Roda de Choro 1 (2nd edition) – eBook/audio options

$ 28.00$ 33.00

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From the songbook “Roda de Choro 1 (2nd edition).” Cover, choro ensemble musicians bio, what is choro?, short chronologic biography of the composer, what is his significance?, comments about the scores, a word about improvisation in choro, scores in C, B♭ or E♭.

$ 28.00
$ 28.00
$ 28.00
$ 33.00

Description

From the songbook “Roda de Choro 1 (2nd edition).” Cover, choro ensemble musicians bio, what is choro?, short chronologic biography of the composer, what is his significance?, comments about the scores, a word about improvisation in choro, scores in C, B♭ or E♭.

SOLOISTS:

“Chorando pra Pixinguinha” by Nailor Proveta (clarinete), “Chorinho pra Ele” by Antonio Rocha (flauta), “Choro” by Izaias do Bandolim (bandolim), “Cuidado, violão” by Alexandre Ribeiro (clarinete), “Evocação” by Daniel Dalarossa (flauta), “Flor do Abacate” by Nailor Proveta (clarinete), “Língua de Preto” by Daniel Dalarossa (flauta), “Meu Caro Amigo” by Toninho Carrasqueira (flauta),  Nailor Proveta (clarinete), Rodrigo Lessa (bandolim) and Luiz Simas (piano), “O Despertar da Montanha” by Toninho Carrasqueira (flauta), “O Nó” by Rodrigo Lessa (bandolim), “Serpentina” by Antonio Rocha (flauta), “Só pra moer” by Daniel Dalarossa (flauta)

 

Choro ensemble

Alessandro Cardozo – cavaquinho
Charlles da Costa – 6-string guitar
Netinho Albuquerque – pandeiro
Paulão (7 cordas) – 7-string guitar

Credits

Harmonic and melodic revision of the second edition: Ítalo Peron
Harmony transcription and revision (first edition): Marco Bertaglia (Chorando pra Pixinguinha, Cuidado Violão, Evocação, O Nó, O Despertar da Montanha) and Ítalo Peron (Choro, Flor do Abacate, Língua de Preto, Meu Caro Amigo, Serpentina, Só para Moer).
Recordings of the choro ensemble, editing, mixing, and mastering: Estúdio Umuarama, by Ricardo Calafate
General revision: Italo Peron
Solo recordings: Estúdio Umuarama (Rio de Janeiro, Brazil), Estúdio 185 (São Paulo, Brazil), Global Choro Music Studios (Fremont, CA).

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