Choro Pro Zé (Choro for Zé) is a composition by Guinga, one of the greatest living composers of the Brazilian guitar. It explores the tonality of D minor, starting with a scale of whole tones. The piece is harmonically very rich, making use of modal borrowings and chromatic passages, and calls for a softer, velvety […]
This is my arrangement of the choro waltz “Santa Morena”, a spanish influenced piecee by Brazilian composer Jacob do Bandolim, to which I attempted to bring a flamenco flavor using somee techniques and concepts of the flamenco “bulerías” style.
This composition fuses the flamenco style with the latin rhythm of “chacarera”. The guitar makes use of the flamenco techniques and sonority but to embrace an universal language alongside the orchestra. The composition builds the theme up to a peak of fast picados in dramatic moment with the use of the whole tone scale.
I’ve decided to record the Latin American standard “Merceditas” to feature a guitar approach that I think of as “World Guitar”. A combination of Brazilian, Jazz, Flamenco, Latin, and Gypsy styles!
The Surdo-Thumb technique provides a bass-percussion-like tone through the use of the flesh against more than one bass string at a time. The multiple bass strings vibrating resemble the depth of the skin of the “surdo”.
I’ve been wanting to record this tune for a few weeks and finally had the time. “Feira de Mangaio” is a baião by Sivuca, that when I play, reminds of going out to Brazil’s forró, to dance for hours. The swing is the most important part in order to bring the spirit of the music […]