Please enable JavaScript.
Coggle requires JavaScript to display documents.
Exploring the role of the guitar in the Brazilian Choro genre from Villa…
Exploring the role of the guitar in the Brazilian Choro genre from Villa-Lobos's Choros No.1
TYPICAL BAND
MELODY
FLUTE, CLARINET, ACCORDION
ACCOMPANIMENT
ONE OR MORE 6/7 STRING GUITAR,CAVAQUINHO
LIGHT PERCUSSION - REMO,TAMBOURINE
DURATION
sixteenth-eighth-sixteenth note
most important rhythmic cell of choro and samba
musician is free to make their own rhythmic constructions and provide a balance to the choro
triplets
frequently occur with anticipations, in which the characteristic syncopation’s eighth note is transformed into a sixteenth note, and the first note of the following bar is sped up and incorporated into the final sequence of three sixteenths and connected to the first note of the next bar
improvise rhythmic variations in performing the chords
playing with tempo - in and out of fermatas, rallentandos
PITCH
Playing the bass line and connecting the chords
ADDITIONAL?
2/4 time signature
Traditional choro has three 16-bar parts (A, B, C) played in rondo - ABACABA
Upbeat, fast pace
Original choro: trio for flute, guitar, and cavaquinho
Vibrant and cheerful beat, characterized by the virtuosity and improvisation of its participants
"the New Orleans jazz of Brazil."
“Father of Samba, Grandfather of Bossa Nova.”
all the others should improvise following the harmony.” - Calado
Rhythmic conventions that also encompassed a great variety of styles (waltz, polka, schottische, maxixe, samba, etc
ESPECIALLY WALKTZ AND POLKA
