Cancioneiro de Viola Caipira – Vol. 1. Edition: 1. Book condition: Good. Book Description. IRMAOS VITALE, 1. Paperback. Good. E foi em um final de ano, que Tonico e Tinoco partiram de São Paulo para a Cidade de de boas mensagens que se enraizaram em nosso cancioneiro nacional. .. Nesta semana recebi a notícia que a Orquestra de Viola de Guarulhos está.

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The caiira family named natural 4 th perfect, 4 th perfect, 3 rd major, 4 th perfectfrom low to high, similar to Cana Verde 4 th perfect, 3 rd major, 4 th perfect, 4 th perfect or Paraguassu 4 th perfect, 4 th perfect, 3 rd major, 3 rd minorin which the terms perfect, major and minor define the distance between the notes.

Interestingly, we will see a change in the narrated theme that is closer to reality and the cancionero of the human element in the western interior of the country. These two genera are said to be the very roots of Brazilian urban popular music: Often the peasant, the inhabitant of the backlands, whose hands are rough from working with plantations or cattle, tunes the strings in a way that will allow him to play part of his repertoire using two or even just one finger.

Cancioneiro de viola caipira – Rui Torneze – Google Books

It is through them that local men and women come together and organize themselves to express the rites celebrating life and personal achievements. Finally, further research is necessary, since little has been studied about tunings, except their cataloguing. In the nineteenth century not only these rites but also instruments such as violas, fiddles and later the requintas violas with high-pitched strings moved to the backwoods vancioneiro rural areas.

Their golden period coincides with the great discoveries of the fifteenth and sixteenth centuries. Currently, young people from different parts of the country have been playing the viola, leading this instrument to be used in other musical segments in which the viola had never been considered.

As already mentioned, it is a model developed in Brazil by Del Vecchio, whose top has several holes covered by a screen that hides natural amplifiers made of aluminum cones, resulting in a metallic sound that vibrates well with the open sound of the Portuguese spoken in the Northeast. Also indisputable was the presence of Almir Sater in soap operas. Since then, it has become increasingly more common to see young urban people playing the viola.


It is interesting to note that in every town we visited we had the opportunity to meet another “best violist in the world”. It coexists with the urban guitar, but took refuge in the backlands; it is musically Arcadianism, like many other linguistic Arcadianisms, that the people maintain alive with the unconscious power of their ingrained traditionalism. If we remove half a tone from the major interval it becomes a minor interval. This element has certainly helped craft the violist that he became.

In his research, carried out in part through studies on literary production in Rio de Janeiro in the nineteenth century, shows how the viola gradually became an instrument used by the lower classes.

Editora da Unicamp, Who knows what happened to the men in the backwoods of Cariri in the early twentieth century? In the last quarter of the eighteenth century something that was already being gestated within Brazilian society was successfully taken by a priest to the Portuguese Court.

During the first two centuries of colonization, the viola was, par excellence, the main accompanist instrument, and only in the caipiea half of the eighteenth century it gave way in the urban scene to the young acoustic guitar, which for its sound 19 and simple rather than double strings proved to be more functional as an accompanying instrument.

In any case, in the cai;ira century the Latin guitar represented the essential form of Vihuela or sixteenth century guitar, which would understandably be its direct extension. From traditional violists to recording violists, from concert performers like Renato Andrade to the new generations that have emerged since the s.

The camcioneiro or body is generally made of two types of wood: This instrument was transformed correspondently with the new land’s development at the hands of bandeirantes pathfinderscancioneoro responsible for the transport of goods on donkeys and popular singers.


After the moment experienced, these facts are taken to the popular memory through oral tradition and are often diluted over time, taking away from us the preciseness of who did what and when. There are still many masters scattered in the interior of the country, such as Damasceno da Viola, Badia Medeiros, Manoel de Oliveira and Minervino, to name a few. Other musicologists refute this hypothesis due to the lack of primary sources documenting the usage.

There they have dinner and before retiring to bed they make a brief viopa, in which their music switches from sacred to profane. Gradually the caipirx became the voice of this people from the backlands of Southeastern and Central-Western Brazil.

In cancioneuro Northeast the poet-improvisers repentistas used the dynamic viola, a model created in Brazil that has natural amplifiers made with aluminum cones and, therefore, with a slightly modified pitch. The permanence of a tuning brought from Portugal may be an indication of that. As modinhas do Brasil.

Cancioneiro de Viola Caipira – Vol. 1

Na toada da viola. Subsequently, dances like the mazurka, polka and square dance, which were becoming out-fashioned in urban ballrooms, found a place in rural areas, where they are still in vogue.

From the second half of the ‘s, the advent of Jovem Guardaa Brazilian version cancionwiro rock’n’roll combined with large layers of peasants who had long been living in the cities, gave way to the emergence of a style that merged vioa music with the emerging rock, adopting urban themes in the lyrics and embodying a new figure that had become part of the popular types – the playboy.

O caipira e a viola brasileira. Philipe de Caverel in his embassy’s report to Lisbon in mentions the ten thousand guiterres – which seems to be undoubtedly to be violas – which apparently accompanied the Portuguese in their journey to Alcazarquivir, and that would have been found in the spoils of D.