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#Post#: 3--------------------------------------------------
Choro and Jazz
By: SergeiP Date: August 18, 2016, 10:27 pm
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Hey guys, I am currently working on a comparison between two
pieces of music and could really use some help. I am thinking of
using a world music piece called Naquele Tempo by Pixinguinha
and Benedito Lacerda and a jazz piece called Boplicity by Miles
Davis.
Also, I know a little bit about jazz and choro but if anyone
could help further explain the two styles of music that would be
awesome!!! ;D ;D ;D
#Post#: 4--------------------------------------------------
Re: Choro and Jazz
By: Choro_gurl Date: August 30, 2016, 7:09 am
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Hi SergeiP, I have grown up around Brazilian music so I can help
you a bit with the choro piece.
Choro belongs to World Music and originates back to the 1800s in
Brazil, specifically Rio de Janeiro. It results from European
influences with the arrival of fleeing Portuguese and European
people in Brazil and the subsequent changes in culture of the
city. Choro emerged as a combination of the existing music that
was heavily influenced by African rhythms and the introduction
of new styles of music, particularly new rhythms such as the
polka, and new instruments to experiment with which were all
embraced by the locals. (McCann 2004, p. 1-6)
Choro is usually upbeat and is recognisable by its
improvisational qualities and the displaying of the players’
virtuosity. It traditionally consists of one or more solo
instruments such as the flute and mandolin and a cavaquinho (a
small 4 string guitar), acoustic guitars, and a pandeiro (a hand
drum) as accompaniment instruments. The cavaquinho, guitars and
pandiero serve to provide rhythmic and harmonic support. Choro
is usually purely instrumental genre and only a few pieces of
choro contain lyrics. (Livingston-Isenhour & Garcia 2005, p. 3)
I will go listen to Naquele Tempo a few times and get back to
you :D
#Post#: 5--------------------------------------------------
Re: Choro and Jazz
By: jazzman95 Date: August 30, 2016, 7:35 am
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[size=12pt]Just out of interest what is this comparison for? You
shouldn't be asking people for help on your homework....
But anyway, jazz emerged in the 1900s developed from African
slave working songs, blues songs and religious spirituals and
gospels. It combined harmonies of hymns with call and response,
improvisation and the singing techniques of African music.
(Yurochko 1993, p. 4) Common characteristics of jazz are the two
distinct sections of instrumentation: the frontline (which
includes the horns) and the rhythm section (including the piano,
guitar and drums), syncopation, poly-rhythms, improvisation and
the use of 32 bar Chorus form- AABA structure. (Gioia 2011, p.
187)
The first form of jazz developed from the slave songs was called
Blues. The 1920s saw the arrival of Traditional jazz/ Dixieland
which involved a small band, collective improvisation and is
often associated with New Orleans. Towards the end of that
decade the bands increased in size with the addition of a
separate saxophone section. Group improvisation was no longer
feasible and composer-arranging become important. This style is
referred to as Swing/ Big Band. Swing was followed in the 1940s
by BeBop/ Hot Jazz. Everything became more complex with fast
tempos, virtuosic playing, angular melodies and complicated
improvisation. Cool Jazz was developed in the late 1940s as a
reaction to the intensity of Bebop and was more subdued and
restrained. (Yurochko 1993, p. 20, 67, 68, 103, 104, 129)[/size]
#Post#: 6--------------------------------------------------
Re: Choro and Jazz
By: jazzman95 Date: August 30, 2016, 7:39 am
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Also. found some info on Miles and Gill: Miles Davis and Gil
Evans formed a group of nine musicians in the late 1940s,
collaborating in the nonet on 12 scores, one of which was
Boplicity, published in 1949. According to Winke, (2013)
historians now consider the “Miles Davis Nonet one of the most
important ensembles in the history of jazz” as they influenced
many composers afterwards and the birth of cool jazz was
undoubtedly led by Miles Davis in his collaboration with Gill
Evans. (Yurochko 1993, p. 129) You picked a really good piece
;) ;)
#Post#: 7--------------------------------------------------
Re: Choro and Jazz
By: Choro_gurl Date: August 30, 2016, 7:46 am
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So apparently Pixinguinha is commonly referred to as the father
of Brazilian music. He was a flautist, saxophonist and composer
and he was instrumental in the development of choro. His work is
characterised by its simple melodies and an understanding of the
instruments and their timbre. Benedicto Lacerda also played both
flute and saxophone. In the 1940s, Lacerda helped Pixinguinha
out of financial problems and from then on Lacerda and
Pixinguinha arranged and recorded many albums together,
innovating the genre of choro and allowing it to become what it
is today. (Neder 2016)
I think helping you with this is helping me learn so much about
my family culture! I will try find some points to compare with
the jazz piece.
#Post#: 8--------------------------------------------------
Re: Choro and Jazz
By: SergeiP Date: August 30, 2016, 7:47 am
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thank you so much Chorogurl and jazzman95!!!!!!!! You guys are
so knowledgeable hehe
#Post#: 9--------------------------------------------------
Re: Choro and Jazz
By: musicnerdz Date: August 30, 2016, 7:54 am
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Hi all, I couldn't help but get involved with this forum, I love
learning new things and helping fellow music [s]nerds[/s] lovers
:)
So from what I can tell by looking at the scores and listening
to both pieces is that they have similarities within their
melodies, rhythm and structure. 8) :o :o
#Post#: 10--------------------------------------------------
Re: Choro and Jazz
By: SergeiP Date: August 30, 2016, 8:04 am
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Hey musicnerdz, I was thinking about melody as well!! Looking at
the similarities in those elements of the pieces sounds really
good. Even though the actual melodies are very different, I can
definitely see a few links between Naquele Tempo and Boplicity
in melody.
One thing I noticed is that both of the pieces have a relatively
jagged melodic contour with some smooth passages. I used the
blue brackets in bars 1- 8 to show the arpeggiated figures in
Naquele Tempo, and the melody also contains some leaps and some
smooth steps. The section indicated in orange brackets is
particularly smooth, with a descending chromatic scale with
trills.
Do you guys think this is right?
#Post#: 11--------------------------------------------------
Re: Choro and Jazz
By: jazzman95 Date: August 31, 2016, 7:26 am
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Yeah, that looks good SergieP
I noticed that the melodic contour in Boplicity also features
leaps and smooth steps. Similar to Naquele Tempo, Boplicity has
a few arpeggiated figures.(Figure 2) However, these arpeggiated
figures differ from the arpeggios found in Naquele Tempo as in
bar 1 of Boplicity, the arpeggio is at first inversion as the E
occurs at the end of the figure. In bar 3 the F is an octave
lower than it would be normally. Boplicity also has many large
leaps, resulting in a more jagged contour than Naquele Tempo.
The smoother steps such as in bar 2 effectively contrast the
leaps creating a somewhat balanced melodic idea.
#Post#: 12--------------------------------------------------
Re: Choro and Jazz
By: Choro_gurl Date: August 31, 2016, 8:25 am
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[quote author=SergeiP link=topic=3.msg10#msg10 date=1472562242]
Hey musicnerdz, I was thinking about melody as well!! Looking at
the similarities in those elements of the pieces sounds really
good. I think melody is so important as it helps distinguish
each song from another. That being said, even though the
melodies enable us to differentiate between pieces, I can
definitely see a few links between Naquele Tempo and Boplicity
in melody.
One thing I noticed is that both of the pieces have a relatively
jagged melodic contour with some smooth passages. I used the
blue brackets in bars 1- 8 to show the arpeggiated figures in
Naquele Tempo, and the melody also contains some leaps and some
smooth steps. The section indicated in orange brackets is
particularly smooth, with a descending chromatic scale with
trills.
Do you guys think this is right?
[/quote]
SergeiP this is fantastic. Another link I think is the use of
chromaticism because Naquele Tempo Both pieces contain it. I
think in Naquele Tempo the chromaticism is more incidental, as
it is mostly in the form of passing notes. The example of
chromaticism in bar 8 of Naquele Tempo below (Figure 3) is an
example of chromaticism that enables the melodic contour to
remain smooth as you mentioned when you were talking about the
melody earlier.
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