Topam PDF

SRGIO ASSADS (b.
1952) AQUARELLE AND FANTASIA CARIOCA:

A PERFORMERS 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
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 Srgio Assads (b. 1952) Aquarelle and
Fantasia Carioca: A Performers Guide and recommend that it be accepted as fulfilling
the document requirement for the Degree of Doctor of Musical Arts.
Date: 11/19/12
Thomas Patterson
Date: 11/19/12
Donald Hamann
Date: 11/19/12
Shelly Cooper
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
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
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, Luclia Amlia 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.
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 Srgio Assad for his patience in answering my questions and for his
music that will continue to inspire guitarists for many generations to come.
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. SRGIO ASSAD (b. 1952) ................................................................... 22
CHAPTER III. RELEVANT HISTORICAL CONSIDERATIONS AND MPB (MSICA
POPULAR BRASILEIRA) ...................................................................................... 26
CHAPTER IV. PERFORMERS GUIDE ...................................................................... 29
Overview ................................................................................................................... 29
Srgio 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. Baio ............................................................................................................... 56
3. Choro .............................................................................................................. 64
4. Samba.............................................................................................................. 79
5. Bossa Nova...................................................................................................... 88
Suggested Listening List .......................................................................................... 100

Suggested Fingerings ............................................................................................... 103
Interpretation Guidelines.......................................................................................... 106
CHAPTER V. CONCLUSIONS .................................................................................. 120
APPENDIX A. INTERVIEW WITH SRGIO ASSAD .............................................. 121
APPENDIX B. HUMAN SUBJECTS REVIEW .......................................................... 124
APPENDIX C. COMPOSERS PERMISSION ........................................................... 125
REFERENCES ............................................................................................................ 126
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
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 Baio 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. 4042) ................................................................................................................................. 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. 912) ................................................................................................................................. 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 No me rasgues a roupa by A. Reale (mm. 1-11) .................... 74
Musical Example 5.24 Andr de sapato novo by Andr Victor Corra (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
Musical Example 7.1 Divertimento, 1st movement from Aquarelle by Assad (mm. 15) ................................................................................................................................... 89
Musical Example 7.2 Valseana, 2nd movement from Aquarelle by Assad (mm. 9-16)90
and 112) ........................................................................................................................ 91
and 116) ........................................................................................................................ 91
15

Musical Example 7.8 Valseana, 2nd movement from Aquarelle by Assad (mm. 4043) ................................................................................................................................. 92
and 112) ........................................................................................................................ 93
80-82)............................................................................................................................ 93
103-108) ........................................................................................................................ 93
Musical Example 7.12 Fantasia Carioca by Assad (m. 12) ......................................... 94
142-143) ........................................................................................................................ 94
Musical Example 7.18 Valseana, 2nd movement from Aquarelle by Assad (mm. 1-9)96
Musical Example 7.19 Valseana, 2nd movement from Aquarelle by Assad (mm. 1719) ................................................................................................................................. 98
88-89 and 115-116) ....................................................................................................... 99
101) ............................................................................................................................... 99
Musical Example 8.2 Valseana, 2nd movement from Aquarelle by Assad (m. 10-11)104
16

and 117) ...................................................................................................................... 104
Musical Example 8.4 Fantasia Carioca by Assad (mm. 137-144)............................. 105
Musical Example 8.5 Fantasia Carioca by Assad (mm. 156-162)............................. 106
(mm. 24-33) ................................................................................................................ 107
Musical Example 9.2 Valseana, 2nd movement from Aquarelle by Assad (mm. 1720) ............................................................................................................................... 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 Baio .................................................................................... 114
Musical Example 9.11 Baio 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 Srgio Assads (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
composers reflections and comments.
This document guides readers in recognizing the subtleties that characterize Assads
style and its Brazilian traditional music influences. A select group of styles has been
chosen based on their relevance in Assads work. Characterized by unique accent patterns
and melodic/harmonic clichs, the influences of each Brazilian music genre can be
identified in specific measures of the two Assads 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 Assads overall style. My goal is to create a performers guide of Aquarelle
and Fantasia Carioca consisting of the following subsections: overview, Srgio 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 performers playing style.
20
CHAPTER I. INTRODUCTION AND SCOPE OF STUDY

The purpose of this study was to produce a performers guide to Srgio Assads
(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 Msica Popular Brasileira (MPB) impacted Assads musical
references, how Brazilian traditional music influenced Assads compositions, and how
guitarists can perform both pieces in a manner that honors the composers intent.
Consider this document as a guide on how to express Assads compositional style
through ones 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 Assads 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
28.
Srgio Assad, Aquarelle (Paris: Editions Henry Lemoine, 1992).
Srgio Assad, Fantasia Carioca (Paris: Srgio Assad Music, 2002).
Hans Heinrich Eggebrecht, Understanding Music (Farnham: Ashgate Publishing Company, 2010),
21
something of the character of that epoch and also the complete range of the
composers other works.4
The perceived quality of a composition relies on the quality of its performance. An
individual may misjudge the selections 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.
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. SRGIO ASSAD (b. 1952)

Srgio 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 werent 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 didnt find anyone,
he would teach them. 7
In addition to arranging, teaching and composing, Srgio 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, Radams 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 Tvora, a disciple of Andrs 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:
Segovias complex relationships with the folkloric music of Andalusia, flamenco,
have already been considered. Yet, it must be emphasized that Segovias
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, Srgio Assad Interview, Acoustic Guitar Magazine, November 2009, 2.
Joseph Sekon, DRivera, Assad brothers nothing short of pure artistry, Register-Pajaronian,
February 11, 2005.
9
Srgio 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 Maracape (a piece for guitar duo) were
nominated for best classical contemporary compositions at the 11 th 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 Srgio 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 Salerno10
Graham Wade, Segovia: A Celebration of the Man and his Music (London: Alison & Busby Ltd.,
1983), 115.
11
Srgio and Odair Assad, Bio, Opus3artists, http://www.assadbrothers.com (accessed April 12,
2011).
12
Ibid.
13
Srgio and Odair Assad, Srgio and Odair Assad Play Piazzolla, Nonesuch, CD, 2001.
14
Srgio and Odair Assad, Bio, Opus3artists, http://www.assadbrothers.com (accessed April 12,
2011).
15
2011).
Srgio and Odair Assad, Press-kit, Opus3artists, http://www.assadbrothers.com (accessed May 4,
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 Assads compositions, arrangements, and his performance
career. Joo Paulo Figeira da Cruz compiled an annotated bibliography of Assads
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 Porteas by stor Piazzolla with arrangements of other guitarists (Agustn
Carlevaro, Baltazar Bentez and Joe Pass). 18 Joseph E. Szydlowski reviewed five pieces
by Assad: Jobiniana no. 3 pour guitar, Jobiniana no. 1 pour 2 guitares, Circulo mgico
pour flte et guitare, Winter Impressions pour flte, 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
Srgio Assad, Arrangements, Wikipedia, http://en.wikipedia.org/wiki/Sergio_Assad(accessed

October 29, 2012).
17
Joo Paulo Figueir a da Cruz, An Annotated Bibliography of Works by the Brazilian Composer
Srgio Assad (DMA diss., Florida State University, 2008).
18
Guilherme Caldeira Loss Vincens, The Arrangements of Roland Dyens and Srgio 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 Assads 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 Assads work. I intended to create a
performers guide for interpreting Srgio Assads Aquarelle and Fantasia Carioca based
on the composers 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 migico pour flte et guitare, Winter Impressions pour flte, alto et guitare, Uarekena pour
quatuor de guitars, by Srgio Assad, Notes 60, no. 3 (March 2004): 806.
26
CHAPTER III. RELEVANT HISTORICAL CONSIDERATIONS AND

MPB (MSICA 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 publics 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 Msica 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 Buarques song, Clice
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" (clice) 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 Vandr (b. 1935), Elis Regina (1945-1982), Dorival
Caymmi (1914-2008), Simone (b. 1949), Caetano Veloso (b. 1942), Maria Bethnia
(1946), Gal Costa (b. 1945), Alceu Valena (b. 1946), Geraldo Azevedo (1945), Joo
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, forr, 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. PERFORMERS GUIDE

Overview
The performers 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 performers playing style.
Corrections to printing errors are based on a personal interview with Srgio
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 Assads 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 Performers 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 Assads 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 Assads suggestions for ways to interpret both pieces.
Srgio Assad's Career and Life While Composing Aquarelle and Fantasia Carioca
Aquarelle (1986), written while in Paris, was Assads 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 threenote 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
Srgio 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 Assads 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)
30
31
32
Ibid.
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
Bridge
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 movement from Aquarelle by Assad
Intro
A (Main Theme)
Coda
(1-9)
(10-18)
(19-34)
(35-43)
(44-55)
(56-57)
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.
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
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 movements main theme (measures 1-4) (see Musical
Examples 2.2 and 2.3 for the original and transposed motive).
33
1932).
Ludwig Van Beethoven, Symphony no. 5, Op. 67, in C minor (New York: Kalmus Orchestra Scores,
37
(mm. 1-4)
The motive can be observed also in measures 5-6, 16-17, 18-19, 20-21, 22-23, 28-29, 3233, 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). Assads 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
C
(98-116)
(117-136)
(137-184)
(1-83)
(84-97)
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 pieces 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. 14935
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 Srgio Assad, Sherry-Brener Ltd., http://www.guitars-ofspain.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 So
Paulo and Salvador. The first fifty years following slaverys abolition are considered the
belle poque 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 Bhague, "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 works features and may support and strengthen the original
works aims, perhaps by illuminating the original work. In a second type, the
aspectual representation may not cohere with all of the original works features
and may not support that works aims; rather, it transforms the work in some
significant way.41
Assads approach to transcriptions has been mostly regarded as the second type, where
he allows his creative imagination to transform the pieces old sonority into one more
updated. Despite these transformations, Assads 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 Assads 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
40
41
Paul Thom, The Musician as Interpreter (University Park: Pennsylvania State University Press,
2007), 15.
42
Srgio 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 Assads 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 Assads 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 Assads personal style. However, it is clear that Brazilian traditional
music influenced Assads 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 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 ranchos 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 Farias 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 Produes Artsticas LTDA, 2007),
46
Ibid.
47
79.
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 Pereiras
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 Pereiras 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 Farias
frevo basic pattern (see Musical Example 3.17).
Musical Example 3.17 Frevo basic pattern by Nelson Faria 48
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 Farias 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. Baio
Baio is a Brazilian traditional music genre from the northeast section of Brazil,
and is prevalent in Pernambuco, Cear, Maranho, 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
50
57
percussive role when compared to other genres. 51 52 Generally written in 4/4, baio
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 baio basic pattern, which is likely why
Assad decided to include the baio 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 Farias basic pattern (authentic interpretation requires a slight
accentuation on the upbeats).54
Musical Example 4.1 Baio basic pattern by Nelson Faria 55
51

http://www.oxfordmusiconline.com/subscriber/article/grove/music/03894 (accessed September 26, 2012).
52
Jonas Rodrigues de Moraes, Truce um Tringulo no Matolo [...] Xote, Maracatu e Baio: A
Musicalidade de Luiz Gonzaga na Construo da Identidade Nordestina (masters thesis, Pontifcia
Universidade Catlica de So Paulo, 2009), 47.
53
54
Almir Cortes Barreto, Improvisando em Msica Popular: Um Estudo sobre o Choro, o Frevo e o
Baio e sua Relao com a "Msica 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 baio melodies.56 See
Musical Example 4.11 for Assads use of the dorian mode.
56
Almir Cortes Barreto, Improvisando em Msica Popular : Um Estudo sobre o Choro, o Frevo e o
Baio e sua relao com a "Msica Instrumental" Brasileira (PhD diss., Unicamp, 2012), 190.
62
Another baio 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
Baio e sua relao com a "Msica Instrumental" Brasileira (PhD diss., Unicamp, 2012), 183, 196.
63
Repeated notes and the use of thirds can be found in many baio melodies. 58 Notice how
this occurs in the passages presented in Musical Examples 4.13 and 4.14.
(mm. 96-116)
58
Baio e sua relao com a "Msica 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 Bhague, "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. Srgio 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 Assads 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 Maurcio 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 Assads 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. 4042)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, Anlise dos Acompanhamentos de Dino Sete Cordas em Samba e
Choro (masters 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
Musical Example 5.4 Divertimento, 1st movement from Aquarelle by Assad (mm. 912)
63
Remo Tarazona Pellegrini, Anlise dos Acompanhamentos de Dino Sete Cordas em Samba e
Choro (masters 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 chores, 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 Choros 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 Assads 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 Assads Aquarelle (see Musical
Examples 5.15 and 5.16). This influence is further affirmed by Assads own arrangement
of Nazareths 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
Irmos Vitale, O melhor do Choro Brasileiro (So Paulo: Irmos 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 Assads
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 No me rasgues a roupa by A. Reale, can be compared to
Assads Fantasia Carioca. The following melodic pattern selected from A. Reales piece
share a common melodic pattern with Assads (mm. 160-164).
Musical Example 5.22 No 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. Andr de sapato novo by Andr Victor Corra is an example of this technique,
which is evidenced in Aquarelle (see Musical Examples 5.24 and 5.25).
Musical Example 5.24 Andr de sapato novo by Andr Victor Corra (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 (So Paulo: Irmos 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 Farias variation no. 1
(see Musical Examples 5.29 and 5.30).
Musical Example 5.29 Choro variation no. 1 by Nelson Faria 75
75
78
(m. 71)
Use of chromatics in the melody during the end of a selection is characteristic of choro
and baio.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 Msica Popular: Um Estudo sobre o Choro, o Frevo e o
Baio e suaRrelao com a "Msica 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
baio 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, So 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-cano (played at a slow tempo and
77
Alexandra Mascolo-David, Francisco Mignone and His "Valsas brasileiras" for Piano,
Mediterranean Studies, 12, (2003):181.
78
79
80

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 Aquarelles 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
Farias basic samba rhythmic pattern.
Musical Example 6.3 Samba basic pattern by Nelson Faria 82
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
Farias 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 Farias 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 Farias 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
86
87
Garota de Ipanema, Tom Jobim Indito, 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
Assads employment of this technique is his first-hand experience with Garotos 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
Debussys whole tone scale in Aquarelle (see Musical Example 7.1).
Musical Example 7.1 Divertimento, 1st movement from Aquarelle by Assad (mm. 15)
According to Bhage, Before bossa nova the melody was generally strongly
emphasized, to satisfy the basic requirement of an easily singable tune; bossa nova,
88
89
Jorge do Fusa, by Garoto, Holsclaw Hall, Tucson, November 6, 2011.
90
Jos Estevam Gava, A Linguagem Harmnica da Bossa Nova (So 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 singers personality is altogether avoided. 91 This
provides context for why additional notes added to chords can be found in Assads main
melody (see Musical Example 7.2).
Musical Example 7.2 Valseana, 2nd movement from Aquarelle by Assad (mm. 9-16)
Bossa novas 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 clichs 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 Bhague, "Bossa nova," Grove Music Online,

92
Jos Estevam Gava, A Linguagem Harmnica da Bossa Nova (So 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.
Musical Example 7.8 Valseana, 2nd movement from Aquarelle by Assad (mm. 4043)
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
Musical Example 7.18 Valseana, 2nd movement from Aquarelle by Assad (mm. 1-9)
98
Clichs 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.
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 Farias 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 genres most
important pieces, but only serve as relevant examples.
Marcha Rancho:
- A banda (Chico Buarque);93
- Marcha de quarta-feira de cinzas (Vincius de Moraes/Carlos Lyra);94
- As pastorinhas (Noel Rosa/Braguinha);95
- Noite dos mascarados (Chico Buarque).96
Baio:
- Baio (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, Atrao Fonogrfica, 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 Azevdo);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
Z da Velha and Silvrio Pontes, S Pixinguinha, Biscoito Fino, CD, 2006.
103
Waldir Azevedo, Tributo a Waldir Azevedo o Mestre do Cavaquinho, Toda Amrica Edies Ltda.,
CD, 2007.
104
Chico Buarque, Meus Caros Amigos, Universal Brazil, LP, 1976.
102
Samba:
- No deixe o samba morrer (Edson Gomes da Conceio/Alosio);105
- Samba do Arnesto (Adoniram Barbosa);106
- Fita amarela (Noel Rosa);107
- Samba pra Vincius (Toquinho/Chico Buarque).108
Bossa Nova:
- Garota de Ipanema (Tom Jobim/Vinicius de Moraes);109
- Desafinado (Tom Jobim/ Newton Mendona);110
- Wave (Tom Jobim);111
- O barquinho (Roberto Menescal/ Ronaldo Bscoli). 112
105
Alcione, No Deixe o Samba Morrer, Polygram, CD, 1996.
106
Demonios da Garoa, Esses Divinos Demnios 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 & Vincius, Universal Latino, CD, 2007.
109
Tom Jobim, Tom Jobim Indito, 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 Aquarelles 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 Leo, 20 Grandes Sucessos de Nara Leo, Universal Latino, CD, 2007.
104
should receive the most attention in this movement. This fingering suggestion in Musical
Example 8.2 makes that possible.
The next fingering suggestion (see Musical Example 8.3) allows the interpreter to
emphasize the rhythmic aspect of measures 90 and 117 in Aquarelles 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
hands 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
Assads Aquarelle and Fantasia Carioca is not sufficient for an authentic interpretation
aligned with the composers 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 1623, 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. Assads 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.
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 Peoples 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 peoples 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 Assads 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 timesignature. First used at
time of Ars Nova, and exploited to fullest capabilities by jazz musicians, often in improvisation.
Stravinsky, Bartk , 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 genres rhythmic pattern;
This document will list an example of each Brazilian traditional music genre
associated with Assads Aquarelle and Fantasia Carioca.
2. Identify the genres 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 genres 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, baio, 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 Assads 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 audiences
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, 6671, 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.
Baio basic pattern:
Musical Example 9.10 Baio
115
Musical Example 9.11 Baio groovy
This baio 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 twentiethfirst century, Srgio 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 baio (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 Assads 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 performers guide aim
to support the musician in making such contribution.
116
121
APPENDIX A
INTERVIEW WITH SRGIO ASSAD
by Eduardo Minozzi Costa September 12, 2012
(Srgio 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 baio 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
COMPOSERS PERMISSION
126
REFERENCES
Adolfo, Antonio. Os Pianeiros: Antonio Adolfo Abraca Ernesto Nazareth. Kuarup
Discos. CD. 2006.
Alcione. No Deixe o Samba Morrer. Polygram. CD. 1996.
Arajo, Samuel M. Brega: Music and Conflict in Urban Brazil. Latin American Music
Review 9, no. 1 (1988): 50-89.
Assad, Srgio, and Aliksey Vianna. Aliksey Vianna plays Srgio Assad Solo Guitar
Works. San Francisco, CA: GSP Recordings, 2005.
Assad, Srgio. Aquarelle. Paris: Editions Henry Lemoine, 1992.
Assad, Srgio. Arrangements. Wikipedia.
http://en.wikipedia.org/wiki/Sergio_Assad(accessed October 29, 2012).
Assad, Srgio, and Odair Assad. Bio. Opus3artists. http://www.assadbrothers.com
(accessed April 12, 2011).
Assad, Srgio. Fantasia Carioca. Paris: Srgio Assad Music, 2002.
Assad, Srgio, and Odair Assad. Milonga per tre. GHA. CD. 2004.
Assad, Srgio, and Odair Assad. Press-kit. Opus3artists. http://www.assadbrothers.com
(accessed May 4, 2011).
Assad, Srgio, and Odair Assad. Srgio and Odair Assad Play Piazzolla. Nonesuch. CD.
2001.
Azevedo, Waldir. Tributo a Waldir Azevedo o Mestre do Cavaquinho. Toda Amrica
Edies Ltda.. CD. 2007.
Barnes, Christopher. The Russian Piano School: Russian Pianists & Moscow
Conservatoire Professors on the Art of the Piano. London: Kahn & Averill,
2007.
Barreto, Almir Cortes. Improvisando em Msica Popular : Um Estudo sobre o Choro, o
Frevo e o Baio e sua Relao com a "Msica Instrumental" Brasileira. PhD
diss., Unicamp, 2012.
Bastos, Rafael Jos de Menezes. The "Origin of Samba" as the Invention of Brazil (Why
Do Songs Have Music?). British Journal of Ethnomusicology 8 (1999): 67-96.
127
Beethoven, Ludwig Van. Symphony no. 5, Op. 67, in C minor. New York: Kalmus
Orchestra Scores, 1932.
Bhague, Gerard. Bossa & Bossas: Recent Changes in Brazilian Urban Popular Music.
Ethnomusicology 17, no. 2 (1973): 209-233.
Bhage, Gerard. "Bossa nova." Grove Music Online.
http://www.oxfordmusiconline.com/subscriber/article/grove/music/03663
(accessed September 27, 2012).
Bhage, Gerard. "Brazil." Grove Music Online.
(accessed September 26, 2012).
Bhague, Gerard. "Choro." Grove Music Online.
(accessed March 17, 2011).
Bevan, Michael. Aspects of Interpretation and Improvisation in the Performance of
Brazilian Guitar Music. Masters thesis, University of Adelaide, 2008.
Buarque, Chico. Chico Buarque. Polygram/Philips. LP. 1978.
Buarque, Chico. Chico Buarque de Hollanda. Som Livre. LP. 1966.
Buarque, Chico. Chico Buarque de Hollanda vol. 2. Som Livre. LP. 1967.
Buarque, Chico. Meus Caros Amigos. Universal Brazil. LP. 1976.
Byo, James. Teach Your Instrumental Students to Listen. Music Educators Journal 77,
no. 4 (1990): 46.
Castro, Marcus Faro, and Maria Izabel Vallado de Carvalho. Globalization and Recent
Political Transitions in Brazil. International Political Science Review 24, no. 4
(2003): 465-490.
Coelho, Tadeu, and Julie Koidin. The Brazilian choro: Historical perspectives and
performance practices. The flutest quaterly Fall (2005):36-39.
Cohen, Youssef. Democracy from Above: The Political Origins of Military Dictatorship
in Brazil. World Politics 40, no. 1 (1987): 30-54.
Crook, Larry, and Larry Crook. Focus: Music of Northeast Brazil. New York: Routledge,
2009.
128
Crook, Larry. Brazilian Music: Northeastern Traditions and the Heartbeat of a Modern
Nation. Santa Barbara: ABC-CLIO, 2005.
Dapaz, Maria. O Abre Alas. Atrao Fonogrfica. CD. 2008.
Diafria, Jos. ossa ova and ther atin-American h thms: Samba, ai o, Maxixe,
ango, atuque, ongo, Fr vo, and thers. New York: Mills Music, 1962.
Duarte, Ruy. Hist ria Social do Frevo. Rio de Janeiro: Leitura, 1968.
Eggebrecht, Hans Heinrich. Understanding Music. Farnham: Ashgate Publishing
Company, 2010.
Encyclopedia Britannica Online. "Carnival."
http://www.britannica.com.ezproxy2.library.arizona.edu/EBchecked/topic/96363/
Carnival (accessed October 30, 2012).
Faria, Nelson. The Brazilian Guitar Book. Petaluma: Sher Music CO., 1995.
Figueira da Cruz, Joo Paulo. An Annotated Bibliography of Works by the Brazilian
Composer Srgio Assad. DMA diss., Florida State University, 2008.
Fitch, W. Tecumseh, and Andrew J. Rosenfeld. Perception and Production of
Syncopated Rhythms. Music Perception: An Interdisciplinary Journal 25 no. 1
(2007):43-58.
Garcia, Thomas G. The "Choro", the Guitar and Villa-Lobos. Luso-Brazilian Review 4,
no. 1 (1997): 57-66.
Garcia, Thomas George Caracas. The Brazilian Choro: Music, Politics and
Performance. Ph. D. diss., Duke University, 1997.
Garota de Ipanema. Tom Jobim Indito. Biscoito Fino. CD. 1997.
Garoa, Demonios da. Esses Divinos Demnios da Garoa. EMI. CD. 2008.
Gava, Jos Estevam. A Linguagem Harmnica da Bossa Nova So Paulo: Editora Unesp,
2002.
Gonzaga, Luiz. Luiz Gonzaga Maxximum. Columbia. CD. 2005.
Goodkin, Doug. Diverse Approaches to Multicultural Music. Music Educators Journal
81, no. 1 (1994): 39-43.
Guck, Marion A. Analysis as Interpretation: Interaction, Intentionality, Invention.
Music Theory Spectrum 28, no.2 (2006): 206-207.
129
Guitarra Magazine. An Interview with Srgio Assad. Sherry-Brener Ltd..

http://www.guitars-of-spain.com/issue42/interview_assad.asp (accessed March
17, 2011).
Gullard, Marie. Brazilian Guitarists Explore more Exotic Roots at U. of Md.. The
Examiner. http://washingtonexaminer.com/entertainment/brazilian-guitaristsexplore-more-exotic-roots-u-md (accessed April 13, 2011).
Ihde, Don. A Philosopher Listens. Journal of Aesthetic Education 5 no. 3 (1971): 72.
Jobim, Tom. Tom Jobim Indito. Biscoito Fino. CD. 1997.
Kennedy, Michael. "Syncopation." Oxford University Press.
http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/articl
e/opr/t237/e10023 (accessed October 30, 2012).
Kingstone, Steve. Brazil remembers 1964 coup detat. BBC News.
http://news.bbc.co.uk/2/hi/americas/3588339.stm(accessed October 29, 2012).
Koidin, Julie. Benedicto Lacerda and the "Golden Age" of Choro Flute Playing. D.
diss., Northwestern University, 2006.
Lamas, Dulce Martins. Folk Music and Popular Music in Brazil. Journal of the
International Folk Music Council 7 (1955): 27-28.
Leo, Nara. 20 Grandes Sucessos de Nara Leo. Universal Latino. CD. 2007.
Livingston-Isenhour, Tamara Elena, and Thomas George Caracas Garcia. Choro.
Bloomington: Indiana University Press, 2005.
Lobo, Edu. Sergio Mendes Presents Lobo. Verve Records. CD. 2000.
Lyra, Carlos. Brazilian Bossa Nova Classics. Essential World Masters. CD. 2011.
Mascolo-David, Alexandra. Francisco Mignone and His "Valsas brasileiras" for Piano.
Mediterranean Studies 12 (2003):169-185.
McCann, Bryan. Hello, Hello Brazil: Popular Music in the Making of Modern Brazil.
Durham: Duke University Press, 2004.
McGill, David. Sound in Motion: A Performers Guide to Greater Musical Expression.
Bloomington: Indiana University Press, 2007.
McGowan, Chris, and Ricardo Pessanha. The Brazilian sound: Samba, Bossa Nova, and
the Popular Music of Brazil. Philadelphia: Temple University Press, 1998.
130
Medeiros, Elton. Oral Tradition and Brazilian Popular Music. Yearbook for Traditional
Music 34, (2002): 1-8.
Medeiros, Flavio Henrique, and Carlos Almada. Brazilian Rhythms for Solo Guitar.
Pacific, MO: Mel Bay, 1999.
Miller, Richard Elbert. The Guitar in the Brazilian Choro: Analyses of Traditional, Solo,
and Art Music. Ph. D. diss., Catholic University of America, 2006.
Milleret, Margo. Lessons from Students about the Brazilian Dictatorship. Hispania 85,
no. 3 (2002): 658-664.
Moehn, Frederick. Music, Citizenship, and Violence in Postdictatorship Brazil. Latin
American Music Review 28, no. 2 (2007): 181-219.
Molotnik, J. R. Politics & Popular Culture in Brazil. The Massachusetts Review 17, no.
3 (1976): 507-524.
Moreno, Albrecht. The Significance of Bossa Nova as a Brazilian Popular Music. Latin
American Research Review 17, no. 2 (1982): 129-141.
Murphy, Howard A. Teaching Musicianship. New York: Coleman-Ross Company Inc.,
1950.
Murphy, John P. Music in Brazil: Experiencing Music, Expressing Culture. New York:
Oxford University Press, 2006.
Napolitano, Marcos. A Inveno da Msica Popular Brasileira: Um Campo de Reflexo
para a Histria Social. Latin American Music Review 19, no. 1 (1998): 92-105.
Neto, Luiz Costa Lima. The Experimental Music of Hermeto Paschoal e Grupo (198193): A Musical System in the Making. British Journal of Ethnomusicology 9, no.
1 (2000): 119-142.
Pascoal, Hermeto. Quarteto Novo. Odeon. LP. 1967.
Pellegrini, Remo Tarazona. Anlise dos Acompanhamentos de Dino Sete Cordas em
Samba e Choro. Masters thesis, Unicamp, 2005.
Pereira, Marco. Ritmos Brasileiros. Rio de Janeiro: Garbolights Produes Artsticas
LTDA, 2007.
Peronne, Charles A, and Christopher Dunn. Brazilian Popular Music & Globalization.
Gainesville: University Press of Florida, 2001.
Prata, Sergio. Tocando com Jacob. So Paulo: Irmos Vitale, 2006.
131
Putnam, Samuel. Vargas Dictatorship in Brazil. Science & Society 5, no. 2 (1941): 97116.
Reily, Suzel Ana. Tom Jobim and the Bossa Nova Era. Popular Music 15, no. 1
(1996): 1-16.
Rezende, Jonas. E Lysaneas Disse Basta. Rio de Janeiro: MAUAD Editora Ltda., 2000.
Rodrigues de Moraes, Jonas. Truce um Ttringulo no Matolo [...] Xote, Maracatu e
Baio: A Musicalidade de Luiz Gonzaga na Construo da Identidade
Nordestina. Masters thesis, Pontifcia Universidade Catlica de So Paulo,
2009.
Schenker, Heinrich. The Art of Performance. New York: Oxford University Press, 2000.
Sekon, Joseph. DRivera, Assad brothers nothing short of pure artistry. RegisterPajaronian, February 11, 2005.
Stroud, Sean. "Msica para o povo cantar": Culture, Politics, and Brazilian Song
Festivals, 1965-1972. Latin American Music Review 21, no. 2 (2000): 87-117.
Stroud, Sean. Marcus Pereiras Msica Popular do Brasil: beyond folklore? Popular
Music 25, no. 2 (2006): 303-318.
Stroud, Sean. Defense of Tradition in Brazilian Popular Music: Politics, Culture and the
Creation of Musica Popular Brasileira. Abingdon: Ashgate Publishing Group,
2008.
Szydlowski, Joseph E. Review of Jobiniana no. 3 pour guitare, Jobiniana no. 1 pour 2
guitares, Circulo migico pour flte et guitare, Winter Impressions pour flte,
alto et guitare, Uarekena pour quatuor de guitars by Srgio Assad. Notes 60
(2004): 804-8.
Tallmadge, William. Afro-American Music. Music Educators Journal 44, no. 1 (1957):
37-39.
Taubkin, Myriam, and Anglica Del Nery. Viol es do rasil. So Paulo: Senac, 2007.
Thom, Paul. The Musician as Interpreter. University Park: Pennsylvania State University
Press, 2007.
Toquinho. 20 Grandes Sucessos de Toquinho & Vincius. Universal Latino. CD. 2007.
Velha, Z da, and Silvrio Pontes. S Pixinguinha. Biscoito Fino. CD. 2006.
Villa, Martinho da. Poeta da Cidade Martinho Canta Noel. Biscoito Fino. CD. 2012.
132
Vincens, Guilherme Caldeira Loss. The Arrangements of Roland Dyens and Srgio
Assad: Innovations in Adapting Jazz Standards and Jazz-Influenced Popular
Works to the Solo Classical Guitar. DMA diss., The University of Arizona,
2009.
Vitale, Irmos. O Melhor do Choro Brasileiro. Vol. 1. So Paulo: Irmos Vitale, 1997.
Vitale, Irmos. O Melhor do Choro Brasileiro. Vol. 2. So Paulo: Irmos Vitale, 1997.
Wade, Graham. Segovia: A Celebration of the Man and his Music. London: Alison &
Busby Ltd., 1983.
Witmer, Ruth M. Popular Virtuosity The Role of the Flute and Flutists in Brazilian
Choro. Masters thesis, University of Florida, 2009.
Young, Doug. Srgio Assad Interview. Acoustic Guitar Magazine, November, 2009.

Topam PDF

Uploaded by

Copyright:

Available Formats

Topam PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Topam PDF

Uploaded by

Copyright:

Available Formats

SRGIO ASSADS (b.

1952) AQUARELLE AND FANTASIA CARIOCA:

A Document Submitted to the Faculty of the

THE UNIVERSITY OF ARIZONA

SIGNED: Eduardo Minozzi Costa

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

LIST OF MUSICAL EXAMPLES

LIST OF MUSICAL EXAMPLES - continued

LIST OF MUSICAL EXAMPLES - continued

LIST OF MUSICAL EXAMPLES - continued

LIST OF MUSICAL EXAMPLES - continued

LIST OF MUSICAL EXAMPLES - continued

LIST OF MUSICAL EXAMPLES - continued

LIST OF MUSICAL EXAMPLES - continued

LIST OF MUSICAL EXAMPLES - continued

CHAPTER I. INTRODUCTION AND SCOPE OF STUDY

Srgio Assad, Aquarelle (Paris: Editions Henry Lemoine, 1992).

Srgio Assad, Fantasia Carioca (Paris: Srgio Assad Music, 2002).

CHAPTER II. SRGIO ASSAD (b. 1952)

Srgio and Odair Assad, Press-kit, Opus3artists, http://www.assadbrothers.com (accessed May 4,

Srgio Assad, Arrangements, Wikipedia, http://en.wikipedia.org/wiki/Sergio_Assad(accessed

CHAPTER III. RELEVANT HISTORICAL CONSIDERATIONS AND

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

CHAPTER IV. PERFORMERS GUIDE

David McGill, Sound in Motion: A Performers Guide to Greater Musical Expression

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

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

Section A-the longest section of the piece-includes phrases that tend to be

III. Preludio e toccatina

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

Gerard Bhague, "Brazil," Grove Music Online,

Musical Example 3.1 Marcha rancho example by Marco Pereira

Musical Example 3.2 Marcha rancho rhythmic pattern by Nelson Faria 47

Musical Example 3.17 Frevo basic pattern by Nelson Faria 48

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

Musical Example 4.1 Baio basic pattern by Nelson Faria 55

Gerard Bhague, "Brazil," Grove Music Online,

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

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

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

Gerard Bhague, "Choro," Grove Music Online,

Musical Example 5.15 Escorregando by Ernesto Nazareth (mm. 1-10)69

The chromatic neighboring tones in Apanhei-te cavaquinho by Ernesto Nazareth are

Musical Example 5.17 Apanhei-te cavaquinho by Ernesto Nazareth (mm. 1-16)70

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

Musical Example 5.22 No me rasgues a roupa by A. Reale (mm. 1-11)72

Musical Example 5.23 Fantasia Carioca by Assad (mm. 160-164)

Musical Example 5.26 Assanhado by Jacob do Bandolim (mm. 10-33)74

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

Musical Example 5.29 Choro variation no. 1 by Nelson Faria 75

Musical Example 5.31 Fantasia Carioca by Assad (mm. 237-239)

Gerard Bhague, "Brazil," Grove Music Online,

Musical Example 6.3 Samba basic pattern by Nelson Faria 82

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

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

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

The same principle applies to the following measures:

Musical Example 6.12 Samba variation no. 12 by Nelson Faria 85

Garota de Ipanema, Tom Jobim Indito, Biscoito Fino, CD, 1997.