eduardo minozzi costa - aquarelle

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

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

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

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.

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.

6

TABLE OF CONTENTS

LIST OF TABLES .......................................................................................................... 8

LIST OF MUSICAL EXAMPLES .................................................................................. 9

ABSTRACT .................................................................................................................. 18

FOREWORD ................................................................................................................ 19

CHAPTER I. INTRODUCTION AND SCOPE OF STUDY ....................................... 20

CHAPTER II. SÉRGIO ASSAD (b. 1952) ................................................................... 22

CHAPTER III. RELEVANT HISTORICAL CONSIDERATIONS AND MPB (MÚSICA

POPULAR BRASILEIRA) ...................................................................................... 26

CHAPTER IV. PERFORMER’S GUIDE ...................................................................... 29

Overview ................................................................................................................... 29

Sérgio Assad's Career and Life while Composing Aquarelle and Fantasia Carioca ... 31

Corrected Printing Mistakes in Aquarelle ................................................................... 32

Overall Analysis ........................................................................................................ 34

1. Aquarelle ......................................................................................................... 34

2. Fantasia Carioca ............................................................................................. 38

Brazilian Traditional Music elements ......................................................................... 41

1. Marcha Rancho................................................................................................ 44

2. Baião ............................................................................................................... 56

3. Choro .............................................................................................................. 64

4. Samba.............................................................................................................. 79

5. Bossa Nova...................................................................................................... 88

7

Suggested Listening List .......................................................................................... 100

Suggested Fingerings ............................................................................................... 103

Interpretation Guidelines.......................................................................................... 106

CHAPTER V. CONCLUSIONS .................................................................................. 120

APPENDIX A. INTERVIEW WITH SÉRGIO ASSAD .............................................. 121

APPENDIX B. HUMAN SUBJECTS REVIEW .......................................................... 124

APPENDIX C. COMPOSER’S PERMISSION ........................................................... 125

REFERENCES ............................................................................................................ 126

8

LIST OF TABLES

Table 1.1 – Structural Analysis – “Divertimento,” 1st movement from Aquarelle by

Assad............................................................................................................................. 34

Table 1.2 – Structural Analysis - “Valseana,” 2nd

movement from Aquarelle by Assad . 35

Table 1.3 – Structural Analysis – “Preludio e toccatina,” 3rd

movement from Aquarelle

by Assad ........................................................................................................................ 36

Table 1.4 – Structural Analysis – Fantasia Carioca by Assad ........................................ 38

9

LIST OF MUSICAL EXAMPLES

Musical Example 1.1 – “Divertimento,” 1st movement from Aquarelle by Assad (mm. 88

and 115) ........................................................................................................................ 32


and 116) ........................................................................................................................ 33

Musical Example 1.3 – “Preludio e toccatina,” 3rd

movement from Aquarelle by Assad

(m. 3)............................................................................................................................. 33



(m. 114) ......................................................................................................................... 33

Musical Example 2.1 – “Divertimento,” 1st movement from Aquarelle by Assad (m. 1) 34

Musical Example 2.2 – “Divertimento,” 1st movement from Aquarelle by Assad (m. 1) 36



(m. 1-4) ......................................................................................................................... 37



(mm. 125-126) ............................................................................................................... 37

Musical Example 2.5 – Fantasia Carioca by Assad (m. 1-4) ......................................... 39

Musical Example 2.6 – Fantasia Carioca by Assad (mm. 84-87) .................................. 39

Musical Example 3.1 – Marcha rancho example by Marco Pereira ................................ 45

Musical Example 3.2 – Marcha rancho rhythmic pattern by Nelson Faria ...................... 45

Musical Example 3.3 – “Divertimento,” 1st movement from Aquarelle by Assad (mm.

21-29) ............................................................................................................................ 46


42-44) ............................................................................................................................ 47


50-51) ............................................................................................................................ 47


66-71) ............................................................................................................................ 48


76-77) ............................................................................................................................ 48


and 111) ........................................................................................................................ 48

10

LIST OF MUSICAL EXAMPLES - continued


88-89 and 115-116) ....................................................................................................... 49


109-110) ........................................................................................................................ 49

Musical Example 3.11 – “Divertimento,” 1st movement from Aquarelle by Assad (m.

121) ............................................................................................................................... 49


123) ............................................................................................................................... 49



(mm. 16-17) .................................................................................................................. 50



(m. 34) ........................................................................................................................... 50



(mm. 40-43) .................................................................................................................. 50



(mm. 64-65) .................................................................................................................. 50

Musical Example 3.17 – Frevo basic pattern by Nelson Faria ........................................ 51


38-44) ............................................................................................................................ 52


63-65) ............................................................................................................................ 52


87 and 114).................................................................................................................... 53


90-93) ............................................................................................................................ 53

Musical Example 3.22 – “Divertimento,” 1st movement from Aquarelle by Assad (m. 97)53



101) ............................................................................................................................... 54


118) ............................................................................................................................... 54

11



122) ............................................................................................................................... 54



(mm. 18-23) .................................................................................................................. 55



(m. 125) ......................................................................................................................... 55

Musical Example 3.29 – Frevo variation no. 3 by Nelson Faria ..................................... 55


124-132) ........................................................................................................................ 56

Musical Example 4.1 – Baião basic pattern by Nelson Faria .......................................... 57


76-79) ............................................................................................................................ 58



(m. 44) ........................................................................................................................... 58



(m. 53) ........................................................................................................................... 58



(m. 62) ........................................................................................................................... 59



(m. 66) ........................................................................................................................... 59



(m. 103) ......................................................................................................................... 59



(mm. 113-114) ............................................................................................................... 60

Musical Example 4.9 – Fantasia Carioca by Assad (mm. 57-60) .................................. 60



(mm. 96-116)................................................................................................................. 61

Musical Example 4.11 – Fantasia Carioca by Assad (mm. 57-60) ................................. 62



(mm. 110-116) ............................................................................................................... 62

12




(mm. 96-116)................................................................................................................. 63

Musical Example 4.14 – Fantasia Carioca by Assad (mm. 149-159) ............................. 64

Musical Example 5.1 – Dino Sete Cordas baixaria in Amor proibido by Cartola (mm. 40-

42) ................................................................................................................................. 65

Musical Example 5.2 – Dino Sete Cordas baixaria in Cinco companheiros by Pixinguinha

(mm. 89-92) .................................................................................................................. 66

Musical Example 5.3 – Dino Sete Cordas baixaria in Doce de coco by Jacob do Bandolim

(mm. 84-87) .................................................................................................................. 66

Musical Example 5.4 – “Divertimento,” 1st movement from Aquarelle by Assad (mm. 9-

12) ................................................................................................................................. 66


31-32) ............................................................................................................................ 67


33-34) ............................................................................................................................ 67


40-41) ............................................................................................................................ 67


58-59) ............................................................................................................................ 67


85-86) ............................................................................................................................ 68


91-96) ............................................................................................................................ 68


110) ............................................................................................................................... 68


138-139) ........................................................................................................................ 68



(mm. 74-75) .................................................................................................................. 69



(mm. 78-80) .................................................................................................................. 69

13


Musical Example 5.15 – Escorregando by Ernesto Nazareth (mm. 1-10) ....................... 70



(mm. 54-61) .................................................................................................................. 71

Musical Example 5.17 – Apanhei-te cavaquinho by Ernesto Nazareth (mm. 1-16) ......... 71


33) ................................................................................................................................. 72


184-188) ........................................................................................................................ 72

Musical Example 5.20 – B.H. by Sylvio Mazzucca (mm. 1-22)...................................... 73


90-95) ............................................................................................................................ 73

Musical Example 5.22 – Não me rasgues a roupa by A. Reale (mm. 1-11) .................... 74


Musical Example 5.24 – André de sapato novo by André Victor Corrêa (mm. 1-17) ...... 75


125-132) ........................................................................................................................ 75

Musical Example 5.26 – Assanhado by Jacob do Bandolim (mm. 10-33) ....................... 76

Musical Example 5.27 – Choros no. 1 by Heitor Villa-lobos (mm. 1-4) ......................... 77


154-155) ........................................................................................................................ 77

Musical Example 5.29 – Choro variation no. 1 by Nelson Faria ..................................... 77



(m. 71) ........................................................................................................................... 78




(mm. 54-61) .................................................................................................................. 81


91-95) ............................................................................................................................ 82

14


Musical Example 6.3 – Samba basic pattern by Nelson Faria ......................................... 82


85-86 and 112-113) ....................................................................................................... 83

Musical Example 6.5 – Samba variation no. 1 by Nelson Faria ..................................... 83

Musical Example 6.6 – Fantasia Carioca by Assad (mm. 98-115)................................. 84

Musical Example 6.7 – Fantasia Carioca by Assad (mm. 223-224) ............................... 85

Musical Example 6.8 – Samba variation no. 7 by Nelson Faria ..................................... 85



(mm. 82-83) .................................................................................................................. 86



(mm. 86-87) .................................................................................................................. 86



(mm. 90-91) .................................................................................................................. 86

Musical Example 6.12 – Samba variation no. 12 by Nelson Faria .................................. 87



(mm. 84-85) .................................................................................................................. 87



(mm. 88-89) .................................................................................................................. 87



(mm. 92-93) .................................................................................................................. 88


5) ................................................................................................................................... 89

Musical Example 7.2 – “Valseana,” 2nd

movement from Aquarelle by Assad (mm. 9-16)90


and 112) ........................................................................................................................ 91


and 116) ........................................................................................................................ 91



15




movement from Aquarelle by Assad (mm. 40-

43) ................................................................................................................................. 92


and 112) ........................................................................................................................ 93


80-82) ............................................................................................................................ 93


103-108) ........................................................................................................................ 93

Musical Example 7.12 – Fantasia Carioca by Assad (m. 12) ......................................... 94



142-143) ........................................................................................................................ 94





movement from Aquarelle by Assad (mm. 1-9)96



19) ................................................................................................................................. 98


88-89 and 115-116) ....................................................................................................... 99




101) ............................................................................................................................... 99



movement from Aquarelle by Assad (m. 10-11)104

16



and 117) ...................................................................................................................... 104





(mm. 24-33) ................................................................................................................ 107



20) ............................................................................................................................... 108



(mm. 86-89) ................................................................................................................ 108

Musical Example 9.4 – Marcha rancho ........................................................................ 112

Musical Example 9.5 – Marcha rancho “groovy” ......................................................... 112

Musical Example 9.6 – Marcha rancho variation no. 2 ................................................. 113

Musical Example 9.7 – Marcha rancho variation no. 2 “groovy” .................................. 113

Musical Example 9.8 – Marcha rancho variation no. 3 ................................................. 113

Musical Example 9.9 – Marcha rancho variation no. 3 “groovy” .................................. 114

Musical Example 9.10 – Baião .................................................................................... 114

Musical Example 9.11 – Baião “groovy” ..................................................................... 115

Musical Example 9.12 – Choro variation no. 1 ............................................................ 115

Musical Example 9.13 – Choro variation no. 1 “groovy” ............................................. 116

Musical Example 9.14 – Samba ................................................................................... 116

Musical Example 9.15 – Samba “groovy” .................................................................... 116

Musical Example 9.16 – Samba variation no. 1 ............................................................ 117

Musical Example 9.17 – Samba variation no. 1 “groovy” ............................................ 117

Musical Example 9.18 – Samba variation no. 7 ............................................................ 118

Musical Example 9.19 – Samba variation no. 7 “groovy” ............................................ 118

17


Musical Example 9.20 – Samba variation no. 12 .......................................................... 118

Musical Example 9.21 – Samba variation no. 12 “groovy” .......................................... 119

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.

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.

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).

3 Hans Heinrich Eggebrecht, Understanding Music (Farnham: Ashgate Publishing Company, 2010),

28.

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), 40.

5 Heinrich Schenker, The Art of Performance (New York: Oxford University Press, 2000), 4.

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, 2005.

9 Sérgio Assad and Odair Assad, “Bio,” Opus3artists, http://www.assadbrothers.com (accessed April

12, 2011).

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 11th Latin Grammy

Awards in 2010.11

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 2002.14

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), 115.

11 Sérgio and Odair Assad, “Bio,” Opus3artists, http://www.assadbrothers.com (accessed April 12,

2011).

12 Ibid.

13 Sérgio and Odair Assad, Sérgio and Odair Assad Play Piazzolla, Nonesuch, CD, 2001.

14 Sérgio and Odair Assad, “Bio,” Opus3artists, http://www.assadbrothers.com (accessed April 12,

2011).

15 Sérgio and Odair Assad, “Press-kit,” Opus3artists, http://www.assadbrothers.com (accessed May 4,

2011).

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, http://en.wikipedia.org/wiki/Sergio_Assad(accessed

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).

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.

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 13-20 years of age

during 1965-1972. 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), 67.

21 Charles A. Peronne and Christopher Dunn, Brazilian Popular Music & Globalization (Gainesville:

University Press of Florida, 2001), 73. 22 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: http://news.bbc.co.uk/2/hi/americas/3588339.stm)

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 (1945-1982), Dorival

Caymmi (1914-2008), 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.25

23 Chico Buarque, Chico Buarque, Polygram/Philips, LP, 1978.

24 Jonas Rezende, E Lysaneas Disse Basta (Rio de Janeiro: MAUAD Editora Ltda., 2000), 56.

25 Chris McGowan and Ricardo Pessanha, The Brazilian sound: Samba, Bossa Nova, and the Popular

Music of Brazil (Philadelphia: Temple University Press, 1998), 75.

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.

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.

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): 46.

28

Ibid.

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 three-

note 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, 2012. (For the complete

interview, see Appendix A).

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 Aquarelle32

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).


and 115)


interview, see Appendix A). 31 Ibid.

32 There are no printing mistakes in Fantasia Carioca; therefore, this section is solely dedicated to

Aquarelle.

33

The error in measures 89 and 116 is a missing accidental. The circled A# should be

natural (see Musical Example 1.2).


and 116)

The circled B should be flat as noted in Musical Example 1.3.



(m. 3)

The circled C should be A as noted in Musical Example 1.4.



(m. 114)

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,” 1st movement from Aquarelle by

Assad

Intro A B B’ C Bridge B Coda

(1-22) (22-83) (84-110) (111-132) (133-160) (161-182) (84-110) (184-193)

The introduction presents the three-note motive at the dynamic marking of piano.

Musical Example 2.1 – “Divertimento,” 1st 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 125-132 serving as a smooth transition to the next

section. Section C is slower and contrasting with measures 133-136 introducing the new

35

mood. The first musical idea (measures 137-154) is considerably longer than the second

musical idea (measures 155-160). The bridge is fast and repetitive, with a changing time

signature. The coda possesses two musical ideas (measures 184-188 and 189-193), 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,” 2nd


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 46-47 contain material from measures 38-39

and the harmony of measures 44-49 resemble that of measures 19-24.

Intro A (Main Theme) B A’ C Coda

(1-9) (10-18) (19-34) (35-43) (44-55) (56-57)

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,” 3rd

movement from Aquarelle

by Assad

Intro A B Development A’ (idea) Coda

(1-15) (16-35) (36-66) (67-115) (116-121) (122-126)

The motive of the first movement permeates the third movement as well, a concept

developed by Beethoven in his 5th

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).


33 Ludwig Van Beethoven, Symphony no. 5, Op. 67, in C minor (New York: Kalmus Orchestra Scores,

1932).

37



(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 125-126 (see Musical Example 2.4).



(mm. 125-126)

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 41-42. A transition in measures 54-61 allows Assad to

suggest upcoming new material, yet unexpectedly returns to the second theme in measure

38

62. 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, 92-94 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.34

2. 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) (117-136) (137-184)

A’ B’ C’ Coda

(185-193) (194-207) (208-226) (227-239)

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.

39

Musical Example 2.5 – Fantasia Carioca by Assad (mm. 1-4)

Theme 2 appears for the first time in measures 84-87 (see Musical Example 2.6).


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.

17-23) draws the listener to the piece’s harmonic aspect and builds tension to the bridge

at segment three (mm. 24-27). Segment four (mm. 28-36) reintroduces theme 1; this time

Assad uses staccatos to separate the theme and its repetition. Segment five (mm. 37-48)

displays the theme, now transposed to B flat minor. Segment six (mm. 49-56) introduces

a new theme in lydian b7 mode. Segment seven (mm. 57-60) features a short sequence in

40

dorian mode. Segment eight presents harmonics in chords and serves as an interesting

transition between G minor and D dorian at measures 66-70. 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 32nd

notes for the first time in

measure 105.

Section D is divided into two segments (mm. 117-132 and mm. 133-136).

Segment one (mm. 117-132) is composed of repetitive quarter-note chords and a new

theme on the bass. Segment two (mm. 133-136) serves as a bridge that builds tension

through the utilization of chords and scales.

Section E is divided into three segments. Segment one (mm. 137-148)

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. 149-



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. 165-184) presents

theme 1 in the soprano line, and D dorian is present in the accompaniment in measures

165-168. 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.36

36 Guitarra Magazine, “An Interview with Sérgio Assad,” Sherry-Brener Ltd., http://www.guitars-of-

spain.com/issue42/interview_assad.asp (accessed March 17, 2011).

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.39

37 American Indians.

38 Gerard Béhague, "Brazil," Grove Music Online,

http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/article/grove/music/03894

(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:

http://www.britannica.com.ezproxy2.library.arizona.edu/EBchecked/topic/96363/Carnival)

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 2004.42

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



41 Paul Thom, The Musician as Interpreter (University Park: Pennsylvania State University Press,

2007), 15.

42 Sérgio and Odair Assad, Milonga per tre, GHA, CD, 2004.

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.

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 47

44 Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 102.

45 Marco Pereira, Ritmos Brasileiros (Rio de Janeiro: Garbolights Produções Artísticas LTDA, 2007),

79.

46 Ibid.

47

Nelson Faria, The Brazilian Guitar Book (Petaluma: Sher Music CO., 1995), 110.

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.


21-29)

Note: The first three beats in measures 21 to 29 are identical; the last beat is a variation.

47


42-44)

The first three beats in measures 50-51 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).


50-51)

48


66-71)


76-77)


and 111)

49


88-89 and 115-116)


109-110)


121)


123)

50



(mm. 16-17)



(m. 34)



(mm. 40-43)



(mm. 64-65)

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 Faria48

The slurs in beat three of measures 38-41 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


52


38-44)

In Musical Example 3.19, the D# in measure 65 produces a natural accent.


63-65)

53


87 and 114)


90-93)



54


101)


118)


122)

55



(mm. 18-23)



(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 49

49


56

Notice that in Musical Example 3.30, articulation plays an important role in diagnosing

the frevo/marcha rancho genre:


124-132)

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 (1912-1989).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


57

percussive role when compared to other genres.51 52

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 55

51 Gerard Béhague, "Brazil," Grove Music Online,

http://www.oxfordmusiconline.com/subscriber/article/grove/music/03894 (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), 47.


54

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), 197.

55


58


76-79)



(m. 44)



(m. 53)

59



(m. 62)



(m. 66)



(m. 103)

60



(mm. 113-114)


Mixolydian, lydian b7 mode passages and emphasis on the upbeat can be observed in

Musical Example 4.10.

61



(mm. 96-116)

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.

62


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:



(mm. 110-116)

57


Baião e sua relação com a "Música Instrumental" Brasileira” (PhD diss., Unicamp, 2012), 183, 196.

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 4.14.



(mm. 96-116)

58


Baião e sua relação com a "Música Instrumental" Brasileira” (PhD diss., Unicamp, 2012), 195, 196.

64


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,

http://www.oxfordmusiconline.com/subscriber/article/grove/music/05679 (accessed March 17, 2011).

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. 40-

42)62

60 Tamara Elena Livingston-Isenhour and Thomas George Caracas Garcia, Choro (Bloomington:

Indiana University Press, 2005), 3.

61 Marie Gullard, “Brazilian Guitarists Explore more Exotic Roots at U. of Md.,” The Examiner,

http://washingtonexaminer.com/entertainment/brazilian-guitarists-explore-more-exotic-roots-u-md

(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.

66

Musical Example 5.2 – Dino Sete Cordas baixaria in Cinco companheiros by Pixinguinha

(mm. 89-92)63

Musical Example 5.3 – Dino Sete Cordas baixaria in Doce de coco by Jacob do Bandolim

(mm. 84-87)64


12)

63Remo Tarazona Pellegrini, “Análise dos Acompanhamentos de Dino Sete Cordas em Samba e

Choro” (master’s thesis, Unicamp, 2005), 98.

64

Ibid., 138.

67


31-32)


33-34)


40-41)


58-59)

68


85-86)


91-96)


110)


138-139)

69



(mm. 74-75)



(mm. 78-80)

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), 70.

66

Richard Elbert Miller, “The guitar in the Brazilian choro: Analyses of traditional, solo, and art

music” (PhD diss., Catholic University of America, 2006), 31.

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)69

67 Tadeu Coelho and Julie Koidin, “The Brazilian Choro: Historical Perspectives and Performance

Practices,” The flutest quarterly, Fall (2005):39.

68 Ibid.

69

Irmãos Vitale, O melhor do Choro Brasileiro (São Paulo: Irmãos Vitale, 1997), 2:28.

71



(mm. 54-61)

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)70

70


72



184-188)

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).

73

Musical Example 5.20 – B.H. by Sylvio Mazzucca (mm. 1-22)71


90-95)

71


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. 160-164).

Musical Example 5.22 – Não me rasgues a roupa by A. Reale (mm. 1-11)

72


72


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


125-132)

73


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. 10-33)74

The last three notes of measure 154 in the 1st 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.

77

Musical Example 5.27 – Choros no. 1 by Heitor Villa-lobos (mm. 1-4)


154-155)

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 Faria75

75


78



(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).


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.

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 133-160 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, 1891-1974).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):181.



79


80

Gerard Béhague, "Brazil," Grove Music Online,


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 91-95 and 54-61 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 96.

81


81



(mm. 54-61)

82


91-95)

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 Faria82

82


83

Notice that some sixteenth-notes are accented because of the natural execution of the

slurs:


85-86 and 112-113)

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 83

83


84


85

Measures 208-222 are equivalent to measures 98-112, while measures 223- 224 serve as

a variation:


The following measures will be compared to Nelson Faria’s variation no. 7 (see Musical

Example 6.8).


Measures 82-83 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


86



(mm. 82-83)

The same principle applies to the following measures:



(mm. 86-87)



(mm. 90-91)

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).




(mm. 84-85)



(mm. 88-89)

85


88



(mm. 92-93)

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, 1915-1955), who added altered and

extended chords to sambas and choros, would be a strong influence on all bossa nova



87 Garota de Ipanema, Tom Jobim Inédito, Biscoito Fino, CD, 1997.

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 2011.89

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).


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,



89 Jorge do Fusa, by Garoto, Holsclaw Hall, Tucson, November 6, 2011. 90

José Estevam Gava, A Linguagem Harmônica da Bossa Nova (São Paulo: Editora Unesp, 2002), 58.

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).


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,


92

José Estevam Gava, A Linguagem Harmônica da Bossa Nova (São Paulo: Editora Unesp, 2002),

252-253.

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 7.23. Assad often incorporated

descending chromatic movements in soprano line and bass (see Musical Examples 7.3,

7.4, 7.5, 7.6).


and 112)

Musical Example 7.4 – “Divertimento,” 1st movement from Aquarelle by Assad (m. 89

and 116)


92


Chromaticism in chords with the same root can be noted in Musical Examples 7.7 and

7.8.




43)

93

Parallel chromaticisms can be noted in Musical Examples 7.9, 7.10 and 7.11.


and 112)


80-82)


103-108)

High range pedal notes can be noted in Musical Examples 7.12 and 7.13.

94

Musical Example 7.12 – Fantasia Carioca by Assad (m. 12)


Dominant substitutes can be noted in Musical Examples 7.14, 7.15 and 7.16.

The F7 (13b) chord substitutes the B7 (V7) chord.


142-143)

95

The C#dim chord substitutes the B7 (V7) chord.


The Ebaug9 chord substitutes the A7 (V7) chord as demonstrated in Musical Example

7.16.


Major seven chords and other added notes chords can be noted in Musical Examples 7.17

and 7.18.

96


97


movement from Aquarelle by Assad (mm. 1-9)

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 7.19.



19)

Measures 88-89, 97, 99, 101, 115-116, and 121-124 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).

99


88-89 and 115-116)




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);97

93 Chico Buarque, Chico Buarque de Hollanda, Som Livre, LP, 1966.

94 Carlos Lyra, Brazilian Bossa Nova Classics, Essential World Masters, CD, 2011.

95 Maria Dapaz, O Abre Alas, Atração Fonográfica, CD, 2008. 96 Chico Buarque, Chico Buarque de Hollanda vol. 2, Som Livre, LP, 1967.

97 Luiz Gonzaga, Luiz Gonzaga Maxximum, Columbia, CD, 2005.

101

- Asa branca (Luiz Gonzaga/Humberto Teixeira);98

- O ovo (Hermeto Pascoal);99

- Ponteio (Edu Lobo/Capinam).100

Choro:

- Apanhei-te cavaquinho (Ernesto Nazareth);101

- Chorei (Pixinguinha);102

- Brasileirinho (Waldir Azevêdo);103

- Meu caro amigo (Francis Hime/Chico Buarque).104

98 Ibid.

99 Hermeto Pascoal, Quarteto Novo, Odeon, LP, 1967.

100 Edu Lobo, Sergio Mendes Presents Lobo, Verve Records, CD, 2000.

101 Antonio Adolfo, Os Pianeiros: Antonio Adolfo Abraca Ernesto Nazareth, Kuarup Discos, CD,

2006.

102 Zé da Velha and Silvério Pontes, Só Pixinguinha, Biscoito Fino, CD, 2006.

103 Waldir Azevedo, Tributo a Waldir Azevedo o Mestre do Cavaquinho, Toda América Edições Ltda.,

CD, 2007.

104 Chico Buarque, Meus Caros Amigos, Universal Brazil, LP, 1976.

102

Samba:

- Não deixe o samba morrer (Edson Gomes da Conceição/Aloísio);105

- Samba do Arnesto (Adoniram Barbosa);106

- Fita amarela (Noel Rosa);107

- Samba pra Vinícius (Toquinho/Chico Buarque).108

Bossa Nova:

- Garota de Ipanema (Tom Jobim/Vinicius de Moraes);109

- Desafinado (Tom Jobim/ Newton Mendonça);110

- Wave (Tom Jobim);111

- O barquinho (Roberto Menescal/ Ronaldo Bôscoli).112

105 Alcione, Não Deixe o Samba Morrer, Polygram, CD, 1996.

106 Demonios da Garoa, Esses Divinos Demônios da Garoa, EMI, CD, 2008.

107 Martinho da Vila, Poeta da Cidade Martinho Canta Noel, Biscoito Fino, CD, 2012.

108 Toquinho, 20 Grandes Sucessos de Toquinho & Vinícius, Universal Latino, CD, 2007.

109 Tom Jobim, Tom Jobim Inédito, Biscoito Fino, CD, 1997.

110 Ibid.

111

Ibid.

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).


Many guitarists play the middle voice in measures 10-11 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.

104

should receive the most attention in this movement. This fingering suggestion in Musical

Example 8.2 makes that possible.



11)

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.


and 117)

Connecting the notes can be difficult while playing the chords in measures 137-144 of

Fantasia Carioca. Many guitarists are challenged to eliminate the gaps caused by the

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.


Measures 156-162 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

106

hand’s rhythm and sway allow the stretching to occur in a more pleasurable and

consistent manner.


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.

107

There are no articulation marks in measures 24-33 of the 3rd

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 24-33 are a continuation of the same genre, adding

accents to the analogous notes as indicated in the Musical Example 9.1.



(mm. 24-33)

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

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.



20)

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.



(mm. 86-89)

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,

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. Syncope114

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):45.

114 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:http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/article/opr/t237/e1002

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.

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

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.

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), 88-89 (115-116), 109-110, 121, and 123 in the first movement of

Aquarelle. It also occurs in measures 16-17, 34, 40-43, and 64-65 in the third movement

of Aquarelle.

Marcha rancho variation no. 2:

113

Musical Example 9.6 – Marcha rancho variation no. 2


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 18-23 and

125 in the third movement of Aquarelle.

Marcha rancho variation no.3:

Musical Example 9.8 – Marcha rancho variation no. 3

114


Musical Example 9.9 – Marcha rancho variation no. 3 “groovy”

This marcha rancho rhythmic pattern can be found in measures 124-132 in the first

movement of Aquarelle.

Baião basic pattern:

Musical Example 9.10 – Baião


115

Musical Example 9.11 – Baião “groovy”

This baião rhythmic pattern can be found in measures 76-79 in the first movement, as

well as measures 44, 53, 62, 66, 103, and 113-114 in the third movement of Aquarelle.

Fantasia Carioca contains the same pattern in measures 57-60.

Choro variation no. 1:

Musical Example 9.12 – Choro variation no. 1


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


Musical Example 9.15 – Samba “groovy”

117

This samba rhythmic pattern can be found in measures 85-86 (112-113) in the first

movement of Aquarelle.

Samba variation no. 1:

Musical Example 9.16 – Samba variation no. 1


Musical Example 9.17 – Samba variation no. 1 “groovy”

This samba rhythmic pattern can be found in measures 98-115 (208-224) of Fantasia

Carioca.


118




This samba rhythmic pattern can be found in measures 82-83, 86-87, and 90-91 in the

first movement of Aquarelle.



119



This samba rhythmic pattern can be found in measures 84-85, 88-89, and 92-93 in the

third movement of Aquarelle.

120

CHAPTER V. CONCLUSIONS

Considered to be one of the most successful guitarist-composers of the twentieth-

first century, Sérgio Assad continues to inspire guitarists all over the world through his

arrangements, compositions, and performances. Aquarelle and Fantasia Carioca are two

significant examples of his writing style. The heavy influence of Brazilian traditional

music genres is evidenced in the rhythmic, melodic, and harmonic qualities of both

pieces. The peculiar accents of marcha rancho coupled with elements of baião (as use of

repeated notes, mixolidian/lydian b7 and dorian modes), the “baixarias” of choro, the

rhythmic variations of samba, and the harmony of bossa nova are important qualities that

can assist the informed listener in understanding Assad’s compositions. Together with

direct input from the composer, these qualities lend themselves to a more authentic

interpretation.

Interpretation directly affects the perceived quality and listeners’ ability to

appreciate a composition. Assad affirms that at times composers can be pleasantly

surprised by other interpretations of their work, however the lack of knowledge of a

musician regarding the defining qualities of a given work should not compromise its

perceived value.116

Interpreters have a responsibility, to the audience and composer, to

deliver an authentic interpretation. The tools contained within this performer’s guide aim

to support the musician in making such contribution.

116

Sérgio Assad, Interview by Eduardo Minozzi Costa, September 12, 2012. (For the complete


121

APPENDIX A

INTERVIEW WITH SÉRGIO ASSAD

by Eduardo Minozzi Costa – September 12, 2012

(Sérgio Assad graciously answered the following interview via email.)

1. What Brazilian traditional genres have you transcribed for guitar?

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.

2. Could you list a few examples?

Many pieces by Nazareth, Jacob Bittencourt and Pixinguinha. What they had in common

was that their output was mainly in the choro and waltz genres.

3. What were your career and life like while composing Aquarelle?

Aquarelle was my first large work for solo guitar. I wrote it in 1986 while living in Paris.

At that time Odair and I had already started an international career but weren't extremely

busy. I had long periods off and could dedicate lots of time to arrange pieces for our

repertoire as well as to try to write some music.

4. What inspired you to write this piece?

My wife at the time, who passed away in 1994, liked to paint aquarelles.117

I was

117

“Aquarelles” refer to watercolors.

122

fascinated with the spread of the colors on the canvas. Following that idea of spreading I

started the piece with a motif of three notes that spreads through the score with

augmentations and fragmentations.

5. What were your career and life like while composing Fantasia Carioca?

I wrote Fantasia Carioca in 1994. That year was quite tragic but when you are under

stress music helps you out. I wrote it to myself, to remember I was Brazilian and that was

something to hold to.

6. What inspired you to write this piece?

Images and memories of Rio. Distances were much longer in those days and

communication wasn't so easy like today. Fantasia Carioca is an obsession with a single

music phrase. As I was sort of stuck in Paris but wishing to be in Brazil, Rio became that

kind of obsession. If you go through the piece you will notice that the same theme

appears a dozen times exploring many different moods and genres including the ballad

and the samba.

7. Are there any printing mistakes in Aquarelle? If yes, what needs to be corrected?

Yes, the following needs to be corrected:

- Page 5, measure 2 from line 5: the F# from the second chord should be natural. In

reality, it should have been written as E#, which if you do that, you will have to write a

natural on the following E, so it can become natural again.

- Page 5, measure 1 from line 6: the third chord, where there is a bar, the A should be

natural; it is missing a natural there.

123

- Page 6, the same chords which I referred to before are repeated on line 6 and should be

corrected as well.

- Page 11, measure 1 from line 2: the B from the third beat should be flat.

- Page 14, measure 1 from line 5: the C from the second beat should be an A.

It is possible that something else may have escaped my attention, but these are the

mistakes that most bother me.

8. Are there any printing mistakes in Fantasia Carioca? If yes, what needs to be

corrected?

There are no mistakes in Fantasia Carioca.

9. How should Aquarelle be performed? Could you offer some insight as to how to play

this piece according to your intent?

I believe that a piece of music is like your child. Once is out there it can grow differently

from your original intent. Sometimes the result isn't good but you can be quite nicely

surprised by other people's view of your work at other times. The last movement is more

idiomatic than the previous ones and some experience with Brazilian traditional music

can help.

10. How should Fantasia Carioca be performed? Could you offer some insight as to how

to play this piece according to your intent?

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.

124

APPENDIX B

HUMAN SUBJECTS REVIEW

125

APPENDIX C

COMPOSER’S PERMISSION

126

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