¡Bora tocar! la roda de choro, un espacio para el aprendizaje musical colectivo

Abstract

The fundamental pillar of this thesis, developed in the creation and interpretation modality, is to present and highlight the musical practices that occur within the world of choro, more specifically the practice evidenced in the city of Rio de Janeiro known as a rodado choro, through the reinterpretation of two Colombian pasillos. The first is the work Toño by the composer Álvaro Romero Sánchez (1909-1999) and the second, the work Clarita by the composer Iván Uribe Vélez (1928-2016). This adaptation was made for what is called in Brazil: a regional ensemble made up of (bandolin, cavaquinho, 6 and 7 string acoustic guitars and percussion). It should be noted that for practical purposes the instrumentation has some important considerations: since a bandolin is not available, it will be replaced by an Andean bandola. Both are plucked string instruments and their role is to carry the main melody. The 7-string guitar will be replaced with a 6-string bass guitar, with the following chord progression: B1-E2-A2-D3-F♯3-B3. This adaptation aims to understand how musical practice is configured in the choro genre, as well as providing an opportunity to explore the similarities and/or differences between the musical cultures of Colombia and Brazil