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Choro

Choro is an instrumental popular music genre that originated in the late 19th century in , blending dance forms such as the , , and with -derived rhythms like the lundu and maxixe, resulting in a syncopated, improvisational style marked by expressive melodies and virtuosic performance. Despite its name deriving from the word for "cry" or "," choro is not inherently melancholic but rather lively and emotive, often performed in informal gatherings known as rodas de choro. Emerging amid Brazil's diverse cultural landscape post-slavery abolition, it represents the country's first truly national popular music, unifying , , and influences into a unique sonic identity. The genre's historical development began in the , with early ensembles featuring for ornamented melodies, for rhythmic , and guitar for harmonic support, evolving into more complex formations by the early that included the , bandolim (), and (). Key figures shaped its trajectory: Joaquim Callado, often called the "father of choro," formalized the style through his compositions in the ; advanced it as a pioneering female composer and performer; fused it with classical elements in works; and modernized it in the 1920s–1930s, incorporating influences from during international tours with his group Oito Batutas. Choro's musical structure typically employs 2/4 time, form (ABACA), and features , chromatic embellishments, and a prominent bass line (baixaria) that provides to the melody. Culturally, choro transitioned from street and amateur performances in Rio's bohemian circles to stages and recordings, peaking in popularity during the 1930s–1940s before influencing later Brazilian styles like and , and even classical compositions by . It symbolizes Brazil's racial and , performed across classes and regions, and experienced a revival in the late through dedicated schools and festivals, underscoring its enduring role in . Today, choro remains a vibrant , with ensembles emphasizing collective and emotional depth in both urban rodas and global performances.

Overview

Definition and Etymology

Choro is an instrumental genre of Brazilian that originated in during the late 19th century, recognized as one of the country's first natively urban musical forms. It emerged from the fusion of European dance rhythms, such as the and , with African-derived elements like and melodic expressiveness, creating a sophisticated style traditionally performed without lyrics. This blend reflects Rio's multicultural environment following the arrival of the Portuguese royal court in and the subsequent integration of diverse immigrant and enslaved populations. The term "choro" derives from the Portuguese word meaning "cry" or "," evoking an emotional depth that combines with joyful in its performance. It originated as a descriptor for the street serenades performed by informal groups of musicians known as chorões (serenaders or "weepers"), who adapted into heartfelt, expressive renditions that moved listeners to tears. Despite the of sorrow, choro's essence lies in its bittersweet expression, distinguishing it from more overtly vocal traditions. Rooted in Rio's urban middle-class social scene, choro developed through informal gatherings in homes, bars, and public spaces, fostering a communal roda (circle) format that emphasized collective . Unlike sung genres such as , which often incorporate lyrics and narrative elements, choro prioritizes instrumental virtuosity and melodic intricacy, making it unsuitable for vocal adaptation in its classic form. This urban, participatory identity underscores choro's role as a distinctly innovation, separate from rural or elite imports.

Core Characteristics

Choro is characterized by its high level of virtuosity, demanding exceptional technical skill from performers on their instruments to execute intricate passages and rapid tempos. Improvisation plays a central role, allowing musicians to introduce spontaneous variations and personal flair during performances, which enhances the genre's expressive dynamism. Key musical traits include syncopation, counterpoint—particularly in bass lines known as baixaria—and melodic ornamentation, creating a layered texture that blends European classical influences with African rhythmic elements. Despite its name deriving from the Portuguese word for "cry" or "lament," choro often conveys a fast-paced, joyful energy that uplifts listeners. In performance, choro emphasizes emotional depth, weaving melancholy undertones with exuberant vitality to evoke a profound sense of , a Brazilian concept of nostalgic longing. The genre is predominantly instrumental, fostering intimate, collaborative settings such as rodas de choro—informal jam sessions where participants take turns soloing and accompanying, promoting communal interaction and real-time creativity. This style prioritizes fluid interplay among musicians, resulting in performances that feel both structured and free-flowing. Rhythmically, choro features syncopated patterns rooted in Afro-Brazilian traditions, such as those from the lundu and maxixe, which provide a lively, off-beat propulsion typically in 2/4 meter. Harmonically, it exhibits complexity through a rich vocabulary of chords—including extensions like sevenths and ninths—and frequent modulations to closely related keys, such as the or relative minor, distinguishing it from simpler Brazilian popular forms. These elements contribute to choros sophisticated sound, marked by and harmonic progression that support extended .

Musical Elements

Instruments and Ensembles

Choro music traditionally features a core set of acoustic instruments that define its intimate, improvisational sound, with the serving as the primary melody lead, delivering ornamented, virtuosic lines and improvisations. The provides essential harmonic support and bass lines, known as baixaria, through improvised that alternates between chordal progressions, inner voices, and pedal notes to underpin the ensemble's structure. Complementing this, the offers rhythmic chordal on its four strings, tuned D-G-B-D and played with a , contributing syncopated patterns that enhance the genre's characteristic . These three instruments form the classic terno or configuration, established in the late for small-scale performances. Additional instruments expand the palette while maintaining the acoustic focus, such as the (bandolim), which often takes on melodic duties with rapid, embellished passages similar to the . Woodwinds like the and provide alternative melodic leads, capable of chromatic runs and expressive phrasing suited to choro's emotional depth. For rhythm, the —a frame drum with jingles—delivers subtle, off-beat accents and a steady pulse, reinforcing without overpowering the ensemble. In larger groups, brass instruments such as the or may add bold harmonic fills or contrapuntal lines, though they remain secondary to the string and woodwind core. Choro ensembles, known as grupos or regionais, typically consist of 3 to 7 players, fostering an intimate, conversational interplay ideal for informal gatherings like rodas de choro. The soloist—often on or —leads with improvised variations, while guitars supply foundation and the or establishes rhythmic drive, creating a balanced where each dialogues freely. This acoustic tradition persists in contemporary practice, though modern variants occasionally incorporate electric guitars or bass for amplified settings.

Compositional Form and Techniques

Choro compositions typically employ a rondo-like structure, often denoted as ABACA or variations such as A-B-A-C-A, characterized by a recurring principal (A) interspersed with contrasting sections (B and C) that introduce thematic variation and . This form, rooted in 19th-century European influences adapted to contexts, allows for repetition of the main theme while providing space for development in the intervening parts, with each section commonly spanning 16 or 32 bars to facilitate balanced phrasing. A corpus analysis of 295 choro pieces reveals that three-part rondo-like forms predominate, while two-part ternary forms (A-B-A) comprise a significant portion, around 29% in major-key pieces and 39% in minor-key pieces. The sections contrast harmonically, with the principal theme in the key, the B part shifting to the relative or for emotional depth, and the C part modulating to the , before returning to the in the final A. Modulations are frequent but confined to closely related keys, such as the (IV) or relative (VI), creating and without excessive . This structure enables thematic repetition with subtle variations, enhancing the genre's expressive range while maintaining accessibility for . Improvisation is integral, particularly within the B and C sections, where performers embellish melodies through rhythmic fluidity and melodic extensions, building on the fixed harmonic framework. arises naturally between the lead melody and accompanying lines, often featuring interplay that mimics conversational exchange among instruments. These techniques underscore choro's improvisatory , distinct from more rigidly notated forms. Harmonically, choro relies on complex progressions incorporating , diminished chords, and occasional extensions like ninths, which add color and tension beyond simple diatonic triads. The dominant-tonic (V-I) dominates, with V frequently realized as a , while post-1950 works show increased use of altered chords influenced by . Melodic ornamentation, including appoggiaturas and chromatic inflections, further enriches the texture, contributing to the genre's lyrical and weeping quality.

Historical Development

19th-Century Origins

Choro emerged in the bohemian circles of around 1870, marking the birth of Brazil's first urban characterized by instrumental improvisation and emotional depth. This development occurred amid the city's rapid and cultural fusion following the transfer of the Portuguese court in 1808, which introduced European musical forms to a diverse population including enslaved Africans and free immigrants. By the late 1860s, informal gatherings known as rodas de choro began forming in bars, streets, and private homes, where musicians blended imported styles with local sensibilities. The genre's foundational influences stemmed from European dances such as the (introduced in 1845), (1837), and , which were "Brazilianized" through the infusion of Afro-Brazilian rhythms and derived from the lundu and batuque. These African-derived elements, rooted in the musical traditions brought by enslaved people during the colonial era, added a distinctive rhythmic complexity and emotional expressiveness, transforming rigid European structures into fluid, improvisational expressions. The lundu, in particular, contributed syncopated patterns that became central to choro's groove, reflecting the resilience of cultural practices amid oppression. Early performances were led by chorões—skilled amateur and professional musicians who played in street serenades and informal ensembles featuring , guitar, , and . These gatherings emphasized collective in Rio's central and northern neighborhoods, fostering a sense of community among working-class residents. The first published choro compositions appeared in the and , with flutist Joaquim Callado credited as a pioneer; his "A Flor Amorosa" (1868) and the formation of the Choro Carioca ensemble in 1870 represent key milestones in documenting the genre. This period's social context was shaped by the abolition of slavery in , which accelerated urban migration and cultural mixing in Rio's post-colonial society, where formerly enslaved and Brazilians—comprising about two-thirds of the population—integrated their rhythmic traditions into emerging popular forms. venues like cafés and slums became hubs for these interactions, allowing choro to evolve as a symbol of hybrid identity in a transitioning .

20th-Century Evolution

In the early , the rise of the recording industry significantly propelled choro's commercialization and dissemination across , with the first recordings appearing as early as 1902, primarily featuring brass bands adapted to the limitations of early technology. This period marked choro's transition from informal urban gatherings to a more structured popular genre, as ensembles like Anacleto de Medeiros' Banda do Corpo de Bombeiros recorded at studios such as Casa Edison in . (Alfredo da Rocha Vianna Júnior), emerging in the 1910s, drove key innovations by forming the group Os Oito Batutas in 1919 and blending choro's rhythmic foundations with elements of and maxixe, introducing greater harmonic complexity and improvisational flair while incorporating influences from encountered abroad. These fusions elevated choro's stylistic maturation, positioning it as a sophisticated form suitable for both live performances and recordings. By the 1930s and 1940s, further amplified choro's popularity, with stations featuring conjuntos regionais that showcased the genre's dynamics and appealed to urban audiences nationwide. Os Oito Batutas' tours, including a pivotal 1922 visit to and subsequent trips to , not only exported choro but also refined its global image as musical , recording numerous sides. However, choro experienced a decline in mainstream appeal during as samba's simpler, vocal-oriented style surged in popularity via radio and state-sponsored cultural initiatives under , overshadowing choro's intricate and relegating it to niche, circles. Despite this, choro persisted among dedicated performers, maintaining its core form as a standardized structure for . The 1922 Semana de Arte Moderna in São Paulo indirectly bolstered choro's legitimacy by promoting nationalist artistic expressions, aligning with contemporaneous efforts like Os Oito Batutas' tours to integrate into Brazil's modern cultural identity. Post-1940s, Jacob do Bandolim (Jacob Pick Bittencourt) revitalized the genre through his virtuoso playing and compositions, such as the 1947 recording "Treme Treme," which emphasized the instrument's lead role and sparked a choro revival among professional ensembles. Socially, choro evolved from its initial association with middle-class bohemian elites in Rio's salons to broader working-class appeal by mid-century, as radio and recordings democratized access and softened racial and class barriers that once marginalized its Afro-Brazilian roots. This shift reflected wider urbanization and cultural integration, sustaining choro as a resilient urban tradition.

Contemporary Revival

The resurgence of choro began in the , driven by a combination of musical nostalgia for acoustic traditions amid the dominance of electric rock and pop, a political push under the (1964–1985) to promote non-protest national music, and social efforts to document Brazil's artistic heritage. Key events included the Museum of Image and Sound in hosting a week-long festival honoring Jacob do Bandolim in 1975, followed by the First National Choro Festival ("Brasileirinho") in 1977 and the Second National Choro Festival ("Carinhoso") in 1978, which featured competitions and awards to engage young musicians. Recordings played a pivotal role, with Paulinho da Viola's 1976 LP Memórias: Chorando blending choro elements into (MPB), revitalizing interest and demonstrating choro's rhythmic and improvisational influence on broader popular music. In modern developments, choro has fused with and , expanding its global reach; Israeli-American ist , who discovered choro over 20 years ago during a trip to , credits the genre's syncopated improvisation—reminiscent of —for reigniting her clarinet playing, leading to her ensemble Choro Aventuroso and albums like Outra Coisa (2017) that reinterpret choro in settings. This contributed to choro's rising popularity in the United States during the 2000s, with Cohen's performances at venues like drawing diverse audiences and introducing the genre through cross-cultural collaborations. As of 2025, digital preservation efforts, such as the "Digital Choro" project digitizing over 10,000 scores from Rio's Casa do Choro archive into formats like for computational analysis and global access, alongside educational workshops at institutions like Universidade Federal do , support ongoing research and training in the genre's musical structures. Choro remains active in Brazil's regional scenes, with variations in São Paulo featuring youth-focused initiatives like the Regional de Choro do GURI, a state-sponsored ensemble that performs traditional pieces and fosters new talent through public concerts and education programs. In Minas Gerais, local traditions emphasize interpretive freedom in waltzes and polkas, sustained by community groups and documentaries highlighting the genre's historical depth. Despite challenges from globalization and the dominance of commercial pop, choro's vitality persists through youth ensembles, such as those in São Paulo's GURI project, and increased availability on streaming platforms like Spotify, where dedicated playlists and releases have boosted listens among younger demographics since its 2024 designation as Brazil's intangible cultural heritage by IPHAN.

Notable Contributions

Key Musicians and Composers

Joaquim Callado, born in 1848 in Rio de Janeiro and died in 1880, is regarded as the father of choro for his pioneering compositions that defined the genre's early style as a flutist and teacher. His works, such as polkas adapted into the nascent choro form, established the improvisational and rhythmic foundations of the music during the late 19th century. Chiquinha Gonzaga (1847–1935), a trailblazing female composer in a male-dominated field, contributed significantly to choro's development by composing over 2,000 pieces, including the 1889 work Só no Choro, the first to explicitly use the term in its title. As Brazil's first professional female pianist and conductor, she infused choro with urban sophistication and social commentary, helping elevate it from informal gatherings to public performance. Ernesto Nazareth (1863–1934), a prolific pianist and composer, shaped choro through his piano tangos and polkas that blended European salon influences with Brazilian rhythms like the lundu and habanera, granting the genre its melodic individuality. His over 200 compositions, including choros such as Odeon, became staples that bridged 19th-century origins and 20th-century evolution. In the golden age of choro during the early 20th century, (Alfredo da Rocha Viana Júnior, 1897–1973) emerged as a central figure, renowned as a , composer, and leader of the ensemble Oito Batutas, which popularized choro internationally through tours including a 1922 visit to . His multifaceted career, spanning , , and , produced iconic choros like Carinhoso that captured Rio de Janeiro's urban vitality and influenced subsequent generations. Jacob do Bandolim (Jacob Pick Bittencourt, 1918–1969), a virtuoso, revitalized choro in the mid-20th century by founding the ensemble Época de Ouro in 1964, which preserved traditional instrumentation while promoting live performances and recordings. His technical mastery on the and compositions emphasized the instrument's melodic role in choro ensembles, fostering a dedicated revival amid competing popular genres. Later contributors expanded choro's instrumental palette and appeal. Waldir Azevedo (1923–1980), a cavaquinho master, innovated by elevating the small guitar-like instrument to a solo lead role in choro, as exemplified in his 1947 composition Brasileirinho, which became a genre standard for its virtuosic speed and expressiveness. Raphael Rabello (1962–1995) advanced choro through his adaptations on the seven-string guitar, blending classical techniques with traditional forms to create hybrid arrangements that introduced the genre to broader audiences via recordings and collaborations. In the 21st century, Yamandu Costa has sustained choro's legacy as a virtuoso seven-string guitarist, performing works like Pixinguinha's Carinhoso in major venues and incorporating flamenco-inspired techniques to refresh the tradition for contemporary listeners.

Iconic Compositions and Influences

One of the earliest landmark compositions in the choro genre is "A Flor Amorosa," a polka-choro written by flutist Joaquim Callado in 1868, which is widely regarded as the first fully realized choro piece due to its fusion of European dance forms with Brazilian rhythmic inflections. This work, performed by Callado's ensemble O Choro Carioca, established the instrumental intimacy and melodic ornamentation that became hallmarks of choro. Similarly, Ernesto Nazareth's "Brejeiro" (1893) exemplifies the genre's evolution in the late , showcasing intricate writing that blends rhythms with syncopated melodies, and it remains one of the most recorded choros, with over 27 versions by the mid-20th century. In the early , Pixinguinha's "1 x 0" (also known as "Um a Zero"), composed in 1919 with Benedito Lacerda, captured the era's cultural zeitgeist by referencing a famous soccer match between and , incorporating lively lines and cavaco strumming to evoke national pride and rhythmic vitality. Later, Waldir Azevedo's "Brasileirinho" (1947) revolutionized choro through its virtuoso cavaquinho showcase, drawing on swing-era influences to propel the genre toward modern instrumental prowess and becoming Azevedo's signature hit that sold millions of copies worldwide. These pieces highlight choro's progression from salon intimacy to broader expressive range, often structured in form for improvisational solos. Choro's influence extended profoundly into classical music, particularly through , whose series of 14 Choros (composed mainly between 1924 and 1929) integrated choro's syncopation and improvisation into orchestral and chamber works, such as Choros No. 1 for guitar, which fuses folk elements with modernist techniques. Composer Radamés Gnattali further bridged choro and classical realms in the mid-20th century, incorporating its rhythms into symphonic compositions and mentoring the 1960s choro revival while pioneering gafieira styles that blended choro with big-band arrangements. Internationally, French composer drew directly from choro in his 1919 ballet score Le Bœuf sur le toit, which quotes at least 14 Brazilian tunes including Nazareth's "Apanhei-te Cavaquinho" and several maxixes akin to choros, creating a polytonal mosaic that popularized Brazilian idioms in European concert halls. As a foundational genre, choro served as a precursor to and ; Pixinguinha's co-authorship of "Pelo Telefone" (1917), the first recorded , directly adapted choro's harmonic sophistication and ensemble interplay, while in the 1950s-1960s absorbed choro's melodic subtlety, though it initially overshadowed the older style before sparking its revival. Choro's improvisational freedom and hybrid African-European roots positioned it as a sophisticated antecedent to , often termed Brazil's "oldest jazz" for its emphasis on soloistic expression and rhythmic complexity, influencing artists like those in the 1970s choro-jazz fusions. In contemporary contexts, choro appears in film scores—such as Villa-Lobos-inspired soundtracks—and global ethnomusicological studies, where it is analyzed for its role in post-colonial musical and cultural preservation.

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