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Sessions
Calendar
| Date/place | What? |
|---|---|
muzikantenhuis Dampoortstraat 50 |
Roda de Choro (see below for a list of frequently played chorinhos) |
Open rehearsal | |
muzikantenhuis Dampoortstraat 50 |
Roda de Choro (see below for a list of frequently played chorinhos) |
Open rehearsal | |
muzikantenhuis Dampoortstraat 50 |
Roda de Choro (see below for a list of frequently played chorinhos) |
muzikantenhuis Dampoortstraat 50 |
Roda de Choro (see below for a list of frequently played chorinhos) |
Explanatory remarks
On a Tuesday of nearly every month starting at 20h, there is a 'roda' in the café muzikantenhuis (Dampoortstraat 50, Gent). See calendar.
There will also be rehearsals at random locations. If you would like to arrange other rehearsals, let us know!
Subscibe to the mailing list by sending an email to chorosessions@gmail.com. Mention your name , your instrument (s), and perhaps your mobile number.
You can either learn how to improvise a thorough bass, how to make variations on the melody, or how to improvise a second contrapuntal part. The bassline and the contrapuntal line get talking with the melody about about one thing and another. In the delight of instrumental communication and the confidence in the technical complexity one important thought raises: try to outstrip your opponent by the scanty use of interesting improvisation, rather than a hastily and unconsistent attempt to fill the blanks.
The gloomy but cheerful mood makes it unclear if you would weep ('choro') with grief or with joy. In the choro-serenades you can imagine having played all evening in a peaceful outdoor café, and feeling the earth cool down slowly after a nice hot day.
To retain the spontaneity and the style of choro music we rather like to restrict the number of participants that play simultaneously, and involve instruments with a mere 'akoestical' sound capacity. All other instruments can probably be used. Plucked instruments like bandoline (Brazilian mandoline), cavaquinho (resembles ukulele) and 7-stringed guitar were popular in choro, as were the transverse flute, the clarinet, the saxophone (or its predecessor, the ophicleïde), and numerous small percussion instruments (a pandeiro, a kind of tambourine has the most important role). Think about problems using transposing instruments: sight reading is hardly possible. Please send an email in time or transpose tour own scores.
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About Choro
Choro, chorinho of chorão zijn termen met verschillende betekenissen in de braziliaanse populaire muziek. Het verwijst naar chorões, groepjes muzikanten die rond 1870 in Rio de Janeiro ontstonden. De barbeiros vormden 'kapperbands'. Ze waren voorlopers van de chorões en waren op hun beurt voorafgegaan door de creoolse boeren (slavenorkesten op de plantages speelden eerder concertmuziek).
Het choro repertoire bestond aanvankelijk uit het eigen maken (oa. Afrikanisering) van Europese dansmuziek. Barbeiros speelden lundus (Afrikaans, Bantoevolken), chulas (populaire dans van Portugese afkomst), marsmuziek, quadrilles (zesdelige Franse gezelschapsdans) en fandangos (Spaans danslied), walsen en Franse contredanses. Gecomponeerde choro's zijn van latere datum. Pixinguinha heeft als fluitist een onmiskenbare invloed op het karakter van de virtuoze choro. Anderzijds lijkt zijn band ‘Os Batutas’ te behoren tot de eersten die slaginstrumenten gebruikten en is nergens anders de Afrikaanse invloed sterker aanwezig.
Rond de tweede helft van de 19e eeuw werden deze instrumenten gebruikt: dwarsfluit, clarinet, ophicleïde, trombone, cavaquinho (lijkt op ukulele), gitaar (7-snarig) en percussie (zeer vaak pandeiro, een soort tamboerijn). De chorões begeleidden serenadegewijs ook sentimentele nummers, zoals de modinhas (solozang).
In de 20ste eeuw is er een sterke link met populaire dansmuziek uit de steden zoals Maxixe, tango brasileiro en Samba. De Maxixe komt voort uit de lundú en de modinha, maar dan met gesyncopeerde ritmes als in de habañera. Er werden ook teksten geschreven voor de choro. Enkele van de belangrijkste chorões verdienden hun brood als regionais (begeleider van zang), zoals Jacob do Bandolim (Jacob Pick Bittencourt, 1918-1969) en virtuoos cavaquinho-speler Waldir Azevedo (1923-1980). Pixinguinha, Lacerda en anderen zorgden voor een hernieuwde belangstelling in de choro die eind jaren ’40 begon en stand hield tot de komst van de bossa nova eind jaren ’50.
Heb je op- of aanmerkingen of vind je onjuistheden in deze tekst? mail ons.Top
Links
Current Playlist (Frequently played chorinhos)
! all  mp3 files are unavailable ! | More leadsheets will be available soon... |
| "Key" is the tonality or the final chord of part A, as agreed upon, for non-transposing instruments. | |
| Choro name | Key | Leadsheet | Composer |
|---|---|---|---|
Ameno resedá (Polka, 1913)
| C |
| Ernesto Nazareth |
Apanhei-te, cavaquinho (Polka, 1914)
| G |
| Ernesto Nazareth |
| Araponga | Am |
| Luiz Gonzaga |
| Assanhado | A |
| Jacob do Bandolim |
| Assim mesmo | D | (none) | Luiz Americano |
| Benzinho | Dm |
| Jacob do Bandolim |
| Bole-bole | G | (none) | Jacob do Bandolim |
| Brasileirinho | G | (none) | Wladir Azevedo |
Brejeiro (Tango, 1893)
| G |
| Ernesto Nazareth |
| Carinhoso | F |
| Pixinguinha |
| Cheguei | F | (none) | Pixinguinha |
| Chorei | F | (none) | Pixinguinha |
| Choro n°1 | (none) | Atilio Bernardini | |
| Choro negro | Gm |
| Paulinho da Violao |
| Cochichando | Dm |
| Pixinguinha |
| Conversa de baiana | Dm | (none) | Dilermando Reis |
| Descendo a serra | C | (none) | Pixinguinha |
| Desvairada | Dm | (none) | Garoto (Anibal Augusto Sardinha) |
| Devagar e sempre | F | (none) | Pixinguinha |
| Doce de coco | G |
| Jacob do Bandolim |
| E do que há | Am |
| Luiz Americano |
| El choclo | Gm |
| Angel Villoldo |
Escovado (Tango, 1905)
| A |
| Ernesto Nazareth |
| Flamengo | G |
| Bonfiglio de Oliveira |
| Flor amorosa | D | (none) | Joaquim Callado |
| Gaucho | Dm | (none) | Chiquinha Gonzaga |
| Iara | Am |
| Anacleto de Meideros |
| Lamentos | C | (none) | Pixinguinha |
| Naquele tempo | Dm |
| Pixinguinha |
| Noites cariocas | G |
| Jacob do Bandolim |
| O vôo da mosca | G |
| Jacob do Bandolim |
Odeon (Tango brasileiro, 1910)
| Em |
| Ernesto Nazareth |
| Paçoca | Am |
| Celso Machado |
| Pedacinhos do céu | G |
| Waldir Azevedo |
| Proezas do Solon | G |
| Pixinguinha |
| Rosa | F |
| Pixinguinha |
| Sambossa | C | (none) | Celso Machado |
| Santa Morena | Dm |
| Jacob do Bandolim |
| Sarau para Radames | Am | (none) | Paulinho da Violao |
| Serenata no Joao | Dm |
| Radames Gnatalli |
| Saxofone, Porque Choras | Dm |
| Ratinho (Serverino Rangel de Carvalho) |
| Si ela Perguntar | Em | (none) | Dilermando Reis |
| Sobe e desce | G | (none) | Waldir Azevedo |
| Sonoroso | Dm |
| K. Ximbinho |
| Sons de Carrilhões | D |
| João Pernambuco |
| Tempo de Crianca | Am | (none) | Dilermando Reis |
| Tico-tico no fuba | Am |
| Zequinha Abreu |
| Uma noite no Sumaré | Em | (none) | Esmeraldino Sales |
| Um a Zaro (1 x 0) | C |
| Pixinguinha e Benedito Lacerda |
Vesper (Waltz, 1900)
| D |
| Ernesto Nazareth |
| Vou vivendo | G |
| Pixinguinha |
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afspeellijsten: 16 versions of "Se Ela Perguntar" by Dilermando Reis
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