Supplements to book chapters

Supplements to chapters 1-6

These supplements consist of material I had to cut from the published chapters because of length limitations, or because it was just too much detail on the topic. The URLs of individual pages may change. Material from these supplements to chs. 1-6 could be cited as follows:

Murphy, John P. Supplementary materials for ch. [number of chapter] of Music in Brazil: Experiencing Music, Expressing Culture (New York: Oxford University Press, 2006) .

Chapter 1

Musical analysis of "Aquarela do Brasil"

This was written with musical examples included. Since the publisher of this song did not respond to my requests for the right to reproduce it, the musical examples have been omitted. The sheet music for this song is available in Sher Music. Co.'s The Latin Real Book. The excerpts from the lyrics are cited under the fair use provision for citations in critical articles.

"Aquarela do Brasil" is one of a handful of songs that are recognizable by their introductory accompaniment figure alone ("New York, New York" is another). The original recording, made in 1939 by the Radamés Gnattali orchestra, opens with rising three-note figure that is played twice, once on the beat and once with syncopation, followed by an instrumental presentation of the main theme.

The accompaniment figure is heard prominently during the held notes of the main theme. The vocal part by Francisco Alves enters in rubato tempo on with the lyrics, "Brasil, terra boa e gostosa." The samba rhythm resumes as Alves sings two contrasting phrases beginning on the lyrics, "Ô Brasil, verde que dá," the first more syncopated, the second more sustained. The main theme resumes with the lyric, "Ô esse coqueiro que dá coco," with "Ô" on a held note and the rest of the line on shorter, more syncopated notes.

The rest of the very memorable main theme develops this continuation. At the lyric, "Ô oi esses fonts murmurantes," chromatic motion in the melody and a prolonged V7/ii generate tension.

With the lyric, "Oi, esse Brasil lindo e trigueiro," the theme returns to tonic harmony and finishes with a reference to samba and one of its characteristic instruments.

This song is among the most-recorded sambas. Daniella Thompson has compiled a discography that lists more than 200 versions of it: http://daniellathompson.com/ary/aqua-list.html.

Samba on Screen

The Disney features Saludos Amigos (1942) and The Three Caballeros (1945) introduced Brazil and the samba to a large audience. In a typical Good Neighbor policy project, Disney's team of animators turned their touristic appreciation of Brazil and its music into cartoon exoticism, as Donald Duck learns about the samba from Joe Carioca (a parrot), who speaks in both English and unsubtitled Portuguese. Saludos Amigos includes Ari Barroso's "Aquarela do Brasil" and Zequinha Abreu's "Tico-tico no Fubá." The DVD release includes a documentary on the Disney team's Latin American trip. The Three Caballeros includes Barroso's "Na baixa do sapateiro" (entitled "Baía" in the film) and "Os quindins de yayá."

Orfeu Negro (Black Orpheus), the 1959 French production directed by Marcel Camus that won the Palme d'Or at the Cannes Film Festival and the Academy Award for foreign language film, has served as an introduction to Brazilian music and culture for generations of viewers. It was based on an adaptation of the myth of Orpheus and Eurydice by Vinícius de Moraes entitled "Orfeu da Conceição." In both the play and the film, the story of Orpheus and Eurydice is adapted to the setting of Brazilian Carnaval. In the film, Orfeu, a trolley-car conductor, is engaged to marry Mira. He falls in love with Eurydice, who is visiting her cousin Serafina in Rio de Janeiro during Carnaval. As in the myth, Eurydice meets her sad fate, and Orpheus spends the second half of the film looking for her before meeting his own.

An important factor in the success of the film was its sound track, which includes abundant samba, Afro-Brazilian music from an umbanda ceremony, and five songs composed for the film: "A Felicidade," by Antonio Carlos Jobim and Vinícius de Moraes, performed in the then-new bossa nova style; "O Nosso Amor," a samba by Jobim and Moraes; "Manhã de Carnaval" by Luiz Bonfá and Antonio Maria; and two instrumentals: "Frevo" by Jobim, a an example of the Carnaval genre from Recife of the title, and "Samba de Orfeu" by Bonfá (Perrone 2001 includes song lyrics and translations). The protagonists live in a poor hillside favela, where the local escola de samba is preparing for Carnaval. Later in the film its participation in Carnaval is shown, along with that of the real-life samba schools Portela and Mangueira.

While originally grateful for the world attention that the film directed towards Rio de Janeiro and Carnaval, and Brazil in general, Brazilians also reacted negatively to the film's exoticism and its oversimplification of Brazilian life. Charles Perrone quotes the film director Carlos Diegues: "I detested Camus' film because it depicts the favela in an allegorical way, as a perfect society in which only death is bothersome" (2001: 51). Also objected to were the exploitation of "the thousands of black Brazilians who staged an out-of-season Carnaval for Camus' cameras for virtually no pay but who saw none of the millions of dollars that Black Orpheus generated worldwide" and the songwriters, who had to give most of the publishing revenues to the French producers (Perrone 2001: 52-3).

As beautiful a film as it is, Black Orpheus is about as reliable a guide to present-day Rio de Janeiro and Carnaval as West Side Story (1961) is for New York. Orfeu (1999, dir. Carlos Diegues) sets the mythic story in a more realistic favela setting and includes abundant hip-hop and funk along with the samba of the Viradouro samba school, which happened to be using the myth of Orfeu for its samba-enredo during the filming in 1997 (Perrone 2001: 63).

The Spirit of Samba: Black Music of Brazil (1982), part of director Jeremy Marre's series Beats of the Heart, includes more than samba. Strongly influenced by the movement for recognition of Afro-Brazilian culture and equal rights, the film begins in a favela and a samba about life there by singer and composer Leci Brandão, who comments in an interview about prejudice against her as a woman on the part of the samba schools. The Mangueira samba school's preparations and rehearsals are shown and discussed in the context of the takeover of samba schools by outside business interests, some of them illegal. The next scene shows an umbanda session, its singing and drumming, and spirit possession. Leci Brandão's performance of samba for a middle-class audience at a churrascaria (a restaurant specializing in roasted meats) is followed by her discussion of inequality between the access to music and other aspects of culture by various social classes in Brazil. A discussion of the military dictatorship, still in force when the film was made, notes the censorship that artists endured. Informal samba performances on the streets and at the beaches are shown, followed by a recording session of Caribbean-flavored pop by Luiz Melodia. Educators should note that the footage of his stage show with Zezé Motta that follows includes brief moments of nudity. The scene shifts to the town of Sobara, in Bahia, for a discussion of samba-de-roda, which features call-and-response singing, handclapping, solo dancing in the center of a circle, and percussion music that includes prato e faca (a knife on a plate). A dawn offering to Iemanjá, goddess of the sea in the candomblé religion, is shown, with samba performed by a band on one of the boats. This is followed by scenes of ceremonies at a candomblé terreiro (religious center) and capoeira (to be discussed in chapter 2). Gilberto Gil and Djalma Correia perform the song "Toda menina baiana," followed by Gil's discussion, in English, of the song, Bahian culture, and the government repression of artists in the 1960s. Street scenes of music-making in Salvador include forró Singer Batatinha performs a sad song at home and a more upbeat one in a public performance in a bar. Returning to a polluted Rio de Janeiro, the film shows MPB artists Chico Buarque and Milton Nascimento singing their song "O Cio da Terra." Buarque explains that his music is directed to all parts of Brazilian society and talks about the difficult access to MPB by disadvantaged Brazilians and the censorship of artists under the military government. The film closes with scenes of Carnaval samba in a large nightclub.

Chapter 2

Listening notes for "Desafinado"

Listen to "Desafinado," by Antonio Carlos Jobim, performed by João Gilberto on João Voz e Violão and notice the rhythmic flexibility of Gilberto's vocal phrasing, heard against the background of the steady pulse of his thumb on the bass notes and the syncopated plucked chords This studio recording captures the nuances of Gilberto's singing and guitar playing with great clarity. The figure below shows the way the rhythm of the opening line of the lyrics is notated in a published leadsheet (sheet music that shows the melody, lyrics, and chord changes), followed by a transcription of the rhythm as sung and played by Gilberto on the two repetitions of the melody heard on this track.

The published version on the top staff begins on the downbeat of m. 1, right after the double bar (the first measure is unnumbered; it is included in order to show the guitar accompaniment) and continues in an unchanging syncopated pattern. Almir Chediak, the editor of the leadsheet, did not intend for the song to be performed this rigidly. Leadsheet compilations are not scores to be followed exactly, but resources for performers to draw on in constructing individual interpretations. Performers are expected to make alterations in an individual way, as Gilberto does in this performance. The rhythms notated on the second and third staves are my approximate transcription of his phrasing on the first time through the melody and the guitar accompaniment rhythms, respectively. This is an approximation because his rhythms are too subtle to capture without making the notation unreadable. Gilberto waits to enter in m. 1, delays the second syllable of disser (were to say) so that it happens just after the downbeat of m.2, and gently rushes the rhythm in m. 3. He treats pitch flexibly also, singing the second syllable of amor (love) slightly flat, in keeping with the sense of the lyrics ("If you were to say that I sing out of tune, my love").

[See music notation at the end of this page.]

The fourth and fifth staves show the same opening phrase on the second time through the song. The second syllable of você (you) and the third syllable of desafino (sing out of tune) are held out, m.3 is delayed to sound almost like a triplet, and the last sixteenth note of m.3 is delayed. As a result, the second version is one measure longer than the first. In both of the examples of Gilberto's phrasing, the interplay between the voice and the guitar accompaniment (only the syncopated chords of which are notated here) add rhythmic interest: sometimes the accents coincide, but more often they contrast.

On another listening, follow the lyrics. The Portuguese lyrics of "Desafinado" have been reprinted and translated in Béhague (1973). They are also found in liner notes and on the web. Notice how the lyrics use a lover's complaint (even those who sing out of tune have a heart) to make a larger point about the new bossa nova style. To those whose musical tastes were formed by classic sambas and the more forceful style of pre-bossa nova vocalists, the new style, with its odd intervals (a descending major third between the m7 and b5 of G7 at 0:04; a descending M6 from the m3 to the 5b of Ami7b5 at 0:10) could sound out of tune. Jobim and Mendonça composed the song as a joke: it defends those who sing out of tune, but its melody is so difficult that all but the most skilled singers are apt to do just that if they try it (Castro 2000: 152). Castro also notes that, despite the division of labor between composer and lyricist typically implied by song credits, Jobim and Mendonça, who worked as a nightclub pianist, collaborated on the music and lyrics.

Listening notes for "Língua de Preto"

00:00 first theme, part 1, 8 bars

a series of descending lines in octaves, with dominant pedal harmony, ends on dominant harmony

00:11 first theme, part 2, 8 bars

a series of descending lines in octaves, beginning with dominant harmony and resolving on the tonic

00:21 first theme, part 1, 8 bars

on the repeat of the first time, listen for the chordal accompaniment in the violão and the active counterline in the low register of the seven-string violão

00:31 first theme, part 2, 8 bars

00:41 second theme, 8 bars

after an opening phrase derived from theme 1, there is a break in the rhythmic accompaniment and the cavaquinho and two guitars play harmonized descending chromatic lines

after the second break in the rhythmic accompaniment, cavaquinho and guitars play harmonized ascending chromatic lines

00:51 second theme repeats, 8 bars

01:00 first theme returns, 16 bars

01:20 third theme opens with V/vi, 16 bars

sequenced phrases in circle of fifths progression, then dominant pedal with high repetitive line in cavaquinho

01:40 third theme repeats, 16 bars

01:59 first theme repeats, 16 bars

02:20 dominant-tonic alternation as a coda with improvised lines on viola caipira and violão 7 cordas until fade (approximately 30 bars)

Note on Chiquinha Gonzaga

She also directed a record label in 1920-22 along with João Batista, and composed many works for the concert stage and musical theater. The contemporary pianist Antônio Adolfo reinterpreted her compositions on two recent recordings, Viva Chiquinha Gonzaga (Artezanal A-007, 1985) and Chiquinha com Jazz (Kuarup AR3002, 1997) (Cazes 1998: 39).

Note on Choro and Jazz

Henrique Cazes makes a series of comparisons between choro and jazz that I would question, such as the assertion that choro has evolved in a linear fashion by constantly absorbing new information, while jazz has evolved in stages such as swing, bebop, and cool. Recent scholarship has questioned the periodization of jazz and the notion of its organic evolution. More importantly, however, Cazes makes a forceful point, which I support, that choro should not be understood simply as "Brazilian jazz" (1988: 121-2). Choro is an independent genre that does not need to be validated by a reference to a better-known U.S. genre.

Note on etymology of "bossa nova"

Bossa does indeed mean "protuberance" as well as an "aptitude," according to the authoritative Aurélio dictionary of Portuguese, which also notes that it comes from the French bosse.

This etymological explanation can be pursued into English. When something is embossed it forms a raised surface, and it turns out that one of the senses of the English boss is a protuberance (from Middle English boce, which came from Old French; the English boss as supervisor came from the Dutch baas, master).

I am not suggesting that bossa nova should be translated as "new hump or lump." What I am suggesting is that, like the term itself, bossa nova is rooted in Brazilian history and culture. It is not merely an invention of the late 1950s, and it is definitely not simply a Brazilian offshoot of jazz.

Note on Pixinguinha

The Turunas Pernambucanos, a band from Recife, made successful appearances in Rio de Janeiro in 1922. The band's saxophonist, who went by the artistic name Ratinho, contributed the tune "Saxofone, porque choras?" to the choro repertoire.

Pixinguinha's work as an arranger is as significant as his playing and composing. Henrique Cazes and the Orquestra Pixinguinha recorded ten of his compositions in their original arrangements on a 1996 CD on the Kuarup label www.kuarup.com.br.

His choros from this period used only two sections, with an introduction, rather than the more tradition three sections (Cazes 1998: 72).

The ascension of samba from marginal to official, so well examined in Hermano Vianna's book The Mystery of Samba, had the collateral effect of transforming Pixinguinha and his colleagues from avant-garde into old guard (Cazes 1998: 71).

Note on Radamés Gnattali

The Vivaldi Concerto grosso Op. 3 No. 11 and works by Vivaldi are included on an LP in the Brazilian Popular Music series released by FUNARTE, the Brazilian national arts foundation, in the 1980s. His Suíte Retratos has been recorded in various arrangements, including one for three guitars, bass, and drums by Laurindo Almeida (three of the four movements; heard on the recording Music of the Brazilian Masters [Concord CCD-4389, 1989]), and one for two guitars by Sérgio and Odair Assad (one movement, "Pixinguinha," is heard on their CD Alma Brasileira [Elektra Nonesuch79179-2, 1988]).

Note on so-called bossa nova clave

In the version of "Insensatez" on the album Antônio Brasileiro Jobim (1992), for example, the drumset accompaniment begins with the rhythm described in the text on p. 43, changes to the one shown below, and then returns to the first rhythm.

[See music notation at the end of this page.]

Note on Stan Getz's playing on "Garota de Ipanema"

One detail that is apparent to saxophonists, but perhaps not to others, is the way Getz lightens the tone color of middle C (the M7 of D flat M7), which is typically played with six keys plus the register key depressed, by playing it with only the key for high D. He plays this note the normal way on his first A section, at 02:36, and with the altered fingering on his second A section, at 02:51. The saxophonist Lester Young, a strong influence on Getz and other "cool" tenor players, used this sort of altered fingering often. Getz adds a heavy vibrato that is reminiscent of another great swing-era saxophonist, Coleman Hawkins.

Note on the Choro Revival

The revival included the reformulation of older choro groups and the formation of new ones, including Fina Flor and Os Carioquinhas; choro festivals, which generated debates about traditional and modern approaches to the music; and renewed public interest in rodas de choro. The roda at the bar Sovaco de Cobra, in the Rio de Janeiro suburb of Penha, was especially popular. While Rio de Janeiro has been the center of choro activity, São Paulo and Brasília had much activity as well, and Recife has been a center of choro in the Northeast. The Orquestra de Cordas Dedilhadas (Plucked-String Orchestra) was an important group in the Recife in the 1980s, and its members, including bandolim player Marco César, have continued to perform and compose (Cazes 1998: 151-2).

Note on the Jobim-Sinatra record

This album features the Jobim compositions "Garôta de Ipanema," "Dindi," "Corcovado," "Meditação," "If You Never Come to Me," "Insensatez," and "O Amor em Paz," and U.S. standards "Change Partners" (Irving Berlin), "I Concentrate on You" (Cole Porter), and "Baubles, Bangles and Beads" (Wright/Forrest/Borodine).

Sinatra's interpretation of the latter song may have been influenced by the version recorded by Brazilian singer Sylvia Telles, which he listened to as he was preparing for the sessions with Jobim; her version is found on the 1966 recording The Face I Love, with lyrics in English (plus a few phrases in Portuguese) and orchestral accompaniment in bossa nova style (Castro 2000: 329).

O Conjunto Regional

The 1930s also saw the emergence of a new ensemble type, the conjunto regional or simply regional, which included two or three violões, cavaquinho, a solo instrument such as the flute, and one or more percussion such as the pandeiro (Cazes 1998: 85). The regional musicians were skilled at creating accompaniments to diverse styles on the spot, which was especially useful when accompanying amateur singers on radio shows. In the 1950s, the regional led by the important left-handed guitarist Canhoto (his artistic name denotes his left-handedness) accompanied the Northeastern singers Jackson do Pandeiro and Luiz Gonzaga (discussed in chapter 4) (Cazes 1998: 88). By the mid-1960s, with rock growing in popularity, the regional sound had declined.

Sheet music for "Garota de Ipanema"

Sheet music may found in The Standards Real Book (Petaluma, CA: Sher Music Co., 2000) and Bossa nova Songbook vol. 2, ed. Almir Chediak (Lumiar Editora) (in the latter, note that, on the bridge, bar 1 is missing the F#M7 chord symbol and bar 5 is missing the Gmi7 chord symbol).

Chapter 3

Sonogram of berimbau sound The berimbau produces a rich blend of pitched, harmonic sounds (sounds whose vibrations follow the ratios of the overtone series), and percussive sounds without identifiable pitch. The image below shows a detail of a sonogram of the beginning of the toque Angola on CD track 5. The four lines at the bottom of the figure signify that the second tone above the fundamental is the strongest partial (at an octave and a perfect fifth above the fundamental), followed by the third overtone, which lies two octaves above the fundamental. The fundamental and first overtone are relatively weaker. Then there is a gap in the partials, followed by several of the higher overtones, which fill in tones that correspond to the 2nd, 3rd, and other intervals above the fundamental. Higher still is the "noisier" (less harmonic) sound of the caxixi.

[See image at the end of this page.]

Chapter 4

Caboclo de Urubá in Cavalo-marinho

The scene of the Caboclo de Urubá shows the influence of the Indian peoples who populated the coast at the time of colonization and retreated inland as the Portuguese settlements expanded. The term caboclo refers to a person of mixed Amerindian and Portuguese ancestry.

The Caboclo de Urubá character in cavalo-marinho is a shaman who appears to go into trance as he lies down on a carpet of broken bottles without injuring himself.

Toada: Vocês me chamam caboclo. Listen for the snapping of the wooden bow and arrow that the Caboclo de Urubá actor (Dê in Inácio Lucindo's group) carries.

Vocês me chamam caboclo

Eu não sou caboclo, não

Foi o sol que me queimou-me

Lá em cima no sertão

Olé, olé, olé olé olá

Eu vi passar

Caboclo de urubá

You call me a caboclo

I'm not a caboclo, no

It was the sun that burned me

Up there in the sertão

I saw passing by

Caboclo de Urubá

Etymology of Exu

While Exu, the name of the city where Luiz Gonzaga was born, may strike some readers as identical to that of the deity of the crossroads in Afro-Brazilian religion, it has an Amerindian origin according to two theories: from the name of the Ançu tribe, of the Cariri nation, or from the Indian word inxu, which referred to the bees found there in abundance.

Hello, Hello Brazil

On the topic of Northeastern music and radio, see:

McCann, Bryan. 2004. Hello, Hello Brazil: Popular Music in the Making of Modern Brazil. Durham: Duke University Press.

Maracatu audio

Maracatu percussion (1:00). Maracatus of Cigarra do Norte and Juruti do Norte. Field recording by J. Murphy, 1990.

Maracatu marcha (1:32). Maracatus of Cigarra do Norte and Juruti do Norte. Field recording by J. Murphy, 1990.

Caboclos de lança (0:45). Field recording by J. Murphy, 1990.

Notes on Cavalo-marinho

Cavalo-marinho groups have performed at music festivals in Recife, Rio de Janeiro, and São Paulo. In 2001, the Pernambuco in Concert project (in the capital, Recife) featured a cavalo-marinho group led by Grimário, a young mestre, in a festival, on a CD, and in a video, along with other local traditional and popular groups. Mestre Salustiano has performed songs from the cavalo-marinho repertory with his group Sonho da Rabeca (Dream of the Rabeca) at the Rock in Rio festival and at the Lincoln Center Festival in New York City.

Among the most significant rabeca players who draw on the cavalo-marinho style are Antonio Nóbrega, who studied with Mestre Salustiano in the 1970s, was part of the Armorial Movement associated with Ariano Suassuna, performs as an actor, dancer, and musician in São Paulo, and has released several CDs as a leader, including Madeira que Cupim não Rói (Wood that termites can't chew), on the Brincante label, which includes Mestre Ambrósio as guest artists; Maciel Salustiano, son of Mestre Salustiano, who led the group Chão e Chinelo, has recently recorded solo projects, and records with DJDolores e Orchestra Santa Massa; and Renata Rosa, who sings and plays rabeca on her independent CD Zunido da Mata (2002).

Sanfona tuning and technique

While the eight-bass accordion is sometimes referred to as a diatonic accordion, this is not always the case. It depends on the tuning. A one-row button accordion may indeed be tuned in a single key, and some two-row instruments are tuned in closely-related keys, such as D and G. The tuning used for the 21 buttons on the right-hand side of the two-row instrument in Northeast Brazil is chromatic:

[See music notation at the end of this page.]

Button arrangement and tuning of right-hand side of the sanfona de oito baixos

The circles between the staves represent the buttons played by the right hand. The lowest notes are at the top of the sanfona when it is in playing position, so reading from left to right in corresponds to moving from the top to the bottom of the row of buttons. The top row of buttons in the musical example, which corresponds to the inside row, is in C. The bottom (or outer) row is mostly in B; the lowest button completes the C major scale down to D3 and C3. This means that all 12 half steps are available, and music in any key can be played. The notes with stems down are played by closing the bellows, those with stems up by opening it. Two-row button accordions pitched in C and B are also used to play Irish traditional music. I bought a Hohner with this tuning before going to Brazil in 2000 with the intent to learn the Brazilian style. Arlindo modified the tuning to match the Northeastern system, and Heleno dos Oito Baixos gave it another tuning and fitted it with a pickup.

Notice the asymmetrical nature of this particular button accordion tuning and the patterns that are found within it. The inside row, except for the lowest note, forms a C major arpeggio when the bellows are closing. The outside row, except for the two lowest notes, forms a B major arpeggio when the bellows are closing. Thinking of the inner and outer rows as in C and B, respective, the notes available when opening the bellows include scale degrees 2, 4, 6, and 7. The intervals formed by opening and closing the bellows for each button include m2, M2, m3, M3, and P4. Some pitches are available in both opening and closing directions. And in the lower half of the range, the closing pitch is higher than the opening pitch; in the upper half, the closing pitch is lower than the opening pitch. This is significant because the pitches produced by opening and closing the bellows for each button are not simply adjacent notes in a major scale, and this instrument therefore uses a totally different system from the more familiar piano accordion.

The left hand has a more limited set of bass notes and triads:

[See music notation at the end of this page.]

Button arrangement and tuning of left-hand side of the sanfona de oito baixos

Reading from left to right is like moving from the top to the bottom of the instrument when it is in playing position. The left-hand buttons provide bass notes and major triads for F, C, B flat, G, D, A, and E. Downward-pointing stems indicate the closing bellows, upward-point stems the opening. Notice that the F bass note and triad are available in both directions. This is much more limited than the keys and chord qualities available on the left-hand side of a 120-bass accordion, but the style of the sanfona de oito baixos emphasizes right-hand lines more””and the best players can make a listener forget about the limitations. Among the most accomplished players in the Northeastern style today, besides Arlindo dos Oito Baixos and Heleno dos Oito Baixos, are Zé Calixto, Luizinho Calixto, Geraldo Correia, and Hermeto Pascoal.

I hope this gives you an idea of how marvelous and insanely difficult this instrument is, because it packs so many pitches into such a small area, makes unlimited chromaticism possible by having one row in C and the other (mostly) in B, and adds the complicating factor of bellows direction. Another crucial tool for the player is the air button, which allows the bellows to be opened or closed without making a sound from the accordion's reeds. This is necessary when the bellows are almost closed and the player needs to play notes that are played by closing them. The player uses the air button to take a quick breath during a rest, just as a wind player would. Skilled players try to move the bellows as little as possible. Some open it wider in the back than in the front to make it appear that it is not opening widely at all.

Chapter 5

"Tristeza do Jeca"

The toada Paulista,"Tristeza do Jeca," was originally recorded in 1926 and was not a commercial success at first. Over the years, however, it has become "the great ”˜anthem' of música sertaneja" and is known by practically every Brazilian (Reily 1992: 345). It has been recorded by many sertaneja artists in vocal and instrumental versions.

Tristeza do Jeca, version by Zezé di Camargo e Luciano

00:00 instrumental introduction, ending with a melodic-harmonic hook that moves from tonic to tonic-sus4 harmony

00:19 first two lines of verse 1, vocal solo; 2 bar instrumental hook

00:31 second two lines of verse 1, vocal duet

00:43 chorus 1, beginning on subdominant harmony, ending with the refrain "Nesta viola canto e gemo de verdade/Cada toada representa uma saudade" (On this viola I truly sing and sigh/Each song represents a longing)

01:18 verse 2, beginning as a solo and moving to duet

01:42 chorus 2, ending with the same refrain

02:17 instrumental interlude, same as the introduction

02:36 verse 3 This verse addresses the sadness of the rural dweller, who is referred to as a jeca, from the character Jeca Tatu in a story by Monteiro Lobato. "Lá no mato tudo é triste/Desde o jeito de falar/Pois o jeca quando canta/Dá vontade de chorar" (There in the forest everything is sad/Even the manner of speaking/So when the jeca sings/It makes one want to cry)

03:00 chorus 3

Activity 5.3 link

Audio excerpts from Inezita Barroso's CD on "Hoje Lembrando" on the Trama label are no longer available from the label. Other music by Barroso is available on Spotify.

Etymology of "gaúcha"

One theory locates the origin of the word in Amerindian languages: "a combination of the Guarani word ”˜gauhú', meaning to ”˜to sing sadly', with the Quechua word ”˜che', meaning people" (Lucas 2000: 46).

Listening notes for "Céu, Sol, Sul, Terra e Cor"

00:00 Instrumental introduction by acoustic guitar based on the melody of the chorus; with bass, drums, accordion accompaniment

00:17 Leonardo sings the first verse solo; guitar counterlines, synth strings; notice the pronounced vocal vibrato

00:46 Backing vocals repeat the last two lines of the verse in harmony

00:55 Leonardo sings the chorus solo

01:09 Backing vocals repeat the chorus in harmony, with the last two lines repeated

01:33 Leonardo sings the second verse solo

02:02 Backing vocals repeat the last two lines of the verse, which are the same as the last two lines of the first verse, in harmony

02:11 Leonardo sings the chorus solo

02:26 Backing vocals repeat the chorus in harmony, with the last two lines repeated

Listening notes for "Milonga Para as Missões"

00:00 rubato introduction, gaita and guitar, melody centers around fifth degree of E minor (B), at the end; listen for the noise of the buttons on the repeated Bs

00:35 still out of tempo, the accordion ascends on scale degrees 3-4-5, sustains 5, then begins the melody in tempo at (this is where the transcription begins)

00:43 in tempo, in 2/4 at mm.=120, theme labeled A in the transcription; the melody centers around B, the fifth degree, with a lowered sixth degree neighbor tone in m. 3 of letter A

00:59 theme labeled B in transcription

01:12 accompaniment stops while accordion plays an active line that leads to the beginning of the form at A

00:19 section A; on the repeat, brass backgrounds enter

01:34 part B with brass backgrounds

01:48 the break again; brass takes over from accordion

01:58 new theme in brass, ending the second time with the theme

02:15 accordion on part B, brass backgrounds, just percussion, no bass or drums

02:29 brass break, accordion takes over on held note

02:41 accordion on theme A, brass backgrounds 2nd time

02:57 part B with brass backgrounds; short ending without solo break

Listening notes for "Queluzindo"

00:00 A The opening theme centers around the tonic (D flat) with upper and lower neighbor tones, then continues the sequential pattern downward in a line that includes the lowered seventh and the raised fourth. This is a characteristic sound of music of the sertão (backlands) in both the caipira and Northeastern styles.

00:16 B This theme begins with an ascending three-note scalar motive harmonized in thirds and sixths. After the initial motive, a new motive with repeated thirds separated by a step is punctuated by a knock on the body of the viola.

00:41 C This theme begins with a quick upward A flat arpeggio followed by a descending scalar passage decorated with upper-neighbor tones.

00: 51 D This theme also begins with an upward arpeggio, but alters the A flat major sound to minor.

01:01 C repeated

01:11 D repeated

01:22 A

01:38 B

02:02 E This theme introduces a new rhythmic motive and the lowered seventh and raised fourth scale degrees.

2:16 F A quieter, chordal passage played on the upper strings.

02:32 A

02:48 B

03:11 Final two chords are struck.

Milonga

The milonga "Canción al árbol del olvido" for piano, composed by Argentine composer Alberto Ginastera (1916-1983) as part of his Op. 3, contains a variant of this rhythm in the left hand.

Sertaneja

The adjective sertaneja is sometimes written in its masculine form, sertanejo; this is the case, for example, when it is understood to modify gênero (genre).

Sertaneja cover of "Achy Breaky Heart"

In a conference paper on "Pura Emoção," Chitãozinho e Xororó's cover of Billy Ray Cyrus's "Achy Breaky Heart," Alex Dent argued that the new lyrics in Portuguese and the harmonized vocal delivery resulted in a very different message. While the narrator of the original version has been rejected by a woman, the Brazilian cover is a song in praise of a ruggedly beautiful woman who has a Jeito de cowboy/num corpo de mulher ("the manner of a cowboy in a woman's body").

Chapter 6

Devotos cover art

Each part of the design of CD insert for the CD Devotos means something. Neilton based the lettering of the song titles on the handwriting of his father, who suffers from Parkinson's disease. Each of the large letters in the band's name is smiling, and the artwork on each panel is cooordinated with the panels on either side.

DJ Dolores

DJ Dolores participated in the South by Southwest Festival in Austin, TX in 2001, and the WOMAD festival in 2004 (audio is available online; see resources), and many other international festivals (a total of 34 in 2003).

In 2004 DJ Dolores started a new band called Aparelhagem, a term that refers to a sound system in Portuguese, and performed at festivals in 14 European countries; a CD was released in 2005.

If the CD Aparelhagem was available used at a Hastings Books & Records in Denton, Texas in late 2005, there's a chance that it's in a store near you. More at his MySpace page and www.ziriguiboom.com.

Given his preference for allowing his music to be freely shared, as in the case of his remix of Gilberto Gil's "Oslodum," which was included in the open-source CD released in November 2004 by Wired magazine, it's a safe bet that readers will be able to find samples online.

His remix of "Spanish Rice" by Chico O'Farrill and Clark Terry can be heard on his myspace page.

Josué de Castro

The physician and sociologist Josué de Castro (1908-1973) described this environment (communities that live in the mangue tidal areas) in a series of books that includes The Geography of Hunger (1952) and Of Men and Crabs (1970).

Lyrics for "O Outro Mundo de Xicão Xukuru"

[spoken by Fred04]

As autoridades policiais tinham pleno conhecimento dos atentados e das ameaças. Ainda assim, nada fizeram para evitar mais este crime. Muito conveniente para os latifundiários da região.

The police authorities had full knowledge of the threats and attempts on his life. Nonetheless, they did nothing to prevent this crime. Very convenient for the large landowners of the region.

[voice of Xicão Xukuru (I'm assuming--If you can correct this, please do)]

...mas não temos a terra como objeto de especulação. ...quando Deus criou a terra não criou-a para ninguém... ...but we don't have the land as an object of speculation. ...when God created the land he didn't create it for anyone...

[spoken by Fred04]

Muito conveniente para os latifundários.

Very convenient for the large landowners.

[sung by Jorge dü Peixe]

Justiça! Justice!

[sung by Fred04]

Comenta-se que alguns deles

It is said that some of them

Tem parentesco

Are related

Com certos figuras da república branca

To certain figures of the white republic

Entre eles um apelidado pelos federais de Cacique Marcão

Among them one the federal authorities nicknamed Chief Marcão

[taped speech from a news story or interview]

[sung by Fred04]

Ele não vai ser enterrado... refrain

and other lyrics including:

para nossa luta não para

so that our struggle never ends

[recorded voice of Xicão]

...que eu sou ameaçado

...because I am threatened

Mundo Livre S/A at Brazil: Beyond Bossa Festival

While Mundo Livre S/A's music is carefully played and recorded, their approach is very much in the punk spirit. All of the band members are experienced and competent professionals, but virtuosity is not the object of their performances. The point of their shows is the messages of the songs. This may be one reason that their set at the Lincoln Center festival series "Brazil: Beyond Bossa" in New York in 2003 was one of the less successful ones in terms of audience response: so much depends on understanding the lyrics. There was a little too much punk-inspired untuned guitar playing for the liking of an audience had just heard a long set of very similar-sounding cocos performed by Dona Selma do Coco, and might have been expecting a pop reinterpretation of the coco repertory. Instead, they heard rapid-fire lyrics full of political references and a samba-flavored rock beat.

Otto

Otto later embarked on a solo career and released the well-received CD Samba pra burro in 1998. A double CD of remixes of tunes from this CD, Changez Tout, appeared in 2000.

Recife Antigo

When the small Jewish community of Recife was expelled after the Portuguese regained control of the city from the Dutch in 1654, twenty-four of them sought refuge in New Amsterdam (later New York) and founded the Jewish community there. More information.

The other street name, a Rua da Moeda, refers to the Casa da Moeda (Mint) that functioned there from 1700-1702, when Pernambuco was still a Portuguese captaincy.

Today it's the site of music festivals like Rec-Beat, which happens during Carnaval and features traditional and popular music. The Malakoff Tower was constructed during the Crimean War (1853-55) and named after the hill from which Russian forces defended the city of Sebastopol more; it was used as an observatory.