Soyuz 4

The Choro is a popular Musique Brazilian appeared at the 19th century with Rio de Janeiro.

One of the origins advanced for the " term; choro" is the verb chorar , which means to cry in Portuguese. Choro would be thus a tear…

The Choro is subject to the influence of European musics (musics of dances much in demand by the court of the kingdom of Portugal exiled Brazil in 1808 following the invasion of Portugal by the Napoleonean troops) such as the waltz, the Schottish (xótis) and especially the Polka, but also of the rates/rhythms of African musics like the Lundu. A characteristic of this music is the capacity of the musicians to improvise around the melody, to propose variations.

Instruments

The basic formation or instrumental cell, the terno , is articulated at the origin around " wood and of cordes" ( Pau E Twisted ): Flute (then out of ebony), Guitar ( violão ) and Cavaquinho.
The flute holds the melody role of instrument , role often reserved also for the Bandolim (Brazilian mandoline), for the Clarinette or the Saxophone.
The cavaquinho has a harmonic and rhythmic role very important. It is about a small guitar with 4 cords of Portuguese origin, also used in the samba, which on its arrival in Hawaii will be renamed Ukulélé.
As for the guitar, it is in charge of the base line ( baixaria ), often improvised counterpoint, and also takes part in the harmony. The guitar with 7 cords is frequently used for its possibilities extended in the low registers.

Type-setters and instrumentalists

Joaquim Callado
Chiquinha Gonzaga
Ernesto Nazareth
Anacleto de Medeiros
João Pernambuco
Heitor Villa-Lobos
Pixinguinha
Shine Americano
Benedito Lacerda
Luperce Miranda
Radamés Gnatalli
Garoto
Abel Ferreira
K-Ximbinho
Jacob C Bandolim - " Noites Cariocas"
Dino 7 Twisted
Orlando Silveira
Waldir Azevedo
Altamiro Carrilho
Paulo Moura
Rafael Rabello
Hamilton de Holanda
Zequinha de Abreu - " Tico Tico No Fuba"
Celso Machado

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