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MARCO PEREIRA: BRAZILIAN GUITAR VIRTUOSO by BRENT

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MARCO PEREIRA: BRAZILIAN GUITAR VIRTUOSO by BRENT MARCO PEREIRA: BRAZILIAN GUITAR VIRTUOSO By BRENT LEE SWANSON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Brent Lee Swanson To my parents, Craig and Charlene. ACKNOWLEDGMENTS I would first and foremost like to thank God for the spiritual guidance needed to complete this work. I thank the School of Music and Dr. Larry Crook for introducing me to Brazilian music, helping me get an assistantship, mentoring me for over 8 years. More importantly, for having the patience to deal with the various personal idiosyncrasies that I am sure caused him grief over the years. I thank Foreign Language and Area Studies (FLAS) and the Center for Latin American Studies for the opportunity to learn Portuguese in Rio de Janeiro (especially Amanda Wolfe). I thank Dr. Welson Tremura for introducing me to the Brazilian guitar, for mentoring me in all of my various studies, for yelling at me in rehearsals, for being a friend when I needed him, for letting me stay at his great house in São Jose do Rio Preto, and for all of the wonderful opportunities to play Brazilian music. I thank Dr. Charles Perrone for his love of Brazilian popular music (and well, for being Charles). I thank Jeffrey “Lightning” Ladenheim for introducing me to jazz, for calling me Sheehan, for yelling at me in rehearsals, and for being a friend through all my troubles; for all the opportunities he has given me. I thank Kevin Casseday for his patience, for all the great conversations in our lessons, and for allowing me learn the double bass the way I needed. I would like to thank all my family: Mom, Dad, Dawn, Jeff, Andrew, Booshie, Grammie, Grampie, Gloria, Robert and Carol, Mike and Laura, Michael, Annie, Craig, Steve, Ron, Gary, Tommy, Auntie Annie and Tom, Kathy and Pat, Cheryl and Jim, Mark and Sue, Becky and Chris, Jamie, A.J., Ryan, Jenna, Allison, Sydney, Jason, Scott, iv Heather, and Mia. I thank them for all of their support of my work, and for loving me through difficult times. I thank my friends in the U.S. I thank Alex, Brian, and Kris for their honesty and close friendship throughout the years. I thank Aaron “Blacking” Keebaugh for “meditating” on Philip Bohlman. I thank David “Mason” Goldblatt for his impressions and for playing music with me in church. I thank Steve Bingham for all the great parties. I thank David “Kenyan Honkey #1” Akombo for all the bad jokes (what’s with all the nicknames?). I thank Sunni for the laughs and conversation in the backyard, and for introducing me to Luciana. I thank Luciana for being such a cool guide in Rio, and helping translate all of those books. I thank B.E., Beth, Billy, Mary, Ellen, Clay, Erik, Nolan and all those who prayed for me at Chapel House. I thank Ted and Susan Griswold for their unwavering support of my musical career. I thank Annie Johnson for teaching me how to be a worship leader. I thank Abby for letting me stay with her in Miami. I thank my godchild Clare, Larry Goble, Alex Farmer, and all those at St. Michael’s. I thank Amy, Heather, Nahum, and all those at St. Andrews for all of their prayers and support. I thank my princess Wendy for loving me as I am, and enduring talking to a brick wall throughout this process. I thank Leslie Lambert, Pat Grunder, and all those at SFCC who were patient with me while completing my degree. I thank all of my Brazilian friends. I thank Maria, my Brazilian grandmother, for showing me the best places to go in Rio, for introducing me to Beth Carvalho, and for letting me stay at her wonderful Copacabana palace. I thank Gui, Kiko, and Thais for all the wonderful times playing music together in Rio. I thank Maestre Boca and Marco for v all the great times, for showing me how to play the pandeiro and tambourim, for all of the great jokes, and for calling me BRENNNNNTCHIE! I thank all of Welson and Renata’s family in SJRP for being such wonderful hosts. I thank Hamilton de Holanda for all the great memories here in Gainesville, and for allowing me to play with the best mandolinist in the world! And most of all I thank Marco Pereira for all of his patience and kindness, allowing me to perform with him, and write this thesis about his wonderful contributions to Brazilian popular music. vi TABLE OF CONTENTS page ACKNOWLEDGMENTS ..............................................................................................iv LIST OF FIGURES........................................................................................................ix ABSTRACT...................................................................................................................xi CHAPTER 1 INTRODUCTION AND REVIEW OF LITERATURE............................................1 Prologue...................................................................................................................1 Introduction..............................................................................................................3 Review of the Literature ...........................................................................................9 2 THE GUITAR IN BRAZIL: ORIGINS, PERFORMERS, AND INFLUENCES OF MARCO PEREIRA................................................................................................15 Introduction............................................................................................................15 Origins ...................................................................................................................16 The Guitar in the Choro/Samba ..............................................................................34 Guitarists of the Choro/Samba................................................................................38 The Bossa Nova era................................................................................................57 Paulinho Nogueira (1929-2002).......................................................................61 Baden Powell (1937-2000) ..............................................................................67 Vocal Accompanists...............................................................................................77 International Influences ..........................................................................................79 Conclusion .............................................................................................................80 3 THE LIFE AND MUSIC OF MARCO PEREIRA AND CONCLUSION...............83 Introduction............................................................................................................83 Biography...............................................................................................................84 Guitar Style ............................................................................................................95 Equipment............................................................................................................ 100 Compositional Style ............................................................................................. 102 Arranging Style .................................................................................................... 110 The Coltrane Waltz?...................................................................................... 112 Conclusions.......................................................................................................... 117 vii APPENDIX A GLOSSARY OF TERMS..................................................................................... 121 B GENERAL WEBSITES ....................................................................................... 123 LIST OF REFERENCES............................................................................................. 124 DISCOGRAPHY ........................................................................................................ 128 BIOGRAPHICAL SKETCH ....................................................................................... 131 viii LIST OF FIGURES Figure page 2-1 Afro-Brazilian rhythm..........................................................................................23 2-2 Excerpt from “Vitorioso” by Ernesto Nazaré........................................................27 2-3 Schottisch guitar style ..........................................................................................36 2-4 Polca guitar style .................................................................................................37 2-5 Maxixe guitar style...............................................................................................37 2-6 Valsa guitar style..................................................................................................37 2-7 Tute’s baixaria performance with Grupo Carioca on “Não Sei” by José Pereira da Silva................................................................................................................41 2-8 Transcription of Dino 7 Cordas’ performance on “As Rosas Não Falam”............46 2-9 Excerpt from “Dengoso” by João Pernoambuco ...................................................50 2-10 Examples of non-classical guitar techniques employed by many guitarists of Brazilian popular music in the late 19th and early 20th centuries............................52 2-11 Excerpt from “Lamentos do Morro” by Garoto ....................................................53 2-12 Photo of Gianini craviola taken by Frank
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