sock
See Lo-Boy.
Found Objects
Most objects can be coaxed into making a sound. Many drummers capitalize on this by adding interesting sounding objects to their set-ups. Brake drums, hubcaps and kitchen bowls are particularly popular.
Four-On-The-Floor
Playing steady four beats to the bar on the bass drum, a common practice in disco, jazz, boogie-woogie and a few other genres. Very effective for driving things along. Also a good stand-by when volume or tempo are challenging. Also see Feathering, Disco Beat, Eight-To-The-Bar.
Four-To-The-Bar
See Four-On-The-Floor.
Frame Drum
A small, single-headed drum often found in older cultures. Consists of a shallow shell with a diameter ranging from 12” to 15” or more. The head is usually tacked on and there is often a single rod or X-shaped reinforcement in the centre of the drum. Played with a short two-ended stick. Most early cultures had some form of frame drum.
Free Strike/Gladstone Technique
A stroke that begins with a very relaxed grip and a whipping motion, allowing the stick to rebound to its original position while the hand stays in a down position. The hand then grabs and lifts the stick and is ready for the next stroke. The stoke delivers excellent power.
French Roll
A roll executed by playing exactly three strokes per strike with each hand.
Front Line
In a rudimental drum ensemble, the snare drummers will sometimes form a straight, stationary line. Makes for an interesting display, with the drum line playing out front and the remaining percussionists playing and marching in formation in the background.
Fulcrum
Assumed to be the point at which a drum stick connects with the fingers to create a pivoting point. In practice, a drummer works with a number of fulcrums: shoulder, elbow, wrist, and various parts of the hand. In the ‘grip zone’, the fulcrum is typically between the thumb and first finger in matched grip, and the crotch of the thumb and first finger for traditional grip. In matched grip the fulcrum often switches from one finger to another depending on volume, speed, and technical background. Also see Finger Control.
Fundamental
The basic pitch or note of an instrument, and usually its dominant sound. See Overtones, Perceived Pitch, Timbre.
Fusion kit
An industry term for a 5-piece set: bass, snare, two mounted toms and one floor tom. Also see Configuration.
G
Ghost Note/Ghosting
A note, usually played on the snare or bass drum, that is light to the point that it can barely be heard. Also see Feathering.
Gig
A term commonly used by musicians to refer to a playing job.
Gladstone System
Billy Gladstone is responsible for many of the innovations we see on snare drums today. His tuning system introduced a unique type of tension casing and tensionrods that let the drummer tune either head by using different sockets of a special drum key on the top tuning rod. One socket tuned the top head and another adjusted the bottom. A third socket adjusts both heads at once.
Glassy
A cymbal sound in which high-pitched overtones dominate, producing a shimmering sound similar to breaking glass.
Glissando
A single note that rises or falls in pitch. See Roto-Tom, Twang.
Glue Ring
Some drum shells have a reinforcing ring on the inside of the shell edge. Usually 1 to 1 ½ inches wide and applied to both the top and bottom of the shell. May be solid wood or layers of thin veneer, and appears to have a positive effect on tone.
Goat Skin
Goat skin is considered inferior to calf skin and therefore of interest mainly to modest budgets, although it is a common head material on hand drums.
Gock Shot
A type of rim shot where the stick hits firmly in the middle of the drum to produce a rich, powerful sound.
Gong
Members of the cymbal family, gongs are disks of bell bronze ranging in size from a few inches to as much as 8-10 feet. Gongs are typically flat with a rolled edge, although there is much latitude for shape. Gongs are valued for their power, rich tone and unmatched sustain.
Gong Cymbal
A traditional Korean gong (jing gong), about the size of small crash cymbal, that rests in a frame so it can be played horizontally. Also a redundant name for a gong.
Gong Drum
A single-headed drum with a head that is significantly larger than the shell, e.g. a 24” head on a 20” drum. The result is a drum with a gong-like envelope. Usually mounted like a tom tom.
Grace Note
A note that is played slightly before and softer than the next note. See Cheese, Flam.
Gravity Blast
A gravity roll used as part of a blast beat.
Gravity Roll
A roll executed by placing the stick flat against the head and rim and quickly rocking the stick to alternately strike the rim and the head to produce a very rapid and visually interesting roll.
Groove
A rhythm that is more than a rhythm -- one that compels one to move with it. See Pocket.
Gut/Catgut Snares
In olden times, snare ‘wires’ were made from leather cords made from animal intestines. Modern ‘gut’ snares are mainly made from synthetics (e.g. Nylon) or silk wrapped with fine wire. Now, mostly replaced by metal wires.
Guts
A term for snares sometimes used by field drummers.
H
Half Time/Cut Time
A shift from one rhythm to one that moves at half the speed but without changing the song structure. E.g. A tune in 4/4 might shift to 2/2 to imply a slowing down, although a bar would take the same length of time to play as before. See Double Time.
Hammering
A technique of forming and tempering metal by hammering it against a hard surface or anvil. At one time the only way to create a cymbal, hammering is still an integral part of the process. Although some cymbals are made without any hammering, better quality cymbals usually have been treated to some form of hammering. Hammering expands, thins and compresses the metal, and refines the cymbal’s shape and tone. The most highly regarded method is hand hammered, where an artisan uses hammer and anvil to coax the metal into its final form. Some cymbals go under an automated hammer, guided by a skilled set of hands. Computer-controlled hammering delivers much of hammering's benefits faster, cheaper and more consistently. Also see Bell Bronze, Sheet Metal Cymbals, Roto-casting.
Hand Cymbals
A pair of matched cymbals attached to handles or straps and played by slapping the cymbals together. Used mainly in orchestras and marching bands.
Hand Drum
Any drum that is played with the hands rather than with sticks. (The heads on hand drums, often made from animal skin, can be too fragile to be hit with sticks.)
Hand Hammered
Hand hammering is an expensive technique, but the result is a high quality, more individual and more personal instrument. The highest quality cymbals are often finished with hand hammering. Some companies make hand-hammered metal snare drums. Also see Cosmetic Hammering, Machine Hammering, Turkish Style Cymbals.
Hand Hammered vs. Hand Hammering
Before the invention of machines to do the work, all cymbals were created by hand hammering a slab of bronze until it took on the shape of a cymbal. The process took many hours and thousands of hammer strokes. The majority of modern cymbals are rough shaped by rolling and stamping. The cymbals are then hammered using a variety of techniques. Good quality cymbals can be made by automated hammering, where a computer-controlled hammering machine does all the work. At the next level are cymbals that go under the hammering machine but under the control of a skilled craftsperson. Then there are the so-called hand hammered variety. These are taken from rough form to final cymbal by cymbal smiths who use the old fashioned method of applying hammer to anvil. The result is a distinctive cymbal and a pretty high price. One step below this level are cymbals that have been hammered using mechanized process and then hand-hammered to finish them off.
Hang (Drum)
Pronounced 'hung', this instrument consists of two steel bowls attached at the rim giving it the appearance of a UFO. The top of the drum has a number of tuned playing areas similar to a steel drum; the lower bowl has a large sound hole. The sound is reminiscent of a steel drum but mellower and with an almost hauntingresonance.
Hanging Tom
Another name for a mounted tom or rack tom.
Hardware
All of the stands, clamps, rods, and wing nuts that hold a drum set together. Over the years hardware has evolved in terms of strength, weight and versatility. Modern hardware tends to be heavy duty to withstand the pounding of the most physical drummers while providing the maximum in adjustability. Most drum companies offer several lines of hardware, from medium-duty on up. Also see Bass drum Pedal, Console, Drum Rack, Hi-Hat.
Harmonics
The sounds musical instruments produce consist of the fundamental -- i.e. the note or pitch -- plus a number of related pitches called harmonics. The harmonics and their complexity make up the recognizable character of an instrument. Taken together, these sounds form the instrument’s timbre. Because percussion instruments tend to have a large vibrating area, their harmonics are more complex and irregular than those of melodic instruments. See Odd Order Harmonics.
Head
A term used mainly in jazz to denote playing the tune with little or no embellishment. Playing the head once or twice establishes the tune before turning things over to soloists. It's traditional to repeat the head to finish the tune. See Rhythm Changes.
Heavy Metal
A term coined around 1970 to describe an emerging style of hard-driving rock. (The term was first used to describe Humble Pie.) Metal has since evolved into a number of sub-genres including death metal, thrash and many others.
Hemiola
A specific type of polyrhythm where two dotted quarter notes are played in 3/4 time. The technique originated in the middle ages when composers sought some creative relief from the church-mandated 3-beats per bar, in honour of the holy trinity. In recent times, musicians have adapted the technique by playing a cross-rhythm of 3/4 time within 4/4 time and then adding the hemiola as well. Also see Metric Modulation.
Hemp
A type of cloth that can be used to create resin shells. See Fibreglass.
High Tin Bronze
See B20, Bell Bronze.
Hi-Hat
A foot-operated stand that holds two cymbals, with the top cymbal movable via a vertical rod. The player can produce a chick or chup sound by stomping on the pedal and can also ride on the cymbals. Opening and closing the cymbals produces a wide variety of sounds. Also see Clutch, Drop Clutch, Pea Soup, Remote Hi-Hat.
Hip-Hop
A music style that evolved from rap, break beats and drum samples. Similar to rap, it is less stylized and with more latitude for subject matter. The music is almost always tied to hip-hop dance.
Hybrid Cymbal
A cymbal that has both lathed and unlathed areas. Each area would have a subtly different sound and stick feel. See Dual-tone, Lathing.
Hybrid Rudiments
A rudiment created by combining elements of, or adding new elements to, existing rudiments. The list of such sticking patterns is ever-growing, with one source documenting more than 500 of them. Their existence demonstrates the desire of drummers to go beyond the traditional.
Hydraulic
The Evans drum head company revolutionized the sound of the drum set in the mid-1970s with their hydraulic drum head, so called because the head is two-plies ofMylar with a thin layer of oil in between. The oil helps to mellow the sound while preventing premature failure due to friction between the layers. Also seePinstripe.
I -- J
Idiophone
An instrument that is a single component rather than an assembly of parts, e.g. cymbals, claves, vibraphone, etc. vs. a drum, which requires both a shell and a membrane.
Indefinite Pitch
Unlike melodic instruments, most percussion instruments do not produce a recognisable note but an indistinct tone that sounds generally high or low. SeeMallet/Keyboard Instruments, Perceived Pitch.
Independence
The accepted term for getting two or more limbs moving at once. It is virtually impossible to move arms and legs independently, but with sufficient practice one, two or even three limbs can be conditioned to repeat a basic pattern while other limbs play in a freer manner. A better term would be 'co-ordinated dependence'.
Indie Music
A reference to recorded and commercially available music from a small, usually independent producer rather than one of the established big labels. May be produced and marketed by the artist(s).
Inharmonic Partials
In melodic instruments, the partials or harmonics of a note follow an orderly pattern based on regular multiples of the note's frequency. Because percussion instruments produce complex fundamentals, their partials do not follow a neat logical pattern. Although the results are called ‘inharmonic’, the result can be very musical and pleasing. Also see Odd Order Harmonics.
Introduction
A passage in a song, usually 8 or 16 bars, that precedes the head. Many well known tunes have an introduction that is virtually unknown despite the remainder of the tune being a standard, e.g. “Lush Life”.
Inverted Chinese Cymbal
A Chinese style cymbal that has an inverted profile, with a trough close to the bell and a down-turned edge. Allows the cymbal to be mounted normally on a stand, reducing stress on the bell.
Irrational/Irregular Rhythm
Note divisions that deviate from the natural multiples for that rhythm. E.g. Playing triplets when the music has an eighth-note feel, or eighth-notes over a triplet feel. Also see Polyrhythm, Tuplets.
Jazz Ride
In the 1930s, jazz drummer Kenny 'Klook' Clarke experimented with playing the standard jazz rhythm on a ride cymbal rather than on the snare and/or hi-hat as was the style of the time. This approach soon became the standard. In strict written notation, the rhythm is: [quarter note - dotted eighth & sixteenth] [quarter note - dotted eighth & sixteenth] etc. In practice, the rhythm is almost always played with a triplet feel and almost never a dotted-eighth and sixteenth feel.
K
Kettle Drum
Large drums with bowl-shaped bodies originated in the middle east and have been around for more than 3000 years. Usually made of metal, they were often mounted on horses or camels, and played the army into battle. Also see Tympani.
Kevlar®/Aramid
Best known as the material used to make bullet-proof vests, Kevlar is a type of nylon invented by DuPont in the early 1960s. The fibres, called aramid, can be woven into an extremely tough, heat- and moisture-resistant cloth that has five times the strength of steel. The material is ideal for rudimental drum heads, which call for very high tensioning, ruggedness and a dry sound, and it is also used for drum shells (see Fibreglass.)
Keyboard Percussion
See Mallet Instruments.
Kick Drum
Misnomer for bass drum.
Klunker
A cymbal that is too heavy for the intended use.
Konnakol
In Carnatic music, the practice of singing or reciting the rhythm using standardized syllables, e.g. Ta-ki-ta, Ta-ka-dim-mi. Tabla bols are a subset of Konnakol.
L
Lathing
The final process in cymbal making is removing the outer layers by mounting the cymbal on a special lathe and making one or more passes with a chisel. Up to 2/3 of the cymbal’s metal is removed along with the oxydized exterior coating. This leaves the cymbal covered with tone grooves. Some specialized cymbals undergo partial lathing (see Dual Tone) and some are not lathed at all. Lathing is an important step in a cymbal's sound development. See Hybrid Cymbal, Taper, Unlathed.
Latin-Jazz
A style of Latin-influenced jazz that emerged in the early 1940s and then popularized by Dizzy Gillespie's Latin jazz band throughout the decade. Now a standard part of the jazz tradition.
Layered Drumming
The ‘conventional’ approach to playing (vs. linear drumming), where patterns are played in layers, e. g. a ride pattern on top, bass pulse below and snare patterns in the middle. The vast majority of contemporary drumming is of the layered variety.
Linear Drumming
Defined as a drumming style where hands and feet never (or at least rarely) strike at the same time. (Steve Gadd and Mike Clarke are known for their linear playing.) Also see Layered Drumming.
Lion Cymbal
Another name for china-type cymbals.
Lion Gong
See Wind Gong.
Lithophone
Melodic percussion instrument with tone bars made from stone. See Mallet Instruments.
Lo-Boy
The progenitor of the hi-hat, the first pedal-operated devices held a pair of cymbals just a few inches from the floor. Eventually the stands were made taller to allow playing the cymbals with sticks.
Long drum
Antiquated name for a bass drum. See Side Drum.
Long Roll
See Double-stroke Roll, Open/Closed.
Loop
A continuously repeated pattern. In certain music styles, drum patterns are sampled and then programmed into a unit that plays the pattern in a continuous ‘loop’. Also the hip-hop term for vamp or riff.
Low Tin Bronze
See B8.
Low Tom
A floor tom, or a rack tom positioned like a floor tom.
Lug Clearing
Tuning a drum so that the tone at each tension lug is identical. See Tap-tuning, Voicing.
M
Machine Hammered
A cymbal that has been worked with a machine-powered hammer. Provides a hammered character more economically and with better consistency than handhammering. The process may be fully automated but is often under the control of an artisan who decides how the cymbal is to be worked. For this reason 'made by hand' can apply to a great number of cymbals.
Mallet Instruments/Melodic Percussion
Percussion instruments capable of playing melodies. Includes xylophone, marimba, vibraphone, and tubular bells. (Note that a celeste is neither a mallet instrument nor keyboard percussion.)
Mallets
A type of drum stick that has a round or oval beater ball usually made of felt. Mainly used to produce a softer, rounder sound. Especially effective on tom toms. Also see Beater.
Mama Dada
A user-friendly term for the long or double-stroke roll.
Marching Drum
See Parade Drum.
Matched Grip
The technique of holding both drum sticks ‘like a hammer’. The lead hand is held the same as in traditional grip, and the other hand simply does the same. The technique appears to be just as adaptable as traditional grip, delivers more power, and is much easier for the new student to learn. There are three recognized styles of matched grip -- French, German and American -- determined by degree of rotation of the forearms. For mallet players, the differences may be important, but for the average drum set player, all three positions emerge quite naturally.
Measure
Same as a bar.
Melodic Toms
A set of toms, usually single-headed, tuned to a scale or subset of a scale. See Concert Toms, Octobans.
Membranophone
An instrument that consists of a membrane (i.e. a drum head) stretched across a resonating chamber and played by striking the membrane by hand or with sticks. The basic designs are single-headed, double-headed, and bowl-shaped. Single-headed drums are cylinders with a head on one end and open at the other. Double-headed drums are cylinders with a head at both ends. The diameter of the cylinders is usually constant, but there are exceptions (e.g. congas, derbaki, doumbek, pakwaj, mrdangam, etc.). Bowl-shaped or kettle drums have a single head and a roundish body, and include such drums as tympani, tabla/bayan, etc. Not all ‘drums’ are membranophones.
Mercatto Stroke
A stroke that is controlled so that the tip of the stick remains close to the playing surface after striking. This is also the basis of the Moeller stroke. Also see Dead Sticking.
Metric Modulation
A method of switching tempo by substituting note values (see Polyrhythm) and then switching to the implied time signature. E.g. In 4/4 time, playing quarter notetriplets and then switching to straight 6/4 time.
Metronome
A device, either mechanical or electronic, that marks out a tempo in beats per minute. Most provide a range of 40 bpm to 208 bpm. Some electronic versions offer a broader range of tempos and may count out various time signatures.
Middle Eight
In 32-bar tunes and many 'pop' structure tunes, there is usually an 8-bar passage that is melodically and harmonically different from the main tune. Sometimes called the bridge.
Mini-Cup
A cymbal -- usually a ride cymbal -- that has a very small bell, about 1/4 the size of a normal bell. Mid-way between a regular cymbal and a flat ride, it provides a very precise stick sound with little wash or build.
Montuno
Similar to a vamp, a montuno is a Latin-derived device where the band plays a simple, recurring, highly rhythmic pattern, often on just two chords. This can provide an exciting backdrop for a soloist and especially a drummer. (Carlos Santana is a big fan of montunos.)
Mounting Hoop
The outer hoop of a drum head. Sometimes called a flesh hoop or crimp hoop.
Muffled
An instrument that has been damped to the point that its sound has been substantially quashed, i.e. lacking the high frequencies needed for projection andarticulation. Some drummers will put a piece of cloth over the entire head or put another drumhead loosely on top to produce a muffled sound. These techniques also produce a fatter sound. See Damping, Fat.
Muffling Rings
Same as EQ-rings or foam rings.
Music Therapy
“Music hath charms” to the point that listening to and playing music can be therapeutic to mind, body and spirit. See Drumming Circle.
Mute
An extreme form of damping device that eliminates much of the noise of drums. The drums are still audible, which makes muted drums ideal for discreet practice.
Mylar
A strong plastic film invented by Dupont during World War II and taken into service as drum head material in the late 1950s independently by two drummer-entrepreneurs, Remo Belli and Chick Evans. Mylar is superior to calf skin in many ways, not least of which is cost. Mylar heads are available in an astounding array of configurations, and sometimes mimic the appearance and texture of calf skin heads (see Tyvek).
N
NARD
Formed in the early 1930s, the National Association of Rudimental Drummers established the first set of “13 Essential Rudiments” in the US. The list was expanded to “26 Standard American Rudiments” by 1936. These included the essentials -- single-stroke roll, double-stoke roll, flams, paradiddles, short rolls -- as well as some more complex patterns such as the flamacue and triple ratamacue. The organization was supplanted by the Percussive Arts Society in 1978. In 2008, surviving members of the N.A.R.D. reactivated the organization with the mandate to continue to champion the standard rudiments.
Nickel Silver
See Stainless Steel.
Nylon
A type of tough yet flexible plastic that is used for a variety of purposes including drum stick tips, drum heads (see Kevlar), snare wires, and brushes as well asbushings and bearings.
Nylon Tip
In the mid-1950s, drummer Joe Calato (founder of Regal Tip) perfected the technique of attaching a nylon bead to a wooden drum stick. Catalo’s design resulted in tips that stayed on the stick. Nylon tips are very hard wearing and produce a sharper attack than wood tips. Nylon tipped sticks are now a standard product for alldrum stick makers.
O
Ocean Drum
A North American two-headed frame drum that has gravel or beads inside. Rotating the drum creates an ocean-like sound as the beads move across the head. Also see Water Drum.
Octave
A series of notes from tonic to tonic.
Octoban/Tubetom/Deccabon
Originally introduced by Tama in the 1970s, octobans are a set of eight 6" toms of varying depths. Shorter drums are tuned higher than longer drums. The idea is to tune the drums to an 8-note scale (see Octave).
Odd Meter
Any time signature that is not a multiple of 2 or 3. For example, 5/4, 7/8, 11/16, etc. would be odd metres whereas 9/8 would not as it’s divisible by 3.
Odd Order Harmonics
Unlike a taut string or length of tubing, a drum’s resonating element is a broad disk. When struck, the disk produces an array of sounds that are unlike typicalharmonics. It’s this complexity of harmonics that gives drums and cymbals their distinctive tone and enables them to blend with all manner of music. They can also make drums somewhat tricky to tune.
OEM
Original equipment manufacturer. Usually refers to an add-on to another product. E.g. Gretsch contracted with Gibraltar to provide hardware for their drum sets. Such hardware would be classified as OEM and therefore considered a Gretsch product.
Off Beat
Refers to notes placed between the main counts. In the case of eighth notes [1-&, 2-&, 3-&, 4-&], the ‘&’ would represent off beats. See Syncopation.
Oil-filled
See Hydraulic.
On top of the Beat
Similar to behind the beat. In this case, the player interprets the time as slightly ahead of the beat, adding energy and a sense of urgency to the music. Also see On-Top-of-the-Beat, Rushing.
Open
A reference to a sound that is clear and resonant, usually with a touch of natural ring.
Open Hand(ed) Drumming
A style of playing that avoids crossing one hand over the other. For a right-handed drummer, this would mean playing the hi-hat mainly with the left hand to avoid crossing the right hand over the left. Necessitates the ability to play ride rhythms with the non-leading hand.
Open/Closed
Many sticking patterns can be played in an open, or loose, manner or closed, with the strokes very close together. Rudiments such as the double stroke roll and theflam are commonly played both open and closed for different effects. Closed is necessarily played faster than open. Buddy Rich was famous for including a single-stroke roll in his solos, starting out with a very slow open roll, gradually speeding up to a blistering closed roll, and then slowing down to the original open tempo.
Open-Close/Drop-Snap Technique
A two-step stroke where the stick is allowed to bounce off of the head on rebound, with the hand relaxed and staying in the down position. On the next stroke, the hand snaps shut and pulls the stick back to the starting position. Also see Moeller.
Ostinato
A rhythm or pattern that is steadily repeated without modification and serves as a background for other rhythms and other instruments. The jazz ride is a type of ostinato, as is the clave rhythm. Also see Montuno, Vamp.
Overhang pedal
An early bass drum pedal design where the beater was suspended from the top hoop and a pedal attached to the bottom hoop. Often included a metal cymbal beaterthat struck a small cymbal attached to the rear bass drum hoop.
Overtones
Anything that vibrates has a fundamental tone -- known as its pitch or note -- and a series of overtones at various higher pitches. Overtones, their pitch and their intensity are the characteristics that determine an instrument’s timbre and distinctive sound. Can detract from as well as enhance the sound of an instrument. SeeHarmonics, Odd-order Harmonics, Undertone.
Oxydation/Tarnish/Corrosion
Over time, cymbals will change colour due to interaction with oxygen and other elements in the atmosphere. Commonly called a patina. Also see Cymbal Cleaner.
Ozone
A crash cymbal, introduced by Sabian, that has a number of large holes drilled in the bow. The holes lighten the cymbal, giving it a quicker response and add atrashy aspect. Also visually quite impressive. Many cymbal companies now offer cymbals with all manner of holes in them.
P
Pang Cymbal
A cymbal that has a flat portion at the outer edge of the bow. Makes a distinctive ‘pang’ sound. Also see Chinese Cymbal, Flange.
Paper Thin
An extremely thin crash cymbal. Tend to be higher pitched than a regular crash cymbal, with a very fast response. Such cymbals are delicate and cannot tolerate abuse. See Fast.
Parade/Rudimental Sticks
Visually similar to regular drum sticks, rudimental sticks tend to be much thicker, with a heavier bead and are often made from lighter woods.
Parade/Marching Drum
General term for deep-shelled snare and tenor drums used by marching bands and pipe drummers. These days parade drums are very specialized instruments. To achieve the preferred sound, the drums are fitted with high-strength often Kevlar heads, and the shells and hardware are built to accommodate very high tension. Drums are typically 14" to 16" in diameter and 12" or so deep. The snare drum may have a snare mechanism mounted under the top head.
Parallel Strainer
A type of snare throw-off that has an activation mechanism extending through the drum to hold both ends of the snares at constant tension (e.g. Ludwig Super-Sensitive). When engaged or disengaged, the entire assembly moves parallel to the snare head. The theory is that snare response will be greatly improved. Also seeFloating Snares.
Partials
The sound of an instrument consists of its fundamental tone plus its partial tones. Partials are over- and undertones that are generated by the instrument, and all three contribute to timbre. Partials can be harmonic or inharmonic.
PAS/Percussive Arts Society
An international organization whose mandate is to promote education, research, performance, and appreciation of all types of percussion, and oversees the “40 Standard Rudiments”. Also see NARD.
Patina
A colour change that occurs in cymbals over time -- from bright gold to dull amber to olive green or green/brown. It is actually a form of tarnish and is a result ofoxydation and other chemical changes to the metal. Patina is a prized quality in older cymbals, but it can be removed by aggressive cleaning. See Brilliant Finish,Cymbal Cleaner.
Pea-Soup
Playing the off beats (‘and’) on the hi-hat while opening it and closing it on the beat. Results in the ubiquitous “pea soup -- pea soup -- pea soup” rhythm of the classic disco beat.
Perceived Pitch
Percussion instruments produce complex sounds. A two headed drum, for example, produces sound through the interaction of the two heads. The drum headsthemselves have a large vibrating area that typically cannot produce a simple note. As a result, a drum’s pitch is a product of how the ear and brain interpret the many subtle sonic components. For example, although a tympani appears to produce a distinct note, what you hear is actually a by-product of its over- andundertones.
Permutation
A variation on a sticking pattern. For example, a paradiddle is played RLRR LRLL. A permutated paradiddle is played RLLR LRRL.
PET
Polyethylene terephthalate -- a strong, light, recyclable plastic film similar to Mylar and used to make drum heads as well as plastic drink bottles. See Polyester.
Phrase
The basic unit of a musical statement. Singers and horn players have enough breath for about two bars, and this has been rounded up to four bars, providing a nice balance between musical statements, and so phrases have been somewhat standardized at 4 bars.
Piatti Musicali
Italian for 'musical plates', i.e. cymbals.
Piccolo Snare
A snare drum that is a standard diameter but is fairly shallow, e.g. 4” x 14”; 3” x 13”. Also see Firecracker.
Pick-up (Beat)
A beat or part of a beat that is added to the beginning of a tune, just before the first bar, to provide a lead-in.
Piggy-Backing
Placing two cymbals on a single stand. A larger cymbal is mounted normally on the stand and a smaller cymbal is placed on top, and often inverted. The cymbalscan be struck separately, and when struck together produce a trashy sound. Also see Stack Cymbals.
Ping
The sound of a heavier cymbal that has a high-pitched fundamental, little low frequency energy, and good attack and definition. Tends to project very well. Also seeArticulation, Ping Shot.
Ping Shot
A type of rim shot that is played with the bead close to the rim to produce a crisp, bright sound. (Bill Bruford is known for playing ping shots much of the time.)
Pinstripe
Partly in response to the popularity of the hydraulic head, the Remo company created a similar two-ply head. Instead of using oil to dampen the sound, Remo uses a ring of glue around the circumference of the head. The edge of the glue is then masked by a thin black stripe.
Pipe Drum
A type of parade or marching drum that is preferred for use with a Scottish bagpipe band.
Pitch
The relative ‘high-ness’ or ‘low-ness’ of a sound. Small instruments tend to be higher pitched than larger ones. A firecracker snare, for example, will always produce a higher pitch than a large tom.
Playing Time
Refers to when the drummer plays a basic beat with little or no variation or embellishment. Playing time is what anchors the music, and when well done is often superior to a busier approach. See Rhythm Section.
Plies
The number of layers of wood veneer that go into a plywood drum shell. The number of plies determines the thickness of the shell, which in turn affects tone andtessitura. Thicker shells generally have greater volume but a more limited tonal range. Can be as few as 3 plies or up to 30, although 6 to 10 plies are most common. See Tone Wood.
Pocket
A reference to a drummer playing very closely with the bass player and is thus said to be ‘in the bass player’s back pocket’ – especially at slower tempos. Now taken to mean an exceptionally good groove. A ‘deep pocket’ is even more so.
Polyester
A general term for plastic film. There are a number of types of polyester used to make drum heads, including mylar and PET.
Poly-Meter
Usually lumped in with polyrhythms (and it is one), a polymeter is different in that it alludes to an intermingling of time signatures. In 4/4 for example, it's possible to play in 3/4, where a quarter note still gets one beat. This creates a strong 3 pulse in apposition to the 4/4 pulse, and if not resolved naturally after 12 bars, must be resolved at some other point. The classic example is the 3-3-2 pattern: 2 bars of 3/4 and 1 bar of 2/4 played over two bars of 4/4 -- a very common technique in modern jazz. Also see Cross-Rhythm.
Polyrhythm
Two or more different rhythms played at the same time. To play a polyrhythm, you would play a basic rhythm and then overlay a second rhythm that has a different, contrasting structure, e.g. '2 against 3', where one hand/instrument might play eighth notes while another plays triplets at the same time. Usually expressed as a ratio, e. g. 3:4 (3 over 4; 3 against 4) where 4 is the number of underlying beats and 3 is the number of notes played ‘over top’. May be the basis of the music or added as an embellishment to add interest. Many world music styles use polyrhythms liberally. Also see Poly-Meter, Hemiola.
Polyrhythm vs. Poly Meter vs. Cross Rhythm vs. Hemiola.
The art of combining two contrasting rhythms has a strong tradition in almost all music forms. It therefore makes sense to study the theories and techniques involved and at the same time not make a big deal out of it. Most drummers play simple polyrhythms quite regularly and easily, while the more complex rhythms are only occasionally heard.
Sometimes the difference between a polyrhythm and a cross-rhythm is a matter of perspective. For example, if you play 3 quarter notes with one hand and two dotted quarter notes with the other, you're playing a polyrhythm (3:2). Shift your attention slightly and you'll see that you're also playing a hemiola (2:3). Or you might be laying down the start of a rhythmic displacement.
The important thing is to not get hung up on the nomenclature or the ‘cleverness’ of these techniques. Get a feel for what the resulting rhythms sound like by listening, especially to jazz, African and East Indian music, and to drummers who have a particular interest in these approaches. Pete Magadini and Steve Smith would be good player-educators to check out.
Pop Tune
A large percentage of popular music is based on a fairly loose song structure. Phrases can be 4 or 8 bars (and there is latitude for other lengths) and usually three types of phrase: verse, chorus, bridge (V, C, B). a Common pop tune structure is V-C-V-C-B-V-C-C.
Popeye Syndrome
A condition where the muscles in a drummer’s forearms are over developed in relation to the upper arms.
Port
Common name for a small- to medium-sized hole cut into the front head of a bass drum. Serves a variety of functions: cuts down on ring, adds definition, improvesprojection, and allows access to the inside of the drum to adjust damping or to place a microphone. May be augmented with a plastic horn lining the hole.
Power Tom
A drum with greater than average depth. For example, a 12” tom is traditionally 8” deep whereas a 12” power tom might be from 10” to 12” deep.
Practice (Pad) Set
A frame and set of practice pads that mimic a drum set. May have practice cymbals as well. Most are portable enough to be easily taken on the road, allowing practice and warm-up before a gig.
Practice Pad/Drum Pad
The first practice pad was probably invented the same week the first humanoid began banging on objects. Drummers value practice pads not merely for sound reduction. They are highly portable, very cost effective and allow you to observe your technique close up. The majority of pads are made from live gum rubber although other materials are used as well, including adapted drum heads.
Pretensioned Head
A drum head that has been mounted on its hoop so that it is tensioned to a certain tone. Very useful on rope tension drums, which don't have a lot of mechanical ability to apply tension.
Profile
The side view of a cymbal. The amount of curvature of the cymbal's bow affects pitch, sustain and relative 'dryness'. Flatter cymbals tend to be dry with richovertones; cymbals with a higher profile will be higher pitched and less complex.
Pulse
Another term for the underlying regular beats that set the time and the rhythm in music. See Time, Time Signature.
Punchy
Having a very quick response; short and loud, with penetrating mid-range sounds.
Q -- R
Quaver
A uniquely British term for a quarter note. Eighth notes and 16th notes are semi-quavers and hemi-semi-quavers respectively. (One has to wonder what 64th notes or septuplets might be called.)
Rack
See Drum Rack.
Rack Tom
A tom that is mounted in a rack, attached to a bass drum mount, or hanging from a stand. See Mounted Tom.
Remo
In 1957 Remo Beli created a Mylar drum head, and soon after began manufacturing them commercially. He also aggressively promoted the heads to the drummers of the day, easily convincing them of Mylar’s superiority to calf skin. Today Remo is one the world’s leading maker of drum heads and other percussion products, including world percussion instruments.
Remote/Cable Hi-Hat
A hi-hat stand (or other pedal device) that has the pedal attached to the stand by a length of cable, allowing the stand to be placed at a distance from the player while keeping the pedal close by. Also see Double Bass Pedal.
Resin Shells
Drum shells that are made in a mould from a material such as fiberglass and a polymer resin. Drums are made from the outside in, the finish often being the outer surface of the shell. The inner layer is usually a sheet of cloth, which can be fiberglass, Kevlar, carbon fibre, and even hemp.
Resolution
The conclusion of a phrase. Typically, a phrase will introduce tension through rhythm, melody or harmony The resolution resolves the tension and gives a satisfying conclusion to the phrase.
Resonant/Reso Head
The bottom head of a two-headed drum. The resonant head plays an important role in a drum’s sound. It keeps the sound ‘inside’ the drum allowing it to bounce resulting in richer depth, tone and complexity, and increased sustain. Often a lighter weight than the batter head. Also see Voicing.
Rhythm
One of the fundamental -- and indeed indispensable -- components of all music, rhythm is a regular pattern of beats and their variation. (Music consists or melody, harmony, rhythm, and timbre.)
Rhythm & Blues/R&B
A style of performance that relies predominantly on two musical forms: the structure and chord changes of “I’ve Got Rhythm” and 12-bar blues. See 32-bar,Rhythm Changes.
Rhythm Changes
A tune that uses the structure and harmony -- the chords changes -- of George Gershwin’s “I’ve Got Rhythm”. See 12-bar blues, 32-bar, Rhythm & Blues.
Rhythm Section
The section of a band made up of bass player, drummer and usually a chording instrument such as guitar or piano. The rhythm section's job is to lay the foundation for both the tune and the soloists.
Rhythmic Displacement
A technique of moving a rhythmic pattern off of the down beat, giving the illusion that the time has shifted. E.g. a simple rock pattern might be shifted so the backbeat falls on 1-&, 3-& while the bass drum shifts to 2-&, 4-&.
Ride (Rhythm)
The notion of a ride rhythm is that it ‘rides along’ throughout a tune. In jazz, it is the ubiquitous ‘ding ding-a ding’ cymbal pattern. In rock, it is usually eighth notes on the hi-hat or ride cymbal.
Ride Cymbal
A specialized cymbal that is geared toward playing a steady ride rhythm. Tend to be heavier than crash cymbals, but this is relative. Available in an impressive variety of sizes, weights and styles, they are a drummer’s mainstay. Also see Crash-Ride, Flat Ride, Mini-cup.
Riff
A recurring melodic pattern, usually short and distinctive. (When Jimmy Page formed Led Zeppelin, his goal was to create riff-based music.)
Rim
Another name for a counter hoop, and also a reference to the top edge of a counter hoop. Also see Rim Shot.
Rim Shot
A drum stroke where the stick strikes the drum head and the rim (counter hoop) at the same time. The effect is a loud, crisp and decisive sound. Rim shots can also be used to produce a ringing tone suited to Latin music. Also see Ping Shot, Cross Sticking.
RIMS
Invented by the Gary Gauger in the 1970s, the “resonant isolation mounting system” is a frame that holds a drum by its tension rods, eliminating the need to bolt a mounting attachment to the drum shell. The goal is to allow the drum to resonate freely rather than lose vibration through the mounting system. Similar systems are now standard issue on most quality drum sets.
Ring
A type of high-pitched overtone that may or may not be desirable depending on context and fashion. Ring may clash with other instruments and can make a drum difficult to tune and to mic. See Boomy, Ping Shot, Resonance.
Rock Knockers
A drum stick that has no taper and no bead. Essentially a stick with two butt ends, hence the alternate term double bummers.
Roll
A general name for three common sticking patterns that produce a continuous, even sound. The main rolls are the single-stroke (RL RL RL RL), the double-strokeroll (RR LL RR LL) and the buzz roll. Rolls can also be short; the standard rudiments include a number of short rolls based on double strokes: 5-stroke, 7-stroke, 11-stroke, etc.
Rope Tension
Before the advent of metal parts, drums were assembled and tensioned with rope. The rope criss-crossed between top and bottom heads and hoops to secure them in place. Rough tuning was done by tightening or loosening the rope. Fine tuning was accomplished by moving leather ‘ears’ (buffs) along a rope pair to increase or decrease tension.
Rotocasting
A method of creating cymbals by pouring molten bronze into a spinning mould. An expensive and rarely used method. Also see Cast Cymbal, Hammering, Lathing.
Roto-Toms
A shell-less drum that consists of two circular racks mounted on a threaded rod. The drums are tuned by spinning the entire drum -- clockwise to raise the pitch, counter clockwise to lower it. The toms can be quickly tuned and can also produce a glissando.
Round
A subjective description of a sound that is well balanced and mellow, without many high frequencies. See Warm.
Roundhouse Fill
A fill the starts at one end of the kit and ends at the other end (in some cases a very long trip). Usually straight-ahead 16th notes or 16th note triplets.
Rudiment Families
The standard rudiments are now grouped under five specific families according to sticking type: single stroke, double stroke, paradiddle, flam, and drag.
Rudimental Drumming
There is a strong tradition in western culture of marching bands, drum lines and drumming competitions featuring compositions built mainly on the rudiments. Also see Drum Corps, Drumistic, NARD, PAS.
Rudimental Grip
See Traditional Grip.
Rudiments
Standardized sticking patterns, some of which date back more than 1000 years. Originally used to communicate signals to different sections of an army. A list of 'standard' snare drum rudiments was first set down in the early 1300s and has been evolving ever since. The first modern interpretation was compiled by the NARDin 1933 as the "13 Essential Rudiments", and soon expanded to the "26 Standard American Rudiments". Most drummers will at least pay lip serve to the rudiments, but it’s safe to say that a shocking number of superb drummers have never studied them. Also see Drum Corps, Hybrid Rudiments, Rudimental Drumming, SwissRudiments.
Rushing
A tendency to play faster than the set tempo -- a serious fault. Can cause the time to get completely out of control. Not the same as playing on top of the beat.
Rutes/Brooms
Bundles of small sticks that are mid-way between a drum stick and a brush. Range from pencil-sized dowels to spaghetti-sized strips of bamboo and also fine nylonrods. Often have a sliding ring or sheath of plastic that allows the bundles to be modified for different sounds.
S
Salsa
A general term that can refer to a variety of Afro-Cuban/Afro-Latin rhythms.
Sample
A section of recorded music that has been captured and then programmed into a sequencer or synthesizer. Certain hip-hop styles frequently use samples of interesting rhythms. Also see Break Beat, Loop.
Scratch Roll
An exaggerated buzz roll generated by pressing hard on the sticks in short bursts. Sometimes considered a technical flaw, but can be effective if used sparingly.
Sculptured Gong
A gong that is not round. A number of artisanal makers have created interested shapes and sounds, such as Matt Nolan’s 'Hand' and 'Bat-Wing' gongs.
Seamless Shell
See Spun Metal.
Second Line Shuffle
A rhythm unique to New Orleans music that combines a military-style syncopated snare drum roll atop a salsa bass drum rhythm. Also see Traditional Jazz.
Secondary Beats
A note that is produced by allowing the stick to touch the head a second time immediately following a full stroke. The double-stroke roll relies on secondary beats or strokes, as does the Moeller stroke.
Shakers
Almost anything that can produce a rattling noise can be used as a shaker. Range from plastic 'eggs' filled with beads to woven baskets filled with seeds or pebbles to hollowed-out gourds with a netting of beads around the outside. Played by shaking, rolling and striking against the hand.
Sheet Metal Cymbals
An economical way of making cymbals is to stamp them out of a roll of sheet bronze. Cymbal blanks then go through some of the same processes as cast cymbalsbut lack the strength and complexity of cast cymbals. Sheet bronze cymbals allow the drummer on a tight budget to own bronze cymbals without the associated cost. (Note: Bell bronze cannot be formed into large sheets.)
Shell Pack
1. A set of drum shells drilled and ready for finishing and assembly.
2. Modern term for a drum set minus stands and cymbals.
Shell Sizing
Drum shells have a depth and a diameter. Both are somewhat standardized, but there are two ways to specify a size -- diameter x depth or depth x diameter -- and drum companies have yet to decide on one method. This can lead to confusion: Is a ‘16 x 18’ drum sixteen inches wide and eighteen inches deep or the other way around? The standard for North American drums was depth x diameter and for Europe and Japan, diameter x depth. Fortunately, a company will use the same notation for all their drums. (Given that we talk about a drum as ‘12’, ‘14’, ‘20’, etc., it makes sense that the diameter x depth system should emerge as the standard.)
Shell, Drum
A large, hollow tube that is the main component of a drum. Virtually every facet of a drum shell has a range of design possibilities. Materials range from solid wood, plywood and metal (steel, aluminum, copper, brass, bronze) to plastic, fiberglass and carbon fibre. Metal shells are usually reserved for snare drums as they tend to be too heavy and vibrant for other drums. Wood appears to offer the best balance of tone, volume, playability and cost. Diameters range from 6” to 18” fortoms, 16” to 28” for bass drums, and 12” to 15” for snares. Depths range from 3” at the low end to the same or greater depth than the shell’s diameter (see Floor Tom, Parade Drum, Power Tom). Interestingly, every diameter from 10” to 16” is available with the exception of an 11” drum. Like the 2-dollar greenback, drummers have turned their backs on the 11” drum. Also see Membranophone, Plies, Tone Wood.
Shimmer
The bright, high partials of a cymbal. See Glassy.
S-Hoop
A type of triple-flanged hoop that has the top flange curled inward and slightly over the drum head.
Shot(s)
In big band music, the drummer will often punctuate horn figures by playing a figure or a subset of the figure (i.e. the accents). Shots can be played anywhere on thedrum set, although the snare drum appears to be the favourite.
Shoulder
The part of a drum stick where the shaft leaves off and the taper begins.
Shuffle
A rhythm loosely based on a dotted eighth and sixteenth. One of the three core rhythms found in popular music, especially country and blues.
Side Drum
A drum that is carried by a sling and hung to the left for use while marching. Side drums were most often snare drums and tenor drums, but could also be deep-shelled bass drums. See Long, Drum, Parade Drum, Suspended Drum, Traditional Grip.
Signature (Series)
A product that bears the signature of a drum celebrity. Many popular drummers have their own signature drum sticks. Lately drummers have had their names added to individual drums, cymbals and even cow bells. See Endorser.
Silver Dot
The Ludwig Drum Company makes a drum head similar to the Remo Black Dot, with a reflective silver dot. The heads sound slightly mellower and with less ‘clack’ than a black dot head.
Single Headed
A drum that has only a batter head. Such drums tend to project well and are easy to mic, but lack depth, tone and resonance. See Concert Toms, MelodicToms,Octobans.
Single Tension
A double-headed drum that has no tension casings. Instead, the tension rods connect one counter hoop to the other. When a tension rod is turned, it affects both heads equally. Such drums are perhaps somewhat easier to rough tune but are less flexible in terms of tonal range compared to double-tension drums.
Sizzle Cymbal
A cymbal that has had rivets installed in it. Can be a ride or crash cymbal with as few as 2-3 rivets and up to a dozen or more. Adds a subtle wash element to the sound. Also see Effects Cymbal, Swish Knocker.
Skip Beat
In a jazz ride pattern, a light stroke placed just before the 1 and 3. Assuming a dotted 8th & 16th notation, the 16th note would be the skip beat. Played with a tripletfeel and counted as 1-trip-let, 2-trip-let, the skip beat would be the 'let'.
Slunk/Slink Skins
The skin of an unborn, stillborn or prematurely born calf. The hides are sometimes used to produce a fine grade of calf skin for snare heads.
Small Tom
See Mounted Tom.
Snare (Drum)
A two-headed drum that has wire snares fitted to the bottom head by means of a snare release, which enables the drum to produce a crisp ‘crack’ sound and also facilitates buzz rolls. At one time snare drums were about as deep as they were wide (see Military Drum). Modern snare drums tend to be shallower, although fashion brings back the deeper drums from time to time. Range from 12” to 15”, and often have cute names such as black beauty, firecracker or piccolo. Snare drums typically cost more than other drums because of the extra hardware and machining required. There are also snare drums that have snares beneath the top head in addition to or instead of bottom-mounted snares. See Gut, Side Drum.
Snare Bed
Snare drum shells typically have a region where the bottom bearing edge has been filed away, producing two shallow channels at the edges of the snare head. The width and depth of the snare bed -- or its absence -- can have a dramatic effect on snare response, thus snare wires should be selected to match the profile of the snare bed and vice versa.
Snare Head
In order to facilitate response from the snare wires, the bottom or resonant head of snare drums is usually much thinner than the batter head. Even in the case of ultra-high tension military tuning, the snare head will be thinner than the top head.
Snare Release/Throw-Off
A device that holds the snares onto a snare drum, allowing the snares to be tighten
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http://puppetista.org/drums/rhythms.html
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en
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Drums & Demonstrations
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Do not take the following rhythms charts too seriously. Most of the rhythms below are part of oral traditions, which means you're not supposed to learn them from a piece of paper or a screen. Some real person is supposed to show you how to play it, and give you all kinds of detailed information about the musical and broader social context that is associated with the rhythm, like when to play it, what it means, who's supposed to play it, how you dance to it, how you sing to it, etc.
If you don't have access to a teacher, internet videos may be more useful to learn the feel and context. Writing the rhythms out enforces the unity of the ensemble, this has advantages and disadvantages.
Think of the following charts as skeletons, and be carefull while reanimating them, so as not to unleash horrifying mockeries of their original forms. A good check is to make sure that the people around you are grooving along with you. A better check is to make sure that people from the same place where the rhythm is from are grooving along with you.
Clean starts and stops make drummers sound professional and unified. Most drum parts start with a basic part, do one or more common variations of that part, and then go back to the basic part.
If this notation looks like gibbering mantras to you, find someone who reads music to figure them out for you, or be patient and analytical. The rhythms are notated in an internet-friendly variation of the Time Unit Boxes system. Many drum machines are programed similarily. Many video games work on the same principle. Think of a vertical bar skipping across the page from left to right, at a constant speed. You follow along one of the parts horizontally, and either play a note or leave a space, like a player piano or a typewriter. When you get to the end of the line you automatically jump back to the beginning without loosing any time.
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https://www.2000kcal.cz/lang/en/values/bacon-rim-shot-salt-722782301075
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en
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BACON RIM SHOT SALT: Calories and other nutrition
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Nutrition info for BACON RIM SHOT SALT: 1200 calories; 4.8000001907349 g proteins; 34 g carbs; 0 g fats.
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en
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https://www.2000kcal.cz/lang/en/values/bacon-rim-shot-salt-722782301075
|
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