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Brazilian music developed some unique and original styles like choro music from Sao Paulo, Samba and Bossa Nova, which is a fusion of Jazz with a Samba beat). Samba is the most popular Brazilian music, though Bossa Nova is quite popular as well at parties, events and in dance clubs. Hire Brazilian Entertainment and bring culture to your wedding reception, private party or corporate event.

When booking Brazilian Entertainment, be sure to do is to listen to audio and watch video clips, if applicable. This will ensure that you truly do book the best for your next event! Next, you want to get references. Talk to people in the area about the group and get feedback. Finally, get a contract. Many professional Brazilian Entertainers require a deposit to secure them at your next event. Make sure to read through the contract carefully before contracting the group for your party. Search for Brazilian Entertainment in Orlando, Florida above.

Samba-choro is a subgenre of samba that emerged in Rio de Janeiro in early 1930s in Brazil.[1][2] It was a syncopated hybrid fusion of samba with the Brazilian instrumental genre choro, but with medium tempo and presence of lyrics.[1]

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Ray started his musical journey in his native Australia, where he learned how to play the guitar at age 15. Then in the early 1970s, he moved to Los Angeles to study with Joe Pass. In 1975, he packed once again and this time settled in Vancouver, Canada. Half way across the world from his homeland, he studied composition at Simon Fraser University. Never forgetting his connection to Brazilian music, he traveled to Rio many times and met and studied with great guitarists Marco Pereira and Paulinho Nogueira, among others. Further deepening his knowledge in Brazilian music, in 2007 he attended some choro festivals and studied with choro master Maurcio Carrilho and other musicians at the Escola Porttil in Rio. His avid desire to learn more about Brazilian music led him to meet Marclio Lopes, Rogrio Souza and, eventually, other choro musicians who are featured in this fine album.

Two-time Latin Grammy nominee guitarist, educator, and composer Joo Luiz, began to play the popular music of his native Brazil professionally during his childhood and was later trained in classical guitar by his mentor, Henrique Pinto. Winner of the 2006 Concert Artists Guild Competition as a member of the critically acclaimed Brasil Guitar Duo, Joo has performed extensively in the United States, Asia, Europe, and Latin America. As a performer and composer, Joo is equally at home with classical, Brazilian, and world music; his solo guitar, guitar ensemble and chamber music repertoire covers all the main works in the guitar literature from Dowland to Berio and Brazilian rhythms from choro to baio. His versatility led him to be chosen to collaborate with Yo-Yo Ma and Carlos Prieto on a project to celebrate the 75th anniversary of the Cuban composer Leo Brouwer in a landmark concert in Cuba in 2014.

Pixinguinha, uno de los mayores compositores de msica popular brasilea, que tambin era tenor, arreglista, saxofonista y flautista, contribuy directamente a que el choro encontrara una forma musical definitiva.

En la dcada de 1920 el maestro Heitor Villa-Lobos compuso una serie de 16 obras dedicadas al choro, mostrando la riqueza musical del gnero hacindose presente en la msica docta. El nombre de estas composiciones es siempre en plural (choros, y no choro).

La serie se compone de 14 choros para diversas formaciones, un choros Bis y una Introduo aos Choros (Introduccin a los choros). El Choros n 1 fue compuesto para guitarra solista. Tambin hay choros para msica de cmara y orquesta. El Choros n 13 fue compuesto para dos orquestas y el n. 14 para orquesta, grupo coral y banda. La composicin ms conocida y ejecutada es el Choros n 10 para coro y orquesta, que incluye el tema "Rasga o Corao" ("Rompe el corazn") de Catulo da Paixo Cearense. Debido a su complejidad y a la ambicin de los temas regionales utilizados por el compositor esta serie es considerada por muchos como su obra ms significativa.

Hubo festivales de choros en 1977. La TV Bandeirantes, de So Paulo, promovi dos ediciones del Festival Nacional do Choro y la Secretara de Cultura de Ro de Janeiro promovi el Concurso de Conjuntos de Choro.

La dcada de 1980 estuvo marcada por innumerables seminarios sobre el choro. Importantes instrumentistas se reunieron para discutir y ensear el gnero al nuevo pblico. En 1986 se realiz el primer Seminrio Brasileiro de Msica Instrumental en la ciudad de Ouro Preto, una propuesta amplia que ocasion un redescubrimiento del choro.

Se llama tag_hash_120_____ o tag_hash_121________? El nombre del gnero es choro, pero popularmente es llamado chorinho (su diminutivo en portugus). Muchos chores y seguidores del gnero rechazan la ltima denominacin, alegando que no se llama sambinha a la samba, o jazzinho al jazz. Otros consideran al chorinho como un aspecto del choro o un ambiente proporcionado por el gnero.

Guitarra de siete cuerdas. En el choro, adems de la guitarra de seis cuerdas, existe la de siete cuerdas, introducida en los regionais probablemente por el guitarrista Tute, cuando buscaba notas ms graves para la llamada baixaria.

"Since my younghood, I was introducedto musical life through the hands of my father who gave me a littlevioloncello. My father, besides being a man of deep culture anduncommon intelligence, was a practical musician with perfect skill.With him, I always went to rehearsals, concerts and operas, in orderof get used to instrumental ensemble. I also learned to play theclarinet and was demanded to discern about the genre, style,character and origin of the music I was listen to, as well sayingpromptly the note's name of sounds or noises that appearedincidentally at every moment like, for instance, the creak of atruck's wheel, the bird's singing, a metal object fallen down, etc.Poor of mine if I didn't guess it right."

Rio de Janeiro at the beginning of the century was far from themetropolis it is today. The Brazilian capital then was characterizedby a strong European influence. Even in the daily life, it was fullof music. Streets, and bars, and anywhere people could be invaded bythe CHORES(1)fulfilling theevenings with their serenats. Groups of young men would forminstrumental bands, playing at parties, balls, weddings, carnival,and all kind of celebrations, continuing to play throughout the nighton the streets after the close of the meeting places, some times justwandering through the empty lanes with short interruptions at thenearest bar for a stimulating drink. Different groups would meet onthe winding streets and challenge each other to musical competition,which eventually could end up in fight. The musicians could walkmiles throughout the night, singing and playing just for pleasure.

In spite of his almost poor way of living, Villa-Lobos undertookan extra effort to finish his academic education at So BentoSchool, but after a few months of class he gave up. Between the ageof 18 and 25 he journeyed throughout Brazil. To make more funds hesold the rest of the fine books his father had left to finance thefirst trip to the Northeast of Brazil and studied the music ofpopular singers in loco, their style of interpretation andtheir instruments. In a self-invented shorthand he recorded tunes andmelodies, desafios (8) and autos(9) and dramatic danceseventually collecting over one thousand musical themes and rhythms.This vast material would be the main source for his first works afterreturning to Rio. However, soon after Villa-Lobos set out for a newjourney, this time toward the Southern Region where he worked in amatch factory in Paranagu, Paran, to make money. Asfar as his music was concerned, his stay was disappointing. Thissection of the country is heavily infiltrated by European immigrantsand so close to Argentina and Uruguay border that the folk music hecould collect there was hardly original.

There are divergences about which music Villa-Lobos wrote first:Mazurka in D or Panqueca. Villa-Lobos himself was confused but hesaid that whatever he made first, it was just his first musical work.The manuscript is lost.

Dobrado (literally, doubled) is the most popular musicalgenre in the South Region and is heard in neighbor countries, likeParaguay, Uruguay, and Argentina. They are the result of Villa-Lobos'first adventures in this region, as Paraguaio means fromParaguay and Paranagu is a harbor on the SouthAtlantic, in Paran State. The remain titles express feelengsas Chorar stands for Crying, Saudade as Missing,and Cabeudo stands for Stubborn. The manuscripts arelost. The first two were reductions from those written for Band in1904.

In the first movement - Allegro non Troppo - the guitar is sourceof the musical material. Modal motives are introduced by the flute,oboe and saxophone. The instrumental disposition is clear: threemelodic instruments against three harmonic instruments.

Similarly the Choro 1, here the melody takes part in theharmony, highlighting the swing of the original Brazilian choro.Villa-Lobos makes it almost caricatural with the exaggerated rubatoat the very beginning. Here, the cadence T-DD-D is the most common ofthe popular genre. Also, the melody is a simple imitation of theclarinet in a Choro's group, usually going up to down, remaining inthe middle part.

The richness of Villa-Lobos is based on mixture of musicalelements. It was due to the kind of education he received, beingopened to every cultural manifestation. He was specially fascinatedby the Amazon Forest, its tales and the Indian culture. The maintheme, in its simplicity, evokes the Indian.

The handful of Villa-Lobos surviving guitar pieces is small and wewould have whished more. In particular a greater assault on thoseeclectic elements visible elsewhere in his work might have provedfruitful in the context of the instrument. Villa-Lobos, above allother twentieth-century composer for the guitar, possessed the sparkof genius capable of realizing how far the instrument could bestretched technically and musically. He said once: 'My teacher? ...Brazil.' 17dc91bb1f