Sometimes Batucada, used synonymously with the word "Samba," it is comprised of the specific rhythms played on the various percussion instruments within the bateria: repinique, surdo, caixa, ago-go, pandero, tamborim, cuica, and chucalho. The Batucada rhythms presented here are authentic replications of the rhythms played on the instruments just mentioned, particularly the surdo drum, and can be incorporated into an authentic Brazilian Samba. Because these Batucada rhythms create a busier sound than the Samba grooves, it is usually appropriate to play these rhythms during the more climactic portions of a song. Batucada rhythms start around quarter note = one hundred and seventy beats per minute.

The roots of Baiao (pronounced as "by-ow" or "byown") can be traced back to the Northeastern Brazilian state of Paraiba. Though Baiao incorporates the stylized dances of European settlers accompanied by Brazilian instrumentation, it allegedly originated with the dancing of Cangaceiros (Brazilian bandits). As it was originally performed, the primary percussion instrument was a zabumba (a large bass drum) played on both sides in a syncopated rhythm. Baiao's development was greatly influenced by radio and musician Luis Gonzaga in the 1930s and 1940s. Prior to radio exposure, Baiao was mainly an instrumental form traditionally consisting of the zabumba (large drum), accordion, vocals, pandeiro and triangle.

With air play, it achieved popularity throughout Brazil and began to include the guitar. By the 1960s, Baiao rhythms made their way to the United States and into popular music in songs like Burt Bacharach's "Do You Know The Way To San Jose?" Baiao can now be found in American jazz in compositions by artists such as Joe Henderson and Chick Corea. Although not created from a fusion of Bossa Nova and Samba, Baiao contains rhythmic elements of both. The prevalent rhythm is identical to the first measure of the Brazilian clave, with a tempo closer to that of Samba than Bossa Nova. The tempo begins at quarter note = one hundred and seventy beats per minute.

While Samba music traditionally dealt with the hardships of the Brazilian working class, Bossa Nova focused on the idyllic atmosphere of the prosperous neighborhoods along the beaches of Rio de Janeiro. Similarly, Bossa Nova composers and musicians tended to come from the middle and upper classes. To reflect its theme of a luxurious lifestyle, Bossa Nova borrowed the melodious chord structures found in American jazz while retaining the drum rhythms of Samba, but at a slower and more relaxed tempo. With its birth in the 1950s, through guitarists Joao Gilberto and Antionio Carlos Jobim and their songs "Bim Bom" (Gilberto) and, later, "Chega de Saudade" (Jobim), Bossa Nova blossomed within Brazil.

The Bossa Nova grooves which follow can be applied to American jazz standards or authentic Brazilian Bossa Nova. The constant bass drum pattern is identical to the one played in a Samba. The ride hand commonly plays a consistent sequence of eighth notes, while the snare hand plays a rim click pattern often referred to as the "Brazilian Clave." The style is counted and felt in 4/4 and usually played at a tempo of quarter note = one hundred to one hundred sixty eight beats per minute.