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Samba and Brazil: A small, musical and cultural vocabulary

Botequim: tavern, pub

Calundu: For those with known different graphical variants: "Lundu", "Lundum", "Landu", "landum", "londu", "londum", "loudum. It is a dance of African origin, that of the slaves in Brazil in the late 18th and early 19 Century dance. Today we speak rather of "Lundu. Previously different distinguish between two types of Lundus: the "Lundum" which is a dramatically decrease-religious dance, and the "Lundu" which is an urban, solo song from Brazil.

Carioca: A word of Indian origin, meaning "those who live in the white houses." Thus the houses of the Portuguese were intended. Today it is the name for the inhabitants of Rio de Janeiro.

Casa-grande: Colony House, who lived in the patriarchal family at the time of colonialism.

Cidade: literally means "city". In the Samba different texts to the "city" of the slums as "morro", "favela" or "bairro".

Estado Novo: The regime of Getulio Vargas, which lasted from 1937 to 1945.

Gafieira: dance, from the black population of Rio de Janeiro at the beginning of the 20th Century dance. It was the imitation of the salon dances of the elite of the 1930s. 1960, this dance was first discovered by the students of the university and from the middle class.

Gíria: slang, slang.

IAIA: Title of the slaves, if you talked to the girls or young women of the mansion.

Malandra: The female version of "Malandro", a kind of rebel and "femme fatale".

Malandro: The main character in the sambas of the 1930s, one could compare it with the "Compadrito" of the tango.

Morena: dark-skinned woman.

Morro: Literally, "hill". Meaning of the favelas in Rio de Janeiro, located on the hills.

Prestamista: casual workers from the slums of Rio de Janeiro.

Sinha: Comes from the word "senhora". This is the address of the slaves when they are the ladies, wife or daughter of the mansion facing.

Zona Norte: An umbrella term for the inhabitants of the working class in the northern suburbs of Rio de Janeiro, such as to refer to Vila Isabel, Estacio de Sá and São Cristóvão.

Zona Sul: the beach side of Rio de Janeiro with the districts of Copacabana, Ipanema, Flamengo and Botafogo.

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Choro

"Choro" in Brazilian popular music has several meanings. This is mainly instrumental music, but can also be sung.

choro as a particular style of playing, so not as a musical genre that was already widespread in 1870 very much. With "choro" ensembles are known which have developed around 1870 in RIO DE JANEIRO. One of the earliest and most famous "choro" by the flutist Joaquim Antônio da Callado Silva (1848-1880) founded.
The choro developed out of the interpretation of popular polkas, which were very popular in Brazil since 1844. The "cavaquinho" player (small, four-stringed guitar) learned this mostly polkas from the hearing. Then they led before the learned piece on guitar and supported him in the modulatory passages. From these passages developed these exercises instrumentalists, which then evolved over time to finger plays. These exercises were then fixed and the modulatory schemes, which are the typical Chorinho. From the drone, the modulation was usually in the lower keys, so that arose melancholic melodies. Hence, the term "choro" have arisen from the "cry" of the melodies. Joaquim Antonio Calado

Jr. (1848-1880) is the first major outstanding flutist who is the most important founders of the choro. He developed a small ensemble formation with a soloist, two guitars and a Cavaquinho.
His group was called "de Choro Calado (Choro Calado of) known. After his death, took over the new generation, including the pianist and composer Chiquinha Gonzaga (1847-1935) and his legacy continued to develop it.

took from 1880 to the Choro important. The Choro Ensemble has been mostly for dance events in the poorer districts during the whole night dedicated. For this reason had Chorinho up in the 1930s, a bad reputation.

generally called Choro an urban instrumental ensemble in which a member of the group is soloist. In half of the 19th Century was a typical cast of Cavaquinho, flute, clarinet, trombone, guitar and percussion (pandeiro and Tamborim and "prato e faca", a metal plate, which is rubbed rhythmically with a knife). In the 20th

Century, people associated the term choro with other urban dances of Brazil as Maxixe, tango and samba brasileiro. An important common feature of these dances, the syncopated binary Rhyhtmus. Furthermore, these dances are different, especially in the instrumental line-up.

In the 1930s and 1940s was the "Velha Guarda" show, whose leader, flutist, saxophonist and composer Alfredo da Rocha Viana introduced, especially today as "Pixinguinha known, new approaches to improvisation and the variation in Choro .