Sérgio Assad's (b. 1952) Aquarelle and Fantasia Carioca: A Performer's Guide
|
|
- Emery Mason
- 6 years ago
- Views:
Transcription
1 Sérgio Assad's (b. 1952) Aquarelle and Fantasia Carioca: A Performer's Guide Item type Authors Publisher Rights text; Electronic Dissertation Costa, Eduardo Minozzi The University of Arizona. Copyright is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Downloaded 12-Jul :19:45 Link to item
2 SÉRGIO ASSAD S (b. 1952) AQUARELLE AND FANTASIA CARIOCA: A PERFORMER S GUIDE by Eduardo Minozzi Costa A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2012
3 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Eduardo Minozzi Costa entitled Sérgio Assad s (b. 1952) Aquarelle and Fantasia Carioca: A Performer s Guide and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Thomas Patterson Date: 11/19/12 Donald Hamann Date: 11/19/12 Shelly Cooper Date: 11/19/12 Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Document Director: Thomas Patterson Date: 11/19/12
4 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Eduardo Minozzi Costa
5 4 DEDICATION To my wife Melissa Costa, my parents Amid Sequeira Costa and Noemi Karsch Minozzi Costa, my brother Ricardo Minozzi Costa, and my grandparents Fernando dos Santos Costa, Lucília Amélia Sequeira Costa, Carlos Minozzi and Eunice Karsch Minozzi. Thank you for all the support, love, patience and direct/indirect influence on the completion of this work.
6 5 ACKNOWLEDGEMENTS This study would not have been possible without the encouragement and guidance of Thomas Patterson, Donald Hamann, Shelly Cooper and my loving wife Melissa Costa. Thanks to the Bolton guitar fund for the financial support during the preparation of this document, and to Sérgio Assad for his patience in answering my questions and for his music that will continue to inspire guitarists for many generations to come.
7 6 TABLE OF CONTENTS LIST OF TABLES... 8 LIST OF MUSICAL EXAMPLES... 9 ABSTRACT FOREWORD CHAPTER I. INTRODUCTION AND SCOPE OF STUDY CHAPTER II. SÉRGIO ASSAD (b. 1952) CHAPTER III. RELEVANT HISTORICAL CONSIDERATIONS AND MPB (MÚSICA POPULAR BRASILEIRA) CHAPTER IV. PERFORMER S GUIDE Overview Sérgio Assad's Career and Life while Composing Aquarelle and Fantasia Carioca Corrected Printing Mistakes in Aquarelle Overall Analysis Aquarelle Fantasia Carioca Brazilian Traditional Music elements Marcha Rancho Baião Choro Samba Bossa Nova... 88
8 7 Suggested Listening List Suggested Fingerings Interpretation Guidelines CHAPTER V. CONCLUSIONS APPENDIX A. INTERVIEW WITH SÉRGIO ASSAD APPENDIX B. HUMAN SUBJECTS REVIEW APPENDIX C. COMPOSER S PERMISSION REFERENCES
9 8 LIST OF TABLES Table 1.1 Structural Analysis Divertimento, 1 st movement from Aquarelle by Assad Table 1.2 Structural Analysis - Valseana, 2 nd movement from Aquarelle by Assad. 35 Table 1.3 Structural Analysis Preludio e toccatina, 3 rd movement from Aquarelle by Assad Table 1.4 Structural Analysis Fantasia Carioca by Assad... 38
10 9 LIST OF MUSICAL EXAMPLES Musical Example 1.1 Divertimento, 1 st movement from Aquarelle by Assad (mm. 88 and 115) Musical Example 1.2 Divertimento, 1 st movement from Aquarelle by Assad (mm. 89 and 116) Musical Example 1.3 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 3) Musical Example 1.4 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 114) Musical Example 2.1 Divertimento, 1 st movement from Aquarelle by Assad (m. 1) 34 Musical Example 2.2 Divertimento, 1 st movement from Aquarelle by Assad (m. 1) 36 Musical Example 2.3 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 1-4) Musical Example 2.4 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 2.5 Fantasia Carioca by Assad (m. 1-4) Musical Example 2.6 Fantasia Carioca by Assad (mm ) Musical Example 3.1 Marcha rancho example by Marco Pereira Musical Example 3.2 Marcha rancho rhythmic pattern by Nelson Faria Musical Example 3.3 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.4 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.5 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.6 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.7 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.8 Divertimento, 1 st movement from Aquarelle by Assad (mm. 84 and 111)... 48
11 10 LIST OF MUSICAL EXAMPLES - continued Musical Example 3.9 Divertimento, 1 st movement from Aquarelle by Assad (mm and ) Musical Example 3.10 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.11 Divertimento, 1 st movement from Aquarelle by Assad (m. 121) Musical Example 3.12 Divertimento, 1 st movement from Aquarelle by Assad (m. 123) Musical Example 3.13 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 3.14 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 34) Musical Example 3.15 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 3.16 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 3.17 Frevo basic pattern by Nelson Faria Musical Example 3.18 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.19 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.20 Divertimento, 1 st movement from Aquarelle by Assad (mm. 87 and 114) Musical Example 3.21 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.22 Divertimento, 1 st movement from Aquarelle by Assad (m. 97)53 Musical Example 3.23 Divertimento, 1 st movement from Aquarelle by Assad (m. 99)53 Musical Example 3.24 Divertimento, 1 st movement from Aquarelle by Assad (m. 101) Musical Example 3.25 Divertimento, 1 st movement from Aquarelle by Assad (m. 118)... 54
12 11 LIST OF MUSICAL EXAMPLES - continued Musical Example 3.26 Divertimento, 1 st movement from Aquarelle by Assad (m. 122) Musical Example 3.27 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 3.28 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 125) Musical Example 3.29 Frevo variation no. 3 by Nelson Faria Musical Example 3.30 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 4.1 Baião basic pattern by Nelson Faria Musical Example 4.2 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 4.3 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 44) Musical Example 4.4 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 53) Musical Example 4.5 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 62) Musical Example 4.6 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 66) Musical Example 4.7 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 103) Musical Example 4.8 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 4.9 Fantasia Carioca by Assad (mm ) Musical Example 4.10 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 4.11 Fantasia Carioca by Assad (mm ) Musical Example 4.12 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm )... 62
13 12 LIST OF MUSICAL EXAMPLES - continued Musical Example 4.13 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 4.14 Fantasia Carioca by Assad (mm ) Musical Example 5.1 Dino Sete Cordas baixaria in Amor proibido by Cartola (mm ) Musical Example 5.2 Dino Sete Cordas baixaria in Cinco companheiros by Pixinguinha (mm ) Musical Example 5.3 Dino Sete Cordas baixaria in Doce de coco by Jacob do Bandolim (mm ) Musical Example 5.4 Divertimento, 1 st movement from Aquarelle by Assad (mm. 9-12) Musical Example 5.5 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.6 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.7 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.8 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.9 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.10 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.11 Divertimento, 1 st movement from Aquarelle by Assad (mm. 110) Musical Example 5.12 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.13 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 5.14 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm )... 69
14 13 LIST OF MUSICAL EXAMPLES - continued Musical Example 5.15 Escorregando by Ernesto Nazareth (mm. 1-10) Musical Example 5.16 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 5.17 Apanhei-te cavaquinho by Ernesto Nazareth (mm. 1-16) Musical Example 5.18 Divertimento, 1 st movement from Aquarelle by Assad (mm. 33) Musical Example 5.19 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.20 B.H. by Sylvio Mazzucca (mm. 1-22) Musical Example 5.21 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.22 Não me rasgues a roupa by A. Reale (mm. 1-11) Musical Example 5.23 Fantasia Carioca by Assad (mm ) Musical Example 5.24 André de sapato novo by André Victor Corrêa (mm. 1-17) Musical Example 5.25 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.26 Assanhado by Jacob do Bandolim (mm ) Musical Example 5.27 Choros no. 1 by Heitor Villa-lobos (mm. 1-4) Musical Example 5.28 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.29 Choro variation no. 1 by Nelson Faria Musical Example 5.30 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 71) Musical Example 5.31 Fantasia Carioca by Assad (mm ) Musical Example 6.1 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 6.2 Divertimento, 1 st movement from Aquarelle by Assad (mm )... 82
15 14 LIST OF MUSICAL EXAMPLES - continued Musical Example 6.3 Samba basic pattern by Nelson Faria Musical Example 6.4 Divertimento, 1 st movement from Aquarelle by Assad (mm and ) Musical Example 6.5 Samba variation no. 1 by Nelson Faria Musical Example 6.6 Fantasia Carioca by Assad (mm ) Musical Example 6.7 Fantasia Carioca by Assad (mm ) Musical Example 6.8 Samba variation no. 7 by Nelson Faria Musical Example 6.9 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 6.10 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 6.11 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 6.12 Samba variation no. 12 by Nelson Faria Musical Example 6.13 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 6.14 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 6.15 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 7.1 Divertimento, 1 st movement from Aquarelle by Assad (mm. 1-5) Musical Example 7.2 Valseana, 2 nd movement from Aquarelle by Assad (mm. 9-16)90 Musical Example 7.3 Divertimento, 1 st movement from Aquarelle by Assad (mm. 85 and 112) Musical Example 7.4 Divertimento, 1 st movement from Aquarelle by Assad (mm. 89 and 116) Musical Example 7.5 Fantasia Carioca by Assad (mm ) Musical Example 7.6 Fantasia Carioca by Assad (mm )... 92
16 15 LIST OF MUSICAL EXAMPLES - continued Musical Example 7.7 Fantasia Carioca by Assad (mm ) Musical Example 7.8 Valseana, 2 nd movement from Aquarelle by Assad (mm ) Musical Example 7.9 Divertimento, 1 st movement from Aquarelle by Assad (mm. 85 and 112) Musical Example 7.10 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 7.11 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 7.12 Fantasia Carioca by Assad (m. 12) Musical Example 7.13 Divertimento, 1 st movement from Aquarelle by Assad (m. 96)94 Musical Example 7.14 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 7.15 Fantasia Carioca by Assad (mm ) Musical Example 7.16 Fantasia Carioca by Assad (mm ) Musical Example 7.17 Fantasia Carioca by Assad (mm ) Musical Example 7.18 Valseana, 2 nd movement from Aquarelle by Assad (mm. 1-9)96 Musical Example 7.19 Valseana, 2 nd movement from Aquarelle by Assad (mm ) Musical Example 7.20 Divertimento, 1 st movement from Aquarelle by Assad (mm and ) Musical Example 7.21 Divertimento, 1 st movement from Aquarelle by Assad (m. 97)99 Musical Example 7.22 Divertimento, 1 st movement from Aquarelle by Assad (m. 99)99 Musical Example 7.23 Divertimento, 1 st movement from Aquarelle by Assad (m. 101) Musical Example 8.1 Divertimento, 1 st movement from Aquarelle by Assad (m. 101)103 Musical Example 8.2 Valseana, 2 nd movement from Aquarelle by Assad (m )104
17 16 LIST OF MUSICAL EXAMPLES - continued Musical Example 8.3 Divertimento, 1 st movement from Aquarelle by Assad (mm. 90 and 117) Musical Example 8.4 Fantasia Carioca by Assad (mm ) Musical Example 8.5 Fantasia Carioca by Assad (mm ) Musical Example 9.1 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 9.2 Valseana, 2 nd movement from Aquarelle by Assad (mm ) Musical Example 9.3 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 9.4 Marcha rancho Musical Example 9.5 Marcha rancho groovy Musical Example 9.6 Marcha rancho variation no Musical Example 9.7 Marcha rancho variation no. 2 groovy Musical Example 9.8 Marcha rancho variation no Musical Example 9.9 Marcha rancho variation no. 3 groovy Musical Example 9.10 Baião Musical Example 9.11 Baião groovy Musical Example 9.12 Choro variation no Musical Example 9.13 Choro variation no. 1 groovy Musical Example 9.14 Samba Musical Example 9.15 Samba groovy Musical Example 9.16 Samba variation no Musical Example 9.17 Samba variation no. 1 groovy Musical Example 9.18 Samba variation no Musical Example 9.19 Samba variation no. 7 groovy
18 17 LIST OF MUSICAL EXAMPLES - continued Musical Example 9.20 Samba variation no Musical Example 9.21 Samba variation no. 12 groovy
19 18 ABSTRACT More accurate and authentic performances of Sérgio Assad s (b. 1952) Aquarelle and his Fantasia Carioca can be obtained through insights provided by formal analysis of those pieces, study of the performing traditions of Brazilian traditional music, and the composer s reflections and comments. This document guides readers in recognizing the subtleties that characterize Assad s style and its Brazilian traditional music influences. A select group of styles has been chosen based on their relevance in Assad s work. Characterized by unique accent patterns and melodic/harmonic clichés, the influences of each Brazilian music genre can be identified in specific measures of the two Assad s pieces included in this study. The correlation between measures and genres provides specific stylistic features that the performer can apply toward an authentic execution.
20 19 FOREWORD Aquarelle (1986) and Fantasia Carioca (1994) have been selected as the focus of this study because of their quality, but, more significantly, they are representative of a great portion of Assad s overall style. My goal is to create a performer s guide of Aquarelle and Fantasia Carioca consisting of the following subsections: overview, Sérgio Assad's career and life while composing Aquarelle and Fantasia Carioca, corrected printing mistakes, overall analysis, Brazilian traditional music elements, suggested listening list, suggested fingerings, and interpretation guidelines. The primary goal of this author is to inform and influence the performer s playing style.
21 20 CHAPTER I. INTRODUCTION AND SCOPE OF STUDY The purpose of this study was to produce a performer s guide to Sérgio Assad s (b. 1952) Aquarelle (1986) 1 and Fantasia Carioca (1994) 2 based on Brazilian traditional music performance practice. This author will demonstrate how the 1964 Brazilian military coup and Música Popular Brasileira (MPB) impacted Assad s musical references, how Brazilian traditional music influenced Assad s compositions, and how guitarists can perform both pieces in a manner that honors the composer s intent. Consider this document as a guide on how to express Assad s compositional style through one s playing. As Hans Eggebrecht has observed: The performer is obliged to seek out the intended content in the work and provide a justification for it, to decide on how the notation is to sound and to fill in the gaps the text leaves open. As a rule he will let himself be guided by notions of coherence, relevance and validity-in a word, he will aim for the right interpretation-right, for example, in terms of what the composer intended, in terms of fidelity to the work, or historical performance practice. 3 In addition to external historical and cultural events, information about Assad s career and personal life will contribute to a deeper understanding of the environments during which these pieces were written. According to Christopher Barnes: The performer can derive most information from the text of a work itself, and musical notation is a live object for study, providing useful clues to the style of interpretation. But this alone is not sufficient. It is also essential to understand the circumstances in which a particular work was created. One needs to know 1 Sérgio Assad, Aquarelle (Paris: Editions Henry Lemoine, 1992). 2 Sérgio Assad, Fantasia Carioca (Paris: Sérgio Assad Music, 2002) Hans Heinrich Eggebrecht, Understanding Music (Farnham: Ashgate Publishing Company, 2010),
22 21 something of the character of that epoch and also the complete range of the composer s other works. 4 The perceived quality of a composition relies on the quality of its performance. An individual may misjudge the selection s value upon hearing an inaccurate interpretation; however, the same individual may reassess his or her initial judgment upon hearing the piece performed by a more skilled musician. According to Heinrich Schenker: The general public will simply accept a composition on faith; it is easier to doubt the quality of the composition than to suppose that the performer might have totally misrepresented it. 5 The perceived quality of masterpieces should not be compromised by the promotion of musicians that lack interpretative skills. To this end, it is necessary to provide all available information to those who are willing to transform printed notes into meaningful musical sounds. 4 Christopher Barnes, The Russian Piano School: Russian Pianists & Moscow Conservatoire Professors on the Art of the Piano (London: Kahn & Averill, 2007), Heinrich Schenker, The Art of Performance (New York: Oxford University Press, 2000), 4.
23 22 CHAPTER II. SÉRGIO ASSAD (b. 1952) Sérgio Assad (b. 1952) is considered among the finest guitarist-composers currently living. 6 His parents first influenced him to begin playing guitar: It all started with my father and my mother. They weren t professional musicians; it was their hobby. My father was very keen on the mandolin and taught himself by ear. He built this huge repertoire. He was moving quite a lot, and he would find others to play with in each place we would go. And if he didn t find anyone, he would teach them. 7 In addition to arranging, teaching and composing, Sérgio and his brother, Odair, form the most influential guitar duo in history -- the Assad Brothers. Their virtuosity has inspired a wide and diverse list of composers including Astor Piazzolla, Radamés Gnatalli, Terry Riley and Dusan Boganovich. They have also been sought after to collaborate in musical adventures by such artists as Yo-Yo Ma and Nadja Salerno-Sonnenberg. 8 The Assads began playing the guitar together at an early age and continued their study for seven years with guitarist/lutist Monina Távora, a disciple of Andrés Segovia. 9 As a result, the brothers were indirectly influenced by the Spanish guitarist Andres Segovia. Segovia was much more than a virtuoso guitarist; he was dedicated to establishing a modern repertoire. According to Graham Wade: Segovia s complex relationships with the folkloric music of Andalusia, flamenco, have already been considered. Yet, it must be emphasized that Segovia s relationship with composers such as Joaquin Turina, Federico Moreno Torroba 6 By guitarist-composers I mean composers who also have a career as performers. Leo Brouwer from Cuba and Roland Dyens from France are two other examples. 7 Doug Young, Sérgio Assad Interview, Acoustic Guitar Magazine, November 2009, 2. 8 Joseph Sekon, D Rivera, Assad brothers nothing short of pure artistry, Register-Pajaronian, February 11, Sérgio Assad and Odair Assad, Bio, Opus3artists, (accessed April 12, 2011).
24 23 and Joaquin Rodrigo, as well as his close friendship with Manuel de Falla, enabled Spanish musicians to unite their refinement of folkloric traditions and dances with the voice of the classical guitar. 10 Similarly, Assad enabled himself and future generations of guitarists-composers to utilize Brazilian traditional music within their compositions. Throughout his career, Assad garnered important awards for his music. Among many possible examples, Interchange (a concerto for guitar quartet and orchestra) and Maracaípe (a piece for guitar duo) were nominated for best classical contemporary compositions at the 11 th Latin Grammy Awards in In 2008, his composition for two guitars, Tahhiyya Li Ossoulina, received a Latin Grammy award for best contemporary composition. 12 In addition to composing pieces for guitar, Assad is widely respected for his performance and arranging skills. His album Sérgio and Odair Assad Play Piazzolla 13 received a Latin Grammy award for best tango album in In 1973-he won the young soloists competition for the Brazilian Symphony Orchestra, and in 1979 he won the rostrum for young interpreters at the International Music Competition of Bratislava (formerly Czechoslovakia). 15 Assad has arranged over 300 pieces in different chamber music settings for artists like Gidon Kremer, Dawn UpShaw, Yo Yo Ma, Nadja Salerno- 10 Graham Wade, Segovia: A Celebration of the Man and his Music (London: Alison & Busby Ltd., 1983), ). 11 Sérgio and Odair Assad, Bio, Opus3artists, (accessed April 12, 12 Ibid. 13 Sérgio and Odair Assad, Sérgio and Odair Assad Play Piazzolla, Nonesuch, CD, Sérgio and Odair Assad, Bio, Opus3artists, (accessed April 12, 2011). 15 Sérgio and Odair Assad, Press-kit, Opus3artists, (accessed May 4, 2011).
25 24 Sonnenberg, Iwao Furusawa, Paquito de Rivera, Turtle Island Quartet, L.A. Quartet, Luciana Souza and Vancouver Cantata Singers. 16 Assad is referenced in two DMA dissertations and one peer-reviewed review. Scholarly literature refers to Assad s compositions, arrangements, and his performance career. João Paulo Figeirôa da Cruz compiled an annotated bibliography of Assad s works displaying information regarding history, publishers, instrumentations, recordings and approximate performance duration for more than forty compositions. 17 Guilherme Caldeira Loss Vincens was able to identify innovations in texture and polyphonic writing for the solo guitar by comparing Assad's arrangements of Verano and Invierno from Las Estaciones Porteñas by Ástor Piazzolla with arrangements of other guitarists (Agustín Carlevaro, Baltazar Benítez and Joe Pass). 18 Joseph E. Szydlowski reviewed five pieces by Assad: Jobiniana no. 3 pour guitar, Jobiniana no. 1 pour 2 guitares, Circulo mágico pour flúte et guitare, Winter Impressions pour flúte, alto et guitare, and Uarekena pour quatuor de guitars. Szudlowski states: As Assad noted, the dichotomy between the practice of popular and "serious" music is not as sharply defined in Brazil as in the United States. In Brazilian 16 Sérgio Assad, Arrangements, Wikipedia, October 29, 2012). 17 João Paulo Figueir a da Cruz, An Annotated Bibliography of Works by the Brazilian Composer Sérgio Assad (DMA diss., Florida State University, 2008). 18 Guilherme Caldeira Loss Vincens, The Arrangements of Roland Dyens and Sérgio Assad: Innovations in Adapting Jazz Standards and Jazz-Influenced Popular Works to the Solo Classical Guitar (DMA diss., The University of Arizona, 2009).
26 25 music, and in Assad's compositional style, borrowings and influence between the two musical traditions are much more fluid and accepted. 19 Academics have recognized Assad s use of Brazilian traditional music within his compositions; however, current scholarly literature lacks an in-depth study of the specific Brazilian traditional music elements present in Assad s work. I intended to create a performer s guide for interpreting Sérgio Assad s Aquarelle and Fantasia Carioca based on the composer s input and the Brazilian traditional music performance practices. This type of in-depth scholarship is a means by which both pieces may become part of the standard guitar repertoire. 19 Joseph E. Szydlowski, review of Jobiniana no. 3 pour guitare, Jobiniana no. 1 pour 2 guitares, Circulo máigico pour flûte et guitare, Winter Impressions pour flûte, alto et guitare, Uarekena pour quatuor de guitars, by Sérgio Assad, Notes 60, no. 3 (March 2004): 806.
27 26 CHAPTER III. RELEVANT HISTORICAL CONSIDERATIONS AND MPB (MÚSICA POPULAR BRASILEIRA) According to Stroud, The televised song festivals held in Brazil between 1965 and 1972 changed the face of Brazilian popular music by bringing a host of new innovative performers and songwriters to the public s attention within a very short period. 20 Assad, born in 1952, would have been approximately years of age during Peronne & Dunn assert that musicians were striving to create a sense of authenticity in their music. The post-coup 1960s was a period of crisis for progressive sources in Brazil that provoked a critical re-thinking of nationally defined cultural imperatives that were articulated in several fields of artistic production, particularly in popular music. 21 The genre MPB -an acronym for Música Popular Brasileira (Brazilian Popular Music)-originated as a result of the brutal military dictatorship encompassing Brazil after the 1964 Brazilian military coup. 22 Hoping to avoid a rebellion, the government imposed strict censorship and required artists to seek approval for lyrics before recording or public performances. Despite being forced to be creative about the ways in which their message were disseminated to avoid discovery by authorities, many artists managed to launch their careers during this time period. One example is Chico Buarque s song, Cálice 20 Sean Stroud, Defense of Tradition in Brazilian Popular Music: Politics, Culture and the Creation of Musica Popular Brasileira (Abingdon: Ashgate Publishing Group, 2008), Charles A. Peronne and Christopher Dunn, Brazilian Popular Music & Globalization (Gainesville: University Press of Florida, 2001), The coup led to two decades of strict military rule, and Brazilians born during the 1960s and 1970s were brought up in a country heavy with censorship. President Joao Goulart was deposed without bloodshed on the night of 31 March 1964.The army officers who deposed President Joao Goulart suspected him of having communist sympathies. (source:
28 27 ("Chalice", or Jesus' Last Supper "Cup"), a duet written with Gilberto Gil and performed with Milton Nascimento. 23 Buarque utilized the homophony between the Portuguese imperative "shut your mouth" (cale-se) and "chalice" (cálice) to protest the lack of freedom of speech. The song was disguised as the Gospel narrative of Jesus' Gethsemane prayer to the Father to relieve him of the chalice of bloody death probation. The line I wanna sniff diesel fume" is a reference to the death of political prisoner Stuart Angel who, in 1971, had his mouth glued to a jeep's exhaust pipe during a torture session by officers of the Brazilian military dictatorship. 24 Other artists of the same generation include Edu Lobo (b. 1943), Geraldo Vandré (b. 1935), Elis Regina ( ), Dorival Caymmi ( ), Simone (b. 1949), Caetano Veloso (b. 1942), Maria Bethânia (1946), Gal Costa (b. 1945), Alceu Valença (b. 1946), Geraldo Azevedo (1945), João Bosco (b. 1946), Ivan Lins (b. 1945) and Djavan (b. 1949). According to Chris McGowan: MPB can refer to Brazilian popular music in general, but it has become a common way to refer to these performers, whose music defies easy categorization. It is intensely eclectic, varying greatly in style from artist to artist, and developed from a collision of bossa nova, regional folk music, protest songs, samba, rock and roll, the Tropicalia movement and other influences. These elements were mixed together in such a way that the final result cannot be placed into any particular genre such as bossa, samba, forró, or rock. Instead, it is a new category, and MPB has proven to be a convenient label for it Chico Buarque, Chico Buarque, Polygram/Philips, LP, Jonas Rezende, E Lysaneas Disse Basta (Rio de Janeiro: MAUAD Editora Ltda., 2000), Chris McGowan and Ricardo Pessanha, The Brazilian sound: Samba, Bossa Nova, and the Popular Music of Brazil (Philadelphia: Temple University Press, 1998), 75.
29 28 An artistic drive for authenticity motivated by the stifled artistic class, the merging of musical genres and subsequent creation of MPB, were all pervading influences in Brazil during Assad's early years.
30 29 CHAPTER IV. PERFORMER S GUIDE Overview The performer s guide for Aquarelle and Fantasia Carioca will consist of the following: corrected printing mistakes, overall analysis, Brazilian traditional music elements, suggested listening list, suggested fingerings, and interpretation guidelines. The goal is to inform and influence the performer s playing style. Corrections to printing errors are based on a personal interview with Sérgio Assad, conducted specifically for the purposes of this research. During the interview, Assad identified the wrong notes in the score and kept a written record of the correct ones. The analysis portion is focused on structural items such as main sections, prominent themes, and transitions. This will provide performers a general understanding of the pieces, which will be of most utility throughout the interpretation guidelines section. David McGill states: Musicians love music. That love is born of profound feelings and fuels the years of practice necessary to realize the dream of becoming a professional. However, a professional musician who is simply content to feel the music during performance without understanding its structure is not really qualified to interpret the classics for discerning listeners. 26 Analysis of Assad s pieces in isolation will not suffice; it is also necessary to possess a contextual understanding of his surroundings and current events during that time period and to identify specific Brazilian traditional music influences in his compositions. This author has focused on select musical passages related to the topic and compared them to 26 David McGill, Sound in Motion: A Performer s Guide to Greater Musical Expression (Bloomington: Indiana University Press, 2007), 16.
31 30 patterns in Brazilian traditional music genres; this comparison was based on pitch, rhythm and harmonic material. In addition to examining Assad s music, one must also develop familiarity with quality references from many different sources and instruments within each of these genres to master the Brazilian music style. The instrumental music teacher, elementary through university level, must regard training the ear as a primary goal, writes James Byo. 27 When student musicians make musical decisions through critical listening, they are involving themselves actively in the music-making process. 28 It is necessary to possess high-quality references for diverse rhythmic possibilities, types of phrasing, tone, expressiveness, dynamics, tempo, etc. To this end, a listening assignment is provided in the form of a suggested listening list (see page 93) that includes four pieces per genre, and is based on relevant themes discussed throughout the overall analysis and the Brazilian traditional music elements section. Aquarelle, for example, is based on the Brazilian traditional music style commonly known as marcha rancho. Thus, a few famous marcha rancho pieces have been chosen for the list. In any genre, a change in fingering can create different interpretations. Likewise, with Brazilian traditional music, fingering choice plays an important role. For instance, under normal circumstances, the last note of a left hand shift tends to sound accentuated given the distance the hand must move to reach the following note. A clever musician can place strategic shifts around notes that should be accented based on a specific style. 27 James Byo, Teach Your Instrumental Students to Listen, Music Educators Journal 77, no. 4 (1990): Ibid.
32 31 Fingering can also affect note duration, as it is physically impossible to sustain a note with one finger when the same finger is required to play something else. In this case, the finger has to release the previous note before its complete duration in order to play a subsequent note a tempo. When purposely executed, the created gap may provide an accurate stylistic interpretation and contribute to the concept of groove. Finally, a personal interview provides Assad s suggestions for ways to interpret both pieces. Sérgio Assad's Career and Life While Composing Aquarelle and Fantasia Carioca Aquarelle (1986), written while in Paris, was Assad s first large work for solo *guitar. At the time, his international career had begun with his brother Odair, but was not yet extremely busy. This left Assad with ample time to dedicate to composing and arranging pieces for the duo. His wife at that time liked to paint aquarelles, drawings utilizing transparent watercolors and blended hues, and the spread of the colors on the canvas fascinated him. Following the same idea, he started the guitar solo with a threenote motif notated with l.v. (lascia vibrare), suggesting that notes continue to ring one over the other as they spread throughout the score using augmentations and fragmentations. 29 Assad wrote Fantasia Carioca in 1994, the same year his first wife died. That year was quite tragic but when you are under stress music helps you out. I wrote it to myself, 29 Sérgio Assad, Interview by Eduardo Minozzi Costa, September 12, (For the complete interview, see Appendix A).
33 32 to remember I was Brazilian and that was something to hold to. 30 Assad s inspiration came from images and memories of Rio de Janeiro. Traversing distances took significantly longer in those days and communication was less sophisticated than today. The piece reflects an obsession with a single musical phrase, which also represents his obsession with Rio, while stuck in Paris but wishing to be in Brazil. The theme appears a dozen times exploring many different moods and genres including the ballad and the samba. 31 Corrected Printing Mistakes in Aquarelle 32 Errors in Aquarelle include wrong notes and accidentals. In measures 88 and 115, the circled F# should be E#, and the E that follows should remain natural (see Musical Example 1.1). Musical Example 1.1 Divertimento, 1 st movement from Aquarelle by Assad (mm. 88 and 115) 30 Sérgio Assad, Interview by Eduardo Minozzi Costa, September 12, (For the complete interview, see Appendix A). 31 Ibid. 32 There are no printing mistakes in Fantasia Carioca; therefore, this section is solely dedicated to Aquarelle.
34 33 The error in measures 89 and 116 is a missing accidental. The circled A# should be natural (see Musical Example 1.2). Musical Example 1.2 Divertimento, 1 st movement from Aquarelle by Assad (mm. 89 and 116) The circled B should be flat as noted in Musical Example 1.3. Musical Example 1.3 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 3) The circled C should be A as noted in Musical Example 1.4. Musical Example 1.4 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 114)
35 34 Overall Analysis 1. Aquarelle I. Divertimento The first movement of Aquarelle has six distinctive sections (see Table 1.1 for a structural diagram). Table 1.1 Structural Analysis - Divertimento, 1 st movement from Aquarelle by Assad Intro A B B C Bridge B Coda (1-22) (22-83) (84-110) ( ) ( ) ( ) (84-110) ( ) The introduction presents the three-note motive at the dynamic marking of piano. Musical Example 2.1 Divertimento, 1 st movement from Aquarelle by Assad (m. 1) Section A-the longest section of the piece-includes phrases that tend to be prepared by a series of transitions. The syncopated rhythm creates a high degree of voice independence giving the impression of a guitar ensemble. Section B-which is repeated twice with a slightly different ending during the second repetition-has a dense texture with the harmonics on measures serving as a smooth transition to the next section. Section C is slower and contrasting with measures introducing the new
36 35 mood. The first musical idea (measures ) is considerably longer than the second musical idea (measures ). The bridge is fast and repetitive, with a changing time signature. The coda possesses two musical ideas (measures and ), with the first idea based on material from section B. II. Valseana The second movement of Aquarelle, titled Valseana, has six distinctive sections (see Table 1.2 for a structural analysis diagram). Table 1.2 Structural Analysis - Valseana, 2 nd movement from Aquarelle by Assad Intro A (Main Theme) B A C Coda (1-9) (10-18) (19-34) (35-43) (44-55) (56-57) Originating from the Portuguese word valsa, meaning waltz, this movement does not sound like its name implies. The harmonic material and voice leading provide a contemplative mood. Beauty in this movement originates from the subtle counterpoint, harmonic choices, and memorable melody. The introduction contains many voices moving in opposite directions. Section A-which presents the main theme-is mostly comprised of descending notes. Section B provides more movement to the piece, with the harmonic progressions spread throughout more measures than previously. Section A, a variation of the main tune, appears before the Section C material. Section C includes material from sections B and A ; measures contain material from measures and the harmony of measures resemble that of measures
37 36 III. Preludio e toccatina The third movement of Aquarelle, titled Preludio e toccatina, has six distinctive sections (see Table 1.3 for a structural analysis diagram). Table 1.3 Structural Analysis Preludio e toccatina, 3 rd movement from Aquarelle by Assad Intro A B Development A (idea) Coda (1-15) (16-35) (36-66) (67-115) ( ) ( ) The motive of the first movement permeates the third movement as well, a concept developed by Beethoven in his 5 th symphony. 33 The motive is transposed an ascending major third and appears in the third movement s main theme (measures 1-4) (see Musical Examples 2.2 and 2.3 for the original and transposed motive). Musical Example 2.2 Divertimento, 1 st movement from Aquarelle by Assad (m. 1) 1932). 33 Ludwig Van Beethoven, Symphony no. 5, Op. 67, in C minor (New York: Kalmus Orchestra Scores,
38 37 Musical Example 2.3 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm. 1-4) The motive can be observed also in measures 5-6, 16-17, 18-19, 20-21, 22-23, 28-29, 32-33, and appears hidden in measures (see Musical Example 2.4). Musical Example 2.4 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) The introduction is lyrical and serves as a prelude. Its slow style serves as a reference for future contrasting sections. Section A is rhythmically contrasting, revisiting the main theme several times. Section B introduces a new theme, and an interesting chromatic line delineates measures A transition in measures allows Assad to suggest upcoming new material, yet unexpectedly returns to the second theme in measure
39 The development section contains B elements (e.g., measure 67 is based on measure 62). Assad s repetition of thematic material produces a repetitive feeling, especially in measures 80-83, 84-87, 88-91, where Assad repeats a similar idea three times before introducing two new themes consecutively. Section A displays a very short fragment of section A and the coda introduces the strumming-guitar technique Fantasia Carioca Fantasia Carioca, written by Assad in 1994, is a fantasia. The form is not strict and it is subject to different interpretations (see Table 1.4 for a structural analysis diagram). Table 1.4 Structural Analysis Fantasia Carioca by Assad A B C D E (1-83) (84-97) (98-116) ( ) ( ) A B C Coda ( ) ( ) ( ) ( ) In Fantasia Carioca, two main themes work to unify its different sections. These themes are revisited many times through variations in texture, voicings, and mood. Theme 1 appears for the first time in measures 1-4 (see Musical Example 2.5). 34 Strumming refers to the act of running a single finger across many strings simultaneously.
40 39 Musical Example 2.5 Fantasia Carioca by Assad (mm. 1-4) Theme 2 appears for the first time in measures (see Musical Example 2.6). Musical Example 2.6 Fantasia Carioca by Assad (mm ) Section A is divided into nine segments, with some sections containing thematic material while others are a bridge or sequence-type material. Segment one (mm. 1-16) displays the first theme interpolated by musical interruptions -- notes placed between the theme and its repetition. The added notes provide the necessary contrast for listeners to identify the theme. Examples can be found in measures 2 and 4. Segment two (mm ) draws the listener to the piece s harmonic aspect and builds tension to the bridge at segment three (mm ). Segment four (mm ) reintroduces theme 1; this time Assad uses staccatos to separate the theme and its repetition. Segment five (mm ) displays the theme, now transposed to B flat minor. Segment six (mm ) introduces a new theme in lydian b7 mode. Segment seven (mm ) features a short sequence in
41 40 dorian mode. Segment eight presents harmonics in chords and serves as an interesting transition between G minor and D dorian at measures The first theme appears again at measure 70. Segment nine serves as a bridge in D dorian. Section B, which is considerably shorter than section A, is composed of one segment. Assad introduces Theme 2 in measure 84 and repeats it in measure 86, both greatly contrasted in texture. Measure 92 introduces the use of three consecutively repeated notes. Section C is the first section that requires a consistent rhythmic performance. According to Assad, Fantasia Carioca needs a lot of liberty with tempi, quite freely most of the time until you get to the samba section that requires some experience with that traditional genre. 35 Theme 1 is displayed at a different tempo and its sound contrasts to all its previous occurrences, utilizing for example 32 nd notes for the first time in measure 105. Section D is divided into two segments (mm and mm ). Segment one (mm ) is composed of repetitive quarter-note chords and a new theme on the bass. Segment two (mm ) serves as a bridge that builds tension through the utilization of chords and scales. Section E is divided into three segments. Segment one (mm ) reintroduces theme 2, this time harmonized utilizing mostly major seventh and ninth chords. Modulation to Em, B, and C#m occurs beginning with measure 139 and measure 148 ends with a major C major seventh chord. Assad presents segment two (mm Sérgio Assad, Interview by Eduardo Minozzi Costa, September 12, (For the complete interview, see Appendix A).
42 41 164) as a development section, using variations of theme 1 in the bass line combined with repeated chromatic notes in the soprano line. Segment three (mm ) presents theme 1 in the soprano line, and D dorian is present in the accompaniment in measures The measures that follow this segment are characterized by harmonic instability. Section A follows the same two-phrase pattern that constitutes theme 1 of Section A, characterized by an antecedent and consequent. This new section is of shorter duration and closes with a long G chord in measure 183, creating anticipation for a new section. Sections B and C resemble their previous corresponding sections, and Assad inserts compound meter for the first time in the coda. Brazilian Traditional Music Elements Brazilian traditional music refers to a vast collection of regional genres that appeared in Brazil during its more than 500 years of existence. According to Assad, this music differs from Brazilian folkloric music: There is what we call Brazilian folkloric music, which has its strength, but is not what I call the traditional Brazilian music, which is something different. This is, I think, the sort of mistake made by many people when they tend to think of music that comes from a country as folk music, but it is not true. We grew up in Rio but we were born in Sao Paulo. In these two lands is found a type of music called choro, a type of traditional Brazilian music. But it is not folk music, it is just traditional music, and I think, pretty much, based on that style Guitarra Magazine, An Interview with Sérgio Assad, Sherry-Brener Ltd., (accessed March 17, 2011).
43 42 Choro is listed in the scholarly literature as both Brazilian Popular Music and Brazilian Folk Music. No unanimous consensus exists as to what category it belongs. The same has happened with many other Brazilian genres, and for this reason they will simply be described in this document as Brazilian traditional music. Music in Brazil was influenced by Africans, Europeans, and Amerindians, 37 however its first appearance originated with the Jesuits in 1549, sent by Portugal to preach to and educate the natives. Starting in about 1550, African slaves were brought to Brazil as laborers to continue the work of the now freed Amerindians. In 1888, slavery was abolished which resulted in the rural population migrating to urban areas, creating a considerable demand for music. The genres of Brazilian traditional music flourished mostly in cities like São Paulo and Salvador. The first fifty years following slavery s abolition are considered the belle époque of Brazilian traditional music. 38 Samba, choro, maxixe, frevo and maracatu are a few examples of the genres during that time period with the samba, the most internationally recognized due to its prevalence in Carnival American Indians. 38 Gerard Béhague, "Brazil," Grove Music Online, (accessed October 30, 2012). 39 The merrymaking and festivity that takes place in many Roman Catholic countries in the last days and hours before the Lenten season. The derivation of the word is uncertain, though it possibly can be traced to the medieval Latin carnem levare or carnelevarium, which means to take away or remove meat. This coincides with the fact that Carnival is the final festivity before the commencement of the austere 40 days of Lent, during which Roman Catholics in earlier times fasted, abstained from eating meat, and followed other ascetic practices. (source:
44 43 Assad transcribed many Brazilian traditional pieces for guitar, including many pieces by Nazareth, Jacob Bittencourt and Pixinguinha. 40 These transcriptions certainly played a significant role in his understanding of Brazilian traditional music elements. Paul Thom categorizes transcriptions in two groups: Two broad types can be distinguished. The aspectual representation may cohere with the original work s features and may support and strengthen the original work s aims, perhaps by illuminating the original work. In a second type, the aspectual representation may not cohere with all of the original work s features and may not support that work s aims; rather, it transforms the work in some significant way. 41 Assad s approach to transcriptions has been mostly regarded as the second type, where he allows his creative imagination to transform the piece s old sonority into one more updated. Despite these transformations, Assad s transcriptions of Brazilian music manage to maintain authenticity. Assad develops these genres by stretching harmonic, melodic and rhythmic materials. Manipulation of these three elements can be found in his arrangement of Noites Cariocas by Jacob Bittencourt, recorded on the Milonga per tre CD GHA in The new use of complex harmony transformed this piece into a modern version, thus affirming Assad s ability to manipulate genres according to his stylistic preferences. Howard Murphy wrote: Now style is a difficult and elusive element in any of the arts. It is relatively easy to recognize, but correspondingly difficult to define or to isolate. Style is largely determined by two factors: the musical material available when the music was 40 Sérgio Assad, Interview by Eduardo Minozzi Costa, September 12, (For the complete interview, see Appendix A). 41 Paul Thom, The Musician as Interpreter (University Park: Pennsylvania State University Press, 2007), Sérgio and Odair Assad, Milonga per tre, GHA, CD, 2004.
45 44 written, and the taste and ability of the composer. Hence it may be roughly defined as the totality of technical devices characteristic of a given period and creative artist. 43 The following sub-sections will briefly define the most important Brazilian traditional music genres and provide comparisons between segments of Aquarelle and Fantasia Carioca. Genres were chosen based on their relevance in Assad s work. Comparisons will be made between the genres rhythmic patterns and selected musical segments. Rhythm serves as the primary element for characterizing Brazilian traditional music genres. Other less critical aspects such as harmony, phrase type, and texture will also be compared. This study does not characterize Assad s Aquarelle and Fantasia Carioca as a collection of Brazilian traditional elements, but rather a compilation of diverse syncopated rhythms inspired by these elements. Many rhythmic patterns exist in both pieces that do not fit perfectly with accepted descriptions of the studied genres. A certain degree of flexibility exists regarding the manipulation of these genres, especially when considering Assad s personal style. However, it is clear that Brazilian traditional music influenced Assad s style to such a degree that its elements can be easily identified throughout his two compositions. 1. Marcha Rancho The marcha rancho Brazilian traditional music genre is similar to frevo in that both possess the same rhythmic pattern and were used in old carnivals of the city of Recife in Northeastern Brazil. Marcha ranho is performed at a slower tempo than frevo and usually 43 Howard A. Murphy, Teaching Musicianship (New York: Coleman-Ross Company, Inc., 1950), 40.
46 45 includes minor keys and sometimes a ¾ time signature. 44 Marcha rancho is a more contemplative genre, whereas the frevo is fast and agitated. 45 Musical Example 3.1 serves as an example of marcha rancho s basic rhythmic pattern. Musical Example 3.1 Marcha rancho example by Marco Pereira 46 An example utilizing a 3/4 time signature pattern was located in Nelson Faria s book The Brazilian Guitar Book (see Musical Example 3.2). Musical Example 3.2 Marcha rancho rhythmic pattern by Nelson Faria Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), Marco Pereira, Ritmos Brasileiros (Rio de Janeiro: Garbolights Produções Artísticas LTDA, 2007), 46 Ibid. 47 Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 110.
47 46 Aquarelle is inspired by the marcha rancho genre, and similar rhythmic patterns are utilized throughout the work. The piece was written using several different time signatures, but the marcha rancho genre usually uses 4/4. For this reason, Marco Pereira s example will be used for comparisons. The following measures (see Musical Examples 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 3.9, 3.10, 3.11, 3.12, 3.13, 3.14, 3.15, and 3.16) resemble Marco Pereira s example. The circled notes indicate the resemblance, whereas irrelevant rhythmic variations or rhythm figures not matching the marcha rancho genre are unmodified. Musical Example 3.3 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Note: The first three beats in measures 21 to 29 are identical; the last beat is a variation.
48 47 Musical Example 3.4 Divertimento, 1 st movement from Aquarelle by Assad (mm ) The first three beats in measures are rhythmically identical; the last beat is a subdivision. This allows performers to play the last eighth-note at a softer dynamic than the previous to convey a marcha rancho interpretation (see Musical Example 3.5). Musical Example 3.5 Divertimento, 1 st movement from Aquarelle by Assad (mm )
49 48 Musical Example 3.6 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.7 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.8 Divertimento, 1 st movement from Aquarelle by Assad (mm. 84 and 111)
50 49 Musical Example 3.9 Divertimento, 1 st movement from Aquarelle by Assad (mm and ) Musical Example 3.10 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.11 Divertimento, 1 st movement from Aquarelle by Assad (m. 121) Musical Example 3.12 Divertimento, 1 st movement from Aquarelle by Assad (m. 123)
51 50 Musical Example 3.13 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 3.14 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 34) Musical Example 3.15 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 3.16 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm )
52 51 As previously mentioned, marcha rancho and frevo are similar genres with tempo being their only difference. The following examples will be compared to Nelson Faria s frevo basic pattern (see Musical Example 3.17). Musical Example 3.17 Frevo basic pattern by Nelson Faria 48 The slurs in beat three of measures produce natural accents, as the first note of each slurred pair is naturally played louder (see Musical Examples 3.18, 3.19, 3.20, 3.21, 3.22, 3.23, 3.24, 3.25, 3.26, 3.27, and 3.28). 48 Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 104.
53 52 Musical Example 3.18 Divertimento, 1 st movement from Aquarelle by Assad (mm ) In Musical Example 3.19, the D# in measure 65 produces a natural accent. Musical Example 3.19 Divertimento, 1 st movement from Aquarelle by Assad (mm )
54 53 Musical Example 3.20 Divertimento, 1 st movement from Aquarelle by Assad (mm. 87 and 114) Musical Example 3.21 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 3.22 Divertimento, 1 st movement from Aquarelle by Assad (m. 97) Musical Example 3.23 Divertimento, 1 st movement from Aquarelle by Assad (m. 99)
55 54 Musical Example 3.24 Divertimento, 1 st movement from Aquarelle by Assad (m. 101) Musical Example 3.25 Divertimento, 1 st movement from Aquarelle by Assad (m. 118) Musical Example 3.26 Divertimento, 1 st movement from Aquarelle by Assad (m. 122)
56 55 Musical Example 3.27 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 3.28 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 125) The following example will be compared to Nelson Faria s frevo variation no. 3 (see Musical Example 3.29). Musical Example 3.29 Frevo variation no. 3 by Nelson Faria Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 107.
57 56 Notice that in Musical Example 3.30, articulation plays an important role in diagnosing the frevo/marcha rancho genre: Musical Example 3.30 Divertimento, 1 st movement from Aquarelle by Assad (mm ) 2. Baião Baião is a Brazilian traditional music genre from the northeast section of Brazil, and is prevalent in Pernambuco, Ceará, Maranhão, and Bahia. It emerged during the 1940s and was made popular by the notable composer Luis Gonzaga ( ). 50 Keyboard accordion, zabumba (a low pitched drum) and triangle are its typical instruments, but the accordion sounds very peculiar in this style, having a more 50 Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 120.
58 57 percussive role when compared to other genres Generally written in 4/4, baião melodies are characterized by mixolidyan and lydian b7 modes, 53 with mainly tonal harmonic material comprised of minor seventh chords. The first two beats of the frevo/marcha rancho rhythm are similar to the baião basic pattern, which is likely why Assad decided to include the baião in the first and third movements of Aquarelle. The following measures (see Musical Examples 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, and 4.9) will be compared to Nelson Faria s basic pattern (authentic interpretation requires a slight accentuation on the upbeats). 54 Musical Example 4.1 Baião basic pattern by Nelson Faria Gerard Béhague, "Brazil," Grove Music Online, (accessed September 26, 2012). 52 Jonas Rodrigues de Moraes, Truce um Triângulo no Matolão [...] Xote, Maracatu e Baião : A Musicalidade de Luiz Gonzaga na Construção da Identidade Nordestina (master s thesis, Pontifícia Universidade Católica de São Paulo, 2009), Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), Almir Cortes Barreto, Improvisando em Música Popular: Um Estudo sobre o Choro, o Frevo e o Baião e sua Relação com a "Música Instrumental" Brasileira (PhD diss., Unicamp, 2012), Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 121.
59 58 Musical Example 4.2 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 4.3 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 44) Musical Example 4.4 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 53)
60 59 Musical Example 4.5 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 62) Musical Example 4.6 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 66) Musical Example 4.7 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 103)
61 60 Musical Example 4.8 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 4.9 Fantasia Carioca by Assad (mm ) Mixolydian, lydian b7 mode passages and emphasis on the upbeat can be observed in Musical Example 4.10.
62 61 Musical Example 4.10 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) According to Almir Barreto, the dorian mode can also be used in baião melodies. 56 See Musical Example 4.11 for Assad s use of the dorian mode. 56 Almir Cortes Barreto, Improvisando em Música Popular : Um Estudo sobre o Choro, o Frevo e o Baião e sua relação com a "Música Instrumental" Brasileira (PhD diss., Unicamp, 2012), 190.
63 62 Musical Example 4.11 Fantasia Carioca by Assad (mm ) Another baião characteristic includes a type of anticipation that appears at the end of phrase segments. It usually appears as a form of tension in the first measure with the resolution occurring in the second. 57 Notice in Musical Example 4.12 how the selected slurs create a sense of tension and resolution in this passage of Aquarelle: Musical Example 4.12 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) 57 Almir Cortes Barreto, Improvisando em Música Popular : Um Estudo sobre o Choro, o Frevo e o Baião e sua relação com a "Música Instrumental" Brasileira (PhD diss., Unicamp, 2012), 183, 196.
64 63 Repeated notes and the use of thirds can be found in many baião melodies. 58 Notice how this occurs in the passages presented in Musical Examples 4.13 and Musical Example 4.13 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) 58 Almir Cortes Barreto, Improvisando em Música Popular : Um Estudo sobre o Choro, o Frevo e o Baião e sua relação com a "Música Instrumental" Brasileira (PhD diss., Unicamp, 2012), 195, 196.
65 64 Musical Example 4.14 Fantasia Carioca by Assad (mm ) 3. Choro In the 20th century the choro, or chorinho, has been closely connected with other popular dances of urban Brazil such as the Maxixe, the tango brasileiro and the Samba. All have the same rhythmic patterns (syncopated binary figures), although tempo and instrumentation are distinguishing features. 59 Tamara Livingston-Isenhour and Thomas Garcia support this statement: 59 Gerard Béhague, "Choro," Grove Music Online, (accessed March 17, 2011).
66 65 The term choro has been used, with varying degrees of specificity, to refer not just to a style of playing and a genre of music, but also to an instrumental ensemble (based on the combination of guitar, cavaquinho, and flute or other melody instrument) and a social gathering at which such music is performed. 60 Assad was exposed to choro music in his youth, and eventually gained a presence in his compositional style. Sérgio and Odair state, "Music became an integral part of our Assad family life, but our training focused on Western music, from traditional Brazilian choros to classical music. 61 Assad s compositions reflect both the structure and unique aspects of the instruments that characterize choro style. One example is the seven-string guitar, an instrument similar to a typical six-string guitar with the exception of an added bass string. Strongly associated with choro in Brazil, this guitar gave rise to the careers of notable performers such as Dino Sete Cordas, Rafael Rabello, and Maurício Carrilho. The seven-string guitar is most recognized for its improvisation of a bass line called baixaria, a typical component of choro that is valued as much as the main melody. Traces of this influence also exist in Assad s Aquarelle (see Musical Examples 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 5.7, 5.8, 5.9, 5.10, 5.11, 5.12, 5.13, 5.14). Musical Example 5.1 Dino Sete Cordas baixaria in Amor proibido by Cartola (mm ) Tamara Elena Livingston-Isenhour and Thomas George Caracas Garcia, Choro (Bloomington: Indiana University Press, 2005), Marie Gullard, Brazilian Guitarists Explore more Exotic Roots at U. of Md., The Examiner, (accessed April 13, 2011). 62 Remo Tarazona Pellegrini, Análise dos Acompanhamentos de Dino Sete Cordas em Samba e Choro (master s thesis, Unicamp, 2005), 80.
67 66 Musical Example 5.2 Dino Sete Cordas baixaria in Cinco companheiros by Pixinguinha (mm ) 63 Musical Example 5.3 Dino Sete Cordas baixaria in Doce de coco by Jacob do Bandolim (mm ) 64 Musical Example 5.4 Divertimento, 1 st movement from Aquarelle by Assad (mm. 9-12) 63 Remo Tarazona Pellegrini, Análise dos Acompanhamentos de Dino Sete Cordas em Samba e Choro (master s thesis, Unicamp, 2005), Ibid., 138.
68 67 Musical Example 5.5 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.6 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.7 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.8 Divertimento, 1 st movement from Aquarelle by Assad (mm )
69 68 Musical Example 5.9 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.10 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 5.11 Divertimento, 1 st movement from Aquarelle by Assad (mm. 110) Musical Example 5.12 Divertimento, 1 st movement from Aquarelle by Assad (mm )
70 69 Musical Example 5.13 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 5.14 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Choro originates from the Portuguese verb to cry, however the genre is anything but sad. Choro music is stylistically light, rhythmic, and euphoric. Performers, the so called chorões, were generally amateurs who played for their own entertainment. Choro matured in Rio de Janeiro around 1920 at the hands of one of the best composers of Brazilian popular music, Pixinguinha. 65 Chromatic melodic line, contrapuntal baixaria, improvisational style, instrumental nature, and general expressiveness are all characteristic of the genre. 66 Choro s typical rondo form (ABACA) is found in the second 65 Ruth M. Witmer, Popular Virtuosity: The Role of the Flute and Flutists in Brazilian Choro (Master thesis, University of Florida, 2009), Richard Elbert Miller, The guitar in the Brazilian choro: Analyses of traditional, solo, and art music (PhD diss., Catholic University of America, 2006), 31.
71 70 movement of Assad s Aquarelle, the only difference being the last A section which is substituted by a coda: Intro ABA C Coda. 67 According to Coelho and Koidin, The vast majority of choros begin with pick-up notes, usually starting in the second beat (in 2/4), with three 16th notes, an eighth and 16th note, or simply, an eighth note. 68 Chromatic alternating sixteenth notes as seen in Escorregando by Ernesto Nazareth can be found Assad s Aquarelle (see Musical Examples 5.15 and 5.16). This influence is further affirmed by Assad s own arrangement of Nazareth s piece (see Musical Examples 5.15 and 5.16). Musical Example 5.15 Escorregando by Ernesto Nazareth (mm. 1-10) Tadeu Coelho and Julie Koidin, The Brazilian Choro: Historical Perspectives and Performance Practices, The flutest quarterly, Fall (2005): Ibid. 69 Irmãos Vitale, O melhor do Choro Brasileiro (São Paulo: Irmãos Vitale, 1997), 2:28.
72 71 Musical Example 5.16 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) The chromatic neighboring tones in Apanhei-te cavaquinho by Ernesto Nazareth are another typical element of choro music. This element can also be found in Assad s Aquarelle (see Musical Examples 5.17, 5.18 and 5.19). Musical Example 5.17 Apanhei-te cavaquinho by Ernesto Nazareth (mm. 1-16) Irmãos Vitale, O melhor do Choro Brasileiro (São Paulo: Irmãos Vitale, 1997), 2:11.
73 72 Musical Example 5.18 Divertimento, 1 st movement from Aquarelle by Assad (m. 33) Musical Example 5.19 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Many choros employ the constant use of sixteenth notes and chromatic melodic lines, an example being B.H. by Sylvio Mazzucca. A similar technique is witnessed in the following measures of Aquarelle (see Musical Examples 5.20 and 5.21).
74 73 Musical Example 5.20 B.H. by Sylvio Mazzucca (mm. 1-22) 71 Musical Example 5.21 Divertimento, 1 st movement from Aquarelle by Assad (mm ) 71 Irmãos Vitale, O melhor do Choro Brasileiro (São Paulo: Irmãos Vitale, 1997), 1:14.
75 74 In choro, the melodic lines often imply the pieces harmonic content. This choro characteristic, as observed in Não me rasgues a roupa by A. Reale, can be compared to Assad s Fantasia Carioca. The following melodic pattern selected from A. Reale s piece share a common melodic pattern with Assad s (mm ). Musical Example 5.22 Não me rasgues a roupa by A. Reale (mm. 1-11) 72 Musical Example 5.23 Fantasia Carioca by Assad (mm ) 72 Irmãos Vitale, O melhor do Choro Brasileiro (São Paulo: Irmãos Vitale, 1997), 2:45.
76 75 In addition to harmonic content, the choro melody also implies rhythmic aspects of the pieces. André de sapato novo by André Victor Corrêa is an example of this technique, which is evidenced in Aquarelle (see Musical Examples 5.24 and 5.25). Musical Example 5.24 André de sapato novo by André Victor Corrêa (mm. 1-17) 73 Musical Example 5.25 Divertimento, 1 st movement from Aquarelle by Assad (mm ) 73 Irmãos Vitale, O melhor do Choro Brasileiro (São Paulo: Irmãos Vitale, 1997), 2:10.
77 76 The rhythmic quality of some melodic lines may, at times, sound percussive. This occurs in the case of Assanhado by Jacob do Bandolim, whose melody dictates the percussion part through the use of repeated notes and syncopated rhythm. Musical Example 5.26 Assanhado by Jacob do Bandolim (mm ) 74 The last three notes of measure 154 in the 1 st movement of Aquarelle resemble the opening of Choros no. 1 by Heitor Villa-lobos (see Musical Examples 5.27 and 5.28). 74 Sergio Prata, Tocando com Jacob (São Paulo: Irmãos Vitale, 2006), 34.
78 77 Musical Example 5.27 Choros no. 1 by Heitor Villa-lobos (mm. 1-4) Musical Example 5.28 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Measure 71 in the third movement of Aquarelle resembles Nelson Faria s variation no. 1 (see Musical Examples 5.29 and 5.30). Musical Example 5.29 Choro variation no. 1 by Nelson Faria Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 89.
79 78 Musical Example 5.30 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (m. 71) Use of chromatics in the melody during the end of a selection is characteristic of choro and baião. 76 The last three measures in Fantasia Carioca illustrate this feature (see Musical Example 5.31). Musical Example 5.31 Fantasia Carioca by Assad (mm ) Many choro composers also wrote waltzes, a genre born in Europe but adapted to unique interpretation in Brazil. According to Alexandra Mascolo-David: The sentimental and melancholic mood of the waltzes and of other types of Brazilian music is reminiscent of: 1) Africans who were forced to leave their homeland and were condemned to a life of slavery; 2) Portuguese colonists and other Europeans who hoped to return eventually to their homelands, and who, in the case of the Portuguese, expressed such longing in nostalgic songs called 76 Almir Cortes Barreto, Improvisando em Música Popular: Um Estudo sobre o Choro, o Frevo e o Baião e suarrelação com a "Música Instrumental" Brasileira (PhD diss., Unicamp, 2012), 72.
80 79 fados; and 3) Brazilian Indians, who saw their country invaded, and whose civilizations were nearly destroyed by the white man. 77 Assad was influenced by these waltzes embellished melodies and nostalgic atmosphere: Although Brazilian music has many different genres the most frequently used on the guitar are: the choro and the waltz. Also used are the samba, the maxixe, the baião and the modinha but a little less frequently. I've worked with all of them but mostly with the choros and waltzes. 78 This influence can be observed in measures in the first movement of Aquarelle and also throughout the entire second movement. 4. Samba Samba is a Brazilian traditional music genre characterized by highly-syncopated polyrhythmic parts against a steady pulse. It appeared at the beginning of the nineteenth century in cities such as Rio de Janeiro, São Paulo and Bahia. 79 The first recorded samba was Pelo Telephone by Donga (Ernesto Joaquin Maria dos Santos, ). 80 Generally written in 2/4, samba can also be in 2/2 or even 4/4. In any case, the performer must accent the second beat of each measure as rhythm serves as the most important genre element. Samba has many subgenres, among them: samba enredo (samba with descriptive lyrics played at the annual carnival parade), samba-canção (played at a slow tempo and 77 Alexandra Mascolo-David, Francisco Mignone and His "Valsas brasileiras" for Piano, Mediterranean Studies, 12, (2003): Sérgio Assad, Interview by Eduardo Minozzi Costa, September 12, (For the complete interview, see Appendix A). 79 Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), Gerard Béhague, "Brazil," Grove Music Online, (accessed September 26, 2012).
81 80 with sentimental lyrics), samba de breque (accompaniment paused to allow the singer to improvise alone during a few measures), partido alto (usually played by guitar, cavaquinho, pandeiros and claps), batucada (generally played by inhabitants of favelas with percussion instruments), and samba-funk (fusion between samba and funk). 81 Measures and of Aquarelle s first and third movements resemble the most important stylistic feature of samba de breque. The accompaniment stops repeatedly, giving way for the singer to capitalize on brief improvisations. Passages in Aquarelle contain the melody alone, but are surrounded by two sections containing accompaniment. The listener has the impression that something in the music has fallen away but could come back later, as Assad skillfully does in measures 62 and Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 22.
82 Musical Example 6.1 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) 81
83 82 Musical Example 6.2 Divertimento, 1 st movement from Aquarelle by Assad (mm ) The following measures (see Musical Examples 6.3 and 6.4) will be compared to Nelson Faria s basic samba rhythmic pattern. Musical Example 6.3 Samba basic pattern by Nelson Faria Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 25.
84 83 Notice that some sixteenth-notes are accented because of the natural execution of the slurs: Musical Example 6.4 Divertimento, 1 st movement from Aquarelle by Assad (mm and ) The following measures (see Musical Examples 6.5, 6.6, 6.7) will be compared to Nelson Faria s variation no. 1. Musical Example 6.5 Samba variation no. 1 by Nelson Faria Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 26.
85 Musical Example 6.6 Fantasia Carioca by Assad (mm ) 84
86 85 Measures are equivalent to measures , while measures serve as a variation: Musical Example 6.7 Fantasia Carioca by Assad (mm ) The following measures will be compared to Nelson Faria s variation no. 7 (see Musical Example 6.8). Musical Example 6.8 Samba variation no. 7 by Nelson Faria 84 Measures in the third movement of Aquarelle match variation no. 7 with the exception of one beat. One could argue that the second slur (A to C) was placed in the section for technical reasons, nevertheless guitarists should accentuate the C slurred note to match the rhythm (see Musical Examples 6.9, 6.10 and 6.11). 84 Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 33.
87 86 Musical Example 6.9 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) The same principle applies to the following measures: Musical Example 6.10 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 6.11 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm )
88 87 The following measures will be compared to Nelson Faria s variation no. 12 (see Musical Examples 6.12, 6.13, 6.14 and 6.15). Musical Example 6.12 Samba variation no. 12 by Nelson Faria 85 Musical Example 6.13 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) Musical Example 6.14 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) 85 Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 42.
89 88 Musical Example 6.15 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) 5. Bossa Nova Bossa Nova ( New Fashion ) is a music style originating in Rio de Janeiro during the mid-1950s. McGowan writes: Developed by Jobim, Gilberto, and their peers, bossa nova was off key only in relation to the Brazilian and international pop music of the time. It had a harmonic richness previously heard only in classical music and modern jazz. For example, the unexpected melodic alterations of Desafinado included the use of triton interval (an augmented fourth), which many listeners found hard to accept in a pop song. 86 The Bossa style experienced tremendous success in Brazil and was the first Brazilian music genre to have international exposure. Pop and jazz listeners were amazed by this new style and started to incorporate it into their repertoire. One example is Garota de Ipanema ( The Girl from Ipanema ) by Antonio Carlos Jobim. 87 According to McGowan, the guitarist Garoto (Anibal Sardinha, ), who added altered and extended chords to sambas and choros, would be a strong influence on all bossa nova 86 Chris McGowan and Ricardo Pessanha, The Brazilian sound: Samba, Bossa Nova, and the Popular Music of Brazil (Philadelphia: Temple University Press, 1998), Garota de Ipanema, Tom Jobim Inédito, Biscoito Fino, CD, 1997.
90 89 guitarists. 88 Assad employed a similar strategy in the classical music scenario; he expanded the chords and added many altered notes to his melodies. One explanation for Assad s employment of this technique is his first-hand experience with Garoto s work. Assad performed an arrangement of Jorge do Fusa by Garoto at the III International Tucson Guitar Festival in According to Gava, many features employed by bossa nova harmony can be detected in the work of Debussy, perhaps the greatest representative of the so called French musical impressionism of the early twentieth century. These features are, more precisely, indicated by inclusions of strange notes to chords." 90 Bossa nova was the first Brazilian musical genre to add new notes to chords, and Assad himself employs Debussy s whole tone scale in Aquarelle (see Musical Example 7.1). Musical Example 7.1 Divertimento, 1 st movement from Aquarelle by Assad (mm. 1-5) According to Béhage, Before bossa nova the melody was generally strongly emphasized, to satisfy the basic requirement of an easily singable tune; bossa nova, 88 Chris McGowan and Ricardo Pessanha, The Brazilian sound: Samba, Bossa Nova, and the Popular Music of Brazil (Philadelphia: Temple University Press, 1998), Jorge do Fusa, by Garoto, Holsclaw Hall, Tucson, November 6, José Estevam Gava, A Linguagem Harmônica da Bossa Nova (São Paulo: Editora Unesp, 2002), 58.
91 90 however, integrates melody, harmony and rhythm. The performer has a vital role in this integration, but heavy emphasis on the singer s personality is altogether avoided. 91 This provides context for why additional notes added to chords can be found in Assad s main melody (see Musical Example 7.2). Musical Example 7.2 Valseana, 2 nd movement from Aquarelle by Assad (mm. 9-16) Bossa nova s musical characteristics include descending chromatic movements in the soprano line and bass, chromaticism in chords with the same root, parallel chromaticisms, high range pedal notes, dominant substitutes, major seven chords and other added notes chords, and clichés in chromaticism of added notes such as a major ninth becoming a minor ninth, or a major thirteenth becoming a minor thirteenth. 92 Both 91 Gerard Béhague, "Bossa nova," Grove Music Online, (accessed September 27, 2012) José Estevam Gava, A Linguagem Harmônica da Bossa Nova (São Paulo: Editora Unesp, 2002),
92 91 Aquarelle and Fantasia Carioca present these elements in abundance; a few examples can be noted in Musical Examples 7.3, 7.4, 7.5, 7.6, 7.7, 7.8, 7.9, 7.10, 7.11, 7.12, 7.13, 7.14, 7.15, 7.16, 7.17, 7.18, 7.19, 7.20, 7.21, 7.22, and Assad often incorporated descending chromatic movements in soprano line and bass (see Musical Examples 7.3, 7.4, 7.5, 7.6). Musical Example 7.3 Divertimento, 1 st movement from Aquarelle by Assad (mm. 85 and 112) Musical Example 7.4 Divertimento, 1 st movement from Aquarelle by Assad (m. 89 and 116) Musical Example 7.5 Fantasia Carioca by Assad (mm )
93 92 Musical Example 7.6 Fantasia Carioca by Assad (mm ) Chromaticism in chords with the same root can be noted in Musical Examples 7.7 and 7.8. Musical Example 7.7 Fantasia Carioca by Assad (mm ) Musical Example 7.8 Valseana, 2 nd movement from Aquarelle by Assad (mm )
94 93 Parallel chromaticisms can be noted in Musical Examples 7.9, 7.10 and Musical Example 7.9 Divertimento, 1 st movement from Aquarelle by Assad (mm. 85 and 112) Musical Example 7.10 Divertimento, 1 st movement from Aquarelle by Assad (mm ) Musical Example 7.11 Divertimento, 1 st movement from Aquarelle by Assad (mm ) High range pedal notes can be noted in Musical Examples 7.12 and 7.13.
95 94 Musical Example 7.12 Fantasia Carioca by Assad (m. 12) Musical Example 7.13 Divertimento, 1 st movement from Aquarelle by Assad (m. 96) Dominant substitutes can be noted in Musical Examples 7.14, 7.15 and The F7 (13b) chord substitutes the B7 (V7) chord. Musical Example 7.14 Divertimento, 1 st movement from Aquarelle by Assad (mm )
96 95 The C#dim chord substitutes the B7 (V7) chord. Musical Example 7.15 Fantasia Carioca by Assad (mm ) The Ebaug9 chord substitutes the A7 (V7) chord as demonstrated in Musical Example Musical Example 7.16 Fantasia Carioca by Assad (mm ) Major seven chords and other added notes chords can be noted in Musical Examples 7.17 and 7.18.
97 Musical Example 7.17 Fantasia Carioca by Assad (mm ) 96
98 Musical Example 7.18 Valseana, 2 nd movement from Aquarelle by Assad (mm. 1-9) 97
99 98 Clichés in chromaticism of added notes such as a major ninth becoming a minor ninth, or a major thirteenth becoming a minor thirteenth can be noted in Musical Example Musical Example 7.19 Valseana, 2 nd movement from Aquarelle by Assad (mm ) Measures 88-89, 97, 99, 101, , and in the first movement of Aquarelle are representative of the marcha rancho/frevo genre in their resemblance of Nelson Faria s frevo variation no. 3 as previously demonstrated. However, the harmony, pitch, and voice-leading are influenced by bossa nova. The lack of a melodic idea, the added notes to major and minor chords, and the contrast between the first and last two beats of every measure, serve to draw the listener into the bossa nova aspects (see Musical Examples 7.20, 7.21, 7.22, 7.23).
100 99 Musical Example 7.20 Divertimento, 1 st movement from Aquarelle by Assad (mm and ) Musical Example 7.21 Divertimento, 1 st movement from Aquarelle by Assad (m. 97) Musical Example 7.22 Divertimento, 1 st movement from Aquarelle by Assad (m. 99) Musical Example 7.23 Divertimento, 1 st movement from Aquarelle by Assad (m. 101)
101 100 Suggested Listening List The following lists are meant to assist the performer in gaining intimate familiarity with the nuances of each genre. They should not be considered each genre s most important pieces, but only serve as relevant examples. Marcha Rancho: - A banda (Chico Buarque); 93 - Marcha de quarta-feira de cinzas (Vinícius de Moraes/Carlos Lyra); 94 - As pastorinhas (Noel Rosa/Braguinha); 95 - Noite dos mascarados (Chico Buarque). 96 Baião: - Baião (Luiz Gonzaga/Humberto Teixeira); Chico Buarque, Chico Buarque de Hollanda, Som Livre, LP, Carlos Lyra, Brazilian Bossa Nova Classics, Essential World Masters, CD, Maria Dapaz, O Abre Alas, Atração Fonográfica, CD, Chico Buarque, Chico Buarque de Hollanda vol. 2, Som Livre, LP, Luiz Gonzaga, Luiz Gonzaga Maxximum, Columbia, CD, 2005.
102 101 - Asa branca (Luiz Gonzaga/Humberto Teixeira); 98 - O ovo (Hermeto Pascoal); 99 - Ponteio (Edu Lobo/Capinam). 100 Choro: - Apanhei-te cavaquinho (Ernesto Nazareth); Chorei (Pixinguinha); Brasileirinho (Waldir Azevêdo); Meu caro amigo (Francis Hime/Chico Buarque) Ibid. 99 Hermeto Pascoal, Quarteto Novo, Odeon, LP, Edu Lobo, Sergio Mendes Presents Lobo, Verve Records, CD, Antonio Adolfo, Os Pianeiros: Antonio Adolfo Abraca Ernesto Nazareth, Kuarup Discos, CD, 102 Zé da Velha and Silvério Pontes, Só Pixinguinha, Biscoito Fino, CD, Waldir Azevedo, Tributo a Waldir Azevedo o Mestre do Cavaquinho, Toda América Edições Ltda., CD, Chico Buarque, Meus Caros Amigos, Universal Brazil, LP, 1976.
103 102 Samba: - Não deixe o samba morrer (Edson Gomes da Conceição/Aloísio); Samba do Arnesto (Adoniram Barbosa); Fita amarela (Noel Rosa); Samba pra Vinícius (Toquinho/Chico Buarque). 108 Bossa Nova: - Garota de Ipanema (Tom Jobim/Vinicius de Moraes); Desafinado (Tom Jobim/ Newton Mendonça); Wave (Tom Jobim); O barquinho (Roberto Menescal/ Ronaldo Bôscoli) Alcione, Não Deixe o Samba Morrer, Polygram, CD, Demonios da Garoa, Esses Divinos Demônios da Garoa, EMI, CD, Martinho da Vila, Poeta da Cidade Martinho Canta Noel, Biscoito Fino, CD, Toquinho, 20 Grandes Sucessos de Toquinho & Vinícius, Universal Latino, CD, Tom Jobim, Tom Jobim Inédito, Biscoito Fino, CD, Ibid. 111 Ibid.
104 103 Suggested Fingerings Technically speaking, Aquarelle and Fantasia Carioca are very demanding pieces. Included within this document are ideas and strategies that can be used to facilitate successful interpretations. Aquarelle contains numerous passages in which the left hand accumulates a considerable amount of tension by playing many bars on successive chord progressions. If this tension is not released, it can result in a painful performance experience, invariably affecting the overall execution of the piece. A possible solution is to make use of open strings (e.g., measure 101 in the first movement). This solution not only creates a more comfortable performance experience, but also eliminates the gap between these notes and the following A (see Musical Example 8.1). Musical Example 8.1 Divertimento, 1 st movement from Aquarelle by Assad (m. 101) Many guitarists play the middle voice in measures of Aquarelle s second movement on the third string. This type of interpretation emphasizes the pieces counterpoint aspect but not the harmony. In fact, harmonic content is the element that 112 Nara Leão, 20 Grandes Sucessos de Nara Leão, Universal Latino, CD, 2007.
105 104 should receive the most attention in this movement. This fingering suggestion in Musical Example 8.2 makes that possible. Musical Example 8.2 Valseana, 2 nd movement from Aquarelle by Assad (mm ) The next fingering suggestion (see Musical Example 8.3) allows the interpreter to emphasize the rhythmic aspect of measures 90 and 117 in Aquarelle s first movement. Playing the F# with finger number one will naturally create the eighth-note pause in the bass. The bar on the eighth fret is unnecessary. Musical Example 8.3 Divertimento, 1 st movement from Aquarelle by Assad (mm. 90 and 117) Connecting the notes can be difficult while playing the chords in measures of Fantasia Carioca. Many guitarists are challenged to eliminate the gaps caused by the
106 105 chord shifts. This fingering suggestion in Musical Example 8.4 promotes the necessary fluidity and facilitates the performance of this segment. Notice the optional harmonic fingering for the last E note in measure 141. Musical Example 8.4 Fantasia Carioca by Assad (mm ) Measures in Fantasia Carioca also deserve special attention. The challenge encountered in trying to stretch the fingers of the left hand while sustaining the duration of each note can be eliminated by employing the following fingering (see Musical Example 8.5). This variation allows a constant shifting of weights between fingers, where the weight of the left hand is distributed across one finger at a time. The
107 106 hand s rhythm and sway allow the stretching to occur in a more pleasurable and consistent manner. Musical Example 8.5 Fantasia Carioca by Assad (mm ) Interpretation Guidelines Simple recognition of the specific Brazilian music elements that influenced Assad s Aquarelle and Fantasia Carioca is not sufficient for an authentic interpretation aligned with the composer s intent. It is also necessary to put knowledge into practice. The following examples provide some general considerations for the conscientious interpreter followed by examples of groovy interpretations.
108 107 There are no articulation marks in measures of the 3 rd movement of Aquarelle, but the study of Brazilian traditional music may offer insights for interpretation. Since the rhythmic pattern of marcha rancho can be found in measures 16-23, guitarists can assume measures are a continuation of the same genre, adding accents to the analogous notes as indicated in the Musical Example 9.1. Musical Example 9.1 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) The duration of notes in written guitar music is not always precise; many notes are supposed to last longer than originally written. This observation is useful, especially
109 108 in pieces where harmony plays an important role. Assad s Aquarelle and Fantasia Carioca are pieces that explore harmony to a great extent; the second movement of Aquarelle may sound amateur if the performer refrains from letting the notes ring. Musical Example 9.2 Valseana, 2 nd movement from Aquarelle by Assad (mm ) Assad included many articulation marks in the score, assisting the performer who is yet unfamiliar with Brazilian traditional music genres. These articulations must be executed flawlessly. Musical Example 9.3 Preludio e toccatina, 3 rd movement from Aquarelle by Assad (mm ) In addition to individual note duration and articulation marks, there are larger considerations to explore. A unique rhythmic quality permeates most Brazilian traditional genres. According to Fitch and Rosenfeld, When humans hear a passage of music for the first time, they are often able to tap their foot along with the music, or dance to it,
110 109 whether or not they are musically trained. 113 People s daily lives are filled by regular periods of time: their hearts, their walking pace, their recurring schedule, even time itself can be measured by regular beats. For this reason, pulse is generally perceived as something natural. Syncope 114 on the other hand is not present in most people s daily lives and is mostly associated with something outside the norm. African musicians perform complex rhythms without feeling an off beat sensation; the syncopated rhythms are performed as a single unit. According to Miller, There is a contradiction when saying that that which goes against the norm (syncopation) is the norm in certain music. The apparent paradox that emerges when describing African-based music as syncopated results from the mixing of different concepts of time in music. 115 Influenced by the rhythmic aspect of African music, Brazilian music is filled with syncope. Syncope is unifying element for a variety of subgenres and styles in Brazilian traditional music and both Assad s Aquarelle and Fantasia Carioca serve as significant examples. The first challenge is to perform these rhythmic patterns as if they felt as natural as ordinary regular beats, the second challenge is to groove during the performance. 113 W. Tecumseh Fitch and Andrew J. Rosenfeld, Perception and Production of Syncopated Rhythms, Music Perception: An Interdisciplinary Journal, 25 no. 1 (2007): Device used by composers in order to vary position of the stress on notes so as to avoid regular rhythm. Syncopation is achieved by accenting a weak instead of a strong beat, by putting rests on strong beats, by holding on over strong beats, and by introducing a sudden change of time signature. First used at time of Ars Nova, and exploited to fullest capabilities by jazz musicians, often in improvisation. Stravinsky, Bartók, etc. also employ syncopation with dramatic effect. (source: 3) 115 Richard Elbert Miller, The Guitar in the Brazilian Choro: Analyses of Traditional, Solo, and Art Music (PhD diss., Catholic University of America, 2006), 46.
111 110 Generally manifested as a series of rhythmic nuances to represent a certain genre or style, groove is associated with the ability to emphasize the rhythmic part of a piece, transforming it into a danceable tune. However, it is not an exact science; there is no unanimous consensus in specifying only one groove pattern per genre. As a result, each Brazilian traditional music genre accommodates many possible patterns that incorporate variances in note duration, articulation and tempo. The possible combinations of these rhythmic nuances are so great they defy any possibility for categorization. The following guidelines assist performers in developing this ability. The main idea is to transform the original piece into a piece that could be used for dancing. Possible step-by-step instructions include: 1. Locate a sample of the genre s rhythmic pattern; This document will list an example of each Brazilian traditional music genre associated with Assad s Aquarelle and Fantasia Carioca. 2. Identify the genre s most accented beat(s); 3. Obtain the recordings and chord sheets for the songs listed in the listening assignment section; 4. Listen to and play along with the recordings; 5. Shorten the duration of some notes as you play along; Which notes are shortened and to what degree may vary from interpreter to interpreter, and that is the reason why categorizing all variants is not practical. Acquiring groove requires an intuitive type of approach; it cannot be taught by another person, only experienced firsthand. Future research may reveal more
112 111 concrete rules regarding the nuances of every genre s groove, however the vast number of nuances and foreseeable exceptions to these rules make the intuitive approach a more efficient solution. 6. Mute the strings using the left hand as much as possible; Brazilian traditional music does not sound as clean as regular concert pieces. There is a considerable amount of noise present in Brazilian music, which can be partly explained by the dominance and popularity of performers lacking refined technique and formal music training. For instance, the guitar squeaks heard in many popular recordings, over time, have become the standard of interpretation. Another source of these noises is the intentional imitation of percussive instruments. A chord will sound more percussive when muted by the left hand than if muted by the right hand. The right hand produces a solid interruption of sound without the presence of associated noises. According to these proposed step-by-step instructions, there are some possible groovy interpretations of marcha rancho, baião, choro, samba and bossa nova. The following exercise consists of repeating each one of the examples several times followed by the execution of its corresponding measures in Assad s pieces. Groove happens naturally if the performer is open to listening to qualified interpreters and willing to repeat a short music fragment for long periods of time. The performer, moving his/her body together with the music, achieves a more complete understanding of the material. Both this movement and the depth of understanding contribute to the audience s experience of the music as authentic.
113 112 Marcha Rancho basic pattern: Musical Example 9.4 Marcha rancho Possible groovy interpretation: Musical Example 9.5 Marcha rancho groovy This marcha rancho rhythmic pattern can be found in measures 21-29, 42-44, 50-51, 66-71, 76-77, 84 (111), ( ), , 121, and 123 in the first movement of Aquarelle. It also occurs in measures 16-17, 34, 40-43, and in the third movement of Aquarelle. Marcha rancho variation no. 2:
114 113 Musical Example 9.6 Marcha rancho variation no. 2 Possible groovy interpretation: Musical Example 9.7 Marcha rancho variation no. 2 groovy This marcha rancho rhythmic pattern can be found in measures 38-44, 63-65, 87 (114), 90-93, 97, 99, 101, 118, and 122 in the first movement, as well as measures and 125 in the third movement of Aquarelle. Marcha rancho variation no.3: Musical Example 9.8 Marcha rancho variation no. 3
115 114 Possible groovy interpretation: Musical Example 9.9 Marcha rancho variation no. 3 groovy This marcha rancho rhythmic pattern can be found in measures in the first movement of Aquarelle. Baião basic pattern: Musical Example 9.10 Baião Possible groovy interpretation:
116 115 Musical Example 9.11 Baião groovy This baião rhythmic pattern can be found in measures in the first movement, as well as measures 44, 53, 62, 66, 103, and in the third movement of Aquarelle. Fantasia Carioca contains the same pattern in measures Choro variation no. 1: Musical Example 9.12 Choro variation no. 1 Possible groovy interpretation:
117 116 Musical Example 9.13 Choro variation no. 1 groovy This choro rhythmic pattern can be found in measure 71 in the third movement of Aquarelle. Samba basic pattern: Musical Example 9.14 Samba Possible groovy interpretation: Musical Example 9.15 Samba groovy
A MAN OF TWO WORLDS: CLASSICAL AND JAZZ INFLUENCES IN NIKOLAI KAPUSTIN S TWENTY-FOUR PRELUDES, OP. 53. Randall Creighton SCHOOL OF MUSIC AND DANCE
A MAN OF TWO WORLDS: CLASSICAL AND JAZZ INFLUENCES IN NIKOLAI KAPUSTIN S TWENTY-FOUR PRELUDES, OP. 53 By Randall Creighton Copyright Randall Creighton 2009 A Document Submitted to the Faculty of the SCHOOL
More informationCurriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music.
Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music. 1. The student will analyze the uses of elements of music. A. Can the student
More informationMusic Study Guide. Moore Public Schools. Definitions of Musical Terms
Music Study Guide Moore Public Schools Definitions of Musical Terms 1. Elements of Music: the basic building blocks of music 2. Rhythm: comprised of the interplay of beat, duration, and tempo 3. Beat:
More informationFINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Alignment
FINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Program: Music Number of Courses: 52 Date Updated: 11.19.2014 Submitted by: V. Palacios, ext. 3535 ILOs 1. Critical Thinking Students apply
More informationThe Art of Jazz Singing: Working With The Band
Working With The Band 1. Introduction Listening and responding are the responsibilities of every jazz musician, and some of our brightest musical moments are collective reactions to the unexpected. But
More informationMusic (MUS) Courses. Music (MUS) 1
Music (MUS) 1 Music (MUS) Courses MUS 121 Introduction to Music Listening (3 Hours) This course is designed to enhance student music listening. Students will learn to identify changes in the elements of
More informationMusic. Music Instrumental. Program Description. Fine & Applied Arts/Behavioral Sciences Division
Fine & Applied Arts/Behavioral Sciences Division (For Meteorology - See Science, General ) Program Description Students may select from three music programs Instrumental, Theory-Composition, or Vocal.
More informationStudent Performance Q&A:
Student Performance Q&A: 2010 AP Music Theory Free-Response Questions The following comments on the 2010 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
More informationCommon questions about National 3, National 4, National 5, Higher and Advanced Higher Music
Common questions about National 3, National 4, National 5, Higher and Advanced Higher Music Assignment composing Would it be possible for candidates to work on their composition in groups following a workshop?
More informationMUSIC (MUS) Music (MUS) 1
Music (MUS) 1 MUSIC (MUS) MUS 2 Music Theory 3 Units (Degree Applicable, CSU, UC, C-ID #: MUS 120) Corequisite: MUS 5A Preparation for the study of harmony and form as it is practiced in Western tonal
More informationBLUE VALLEY DISTRICT CURRICULUM & INSTRUCTION Music 9-12/Honors Music Theory
BLUE VALLEY DISTRICT CURRICULUM & INSTRUCTION Music 9-12/Honors Music Theory ORGANIZING THEME/TOPIC FOCUS STANDARDS FOCUS SKILLS UNIT 1: MUSICIANSHIP Time Frame: 2-3 Weeks STANDARDS Share music through
More informationSAMPLE ASSESSMENT TASKS MUSIC CONTEMPORARY ATAR YEAR 11
SAMPLE ASSESSMENT TASKS MUSIC CONTEMPORARY ATAR YEAR 11 Copyright School Curriculum and Standards Authority, 014 This document apart from any third party copyright material contained in it may be freely
More informationMusic Guidelines Diocese of Sacramento
Music Guidelines Diocese of Sacramento Kindergarten Artistic Perception 1. Students listen to and analyze music critically, using the vocabulary and language of music. Students identify simple forms and
More informationMusic Theory. Fine Arts Curriculum Framework. Revised 2008
Music Theory Fine Arts Curriculum Framework Revised 2008 Course Title: Music Theory Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Music Theory Music Theory is a two-semester course
More informationA comparative study: Editions and manuscripts of the Concerto for Guitar and Orchestra by Villa-Lobos
International Symposium on Performance Science ISBN 978-90-9022484-8 The Author 2007, Published by the AEC All rights reserved A comparative study: Editions and manuscripts of the Concerto for Guitar and
More informationLet s Play Music 3-Year Overview Scope and Sequence
Let s Play Music 3-Year Overview Scope and Sequence Red Balloons- Blue Bugs Semester one / Year one Semester two / Year one Melody Sing & sign MRD & SSD Add SLTD Add SFMRD Green Turtle Shells Semester
More informationCourtney Pine: Back in the Day Lady Day and (John Coltrane), Inner State (of Mind) and Love and Affection (for component 3: Appraising)
Courtney Pine: Back in the Day Lady Day and (John Coltrane), Inner State (of Mind) and Love and Affection (for component 3: Appraising) Background information and performance circumstances Courtney Pine
More informationCurriculum Standard One: The student will listen to and analyze music critically, using vocabulary and language of music.
Curriculum Standard One: The student will listen to and analyze music critically, using vocabulary and language of music. 1. The student will analyze the uses of elements of music. A. Can the student analyze
More informationPASADENA INDEPENDENT SCHOOL DISTRICT Fine Arts Teaching Strategies
Throughout the year, students will master certain skills that are important to a student's understanding of Fine Arts concepts and demonstrated throughout all objectives. TEKS (1) THE STUDENT DESCRIBES
More informationStephen Schwartz Defying Gravity (from Wicked) Name: PLC. score
Stephen Schwartz Defying Gravity (from Wicked) I know the plot of Wicked and how the song fits into the musical I can describe the setting of the words, and understand vocables I can identify how the voices
More informationGreenwich Public Schools Orchestra Curriculum PK-12
Greenwich Public Schools Orchestra Curriculum PK-12 Overview Orchestra is an elective music course that is offered to Greenwich Public School students beginning in Prekindergarten and continuing through
More informationTEST SUMMARY AND FRAMEWORK TEST SUMMARY
Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: CHORAL Copyright 2016 by the Washington Professional Educator Standards Board 1 Washington Educator
More informationLEILA PINHEIRO. International Management Marcus Fernando / skype: marcusfernando
LEILA PINHEIRO Leila Pinheiro was born in Belém, in the northern Brazilian state of Pará. She started playing the piano when she was 10, and ten years later dropped out of medical school to devote herself
More informationILLINOIS LICENSURE TESTING SYSTEM
ILLINOIS LICENSURE TESTING SYSTEM FIELD 212: MUSIC January 2017 Effective beginning September 3, 2018 ILLINOIS LICENSURE TESTING SYSTEM FIELD 212: MUSIC January 2017 Subarea Range of Objectives I. Responding:
More informationTHE ELEMENTS OF MUSIC
THE ELEMENTS OF MUSIC WORKBOOK Page 1 of 23 INTRODUCTION The different kinds of music played and sung around the world are incredibly varied, and it is very difficult to define features that all music
More informationCopyright 2009 Pearson Education, Inc. or its affiliate(s). All rights reserved. NES, the NES logo, Pearson, the Pearson logo, and National
Music (504) NES, the NES logo, Pearson, the Pearson logo, and National Evaluation Series are trademarks in the U.S. and/or other countries of Pearson Education, Inc. or its affiliate(s). NES Profile: Music
More informationBeethoven's Thematic Processes in the Piano Sonata in G Major, Op. 14: "An Illusion of Simplicity"
College of the Holy Cross CrossWorks Music Department Student Scholarship Music Department 11-29-2012 Beethoven's Thematic Processes in the Piano Sonata in G Major, Op. 14: "An Illusion of Simplicity"
More informationMusic Theory Fundamentals/AP Music Theory Syllabus. School Year:
Certificated Teacher: Desired Results: Music Theory Fundamentals/AP Music Theory Syllabus School Year: 2014-2015 Course Title : Music Theory Fundamentals/AP Music Theory Credit: one semester (.5) X two
More informationKandinsky Inspired. Latin Infused. Rhythm Sculptures
Kandinsky Inspired Latin Infused Rhythm Sculptures Bailes Hispanos Tradicionales (Traditional Hispanic Dances) 1) Salsa Said to have originated in the Caribbean, Salsa is one of the most entertaining and
More informationCourse Proposal for Revised General Education Courses MUS 2555G INTERACTING WITH MUSIC
1. Catalog Description Course Proposal for Revised General Education Courses MUS 2555G INTERACTING WITH MUSIC a. Course level: MUS 2555 G b. Title: Interacting with Music c. Meeting/Credit: 3-0-3 d. Term:
More informationPRESCHOOL (THREE AND FOUR YEAR-OLDS) (Page 1 of 2)
PRESCHOOL (THREE AND FOUR YEAR-OLDS) (Page 1 of 2) Music is a channel for creative expression in two ways. One is the manner in which sounds are communicated by the music-maker. The other is the emotional
More information3 against 2. Acciaccatura. Added 6th. Augmentation. Basso continuo
3 against 2 Acciaccatura One line of music may be playing quavers in groups of two whilst at the same time another line of music will be playing triplets. Other note values can be similarly used. An ornament
More informationSTRATFORD PUBLIC SCHOOLS Music Department AP Music Theory
HIGH SCHOOL Rhythm/Meter Major Scales/Key Signatures Intervals Minor Scales/Key Signatures Triads, Chord Inversions and Chord Symbols STRATFORD PUBLIC SCHOOLS Perform rhythmic patterns and phrases. Compose
More informationMusic, Grade 9, Open (AMU1O)
Music, Grade 9, Open (AMU1O) This course emphasizes the performance of music at a level that strikes a balance between challenge and skill and is aimed at developing technique, sensitivity, and imagination.
More informationLearners will practise and learn to perform one or more piece(s) for their instrument of an appropriate level of difficulty.
OCR GCSE 9-1 MUSIC (J536) Examination date (Listening) 4 th June 2019 This is a checklist of topics you need to know for your Music exam. Listening exam 6 th June 2018 For each topic indicate your level
More informationSAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 12
SAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 12 Copyright School Curriculum and Standards Authority, 2015 This document apart from any third party copyright material contained in it may be freely
More informationCommon questions about National 3, National 4, National 5, Higher and Advanced Higher Music
Common questions about National 3, National 4, National 5, Higher and Advanced Higher Music Contents Assignment composing 1 Assignment composing review 1 Performing/instruments 2 Question paper general
More informationBartók s variations of The Romanian Christmas Carols
McMaster Music Analysis Colloquium vol. 4, 2005, pp. 85-96 Bartók s variations of The Romanian Christmas Carols MIHAELA IRINA Introduction Starting in 1907, Béla Bartók (1881-1945) begins to collect Romanian
More informationMaster's Theses and Graduate Research
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Fall 2010 String Quartet No. 1 Jeffrey Scott Perry San Jose State University Follow this and additional
More informationConcise Guide to Jazz
Test Item File For Concise Guide to Jazz Seventh Edition By Mark Gridley Created by Judith Porter Gaston College 2014 by PEARSON EDUCATION, INC. Upper Saddle River, New Jersey 07458 All rights reserved
More informationIndiana Music Standards
A Correlation of to the Indiana Music Standards Introduction This document shows how, 2008 Edition, meets the objectives of the. Page references are to the Student Edition (SE), and Teacher s Edition (TE).
More informationMusic Key Stage 3 Success Criteria Year 7. Rhythms and rhythm Notation
Music Key Stage 3 Success Criteria Year 7 Rhythms and rhythm Notation Can identify crotchets, minims and semibreves Can label the length of crotchets, minims and semibreves Can add up the values of a series
More informationAP Music Theory Syllabus
AP Music Theory 2017 2018 Syllabus Instructor: Patrick McCarty Hour: 7 Location: Band Room - 605 Contact: pmmccarty@olatheschools.org 913-780-7034 Course Overview AP Music Theory is a rigorous course designed
More informationStudent Performance Q&A: 2001 AP Music Theory Free-Response Questions
Student Performance Q&A: 2001 AP Music Theory Free-Response Questions The following comments are provided by the Chief Faculty Consultant, Joel Phillips, regarding the 2001 free-response questions for
More informationL van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising)
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born
More informationMUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music.
MUSIC THEORY CURRICULUM STANDARDS GRADES 9-12 Content Standard 1.0 Singing Students will sing, alone and with others, a varied repertoire of music. The student will 1.1 Sing simple tonal melodies representing
More informationConcert Band and Wind Ensemble
Curriculum Development In the Fairfield Public Schools FAIRFIELD PUBLIC SCHOOLS FAIRFIELD, CONNECTICUT Concert Band and Wind Ensemble Board of Education Approved 04/24/2007 Concert Band and Wind Ensemble
More informationRequiem for Orchestra and Choir
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 4-17-2018 Requiem for Orchestra and Choir Luciano Vaz Correa Louisiana State University and Agricultural and Mechanical
More informationUNIVERSITY COLLEGE DUBLIN NATIONAL UNIVERSITY OF IRELAND, DUBLIN MUSIC
UNIVERSITY COLLEGE DUBLIN NATIONAL UNIVERSITY OF IRELAND, DUBLIN MUSIC SESSION 2000/2001 University College Dublin NOTE: All students intending to apply for entry to the BMus Degree at University College
More informationCHAPTER 14: MODERN JAZZ TECHNIQUES IN THE PRELUDES. music bears the unmistakable influence of contemporary American jazz and rock.
1 CHAPTER 14: MODERN JAZZ TECHNIQUES IN THE PRELUDES Though Kapustin was born in 1937 and has lived his entire life in Russia, his music bears the unmistakable influence of contemporary American jazz and
More informationMusic Theory For Pianists. David Hicken
Music Theory For Pianists David Hicken Copyright 2017 by Enchanting Music All rights reserved. No part of this document may be reproduced or transmitted in any form, by any means (electronic, photocopying,
More informationST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music. Ephesians 5:19-20
ST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music [Speak] to one another with psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord, always giving thanks to
More informationMusic Grade 6 Term 2. Contents
1 Music Grade 6 Term 2 Contents REVISION... 2 The Stave... 2 The Treble clef... 2 Note values... 2 Tempo... 2 Pitch... 3 Dynamics... 3 Canon... 3 String instruments... 3 Musical elements... 4 Rhythm...
More informationPiano Teacher Program
Piano Teacher Program Associate Teacher Diploma - B.C.M.A. The Associate Teacher Diploma is open to candidates who have attained the age of 17 by the date of their final part of their B.C.M.A. examination.
More informationCurriculum Development Project
1 Kamen Nikolov EDCT 585 Dr. Perry Marker Fall 2003 Curriculum Development Project For my Curriculum Development Project, I am going to devise a curriculum which will be based on change and globalization
More informationTEST SUMMARY AND FRAMEWORK TEST SUMMARY
Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: INSTRUMENTAL Copyright 2016 by the Washington Professional Educator Standards Board 1 Washington Educator
More informationDEPARTMENT/GRADE LEVEL: Band (7 th and 8 th Grade) COURSE/SUBJECT TITLE: Instrumental Music #0440 TIME FRAME (WEEKS): 36 weeks
DEPARTMENT/GRADE LEVEL: Band (7 th and 8 th Grade) COURSE/SUBJECT TITLE: Instrumental Music #0440 TIME FRAME (WEEKS): 36 weeks OVERALL STUDENT OBJECTIVES FOR THE UNIT: Students taking Instrumental Music
More informationSCOPE & SEQUENCE Show Choir High School. MUSIC STANDARD 1: Singing
Massachusetts Standards for 9-12 Topics TEXTBOOK No textbook is used in this course 1.1 Sing independently, maintaining accurate innation, steady tempo, rhythmic accuracy, appropriately-produced sound
More informationCCCS Music Mastery Skills and Knowledge for Progression
Foundation (G-E/1-2) Candidates sing and/or play music with some fluency the resources used. They compose music which shows some ability to organise musical ideas and use resources in response to a brief.
More informationSPRING 2019 COURSE CATALOG
Music SPRING 2019 COURSE CATALOG HSA MUSIC HSA Music introduces students to the irresistible force that is music. The goal of the Music Department is to equip each individual with the tools to be a proficient
More informationInstrumental Music Curriculum
Instrumental Music Curriculum Instrumental Music Course Overview Course Description Topics at a Glance The Instrumental Music Program is designed to extend the boundaries of the gifted student beyond the
More informationResources. Composition as a Vehicle for Learning Music
Learn technology: Freedman s TeacherTube Videos (search: Barbara Freedman) http://www.teachertube.com/videolist.php?pg=uservideolist&user_id=68392 MusicEdTech YouTube: http://www.youtube.com/user/musicedtech
More informationMusic Performance Ensemble
Music Performance Ensemble 2019 Subject Outline Stage 2 This Board-accredited Stage 2 subject outline will be taught from 2019 Published by the SACE Board of South Australia, 60 Greenhill Road, Wayville,
More informationMMM 100 MARCHING BAND
MUSIC MMM 100 MARCHING BAND 1 The Siena Heights Marching Band is open to all students including woodwind, brass, percussion, and auxiliary members. In addition to performing at all home football games,
More informationContent Area Course: Chorus Grade Level: 9-12 Music
Content Area Course: Chorus Grade Level: 9-12 Music R14 The Seven Cs of Learning Collaboration Character Communication Citizenship Critical Thinking Creativity Curiosity Unit Titles Vocal Development Ongoing
More informationMusic Appreciation Final Exam Study Guide
Music Appreciation Final Exam Study Guide Music = Sounds that are organized in time. Four Main Properties of Musical Sounds 1.) Pitch (the highness or lowness) 2.) Dynamics (loudness or softness) 3.) Timbre
More informationAdvanced Orchestra Performance Groups
Course #: MU 26 Grade Level: 7-9 Course Name: Advanced Orchestra Level of Difficulty: Average-High Prerequisites: Teacher recommendation/audition # of Credits: 2 Sem. 1 Credit MU 26 is a performance-oriented
More information17. Beethoven. Septet in E flat, Op. 20: movement I
17. Beethoven Septet in, Op. 20: movement I (For Unit 6: Further Musical understanding) Background information Ludwig van Beethoven was born in 1770 in Bonn, but spent most of his life in Vienna and studied
More informationThe KING S Medium Term Plan - Music. Y10 LC1 Programme. Module Area of Study 3
The KING S Medium Term Plan - Music Y10 LC1 Programme Module Area of Study 3 Introduction to analysing techniques. Learners will listen to the 3 set works for this Area of Study aurally first without the
More informationLESSON PLAN GUIDELINE Customization Statement
Hegarty Piano Studio 2011-2012 School Year LESSON PLAN GUIDELINE Customization Statement Every student is different. And every student s commitment to piano lessons is different. Therefore, the attached
More informationEighth Grade Music Curriculum Guide Iredell-Statesville Schools
Eighth Grade Music 2014-2015 Curriculum Guide Iredell-Statesville Schools Table of Contents Purpose and Use of Document...3 College and Career Readiness Anchor Standards for Reading...4 College and Career
More informationWoodlynne School District Curriculum Guide. General Music Grades 3-4
Woodlynne School District Curriculum Guide General Music Grades 3-4 1 Woodlynne School District Curriculum Guide Content Area: Performing Arts Course Title: General Music Grade Level: 3-4 Unit 1: Duration
More informationImprovisation. A guide to improvisation in. with Grade 1 examples
Improvisation A guide to improvisation in Trinity examinations with Grade 1 examples Contents Introduction...1 Outline of the test...1 Criteria for assessment...2 Overview of examples...4 Examples of Improvisations...5
More informationDepartment Curriculum Map
Department Curriculum Map 2014-15 Department Subject specific required in Year 11 Wider key skills Critical creative thinking / Improvising Aesthetic sensitivity Emotional awareness Using s Cultural understing
More informationStudent Performance Q&A:
Student Performance Q&A: 2012 AP Music Theory Free-Response Questions The following comments on the 2012 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
More informationInstrumental Performance Band 7. Fine Arts Curriculum Framework
Instrumental Performance Band 7 Fine Arts Curriculum Framework Content Standard 1: Skills and Techniques Students shall demonstrate and apply the essential skills and techniques to produce music. M.1.7.1
More informationRobert Schuman "Novellette in F Major", Opus. 21 no. 1 (Part 1)
Cleveland State University From the SelectedWorks of Dan Rager 2016 Robert Schuman "Novellette in F Major", Opus. 21 no. 1 (Part 1) Dan Rager Available at: https://works.bepress.com/daniel_rager/35/ Composition
More information3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding)
3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) Background information Biography Berlioz was born in 1803 in La Côte Saint-André, a small town between Lyon and Grenoble
More information2014A Cappella Harmonv Academv Handout #2 Page 1. Sweet Adelines International Balance & Blend Joan Boutilier
2014A Cappella Harmonv Academv Page 1 The Role of Balance within the Judging Categories Music: Part balance to enable delivery of complete, clear, balanced chords Balance in tempo choice and variation
More informationPERFORMING ARTS. Head of Music: Cinzia Cursaro. Year 7 MUSIC Core Component 1 Term
PERFORMING ARTS Head of Music: Cinzia Cursaro Year 7 MUSIC Core Component 1 Term At Year 7, Music is taught to all students for one term as part of their core program. The main objective of Music at this
More informationCalifornia Subject Examinations for Teachers
California Subject Examinations for Teachers TEST GUIDE MUSIC SUBTEST I Sample Questions and Responses and Scoring Information Copyright 2015 Pearson Education, Inc. or its affiliate(s). All rights reserved.
More informationContent Area Course: Chorus Grade Level: Eighth 8th Grade Chorus
Content Area Course: Chorus Grade Level: Eighth 8th Grade Chorus R14 The Seven Cs of Learning Collaboration Character Communication Citizenship Critical Thinking Creativity Curiosity Unit Titles Vocal
More informationKeyboard Foundation Level 1
Keyboard Foundation Level 1 Set a voice, style and tempo from instructions given. Read a range of notes over a fifth (C to G) without accidentals using semibreves, dotted minims, minims and crotchets.
More informationMUSIC PROGRESSIONS. Curriculum Guide
MUSIC PROGRESSIONS A Comprehensive Musicianship Program Curriculum Guide Fifth edition 2006 2009 Corrections Kansas Music Teachers Association Kansas Music Teachers Association s MUSIC PROGRESSIONS A Comprehensive
More informationMusic Standards for Band. Proficient Apply instrumental technique (e.g., fingerings, bowings, stickings, playing position, tone quality, articulation)
Music Standards for Band Product Performance 2. Develop and apply instrumental music skills to perform and communicate through the arts A. Instrumental Performance Skills Apply instrumental technique (e.g.,
More informationFrancesco Villa. Playing Rhythm. Advanced rhythmics for all instruments
Francesco Villa Playing Rhythm Advanced rhythmics for all instruments Playing Rhythm Advanced rhythmics for all instruments - 2015 Francesco Villa Published on CreateSpace Platform Original edition: Playing
More informationAdditional Theory Resources
UTAH MUSIC TEACHERS ASSOCIATION Additional Theory Resources Open Position/Keyboard Style - Level 6 Names of Scale Degrees - Level 6 Modes and Other Scales - Level 7-10 Figured Bass - Level 7 Chord Symbol
More informationUNDERGRADUATE AUDITION & MUSIC TECHNOLOGY PORTFOLIO REQUIREMENTS
University of Oregon School of Music and Dance Undergraduate Music Major Audition Requirements 2018-19 UNDERGRADUATE AUDITION & MUSIC TECHNOLOGY PORTFOLIO REQUIREMENTS The purpose of the entrance audition
More informationPacing Guide DRAFT First Quarter 8 th GRADE GENERAL MUSIC Weeks Understandings Program of Studies August 1-3
2007-2008 Pacing Guide DRAFT First Quarter 8 th GRADE GENERAL MUSIC Weeks Understandings Program of Studies August 1-3 4.1 Core Content Essential Questions CHAMPS Why is Champs important to follow? List
More informationPRESCOTT UNIFIED SCHOOL DISTRICT District Instructional Guide January 2016
Grade Level: 9 12 Subject: Jazz Ensemble Time: School Year as listed Core Text: Time Unit/Topic Standards Assessments 1st Quarter Arrange a melody Creating #2A Select and develop arrangements, sections,
More informationStow-Munroe Falls High School. Band Honors Guidlines
Stow-Munroe Falls High School Band Honors Guidlines 2018-2019 TABLE OF CONTENTS Goal 1 Grading 1 How Points May Be Earned 2-4 Plagiarism 4 Written Research Rubric 4-5 Written Critique Guide 6 Lesson Verification
More informationBARBERSHOP BASICS (All you ever wanted to know about Barbershop, but were afraid to ask.)
Page 1 BARBERSHOP BASICS (All you ever wanted to know about Barbershop, but were afraid to ask.) Barbershop- (WIKIPEDIA) Barbershop vocal harmony, as codified during the barbershop revival era (1940s-
More informationspecialneedsinmusic.com Goals and Objectives for Special Needs and Other Students
specialneedsinmusic.com Goals and Objectives for Special Needs and Other Students The music activities outlined here are drawn from my classroom experience and are compatible with the New York State Learning
More informationMUSIC: PAPER I. 4. The music notation must be written using a sharp pencil. The rest of the paper must be answered in pen.
NATIONAL SENIOR CERTIFICATE EXAMINATION NOVEMBER 2016 MUSIC: PAPER I EXAMINATION NUMBER Time: 3 hours 100 marks PLEASE READ THE FOLLOWING INSTRUCTIONS CAREFULLY 1. This question paper consists of 14 pages,
More informationHIGH SCHOOL MASTER MUSICIAN
SCHOOL DISTRICT OF HILLSBOROUGH COUNTY HIGH SCHOOL MASTER MUSICIAN 11/2/17 Philosophy The Master Musician program is designed to encourage talented music students to continue their progress beyond the
More informationCurriculum Development In the Fairfield Public Schools FAIRFIELD PUBLIC SCHOOLS FAIRFIELD, CONNECTICUT MUSIC THEORY I
Curriculum Development In the Fairfield Public Schools FAIRFIELD PUBLIC SCHOOLS FAIRFIELD, CONNECTICUT MUSIC THEORY I Board of Education Approved 04/24/2007 MUSIC THEORY I Statement of Purpose Music is
More informationHSA Music Yolanda Wyns
HSA MUSIC HSA Music introduces students to the irresistible force that is music. The goal of the Music Department is to equip each individual with the tools to be a proficient musician, while fostering
More informationLEVELS IN NATIONAL CURRICULUM MUSIC
LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness
More informationLEVELS IN NATIONAL CURRICULUM MUSIC
LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness
More informationSCOPE & SEQUENCE Concert Choir High School
TEXTBOOK No textbook is used in this course. MUSIC STANDARD 1: Singing 1.1 Sing independently, maintaining accurate innation, steady tempo, rhythmic accuracy, appropriately-produced sound (timbre), clear
More information