PEDRO ARAGÃO

NEW !!

AS PART OF THE CHORO FESTIVAL ORGANIZED IN PARTNERSHIP WITH  THE ASSOCIATION LA RODA & THE CONSERVATORY “DARIUS MILHAUD” OF AIX-EN-PROVENCE

PRESENTATION

This musical expression “choro”, appeared in Rio de Janeiro in the mid-nineteenth century, was initially used to refer to the group of popular musicians who played in their own way European ballroom dances (polkas, scottish, waltzes, etc …). These musicians mixed European genres with other influences – including from Africa – and the term “choro” referred to a syncopated and danceable musical genre that animated the city’s popular balls. From the 1930s, choro became a musical genre, conveyed by radios, gaining popularity throughout Brazil.

PURPOSE

From the ensemble practice, this master-class aims to train and perfect the student in the language of Choro. It will be worked on the technical aspects of the subgenres that make up the language of Choro, such as Maxixe, Polka, Samba-Choro, Scottish and Waltz.

GENERAL CONTENT

  • The history of Choro and its founding genres: Polka, Maxixe, Scottish, Waltz and Choro-sambado.
  • Technical aspects and characteristic articulations of the Choro and the styles that compose it.
  • Analysis of the functions of each instrument in the regional Choro: Pandeiro, Cavaquinho, 6-string guitar, 7-string guitar.
  • Formative aspects of the Choro Roda: rhythmic-harmonic accompaniment (levadas), relationship between accompaniment and melodic articulation of solo instruments.
  • Ensemble practice with a focus on arrangements for different ensembles.

TERMS OF PARTICIPATION

  • Minimum age: 12 years old
  • Open to students who want to have a basic training in the language of Choro and also to those who want to improve.
  • Knowledge of chord grids by guitarists and cavaquinists is desirable.

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BIOGRAPHY

Pedro Aragão holds a PhD in ethnomusicology from the University of Rio de Janeiro. Professor at the Villa-Lobos Institute (UNIRIO), he currently works as a researcher at the University of Aveiro, where he conducts research, focused on musical exchanges between Brazil, Portugal, and Mozambique.

He coordinated, with Mauricio Carrilho and Luciana Rabello, the Escola Portátil de Música, a choro teaching project that is a reference in this field in Brazil.

He was director of the Instituto Jacob do Bandolim, which published the CD “Tocando com Jacob” (Irmãos Vitale) and the complete works of Jacob do Bandolim in score.

He conducted the Orquestra Furiosa Portátil, which published in 2009 the CD Compositores Brasileiros Contemporâneos, with works by Cristóvão Bastos, Mauricio Carrilho, Jayme Vignoli and Marcílio Lopes

https://open.spotify.com/album/27qe5UCh1hJ3aZxr0iRjwt

As an instrumentalist (mandolin), he has given concerts and workshops in France, Belgium, Spain, Denmark, Sweden, Portugal, Colombia and Peru. He has played with great names in Brazilian popular music such as Cristina Buarque de Hollanda, Mônica Salmaso, Zélia Duncan and Roberto Silva.

Author of the book “O Baú do Animal”, dedicated to the history of choro and winner of the Funarte Prize for critical production in music and the Silvio Romero Prize in Brazil.

Organizer, with Bia Paes Leme, Paulo Aragão and Marcílio Lopes, of the books “Pixinguinha Inéditas e Redescobertas”, “Pixinguinha na Pauta” and “Pixinguinha Outras Pautas” published by the Instituto Moreira Salles of Rio de Janeiro.

VIDEO EXTRACTS

https://www.youtube.com/watch?v=FRgoCdao8Ts

https://www.youtube.com/watch?v=TSnJncduWUE

https://www.youtube.com/watch?v=-ujwSg6YQME