Professional Documents
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Hermínio Bello de Carvalho: Isbn 858892102-2
Hermínio Bello de Carvalho: Isbn 858892102-2
The Author
Play Along Choro is your chance to take part in a top-class round of choro, both as a listener
and as a musician. Each of the six volumes in this series consists of a book and a CD.
In the book you will find: learning tips regarding technique and style, music scores, the history
of the instrument, and biographies of the foremost choro players and composers, as well as a basic
discography for each of the instruments discussed. The CDs include compositions by
Chiquinha Gonzaga, Ernesto Nazareth, Jacob do Bandolim, Pixinguinha, Waldir Azevedo,
Paulinho da Viola, and other choro masters, performed by some of the leading
contemporary instrumentalists of this musical genre.
The recordings have been made using the latest state-of-the-art technology, while remaining
faithful to the choro traditions in both the arrangements and instrumentation.
The CDs have been recorded and mixed so as to allow for maximum interaction on the part of
the listener/performer. On your stereo system, you can hear the instrument in reference
separately on one channel, for you to study every detail of the musical phrasing, solos, and
ornaments, while on the other channel you will hear the rest of the choro round, without
this instrument. In the center position of your stereos balance control you will be able to
listen to the whole group. This package is priceless to all musicians, amateur or professional,
beginner or advanced, who wish to deepen and strengthen their knowledge of choro,
both in terms of technique and style.
Violo Guitar
Choro 100 a oportunidade de participar de uma roda de choro do mais alto nvel,
como ouvinte ou como msico. Cada um dos seis volumes da srie consiste de um livro e um CD.
No livro, encontram-se observaes didticas sobre tcnica e estilo, partituras das msicas,
histria do instrumento, biografias dos maiores chores e uma discografia bsica para cada um dos
instrumentos abordados. Os CDs trazem composies de Chiquinha Gonzaga, Ernesto Nazareth, Jacob
do Bandolim, Pixinguinha, Waldir Azevedo, Paulinho da Viola e outros clssicos, tocadas por
alguns dos principais instrumentistas do gnero em atividade.
As gravaes foram feitas utilizando-se o que h de mais moderno em termos de tecnologia,
porm com arranjos e instrumentao fiis tradio do choro. Os CDs so mixados de modo a
permitir a interatividade do ouvinte/executante. Em um equipamento estreo, pode-se ouvir de um lado
o instrumento abordado isoladamente, para se estudar detalhes do fraseado, solos e ornamentaes,
e no outro canal o resto da roda de choro, sem esse instrumento. Na posio central do
controle de balano do seu aparelho de som, ouve-se todo o conjunto.
Este pacote tem um valor inestimvel para qualquer msico, amador ou profissional, iniciante,
ou veterano, que queira aprofundar e sedimentar seus conhecimentos sobre choro,
tanto tecnicamente como estilisticamente.
Rogrio Souza
O autor
9 788588 921023
BF-407
m2004 e p2008 Sarapu Produes Artsticas Ltda. Fabricado no Plo Industrial de Manaus por Sonopress Rimo da Amaznia Indstria e Comrcio Fonogrfica Ltda.
- Ind. Brasileira, C.N.P.J.: 84.494.129/0001-49 sob licena da Sarapu Produes Artsticas Ltda. C.N.P.J: 03.938.996/0001-79 e distribudo pela Sarapu Produes
Artsticas Ltda. C.N.P.J.: 03.938.996/0003-30. Todos direitos do produtor fonogrfico e do proprietrio da obra so reservados. proibida a reproduo, locao,
execuo pblica e radiofuso desta obra.
ISBN 858892102-2
Choro 100
ficha tcnica
produo musical e coordenao de projeto
produo executiva
Joana Hime
produo fonogrfica
assistentes de produo
cd
Gravado, mixado e masterizado por Rodrigo de Castro Lopes no Estdio Sarapu, Rio de Janeiro, em maio de 2004.
Assistente de estdio: Lucas Ariel.
msicos
N em Pingo dgua
Celsinho Silva pandeiro
Mrio Sve sax e flauta
Papito baixo
livro
coordenao editorial
ilustraes
Linda McGill
Fernando Lopes
elaborao de partituras
preparao de originais
Rogrio Souza
Choro 100
Violo
Prefcio de
Noites cariocas
De: Jacob Bittencourt
Copyright 1970 by Irmos Vitale S.A. Indstria e Comrcio
Todos os direitos autorais reservados para todos os pases.
ISRC: BRPUI0400327
Assanhado
De: Jacob Bittencourt
Copyright 1977 by ADDAF
ISRC: BRPUI0400315
Numa seresta
De: Luiz Americano
Copyright 1978 by Universal Music Publishing MGB Brasil Ltda.
Todos os direitos autorais reservados.
ISRC: BRPUI0400319
Chorando baixinho
De: Abel Ferreira
Copyright 1957 by Todamrica Msica Ltda. (ADDAF)
ISRC: BRPUI0400318
Choro negro
De: Paulinho da Viola e Fernando Costa
Copyright 1973 by Warner-Chappell
ISRC: BRPUI0400323
Corta jaca (Gacho)
De: Chiquinha Gonzaga
P 1897. Domnio pblico
ISRC: BRPUI0400326
Dana de urso
De: Candinho
Direto. Todos os direitos reservados ao autor.
ISRC: BRPUI0400325
Delicado
De: Waldir Azevedo
Copyright 1950 by Todamrica Msica Ltda. (ADDAF)
ISRC: BRPUI0400324
Rosa
De: Pixinguinha
Copyright 1933 by Mangione, Filhos & Cia. Ltda.
Todos os direitos autorais reservados para todos os pases do mundo.
ISRC: BRPUI0400316
Sons de carrilhes
De: Joo Pernambuco
Copyright 1978 by Universal Music Publishing MGB Brasil Ltda.
Todos os direitos autorais reservados.
ISRC: BRPUI0400322
Tenebroso
De: Ernesto Nazareth
P 1908. Domnio pblico
ISRC: BRPUI0400321
Um a zero
De: Pixinguinha e Benedito Lacerda
Copyright 1945 by Irmos Vitale S.A. Indstria e Comrcio
Todos os direitos autorais reservados para todos os pases.
ISRC: BRPUI0400317
Vibraes
De: Jacob Bittencourt
Copyright 1977 by ADDAF
ISRC: BRPUI0400314
CDD 784.19
CDU 78.087
sumrio
Apresentao, 7
Choro 100 (uma orquestrinha de bolso), 8
O violo no choro, 11
O violo de sete cordas, 14
Gneros musicais, 15
Comentrios sobre as msicas, 16
Discografia, 18
Bibliografia, 20
O Autor, 21
Partituras, 43
apresentao
A idia deste projeto surgiu quando percebi a quase inexistncia de material didtico para msicos interessados em aprofundar-se no estudo do choro. Digo quase porque
quando existe algo difcil de ser encontrado. Esse material deveria possibilitar ao estudante a participao em qualquer roda de choro, fornecendo-lhe informaes histricas e
estilsticas, as partituras de grandes clssicos e uma gravao que permitisse ao praticante
alm de observar detalhes da execuo de grandes instrumentistas tocar acompanhado
pelos melhores msicos do gnero.
Assim nasceu o Choro 100, projeto prontamente abraado pela Biscoito Fino. Nada
mais natural, para a sua execuo, que fossem convidados os integrantes do N em Pingo
dgua Mrio, Rodrigo, Rogrio, Papito e Celsinho , msicos de reconhecida excelncia
no assunto. Essa formao sopros, bandolim, violo, baixo e pandeiro requeria ainda a
complementao de um cavaquinista, e tal carncia foi suprida com sobra pela participao
de Jayme Vignoli, um dos instrumentistas mais ativos e de maior competncia na atual
cena carioca de choro.
Os arranjos foram gravados na forma e no tom em que costumam ser tocados
nas rodas de choro que no necessariamente a tonalidade original escolhida pelo
compositor da msica. Optamos por manter, na execuo, pequenas modificaes
e a surpresa de alguns improvisos, para dar ao resultado final a credibilidade do
que se ouve em uma autntica roda de choro. Essas variaes foram o estudante a praticar a percepo, tirando alguns detalhes de ouvido. Dessa forma,
mantemos um pouco da didtica intuitiva utilizada no universo do choro, pela
qual todos os grandes chores de outrora tocavam e estudavam.
Temos a certeza de estar fazendo chegar s mos dos leitores e estudantes
um material de valor inestimvel. Esperamos que ele contribua para a difuso
deste gnero to especial e de esprito to brasileiro, o choro.
choro 100
O bom deste projeto que ele no est querendo inventar a roda, embora o CD
tenha o formato de uma rodinha, s que prateada provando que o mundo est sempre
em evoluo, girando, girando.
Desde que inventaram a msica, sempre existiu um professor atrs da estante rabiscando uma partitura. O mundo evoluiu que nem a roda, e os novos suportes de ensino acabaram ganhando a mesma forma arredondada. Do velho disco acetato ao moderno CD, h
sempre o cheiro de giz de um professor rabiscando na lousa de ardsia um pentagrama.
E desde que msica msica, a melhor coisa do mundo foi (e !) juntar um bando
de amigos, cada um com seu instrumento, para tocar aquela melodia que entrou no ouvido da gente e no quer sair. Mas nem sempre existem amigos msicos disponveis para a
chamada prtica de conjunto.
A, o jeito fazer uma espcie de karaok instrumental, sabendo que no preciso
estudar l fora pra compor como Tom Jobim ou Baden Powell, nem orquestrar igual a
Radams e Pixinguinha. tocando e estudando que se aprende.
Voc agora pode levar sua orquestrinha para casa ou lev-la tambm para quintais
vizinhos, e tocar a melhor msica popular do mundo graas iniciativa deste projeto lanado pela Biscoito Fino, que valoriza no s a divulgao da grande msica instrumental
brasileira como tambm estimula a prtica de conjunto, to necessria aos estudantes de
msica. Um trabalho de peso, que se credita a Celsinho Silva, Papito, Rogrio Souza, Mrio
Sve e Rodrigo Lessa, msicos do grupo N em Pingo dgua, e ao cavaquinista Jayme
Vignoli.
Sem a pretenso de ter inventado a roda, como j expliquei, neste conjunto de sonoras
e reluzentes rodinhas a gente da msica vai se fartar com o cardpio musical colocado
mesa, com requintes nunca dantes imaginados.
Histrico
A gente nunca vai saber quem foi o primeiro professor de msica e nem a identidade
daquele menino que, curioso, atravessou a sala de aula com seu instrumento debaixo do
brao. E nem quando isso se deu.
Por exemplo: meu professor de violo, o aougueiro aoriano Antonio Rebello, foi
discpulo de Quincas Laranjeiras que, segundo se conta, foi precursor do ensino por msica
do nosso mais popular instrumento. Depois, Mestre Rebello e Luiz Bonf foram estudar
com Isaias Svio, e dessa escola-matriz foram surgindo Turbio Santos (hoje instrumentista
de fama internacional e diretor do Museu Villa-Lobos), os irmos Abreu e o grande Jodacil
Damaceno, que repassou seus conhecimentos pra Joyce e Guinga entre muitos outros. E
l atrs, o velho Quincas nem sabia que estava fazendo histria.
Ah, sim: o poeta-trovador Catulo da Paixo Cearense foi quem ensinou primeiradama da poca os primeiros acordes do violo que ela, serelepe, levou aos saraus palacianos,
escandalizando a corte ao executar o Corta-jaca, da grande Chiquinha Gonzaga. Dona Nair
de Teff, filha do Baro de Teff e esposa do Presidente Hermes da Fonseca, era tambm
conhecida pelo seu trao preciso e irreverente de cartunista. Assinava seus desenhos com
o nome de Rian. Eu a conheci e entrevistei na Rdio MEC na dcada de 50, para onde fui
levado por obra e graa de dois amigos de Mrio de Andrade: Lucio Rangel e Mozart de
Arajo. Uma menina muito precoce organizava a coleo das raras partituras de Mozart:
Luciana Rabello, irm de Raphael. E os dois, precoces, teriam como professores o velho
Meira e o grande Canhoto. Meninos ainda, no sabiam que o destino lhes reservava cruzar
com Radams Gnattali, ela e Maurcio Carrilho escrevendo uma nova histria do choro
atravs da Acari Records, e promovendo a maior pesquisa de repertrio do gnero atravs
dos cadernos do Princpios do choro (com a colaborao de Anna Paes), um monumento
cultural esculpido de parceria com o Instituto Sarapu e a gravadora Biscoito Fino. Um
fabuloso trabalho de arqueologia musical que fez desencavar verdadeiras prolas em bas
que estavam apodrecendo nos pores da indiferena. Era a velha roda girando ao compasso
de um corta-jaca travesso.
Sem querer reinventar a roda, e inspirado num inesquecvel seminrio organizado
em 1987 por Toninho Horta em Ouro Preto, propus (sem inventar a roda...) o projeto Radams Gnattali, na Funarte. Isso em 1988. O suporte era uma roda de vinil ento chamada
de LP, onde os melhores msicos brasileiros foram precursores de uma espcie de karaok
didtico-instrumental. Roberto Gnattali e Luiz Otvio Braga formataram o projeto, que
ganhou o subttulo de D uma canja. Sabe-se l o que tocar com alguns dos melhores
msicos brasileiros? Pois : Raphael Rabello, Chiquinho do Acordeon, Joel do Nascimento,
Vitor Santos, Mauro Senise, Zimbo Trio, Helvius Vilela um mundo de gente.
Porque estava na cara que faltava um suporte dinmico que estimulasse a tal prtica
de conjunto e, sobretudo, atenuasse a solido daquele annimo estudante de msica do
interior, que raramente encontrava um parceiro para dividir com ele um choro de Jacob
do Bandolim ou de Pixinguinha, ou um samba de Noel.
E a, h uns quatro anos, meu querido Maurcio Carrilho inventou uma fantstica
Oficina de Choro com seus ex-companheiros da Camerata Carioca, conjunto que, alis,
nasceu com as bnos de Radams Gnattali e com eles gravou um disco em homenagem a
quem? Ao Jacob do Bandolim, que acabou virando nome de instituto, e do instituto nasceu
a Escola Porttil de Msica. L foram criados suportes didticos como as Apostilas sonoras
e as Apostilas audiovisuais.
E obediente mxima de Chacrinha que nada se inventa e tudo se copia, a gente
espectador dessa maravilhosa proliferao de mtodos os mais diversos, que atende a uma
clientela especfica que j comeou a soletrar musicalmente as obras de Pixinguinha, Ana
cleto, Ernesto Nazareth, Tom Jobim e tantos outros mestres que nos ensinaram o idioma
musical brasileiro. Est a o Choro 100 (Play Along Choro) como prova, e que ir ganhar o
destino de dezenas de oficinas de choros e escolinhas informais que, a exemplo da Escola
Porttil de Msica, hoje grassam pelo Brasil afora, carentes de mais esse suporte didtico.
Da que, nesse girar da roda, o velho mestre Quincas Laranjeiras d o brao a Maurcio
Carrilho, enquanto Chiquinha Gonzaga e Dona Nair de Teff volteiam pelo salo mostrando
as artes do cavaquinho de Luciana Rabello, enquanto Kati Almeida Braga e Olivia Hime
abrem as portas do Instituto Sarapu para essa garotada que vem chegando, e entregam a
Rodrigo de Castro Lopes e a estes msicos da alta linhagem do choro a tarefa de criar mais
um suporte de ensino, que vem somar-se s iniciativas mais conseqentes para provar que
a juventude no alienada e que tais suportes so fatores de incluso social atravs do
ensino da msica, divina msica.
E j repararam uma coisa? A logomarca da Biscoito Fino tem a forma de um biscoito
redondo. Ou seja: a velha roda, inspirando tudo, se reinventando a cada novo dia.
10
o violo no choro
O final do sculo XIX foi um perodo musicalmente muito rico na cidade do Rio
de Janeiro. Pessoas juntavam-se em encontros informais para tocar msicas de sucesso
da poca, unindo msicos profissionais e amadores. Esses encontros renderam muitos
frutos, tais como o maxixe, dana surgida em 1875, e finalmente o choro, criado por volta
de 1880, em torno de uma flauta, um violo e um cavaquinho. O choro era a forma que
esses msicos, muitos deles sem estudo formal, encontravam para tocar estilos musicais de
origem europia, com adaptaes rtmicas e harmnicas mais familiares aos seus ouvidos
brasileiros. Assim, os msicos se adequavam s dificuldades encontradas. Muitas vezes,
alguns poucos componentes tocavam por partitura enquanto os outros executavam as
msicas de ouvido, promovendo desafios harmnicos e improvisacionais entre si, o que
serviu para enriquecer o carter polifnico do choro.
Com o passar do tempo, novos instrumentos foram acrescentados aos grupos, resultando de forma natural, a partir de 1890, na formao de conjuntos, chamados regionais. A formao do grupo regional ideal foi sugerida pelo flautista e compositor Joaquim
Antnio da Silva Callado (RJ, 1848-1880), considerado o pai dos chores, que usava um
cavaquinho, dois violes e uma flauta, instrumentao seguida por muitos outros grupos,
at os nossos dias.
Os principais violonistas (seis cordas) dos primrdios dos regionais de choro traziam
a marca de uma poca bomia e urbana, onde as serenatas e os saraus eram freqentes.
Um dos expoentes dessa poca foi Catulo da Paixo Cearense, poeta e compositor
responsvel pela reabilitao do violo nos sales da alta sociedade, com modinhas e toadas,
muitas delas em parceria com o violonista Joo Pernambuco.
Quincas Laranjeiras (Joaquim Francisco dos Santos, 1873-1935) foi o precursor do
violo erudito no Brasil, por sua forma de ensinar a tocar violo por partitura e por criar
e estilizar o solo de violo popular na msica brasileira.
Um dos mais importantes violonistas e compositores brasileiros de choros foi Joo
Pernambuco (Joo Teixeira Guimares, 1883-1947), aluno de Quincas Laranjeiras, que se
tornou conhecido nos meios musicais por intermdio de Catulo da Paixo Cearense. Joo
Pernambuco foi o idealizador do grupo Caxang, pioneiro, em 1910, na formao dos regionais, que contava com o flautista Pixinguinha, na poca com somente 13 anos de idade.
Com o fim do Caxang, Pixinguinha formou o grupo Os Oito Batutas, no qual tocava
Donga (Ernesto J. Maria dos Santos, 1890-1974), um violonista que seria fundamental para
a histria do samba, e que tambm estudou com Quincas Laranjeiras.
11
Um outro msico dessa fase que merece ser mencionado Tute (Artur de Souza
Nascimento, RJ, 1886-1957), que com China, violonista irmo de Pixinguinha, introduziu
o violo de sete cordas nos conjuntos de choro e nos regionais.
Outra referncia do violo na histria da msica popular brasileira Garoto (Anibal Augusto Sardinha, 1915-1955). Multiinstrumentista extraordinrio, gravou e tocou
com grandes nomes da poca, tanto como acompanhante quanto como solista. Entre eles
temos: Laurindo de Almeida (violonista), Jos Meneses (violonista), Chiquinho do Acordeon, Radams Gnattali, alm de cantores como Carlos Gardel, Carmem Miranda e Slvio
Caldas. Foi um compositor modernssimo para sua poca. Suas composies para violo
so consideradas, ainda hoje, muito sofisticadas. Em 1953 gravou o seu primeiro LP solo
de violo, e faleceu pouco tempo depois, em 1955.
Dilermando Reis outro grande violonista e compositor que merece destaque. Foi
professor de violo nas famosas casas de msica Bandolim de Ouro e Guitarra de Prata,
no Rio de Janeiro. Vrios de seus alunos destacaram-se, como os violonistas Bola Sete e
Darci Vilaverde. Como a maioria dos grandes msicos da sua poca, trabalhava em diversas
estaes de rdio. Gravou tambm vrios LPs solo, sendo em alguns acompanhado por
Dino Sete Cordas ou por Meira, um dos melhores acompanhadores de todos os tempos, e
um dos violonistas populares mais solicitados de sua poca. Meira criou um estilo e uma
escola, abrindo caminho para msicos como Baden Powell (violonista), Raphael Rabello
(violonista de seis cordas e de sete cordas) e Maurcio Carrilho (violonista de seis e sete
cordas), entre outros.
Com a consolidao dos discos e o surgimento do rdio (1922), os msicos de regionais, que perderam espao em eventos para a msica mecnica, passam a tocar, em
atividades de lazer nos quintais e nos bares. Mas em seguida, ao firmar-se o rdio na moda
e no cotidiano das pessoas, surgem vrios programas de calouros, competindo diariamente
por audincia e abrindo um novo horizonte para os msicos de conjuntos regionais.
Em 1935, aparece Horondino J. da Silva (RJ, 1918 -2006), Dino Sete Cordas, que tocava
de ouvido e aprendeu a estudar o bordo rpidos contrapontos tocados nas cordas graves do
violo , nas variaes que praticava com o pai. Em 1937, integrou o conjunto de Benedito
Lacerda, conhecendo Meira, que substitua outro msico do grupo. Dessa forma, nasceu
uma das mais famosas duplas de violonistas acompanhadores no Brasil Dino e Meira.
No incio dos anos 1950, com o afastamento de Benedito Lacerda, o grupo passa a
se chamar Regional do Canhoto, poca marcante para Dino, pois foi quando comeou
a tocar o violo de sete cordas e a aprimor-lo, chegando perfeio e se tornando uma
referncia para o estilo, tanto que, at os dias de hoje, considerado o maior mestre do
violo de sete cordas.
Na dcada de 1960, Jacob do Bandolim organiza um novo conjunto, chamado poca
de Ouro, que atingiria o equilbrio perfeito entre a sonoridade instrumental e a formao
regional. Eram trs violes na formao: Dino Sete Cordas, Csar Faria e Carlinhos Leite.
12
o violo no choro
13
14
gneros musicais
Choro
Formao de pequenos grupos instrumentais de msica popular, que tocavam gneros
estrangeiros por volta de 1875 no Rio de Janeiro. O choro pode ser lento, como no chorocano, ou ligeiro, podendo ser chamado tambm de chorinho, estilo que exige virtuosismo
do solista e destreza dos acompanhantes. O conjunto de choro nos dias de hoje costuma
ser composto por um solista que pode ser um instrumento de sopro ou um bandolim ,
um ou dois violonistas, cavaquinho e pandeiro.
Polca
De origem bomia, chegou aos sales brasileiros por volta de 1845. Tem andamento
alegre e compasso binrio. Tornou-se popular por intermdio dos chores e das sociedades
carnavalescas. A primeira partitura a ser escrita e editada no Brasil foi uma polca.
Corta-jaca
Espcie de dana de origem ainda discutida, podendo ter vindo da Espanha ou ter
sido criada no Brasil. Tocava-se na Bahia, no Rio de Janeiro e em So Paulo. uma dana
com sapateado, em voga no sculo XIX. O corta-jaca encontrou espao para evoluir no
Nordeste, dando origem ao Coco, dana tpica daquela regio.
Valsa
Dana de origem austraca. Tem compasso ternrio, com acentuao no primeiro
tempo. tambm o nome dado msica que acompanha essa dana. A valsa brasileira
carrega influncias da modinha e da serenata.
Baio
Dana e canto popular nordestino, acompanhado principalmente de viola. Conserva
clulas rtmicas e meldicas do xotis e do coco. Tem compasso binrio e andamento alegre.
O baio teve grande impulso com o sucesso de Luiz Gonzaga, a partir de 1946.
15
16
6. Delicado
um baio (ritmo do Nordeste do Brasil ). Apesar de esta pea ser tocada por chores, o baio normalmente no se enquadra nos ritmos do choro. Gravado um violo de
seis cordas para se focar bem o ritmo do baio.
7. Gacho
Outro clssico do choro. um dos maxixes mais conhecidos e mais tocados no Brasil.
Gravado com violo de sete cordas. muito comum improvisar-se sobre a harmonia da introduo (Dm/A7).
8. Noites cariocas
Um clssico do choro, obrigatrio em qualquer roda. Gravado com violo de sete
cordas. Tema muito usado para improvisar, principalmente na parte B. Tente!
9. Numa seresta
Choro tpico com trs partes: A/B/C (Pixinguinha e Nazareth foram grandes mestres
de choros com trs partes). Gravado com sete cordas.
10. Rosa
Tpica valsa brasileira, do mestre Pixinguinha. Gravada com violo de sete cordas.
Observe que os baixos so usados para preencher os silncios da melodia.
11 e 12. Sons de carrilhes
Choro escrito para violo solo. Gravado com um violo solo de seis cordas, e um
outro de sete cordas com harmonias e baixarias.
13. Tenebroso
Composio original para piano, gravada com violo de sete cordas. O interessante
neste choro de trs partes que a melodia da parte A feita nos graves do violo (mo
esquerda do piano).
14. Um a zero
Outro clssico do choro, com trs timas partes. Com violo de seis cordas, foi feita
nessa gravao uma base de samba contnua em toda a msica. A parte C muito usada
para improvisar.
15. Vibraes
Obra-prima de Jacob do Bandolim. Do CD Vibraes, com Jacob e o grupo poca de
Ouro, que considerado por muitos o melhor CD de Choro da histria da msica brasileira. Os violes deste CD so as maiores referncias para um acompanhamento de choro
perfeito. Foram gravados dois violes, de seis e sete cordas.
17
discografia
Listamos aqui alguns trabalhos que consideramos indispensveis em uma discografia
bsica do violo no choro, mas existem diversos outros a serem pesquisados.
Obs.: V6 = violo de seis cordas V7 = violo de sete cordas
obra
intrprete
gravadora
ano de
lanamento
Violonistas
Assanhado
Jacob e poca
de Ouro
RCA
Camden
1966
poca de Ouro
WEA Music
2002
Chorando baixinho,
um encontro
histrico
poca de Ouro
Kuarup
1979
Cinco companheiros
Pixinguinha
Sinter
1956
Dino 50 anos
Dino Sete
Cordas e poca
de Ouro
Copacabana
1987
poca de Ouro e
Armandinho
poca de Ouro
e Armandinho
Tom Brasil
1993
poca de Ouro
interpreta
Pixinguinha e
Benedito Lacerda
poca de Ouro
Continental
1977
Galo preto I
Galo Preto
RCA Victor
1978
18
discografia
obra
intrprete
gravadora
ano de
lanamento
Violonistas
Galo preto II
Galo Preto
Galo Preto
1981
Teo de Oliveira e
Mario Rocha (V6)
J. Pernambuco 100
anos
N em Pingo
dgua
Funarte
1983
Memrias chorando
Paulinho da
Viola
EMI Odeon
1976
Paulinho da Viola e
Cesar Faria (V6)
Mistura e manda
Paulo Moura
Kuarup
1983
Raphael Rabello
(V7), Maurcio
Carrilho (V6) e
Cesar Faria (V6)
Os Carioquinhas no
choro
Os
Carioquinhas
Som Livre
1977
Raphael Rabello
(V7), Maurcio
Carrilho (V6)
Raphael Rabello e
Dino Sete Cordas
Raphael
Rabello e Dino
Sete Cordas
Caju Music
1991
Raphael Rabello
(V7) e Dino Sete
Cordas (V7)
Repertrio da Rdio
MEC
Jacob do
Bandolim
Tributo a Jacob
Radams
Gnatalli
Atlantic /
WEA
1979
Raphael Rabello
(V7), Maurcio
Carrilho (V6) e
Joo P. Borges (V6),
Joel Nascimento e
Camerata Carioca
Vibraes
Jacob e poca
de Ouro
RCA
Camdem
1967
19
bibliografia
ANDRADE, Mrio de. Dicionrio musical brasileiro. So Paulo: Editora da Universidade
de So Paulo; Belo Horizonte: Editora Itatiaia Limitada, 1989.
CRAVO ALBIN, Ricardo. Site Dicionrio Cravo Albin.
dicionrio cravo albin da msica popular brasileira http://www.dicionariompb.com.br/
dicionrio de msica zahar. Rio de Janeiro: Zahar Editores, 1985.
enciclopdia da msica brasileira http://www2.uol.com.br/encmusical/
enciclopdia de msica brasileira: erudita, folclrica e popular, organizao de
Marcos Antnio Marcondes. So Paulo: Art Editora, 1998.
PINTO, Alexandre Gonalves. O choro: reminiscncias dos chores antigos. Rio de
Janeiro: Typ. Glria, 1936.
SVE, Mrio. Saxofone brasileiro o mtodo. Rio de Janeiro: Rio Arte, 2003.
SVE, Mrio. Vocabulrio do choro estudos e composies. Rio de Janeiro: Lumiar, 1999.
TINHORO, Jos Ramos. Pequena histria da msica popular: da modinha ao tropicalismo. So Paulo: Art. Editora, 1986.
VASCONCELOS, Ary. Brasil musical. Rio de Janeiro: Ed. Art Bureau, 1988.
20
o autor
Violonista, compositor e arranjador. Natural do Rio de Janeiro, Rogrio Souza comeou a se interessar pelo violo por volta dos nove anos de idade, tendo crescido sempre
cercado por grandes msicos, principalmente os msicos do grupo poca de Ouro. Sua
famlia muito musical, com cinco irmos que tambm tocam. Essa convivncia foi o melhor aprendizado possvel, por ter a chance de aprender tocando com os melhores msicos
de choro da poca. Mais tarde, interessa-se pela msica de Baden Powell, e logo em seguida
vai estudar violo com o professor Norberto Macedo, e harmonia e arranjo com Adamo
Prince e Srgio Benevenuto, dando incio sua carreira de msico profissional.
Tocou com grandes nomes da msica brasileira, como Baden Powell, Sivuca, Paulinho da Viola, Turbio Santos, Joo Bosco e Elizeth Cardoso, entre outros. Rogrio tambm
escreveu arranjos para shows e discos de artistas como Ney Matogrosso e Ivan Lins, alm
de co-produzir CDs do grupo N em Pingo dgua e outros. Como msico, entre vrios
trabalhos, dirigiu os shows Batuque, de Ney Matogrosso, e Quando Menos se Espera, de
Srgio Ricardo.
Como compositor, ganhou o primeiro lugar no Festival de Choro do Rio de Janeiro
(1996), com os prmios de melhor composio e melhor arranjo.
Realizou vrias turns internacionais, partipando de festivais, eventos culturais, apresentaes em casas de jazz e workshops pela Amrica Latina, EUA, Europa e Japo. Entre
esses eventos, podemos destacar o Festival Villa-Lobos (Brasil); o 3o Encontro de Cultura
Latina (Chile); o World Music Festival de Chicago (EUA); o Festival de Inverno de Guimares (Portugal); o Jazz Festival Montmartre (Dinamarca); a Ponte Cultural Rio/Berlim
(Alemanha); o Festival Sukiyaki Meets the World, Tquio/Toyama (Japo); a Feira EuroLatina de Cultura (Holanda), entre outros. Apresentou tambm concertos e workshops nas
universidades de Chicago, Miami, Notre Dame, Princeton, etc., alm de tocar em casas de
jazz como a Hot House (Chicago), Jazz Standard (Nova York), etc.
Integra o Grupo N em Pingo dgua, com o qual gravou seis CDs, sendo dois deles
premiados.
21
executive producer
Joana Hime
phonographic production
production assistants
cd
Recorded, mixed, and mastered by Rodrigo de Castro Lopes at Estdio Sarapu, Rio de Janeiro, in May 2004.
Studio assistant: Lucas Ariel
musicians
N em Pingo dgua
Celsinho Silva tambourine
Mrio Sve sax and flute
Papito bass
book
editorial coordination
illustrations
Linda McGill
Fernando Lopes
music scores
copydesk (portuguese)
Rogrio Souza
Songwriting/publishing credits
All the songs/lyrics included in this work are the intellectual property of the composers, their heirs and/or music publishers. All
rights reserved. Works used by permission of their respective copyright holders/owners.
Assanhado (Sassy)
By: Jacob Bittencourt
Copyright 1977 by ADDAF
ISRC: BRPUI0400315
Rosa (Rose)
By: Pixinguinha
Copyright 1933 by Mangione, Filhos & Cia. Ltda.
All rights reserved.
ISRC: BRPUI0400316
Sons de carrilhes (Sounds of Chimes)
By: Joo Pernambuco
Copyright 1978 by Universal Music Publishing MGB Brasil Ltda.
All rights reserved.
ISRC: BRPUI0400322
Tenebroso (Gloomy)
By: Ernesto Nazareth
P 1908. Public domain
ISRC: BRPUI0400321
Um a zero (One to Zero)
By: Pixinguinha and Benedito Lacerda
Copyright 1945 by Irmos Vitale S.A. Indstria e Comrcio
All rights reserved. International copyright secured.
ISRC: BRPUI0400317
Vibraes (Vibrations)
By: Jacob Bittencourt
Copyright 1977 by ADDAF
ISRC: BRPUI0400314
Cataloguing-in-publication data
Souza, Rogrio
Choro 100: violo= play along choro: guitar / Rogrio Souza; Preface by Hermnio Bello de Carvalho;
illustrations, Fernando Lopes.- Rio de Janeiro: Biscoito Fino, c2008.
88p. : music; 28cm.
Translation into English: Linda McGill.
Music CD inserted.
Includes discography, bibliography, sheet music.
ISBN 85-88921-02-2
1. Choro. 2. Choro Brazil. 3. Stringed instrument (Guitar). I. Carvalho, Hermnio Bello de. II. Title.
CDD 784.19
CDU 78.087
contents
Introduction, 27
Play Along Choro (A Little Pocket-orchestra), 28
The Guitar in Choro, 31
The Seven-string Guitar, 34
Musical Genres, 35
Comments about the Songs, 36
Discography, 39
Bibliography, 41
The Author, 42
Music Scores, 43
introduction
The idea for this project came up when I realized the virtual inexistence of didactic
material for musicians who wished to deepen their knowledge of choro music. I say virtual
because when there is something of that kind it is hard to find. Such study material should
qualify the student to take part in any roda de choro (a choro round), supplying information
about style and the history of the genre, the music scores of great classics, and a recording
by means of which the practitioner could not only listen to details of the playing style of
great instrumentalists, but also play along with some of the best musicians around.
Thus Choro 100 (Play Along Choro) was born, a project promptly embraced by
Biscoito Fino, the record label and publishing company. For this accomplishment, inviting
the members of the group N em Pingo dgua, musicians of recognized excellence in this
genre, was a natural choice. And so Mrio, Rodrigo, Rogrio, Papito, and Celsinho were
called upon. Still, this line-up winds, mandolin, guitar, bass, and tambourine required the complement of a cavaquinho player. That space was filled, with a surplus, by the
participation of Jayme Vignoli, one of the most competent and active instrumentalists on
the present choro music scene of Rio de Janeiro.
The arrangements were recorded in the form and key in which they are usually played at the choro rounds that is to say, not necessarily the original key
which was chosen by the writer of the song. We also opted for keeping, in the
playing, some little changes and the surprise of a few improvisations, to add to
the final result a touch of what one hears in an authentic roda de choro. These
little variations can be seen as a good ear training practice for the student, who
is forced to learn some details by ear. In this way, we keep alive a bit of the
intuitive study method used in the world of choro, according to which all the
great chores (choro men) of the past played and learned.
With this series of books and CDs, we are sure of making available to the
choro music fans and students a package of incredible value. We hope that it
greatly contributes to the diffusion of this music genre which is so special
and so much Brazilian at heart.
27
play
along
choro
(A L
P
)
ittle
ocket orchestra
The good thing about this project is that it is not aimed at reinventing the wheel
even though the CD is in the shape of a little silver-colored disk, proving that the world
is always in evolution, spinning round and round.
Since the dawn of music, there has always been a teacher behind his desk, jotting
down a music score. The world has evolved, along with the wheel, and the new teaching
tools ended up having the same round shape. From the old acetate disk to the modern CD,
theres always the smell of chalk in the air and a teacher scribbling out a music staff on a
slate board.
And for as long as music has existed, the best thing in the world has been (and is!) to
gather a group of friends, each one with his or her instrument, to play that catchy tune that
we cant get out of our heads. The problem is that one cannot always find friends around
for group practice.
Then, the way to go is to set up some kind of an instrumental karaoke, knowing that
its not necessary to study abroad to learn how to compose like Antonio Carlos Jobim or
Baden Powell, nor to orchestrate like Radams Gnattali or Pixinguinha. It is by playing and
studying that one learns.
Now you can take your little orchestra home, or to your neighbors backyard, to play
the best popular music in the world, thanks to this iniciative. This project, released by Biscoito Fino, not only promotes the great Brazilian instrumental music, but also encourages
group practice, which is so much necessary to music students. A really meaningful effort that
should be credited to Celsinho Silva, Papito, Rogrio Souza, Mrio Sve and Rodrigo Lessa,
members of the group N em Pingo dgua, and to cavaquinho player Jayme Vignoli.
As mentioned before, with no claim to having invented the wheel, we herein present
this group of sonic, shining little wheels, so that musicians everywhere can feast on this
rich musical menu, with special features never before seen.
History
We will never know who the first music teacher was, nor the identity of that curious
little boy who first stepped into the classroom with his instrument under the arm. And, of
course, we have no idea when that happened.
For example, my guitar1 teacher, the Azorean butcher Antonio Rebello, was a disciple
of Quincas Laranjeiras, who is said to have been the pioneer in the teaching of our most
When we use the term guitar here, we are referring to the Brazilian acoustic guitar, known in Brazil as violo, and in English speaking
countries as the Spanish guitar. In Brazil, the term guitarra is the one normally used to refer to the electric guitar. (T.N.)
1
28
popular instrument by means of a formal musical method. Later, master Rebello and Luiz
Bonf went on to study with Isaias Svio; then, from this mother-school, a series of talented
guitarists were to appear, including Turbio Santos (now a world-renowned instrumentalist
and director of the Villa-Lobos Museum), the Abreu brothers, and the great Jodacil Damaceno, who passed on his musical knowledge to Joyce and Guinga, among many others. Way
back then, old Quincas could never have imagined that he was making history.
And lets not forget: the poet-troubadour Catulo da Paixo Cearense was the one
who taught the then first-lady of Brazil the first chords on the guitar, which she friskily
took to the presidential palace soires, creating a scandal by playing Chiquinha Gonzagas
song Corta-jaca. Madam Nair de Teff, the daughter of the Baron of Teff and the wife of
President Hermes da Fonseca, was also known for her precise line drawings and her irreverence as a cartoonist. She used to sign her drawings using the pen name Rian. I met her
in the 1950s, when I interviewed her for Rdio MEC, where I was working on an invitation
by two friends of Mrio de Andrades, Lcio Rangel and Mozart de Arajo. There, a very
precocious girl organized the collection of Mozarts rare scores Luciana Rabello, Raphael
Rabellos sister. Both were very precocious, and would have as teachers the old Meira and
the great Canhoto. Very young at the time, they didnt imagine that they would cross paths
with Radams Gnattali. Luciana and Maurcio Carrilho went on to write a new choro history with Acari Records, and to promote the most exhaustive research of the repertoire of
the genre through the booklets known as Princpios do choro (Beginnings of Choro) with
the collaboration of Anna Paes a cultural monument sculpted together with Instituto
Sarapu and the record label Biscoito Fino. That was a fabulous work of musical archeology
that has unearthed real pearls from trunks that were rotting in the basements of oblivion.
Again it was the old wheel spinning to the measures of a mischievous corta-jaca.
Without trying to reinvent the wheel, and inspired by an unforgettable seminar organized by Toninho Horta in Ouro Preto in 1987, I proposed (without inventing the wheel...)
the Radams Gnattali Project to Funarte (Brazils National Foundation for the Arts). That
was 1988. The medium was still the vinyl disk known as LP, on which the best Brazilian
musicians were the precursors of a kind of didactic-instrumental karaoke. Roberto Gnattali
and Luiz Otvio Braga gave shape to the project, which received the subtitle D uma canja.2
Does anyone know what its like to play with some of the best Brazilian musicians? Im
talking about people like Raphael Rabello, Chiquinho do Acordeon, Joel do Nascimento,
Vitor Santos, Mauro Senise, Zimbo Trio, Helvius Vilela a world of people.
Because it was obvious that there was a lack of dynamic support to encourage group
practice, and, above all, to lessen the feeling of solitude of that anonymous student in the
interior of the country, who always had trouble finding a partner to play together with on
a choro by Jacob do Bandolim or Pixinguinha, or on a samba by Noel Rosa.
In the Brazilian musicians jargon, to give a canja (chicken soup) means to play on one or a few songs at a live performance, often
informally, as a guest appearance at somebody elses show. (T.N.)
2
29
So it was that, about four years ago, my dear friend Maurcio Carrilho devised a fantastic Oficina do Choro (Choro Workshop) with his former music partners from Camerata
Carioca. This group was born with the blessings of Radams Gnattali, with whom they
made a record paying homage to Jacob do Bandolim, who ended up becoming the name
of an institute, which later gave birth to the Escola Porttil de Msica (Portable School of
Music), where didactic support tools such as the Apostilas sonoras (Sonic Booklets) and the
Apostilas audiovisuais (Audiovisual Booklets) were created.
And faithful to the maxim of Chacrinha (the celebrated Brazilian radio and TV host,
famous for his acute sense of humour), Nothing is invented; everything is copied, we are
the witnesses of this wonderful proliferation of the greatest diversity of methods, which
cater to a specific clientele who have already begun to spell, musically speaking, the works
of Pixinguinha, Anacleto, Ernesto Nazareth, Tom Jobim, and many other masters who have
taught us the Brazilian musical idiom.
So here is Choro 100 (Play Along Choro) as a living proof of that, and we hope it will
reach dozens of choro workshops and informal little schools which today, in the tradition of
the Portable School of Music, spread all over Brazil, lacking in such a didactic support tool.
And so it also happens that, in this spinning of the wheel, old master Quincas Laranjeiras links up with Maurcio Carrilho, while Chiquinha Gonzaga and Dona Nair de
Teff spin around in the concert hall, showing off the art of Luciana Rabellos cavaquinho.
Meanwhile, Kati Almeida Braga and Olivia Hime open the doors of Instituto Sarapu to the
new generation of musicians who are arriving. Then, it is all put in the hands of Rodrigo
de Castro Lopes and these top-notch musicians to create a new teaching tool, which, by its
turn, adds up to the most consequential initiatives to prove that the youth are not alienated
and to show that such tools are factors of social inclusion, by means of the teaching of
music, divine music.
And have you noticed something? Biscoito Finos logo is in the shape of a round cookie.
Once again its the old wheel, inspiring everything, reinventing itself from day to day.
30
century was a very rich period, musically speaking, for the city of
Rio de Janeiro. Professional and amateur musicians got together at informal meetings to play
the hit songs of the time. Those meetings had many interesting artistic consequences, such
as the maxixe, a kind of popular dance appeared in 1875, and eventually choro, the music
genre created around 1880, with the use of a flute, a guitar, and a cavaquinho. Choro was
the means by which those musicians, many of them without a formal training, could play
musical styles of European origin with rhythmic and harmonic adaptations which made them
more palatable to their Brazilian ears. This way, the musicians adapted to the difficulties they
faced. Many times, only a few of them read the score, while the others played by ear. They
were also used to promoting harmonic and improvisationl challenges among themselves,
which further contributed to the enrichment of the polyphonic character of choro.
With the passing of time, new instruments were added to the groups, naturally resulting, from 1890 on, in the formation of the so called regionais (regional groups). The
line-up of the ideal regional group was suggested by the flutist and composer Joaquim Antnio da Silva Callado (Rio de Janeiro, 1848-1880), considered the father of choro players,
who employed a cavaquinho, two guitars, and a flute, an instrumentation that still stands,
having been followed by many other groups, up to our time.
The main guitarists (six strings) from the beginnings of the choro regional groups
bore the signs of a bohemian and urban time, when the serenades and the soires were
frequent.
One of the exponents of that time was Catulo da Paixo Cearense, a poet and composer
who was responsible for the rehabilitation of the guitar in the halls of high society, with modinhas and toadas, many of them written in partnership with guitarist Joo Pernambuco.
Quincas Laranjeiras (Joaquim Francisco dos Santos, 1873-1935) was the precursor of
the classical guitar in Brazil, for his way of teaching the instrument through formal music
studies, and for creating and stylizing the popular guitar solo in Brazilian music.
One of the most important Brazilian guitarists and composers of choros was Joo
Pernambuco (Joo Teixeira Guimares, 1883-1947), one of Quincas Laranjeirass disciples,
who was introduced to the music circles by Catulo da Paixo Cearense. Joo Pernambuco
masterminded the group Caxang, a pioneer, in 1910, of the line-up of the regional choro
groups, and which included the flutist Pixinguinha, who was only 13 years old then.
When Caxang split up, Pixinguinha put together the group Os Oito Batutas (The
Eight Batons/Clever Ones1), which also included Donga (Ernesto J. Maria dos Santos,
th
Literally, in Brazilian Portuguese language, the term batuta refers to the stick with which the conductor leads the orchestra. Informally,
it can mean an ace player of samba or anyone who is in general dexterous, reliable, fearless, good. (T.N.)
1
31
1890-1974), a guitarist who would be fundamental in the history of samba, and who also
studied with Quincas Laranjeiras.
Another musician from this time that should be mentioned is Tute (Artur de Souza
Nascimento, RJ, 1886-1957), who with China, guitarist and Pixinguinhas brother, presented
the seven-string guitar into the groups and the regionals.
An important reference for guitarists in the history of Brazilian popular music is
Garoto (Anbal Augusto Sardinha, 1915-1955). An extraordinary multi-instrumentalist,
he recorded and played with great names of the time, either as an accompanist or as a soloist. Among them are: Laurindo de Almeida (guitar), Jos Meneses (guitarist), Chiquinho
do Acordeon, Radams Gnattali, and singers like Carlos Gardel, Carmen Miranda, Slvio
Caldas and others. He was a very modern composer for his time and his compositions for
guitar are, even today, very sophisticated. In 1953, he recorded his first solo guitar LP, just
before his death in 1955.
Dilermando Reis is another great guitarist that deserves prominence. He was a guitar
teacher at the famous music houses Bandolim de Ouro (Golden Mandolin) and Guitarra
de Prata (Silver Guitar) in Rio de Janeiro. Many of his students stood out, like the guitarists
Bola Sete and Darci Vilaverde. As most of the great musicians of his time, he worked at
various radio stations. He also recorded many solo LPs, having been accompanied in some
of them by Dino Sete Cordas or by Meira, one of the best back-up guitarists of all times
and one of the most popular and requested guitarists of his time. Meira created a style and
a school, that was followed by musicians such as Baden Powell (guitarist) and Raphael
Rabello (six- and seven-string guitarist), among others.
With the event of records and the start of radio (1922), the musicians of regional
groups which lost space with the surge of mechanized music, began playing in places of
leisure as backyards and bars. However, soon after, as the radio became part of peoples
everyday lives, many programs came out that introduced newcomers competing daily for
audiences and opened new horizons for the regional group musicians.
In 1935 Horondino J. da Silva (RJ, 1918 -2006), Dino Sete Cordas, showed up playing
by ear and learning the bordo, a style with fast counterpoints played on the bass strings of
the guitar, in the variations he practiced with his father. In 1937, he became part of Benedito
Lacerdas group and got to know Meira, who was substituting one of the members of the
group. In this way, one of the most famous pairs of accompanying guitarists in Brazil was
born Dino and Meira.
At the beginning of the 1950s, with the exit of Benedito Lacerda, the groups name
was changed to Regional do Canhoto. This was an important time for Dino, because it was
when he began to play the seven-string guitar very well, reaching perfection, and becoming
known as a reference for his style, so much so that even today he is considered the greatest
master of the seven-string guitar.
In the 1960s, Jacob do Bandolim organized a new group called poca de Ouro, which
would reach a perfect balance between instrumental sound and the line-up of the regional
32
group. It consisted of three guitarists: Dino Sete Cordas, Csar Faria and Carlinhos Leite.
This group consolidated the language of guitar accompaniment in choro and is followed
by many musical groups in Brazil up to this date.
Another great guitarist who became a member of poca de Ouro, upon the death of
Jacob, was Damsio Batista (six strings).
In the 1970s, Show Sarau was presented in Rio de Janeiro, directed by Srgio Cabral,
who put poca de Ouro together with Paulinho da Viola (a great choro composer who
helped revive the style after the death of Jacob). The result was so successful that TV Bandeirantes, in So Paulo, promoted a National Choro Festival in 1977, and then another one in
1978. After these events, choro came back to the market, bringing new musicians and great
groups that presented their art. That was how the groups Carioquinhas, Galo Preto, and,
soon after, Camerata Carioca and N em Pingo dgua came about. They were members
of this new generation who followed the tradition of two or three guitars, introduced by
Joaquim Callado in the 19th century.
Os Carioquinhas presented Raphael Rabello, seven-string guitarist who would later
be considered one of the greatest solo guitarists in Brazil.
In this innovative phase of choro, it is important to remember the line-up of various
groups, as the pairs of guitars of Maurcio Carrilho (six strings) and Raphael Rabello (seven
strings) in Os Carioquinhas and Camerata Carioca; Jorge Simas (seven strings) and Rogrio
Souza (six strings) of N em Pingo dgua; Luiz Octavio Braga, Farina (seven strings), To
de Oliveira and Mario Rocha (six strings) of Galo Preto.
In the 1980s some guitarists stand out, such as Toni Sete Cordas (Tony Seven Strings, currently a member of poca de Ouro); the brothers Waldir and Valter Silva, in Rio
de Janeiro; Joo Lira (Plucked Strings Orchestra, from Recife), Israel/Waldomiro (Isaias
and his Choro Players So Paulo); Edson Santos (Os Ingnuos, from Bahia) and many
others all over Brazil.
The groups of the 1990s, from Rio de Janeiro and other states in Brazil, have revealed
several six- and seven-string guitarists, showing the capacity to absorb and blend the tradition with todays innovative, computerized concepts. Accordingly, we have choro groups
like gua de Moringa, Rabo de Lagartixa, Tira Poeira, Grupo Sarau, Quarteto Maogani,
Trio Madeira Brasil and many others, besides musicians such as Yamand Costa, the latest
sensation of Brazilian guitar, who uses the seven-string guitar as a solo instrument, as Raphael Rabello had done before him.
Just like in soccer, Brazil produces great exponents in music all the time: guitarists of
several styles, soloists and accompanying instrumentalists. All, or almost all of them, use
choro as their main language of Brazilian instrumental music.
We cannot leave out other great guitarists and composers who have taken our music
(mainly choro) to all parts of the world: Baden Powell (our greatest master of Brazilian
guitar), Sebastio Tapajs, Turbio Santos, Os Irmos Assad, Canhoto da Paraba and many
others.
33
34
musical genres
Choro
The line-up of small instrumental popular music groups that played foreign genres
around 1875 in Rio de Janeiro. Choro can be slow, as in choro-cano, or fast, then being
called chorinho (little choro), a style that demands an accomplished soloist and skillful
supporting players. Today choro groups are usually composed of a soloist, one or two guitarists, cavaquinho and tambourine (and still, sometimes, a wind instrument).
Polka
Of bohemian origins, polka arrived in Brazilian dance halls around 1845. It has a
lively rhythm and two-step (binary) beat. It became popular thanks to the chores (choro
players) and carnival groups. The first music score to be written out and published in Brazil
was a polka.
Corta-jaca
The origin of this dance is still unclear, since it could have come from Spain or created
in Brazil. It was played in Bahia, Rio de Janeiro and So Paulo. It is a tap dance, that was in
fashion in the Nineteenth Century. The corta-jaca found space to evolve in the Northeast,
giving origin to coco, a typical dance from that region.
Waltz
A dance from Austria. This dance has a three-step beat, with accent on the first one.
It is also the name given to the music that accompanies this dance. Brazilian waltz was
influenced by modinhas and serenades.
Baio
A dance and popular song style from the Northeast, it is accompanied mainly by the
guitar. It maintains rhythmic cells and melodies from xtis and coco (other dances from
the Northeast), has a binary beat and a lively tempo. Baio became very popular with the
success of Luiz Gonzaga, starting in 1946.
35
36
6. Delicado (Delicate)
Delicado is a baio (a rhythm from the Northeast of Brazil). Although this piece
is played by choro players, a baio is not part of a choro rhythm. It is recorded with a sixstring guitar in order to focus well on the baio rhythm.
7. Gacho (Gaucho)
This is another choro classic. It is one of the best known and most played maxixes in
Brazil and was recorded with a seven-string guitar. The chord sequence of the introduction
(Dm/A7) is very often used for improvisation.
8. Noites cariocas (Carioca Nights)
This is a classic of choro, always present in any roda (group of people playing choro).
Recorded with a seven-string guitar. The theme is often used for improvisation, mainly in
part B. Try it!
9. Numa seresta (At a Serenade)
This choro is a typical three-part choro (A/B/C Pixinguinha and Nazareth were
great masters of three-part choros). Recorded with seven strings.
10. Rosa (Rose)
This is a Brazilian waltz, typical of the master Pixinguinha. It was recorded with a
six-string guitar. Notice that the bass strings are used to fill in the silence of the melody.
11 and 12. Sons de carrilhes (Sounds of Chimes)
This choro was written especially for guitar solos. On this recording there is a solo
six-string guitar and a seven-string guitar doing harmonies and baixarias.
13. Tenebroso (Gloomy)
Originally composed for piano, this song was recorded with a seven-string guitar.
The interesting thing about this three-part choro is that the melody of part A is played on
the bass strings of the guitar (the left hand of the piano).
14. Um a zero (One to Zero)
Another choro classic, in three great parts. On this recording, made with a six-string
guitar, a continuous samba groove was set throughout the song. Part C is often used for
improvisation.
37
38
discography
Here is a list of some works we consider indispensable in a basic discography of the
guitar in choro. However, there are many others to be researched.
Obs.: 6stg = six-string guitar 7stg = seven-string guitar
work
artist
record
label
year of
release
guitarists
Assanhado (Sassy)
Jacob e poca
de Ouro
RCA
Camden
1966
poca de Ouro
WEA Music
2002
Chorando baixinho, um
encontro histrico (Crying
Low, a Historic Meeting)
poca de Ouro
Kuarup
1979
Pixinguinha
Sinter
1956
Dino Sete
Cordas e
poca de Ouro
Copacabana
1987
poca de Ouro e
Armandinho (Golden
Epoch2 and Armandinho)
poca de Ouro
e Armandinho
Tom Brasil
1993
poca de Ouro
Continental
1977
The translations of names of groups and nicknames of artists, as well as titles of songs and albums we provide here are only meant to
help the international reader in understanding their meanings, which are sometimes irreverent, funny, or curious, and usually amusing, for this is a characteristic of the world of choro. These translations may not correspond to the official titles of those works which
have also been released outside of Brazil. (T.N.)
2
39
work
artist
record
label
year of
release
guitarists
Galo preto I
(Black Rooster I)
Galo Preto
RCA Victor
1978
Galo Preto
Galo Preto
1981
N em Pingo
dgua
Funarte
1983
Memrias chorando
(Memories Crying)
Paulinho da
Viola
EMI Odeon
1976
Paulo Moura
Kuarup
1983
Os Carioquinhas no choro
(The Little Cariocas in
Choro)
Os
Carioquinhas
Som Livre
1977
Raphael
Rabello e Dino
Sete Cordas
Caju Music
1991
Repertrio da Rdio
MEC (Brazils Ministry
of Education and Culture
Radio Repertoire)
Jacob do
Bandolim
Tributo a Jacob (A
Tribute to Jacob)
Radams
Gnatalli
Atlantic /
WEA
1979
Raphael Rabello
(7stg), Maurcio
Carrilho (6stg), and
Joo P. Borges (6stg),
Joel Nascimento, and
Camerata Carioca
Vibraes (Vibrations)
Jacob e poca
de Ouro
RCA
Camdem
1967
40
bibliography
ANDRADE, Mrio de. Dicionrio musical brasileiro (Brazilian Music Dictionary). So
Paulo: Editora da Universidade de So Paulo; Belo Horizonte: Editora Itatiaia Limitada, 1989.
CRAVO ALBIN, Ricardo. Site Dicionrio Cravo Albin (Cravo Albin Dictionary Website).
dicionrio cravo albin da msica popular brasileira (cravo albin dictionary
of brazilian popular music website) http://www.dicionariompb.com.br/
dicionrio de msica zahar (zahar dictionary of music). Rio de Janeiro: Zahar
Editores, 1985.
enciclopdia da msica brasileira (brazilian music encyclopedia)
http://www2.uol.com.br/encmusical/
enciclopdia de msica brasileira: erudita, folclrica e popular, organizao de
Marcos Antnio Marcondes (encyclopedia of brazilian music: classical, folk,
and popular, edited by Marcos Antnio Marcondes). So Paulo: Art Editora, 1998.
PINTO, Alexandre Gonalves. O choro: reminiscncias dos chores antigos (Choro Music: Reminiscences of the Old-timers). Rio de Janeiro: Typ. Glria, 1936.
SVE, Mrio. Saxofone brasileiro o mtodo (Brazilian Saxophone The Method).
Rio de Janeiro: Rio Arte, 2003.
SVE, Mrio. Vocabulrio do choro estudos e composies (Vocabulary of Choro
Studies and Compositions). Rio de Janeiro: Lumiar, 1999.
TINHORO, Jos Ramos. Pequena histria da msica popular : da modinha ao tropicalismo (Overview of Brazilian Popular Music: from Modinha to Tropicalism). So Paulo:
Art. Editora, 1986.
VASCONCELOS, Ary. Brasil musical (Musical Brazil). Rio de Janeiro: Ed. Art Bureau,
1988.
41
the author
Guitarist, composer and arranger, Rogrio Souza, from Rio de Janeiro, started getting
interested in the guitar at about nine years of age. He grew up surrounded by great musicians, mainly those of the group poca de Ouro. He comes from a very musical family, with
five brothers who are also musicians. This background was the best environment possible,
since he had a chance to learn by playing with the best choro musicians of the time. Later,
he became interested in Baden Powells music, and soon after he studied the guitar with
Norberto Macedo, and harmony and arranging with Adamo Prince and Srgio Benevenuto,
starting his career as a professional musician.
He played with great names of Brazilian music, such as Baden Powell, Sivuca, Paulinho da Viola, Turbio Santos, Joo Bosco and Elizeth Cardoso, among others. Rogrio has
also written arrangements for shows and recordings of artists such as Ney Matogrosso and
Ivan Lins, besides co-producing CDs for the group N em Pingo dgua and others. As a
musician, among various projects, he directed the shows Batuque, by Ney Matogrosso, and
Quando Menos se Espera, by Srgio Ricardo.
As a composer, he won first place in the Choro Festival of Rio de Janeiro (1996), with
awards for best composition and best arrangement.
He did a number of international tours, participating in festivals, cultural events, shows
in jazz clubs and workshops in Latin America, The United States, Europe and Japan. Among
these events, we should emphasize The Villa-Lobos Festival (Brazil); The Third Encounter
of Latin Culture (Chile); The World Music Festival of Chicago (U.S.); The Winter Festival
of Guimares (Portugal); The Jazz Festival of Montmartre (Denmark); The Cultural Bridge Rio/Berlin (Germany); The Sukiyaki Meets the World Festival, Tokyo/Toyama (Japan);
The Euro-Latin Cultural Fair (Holland), among others. He also played concerts and did
workshops in universities in Chicago, Miami, Notre Dame, Princeton, etc., as well as playing
in jazz clubs such as Hot House (Chicago), and Jazz Standard (New York), etc.
He is a member of the group N em Pingo dgua, with whom he has recorded six
CDs, two of them having won awards.
42
partituras
music scores
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86
The Author
Play Along Choro is your chance to take part in a top-class round of choro, both as a listener
and as a musician. Each of the six volumes in this series consists of a book and a CD.
In the book you will find: learning tips regarding technique and style, music scores, the history
of the instrument, and biographies of the foremost choro players and composers, as well as a basic
discography for each of the instruments discussed. The CDs include compositions by
Chiquinha Gonzaga, Ernesto Nazareth, Jacob do Bandolim, Pixinguinha, Waldir Azevedo,
Paulinho da Viola, and other choro masters, performed by some of the leading
contemporary instrumentalists of this musical genre.
The recordings have been made using the latest state-of-the-art technology, while remaining
faithful to the choro traditions in both the arrangements and instrumentation.
The CDs have been recorded and mixed so as to allow for maximum interaction on the part of
the listener/performer. On your stereo system, you can hear the instrument in reference
separately on one channel, for you to study every detail of the musical phrasing, solos, and
ornaments, while on the other channel you will hear the rest of the choro round, without
this instrument. In the center position of your stereos balance control you will be able to
listen to the whole group. This package is priceless to all musicians, amateur or professional,
beginner or advanced, who wish to deepen and strengthen their knowledge of choro,
both in terms of technique and style.
Violo Guitar
Choro 100 a oportunidade de participar de uma roda de choro do mais alto nvel,
como ouvinte ou como msico. Cada um dos seis volumes da srie consiste de um livro e um CD.
No livro, encontram-se observaes didticas sobre tcnica e estilo, partituras das msicas,
histria do instrumento, biografias dos maiores chores e uma discografia bsica para cada um dos
instrumentos abordados. Os CDs trazem composies de Chiquinha Gonzaga, Ernesto Nazareth, Jacob
do Bandolim, Pixinguinha, Waldir Azevedo, Paulinho da Viola e outros clssicos, tocadas por
alguns dos principais instrumentistas do gnero em atividade.
As gravaes foram feitas utilizando-se o que h de mais moderno em termos de tecnologia,
porm com arranjos e instrumentao fiis tradio do choro. Os CDs so mixados de modo a
permitir a interatividade do ouvinte/executante. Em um equipamento estreo, pode-se ouvir de um lado
o instrumento abordado isoladamente, para se estudar detalhes do fraseado, solos e ornamentaes,
e no outro canal o resto da roda de choro, sem esse instrumento. Na posio central do
controle de balano do seu aparelho de som, ouve-se todo o conjunto.
Este pacote tem um valor inestimvel para qualquer msico, amador ou profissional, iniciante,
ou veterano, que queira aprofundar e sedimentar seus conhecimentos sobre choro,
tanto tecnicamente como estilisticamente.
Rogrio Souza
O autor
9 788588 921023
BF-407
m2004 e p2008 Sarapu Produes Artsticas Ltda. Fabricado no Plo Industrial de Manaus por Sonopress Rimo da Amaznia Indstria e Comrcio Fonogrfica Ltda.
- Ind. Brasileira, C.N.P.J.: 84.494.129/0001-49 sob licena da Sarapu Produes Artsticas Ltda. C.N.P.J: 03.938.996/0001-79 e distribudo pela Sarapu Produes
Artsticas Ltda. C.N.P.J.: 03.938.996/0003-30. Todos direitos do produtor fonogrfico e do proprietrio da obra so reservados. proibida a reproduo, locao,
execuo pblica e radiofuso desta obra.
ISBN 858892102-2