time for a little Brazilian Choro music.
This is Cochichando, the great tune by the
magnificent composer Pixinguinha,
or Alfredo Vianna was his real name.
And he wrote just piles and piles of
beautiful, beautiful melodies.
And in the choro tradition of Brazil
typically, it's not unlike the marches or
mazurkas from Italy, waltzes from from,
the great it's a great musette tradition
the same era, we're talking 30s and 40s.
Really dance music.
And the form of these tunes is similar to,
to what you find in, in those other forms.
It's A A, B B, A, C C, A.
And typically the, if the song is in a
minor key for the As and the Bs,
the the C section will go major, as the
sort of exciting part.
And then it'll come back to the A section
as a kinda dark, dark section.
I'm gonna play the rhythm for you on this
we can all get into the feeling of the
And I'll even use a click track for you to
hear so that you can really be clear on
where I'm at in relationship to the down
beats, because it's fairly syncopated.
The basic pattern I'm gonna play is-
Seems to help to actually sing that rhythm
before trying it.
thing that's helpful is to keep the hand
going back and forth.
[SOUND] Down, up, down, up,
down, up, down, up, down, up and then
insert where necessary.
Notice the hand never changes doing this.
Up, up, up, up down.
Down, down, down up, up, up, up, up down.
And so those, those downs and up fall
exactly where they,
where they may, based on down, up, down,
up, down, up, down, up, down, up.
So you've got down, down, down, up, up,
up, up, up, down.
Down, down, down, up, up, up, up, up,
So this, the tune starts with pick up
notes for the melody player.
So, I'm gonna play the pick up notes, but
from that point on, I'm gonna be playing
And I'll ask you to look at the chords and
play along, if you can.
Have some nice ideas from me, as to how to
voice some of these chords.
And, some of the rhythmic variation.
I'm gonna stay pretty much strict to that
pattern I just showed you.
But there will be times when I vary it.
So let's hear the click track.
One, two, one, two,
three, and one, two, one.
C seven to the B.
To the A.
Now we're gonna go to the C.
Repeating the C.
Back to the A.
let's work on the melody now to, to
Beautiful little song.
Cochichando actually means whispering.
Which is interesting, cuz it's got a lot
of liveliness to it.
But so it starts with this little
It comes down from the.
there's you know, a couple of ways to
I mean, maybe the simplest way to,
to do it, at least initially [COUGH] is to
use your first and third on the C and
the A-Flat, and then just walk those
fingers down chromatically.
It starts with an open A and then the C
Then the A, and
the, and the F are the beginning of the A
So it's one, two, one.
So that's the A section.
So there's lots of stuff that's syncopated
in here obviously.
But the basic form of, of choro is to have
two beats in each bar, one, two, one, two.
And to have four 16th notes on each beat.
I mean that's the,
the skeletal structure of, of the rhythms.
But of course there's lots of notes being
left out of those
16ths depending on the rhythm of the
So the first, the first beat.
We look at that first bar, you're
playing the first note of the, of the, of
the group of 16th and the last one.
That's the first letter A, beginning of
Then you're playing the last three 16ths
So you're leaving, your tying this note
over to the last three 16ths.
So, what you have to get used to a lot in,
in Brazilian music is,
is to not play the down beat.
So you end up with.
Those kind of rhythms happen a lot.
Or playing the first and fourth of a 16th
To just physicalize that,
and then when you look at it rhythmically
on the page, you've got this kind of.
Mapped out kind of feeling for
how that goes.
If you take away the middle note of four
16ths you end up with.
they call the fork, you know, its got a
little flag here and other flag there.
So that's another sort of rhythmic
syncopation that you should just,
when you see it on the page you should,
you should hear it in your mind as.
The tsh is the missing note, right?
It's very close to a triplet.
Sometimes you'll see a triplet and
But that's actually different than.
So those are some of the, the rythmic
things you see in, in the tune.
So get yourself use to those.
I have a book of Brazilian choros that's
And in the back of the book is a series of
out with all these different syncopation's
that you'll see in the music.
It's a good practice exercise.
So just kinda go through them to get used
to reading rhythms.
It's a, it's a nice thing.
Then, we go to the, the, the C B section.
So most of that falls right into first
position pretty obviously.
On the A seven chord.
I use my second finger to outline that.
That A arpeggio, but
it starts on an F note.
I use the second finger on the C-Sharp.
On the triplet,
I use the first finger for the F and the
F-Sharp going up to the A.
And on the G7, I used the, the second
both on the G note and the C-Sharp.
To be ready, for the D.
In the D,
I would hate to use third and then have to
use third again.
That's all fairly self-explanatory.
It's one place where I use my pinky on the
Not sure why.
I think it's because, again,
I don't wanna use the third finger two
times on the D and the G sharp.
So I choose to play the G sharp with the
here's another situation where I'm
cramming fingers together using the pinky
on the fifth fret, a rare thing for me,
but because of the nature of the line.
So it becomes up from the A note to this,
you know, D flat note.
[SOUND] And the next note is A.
So it's just, for me it's very logical.
If you wanted to, you could play
the second finger twice, but then you've
got to get it back to the G note.
So you are kind of hopping strings and
I would prefer to cram all of the fingers
then in the end, you are moving things
I even use the pinky there, on the D note.
you could use your third easily enough.
Cause you've got all these syncopated
notes which give your hand a chance to
It's always easier to shift positions on a
than on a run of sixteenths where there's
no break on the thing.
But when you've got this.
Then you can shift.
The hand around.
Then we go back to the A section, and then
we leap to the C section.
Now here I like using of 2 and
3 just cause I like the clarity of it, as
opposed to 2-2.
I just don't think it's ever going to be
Clear as, separate fingers right at that
Now I use two,
the same finger, for the last one because
I need this D note.
getting really crammed up, so I love using
the pinky for the D and the C sharp.
Cause then that gives me.
Now here, you've gotta double,
double play with one finger, from the F
sharp to the A sharp.
It's a total bummer.
If you wanted to,
you could go backwards from the G to the F
sharp with one finger.
then that would eliminate that problem,
and you'd be in position for the F sharp.
I use the pinky for the G sharp here.
For the, for, over the E7.
because my finger's small enough to fit in
I'm going back to this.
Here I like to play across, I've seen some
people do it where they,
play the E fretted, but
I actually like the sound of it open.
It gives it a little cross picking moment.
And I use one,
one there from the A sharp to B.
That's all first position.
And I, then you end, in a real logical
first position kind of place.
[INAUDIBLE] So the scrappiest stuff is
when it goes to F sharp in bar one, two,
three, four, five.
You might be best served to play that G
sharp, G was second, F sharp is second and
puts you in position here.
Then it returns to the eighth section.
For the final business, so lets, what the
Let me play along with this rhythm track
I've created and
give you an idea of how this tune actually
Koshe shando, I recorded this with my
Brazilian [INAUDIBLE] group.
[INAUDIBLE] and that CDs on adventure
If you want to check out a full band
version with percussion, clarinet,
seven-string guitar, and mandolin.
Here we go.
>> One, two, three, and one, two, four.
That's a little Koshi Shando.
I hope that guy gives you some insight
into how to play this Brazilian music.
Hope you enjoy it.