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    (Part 11) : Tiberio Nascimento

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    Pilar América
    Villa-Lobos drew inspiration for some of his compositions, like the Etudes of the 1920s, from the folk rhythms he discovered while traveling through the interior of Brazil with his guitar. One rhythm that may have influenced Etude No. 8 is the Xote, a medium-tempo rhythm from Brazil's northeast region. The article examines the bass line, accompaniment patterns, and accentuation of the Xote rhythm, finding a direct relationship between it and Villa-Lobos' etude. Proper interpretation of the etudes requires understanding the nuances of popular Brazilian rhythms and incorporating them into one's playing.

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    (Part 11) : Tiberio Nascimento

    Uploaded by

    Pilar América
    135 views2 pages
    Villa-Lobos drew inspiration for some of his compositions, like the Etudes of the 1920s, from the folk rhythms he discovered while traveling through the interior of Brazil with his guitar. One rhythm that may have influenced Etude No. 8 is the Xote, a medium-tempo rhythm from Brazil's northeast region. The article examines the bass line, accompaniment patterns, and accentuation of the Xote rhythm, finding a direct relationship between it and Villa-Lobos' etude. Proper interpretation of the etudes requires understanding the nuances of popular Brazilian rhythms and incorporating them into one's playing.

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    Nascimento 2

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    Villa-Lobos drew inspiration for some of his compositions, like the Etudes of the 1920s, from the folk rhythms he discovered while traveling through the interior of Brazil with his guitar. One rhythm that may have influenced Etude No. 8 is the Xote, a medium-tempo rhythm from Brazil's northeast region. The article examines the bass line, accompaniment patterns, and accentuation of the Xote rhythm, finding a direct relationship between it and Villa-Lobos' etude. Proper interpretation of the etudes requires understanding the nuances of popular Brazilian rhythms and incorporating them into one's playing.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    135 views2 pages

    (Part 11) : Tiberio Nascimento

    Uploaded by

    Pilar América
    Villa-Lobos drew inspiration for some of his compositions, like the Etudes of the 1920s, from the folk rhythms he discovered while traveling through the interior of Brazil with his guitar. One rhythm that may have influenced Etude No. 8 is the Xote, a medium-tempo rhythm from Brazil's northeast region. The article examines the bass line, accompaniment patterns, and accentuation of the Xote rhythm, finding a direct relationship between it and Villa-Lobos' etude. Proper interpretation of the etudes requires understanding the nuances of popular Brazilian rhythms and incorporating them into one's playing.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 2

    Villa-Lobos and Brazilian Rhythms

    (Part 11)
    Tiberio Nascimento
    'When the young Villa-Lobos visited the interior ofBrazil, it
    was with guitar in hand that he "discovered" many rhythms
    that he never heard in his native Rio. These rhythms formed
    'an integral part ofhis musical ideas, and some sketches from
    this time include what was later to become the Etudes in the
    1920s. The guitar served him well for his purpose, not only for
    its percussive qualities, but because as the national instrument,
    it was always part ofthe people's musical life. Let us look at a
    rhythm that may have influenced the creation ofEtude no. 8.
    The Xoteis a medium tempo rhythm from the northeast of
    Brazil. Here is a typical bass line: (Ex. 1)
    Ex.l

    _. - -#-
    U ~ L - J
    >
    An accompaniment pattern may be: (Ex. 2)
    >
    ) - - - - ~ ...,...d:- I I
    I

    ,--

    .-
    ! I
    : I
    I
    Or a variation with arpeggios: (Ex. 3)
    u
    r
    ~
    ) l i ~
    1
    .>'l':
    .,


    . .
    ,
    -
    U
    -
    j
    U
    -
    -re
    .
    i
    Ifwe isolate the top voice, (Ex. 4)
    and rewrite Ex. 4 like this: (Ex. 5)
    r
    r
    ..
    Guitar International December 1986 37
    Then change it slightly like this: (Ex. 6)
    r
    r

    ,
    .
    .
    VI
    - .-
    L .,
    r I

    ,
    . 1 I
    .J
    -
    k
    L
    -
    ,
    -

    ,
    We begin to see the direct relationship between the Xote and
    Etude no. 8. (Ex. 7)

    r
    r

    ..-
    .. --.....
    d
    -
    ..

    ..- .- "1
    I
    , ...
    h

    I A:lo'
    11
    l?
    I

    --

    - -

    .....-
    In the Xote, as in other rhythms, the accentuation is very
    important. In examples 1-6, the second beat should be the
    strongest, followed by the last eighth note ofthe measure, and
    then the first beat ofthe measure. Occasionally the last eighth
    note is the strongest. In Etude no. 8 we see these accents
    clearly emphasized: (Ex. 8) (Ex. 9)
    u
    > >
    r
    >

    >
    6
    I 1
    ,
    11 "
    U- -.-PI

    ..,

    T
    11 ..
    -
    , -,
    11
    '-
    .,
    W

    -.;;T -.,
    y
    -
    -
    "

    T
    >
    By analysing a specific work with reference to a traditional
    rhythm, my intention is to get at the "roots" ofwhat perhaps
    inspired V. Lobos to write the piece. In the Etudes, the
    rhythmic pattern determines the basic character ofthe piece.
    It is the responsibility ofthe interpreter to "read between the
    lines" - to knowwhat nuances in accentuation there are in the
    popular rhythms, and then incorporate them into his own
    interpretation.
    It is a tribute to the greatness of V. Lobos' music that so
    many guitarists interpret the Preludes and Etudes so dif-
    ferently, that they want to "do" something with them. But
    often guitarists take liberties that change the distinctive
    qualities of the rhythm. For example, the rhythmic pattern
    starting on bar 15 is often played with a Spanish flavour. (Ex.
    10).
    > >
    >
    > >
    J


    .h

    ...
    r
    .",
    r...:
    J ..
    ..
    '"'!if"
    "1
    .
    "
    [
    T
    .
    q

    ,
    -
    .........
    .....
    -
    -
    -
    Throughout his life, Villa-Lobos derived inspiration from
    the folk and popular music of Brazil. He considered rhythm
    in music of primary importance. Turibio Santos tells us V.
    Lobos' general definition ofmusic: "Music has the head as the
    melody, the torso as the harmony, and the legs as the rhythm.
    It raises itselfand walks when perfect, but when it is deprived
    of one of its members, it does not go". *
    *Turibio Santos, H. Villa-Lobos E 0 Vialao l.,luseu Villa-
    Lobos, 1975, MEC-Departamento De Assuntos Culturais
    (p.38).
    f
    T

    j

    .JII "..
    .""

    T
    --.
    ,
    "

    -

    ---
    """"""-
    Guitar International December 1986 39

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