LUIZA
 SALES
 RANGEL
 
Master
 of
 Music
 Candidate
 –
 Contemporary
 Performance
 
Berklee
 College
 of
 Music
 –
 Valencia
 Campus
 
Culminating
 Experience
 

 

 
From
 Singer
 to
 Songwriter:
 an
 artist’s
 path
 in
 Brazilian
 Music
 

 
INTRODUCTION
 
I
  had
  an
  early
  start
  in
  music,
  playing
  the
  violin,
  at
  only
  8
  years
  old.
  These
  first
  years
 
were
  dedicated
  completely
  to
  classical
  music,
  playing
  in
  orchestras
  and
  singing
  in
 
choirs
 until
 university,
 where
 everything
 changed.
 At
 the
 Federal
 University
 of
 the
 
State
  of
  Rio
  de
  Janeiro
  (Unirio),
  the
  close
  contact
  with
  great
  musicians
  who
  were
 
involved
  with
  Brazilian
  popular
  music
  inspired
  and
  influenced
  me
  to
  listen
  to
  the
 
music
 of
 important
 composers
 like
 Djavan,
 Tom
 Jobim,
 Milton
 Nascimento,
 Gilberto
 
Gil,
  Chico
  Buarque,
  Edu
  Lobo,
  Luiz
  Gonzaga,
  among
  others.
  My
  greatest
  idols
  were
 
no
  longer
  the
  ones
  in
  the
  classical
  world:
  I
  wanted
  to
  sing
  like
  Elis
  Regina,
  Leny
 
Andrade
 and
 Rosa
 Passos.
 
As
  a
  bachelor
  in
  Music
  Education,
  I
  worked
  for
  two
  years
  as
  a
  school
  music
  teacher,
 
before
 realizing
 that
 my
 real
 goal
 in
 music
 was
 not
 being
 a
 full
 time
 educator.
 The
 
production
  of
  my
  first
  album
  ,“Breve
  Leveza”,
  started
  in
  2011
  and
  it
  was
  released
  in
 
2012,
  with
  the
  help
  of
  a
  great
  producer
  and
  great
  musicians,
  composers
  and
 
arrangers.
  This
  album
  gave
  me
  the
  opportunity
  to
  tour
  in
  Brazil,
  playing
  for
 
different
 audiences
 and,
 despite
 the
 struggles
 I
 went
 through,
 it
 was
 all
 worth.
 I
 also
 
had
 a
 parallel
 project
 with
 an
 acappella
 vocal
 group,
 Ordinarius,
 which
 recorded
 and
 

released
  a
  CD
  in
  2012,
  besides
  performing
  in
  different
  stages
  (including
  a
  tour
  in
 
Germany,
 in
 2013).
 
After
  the
  cycle
  with
  my
  first
  album
  was
  finished,
  arose
  the
  need
  to
  give
  a
  step
 
forward
  in
  my
  relation
  with
  music
  making.
  I
  knew
  something
  had
  to
  be
  done
  to
 
differentiate
  me
  from
  the
  many
  other
  singers
  that
  were
  releasing
  their
  projects
  in
 
Brazil,
  and
  songwriting
  appeared
  as
  a
  new
  and
  better
  way
  to
  express
  my
  musical
 
ideas.
 
 
First
  starting
  in
  the
  classical
  world,
  where
  perfection
  lies
  in
  reproducing
  with
 
precision
  the
  standards
  of
  a
  tradition
  that
  was
  established
  centuries
  ago
  and
  then
 
shifting
 to
 the
 Brazilian
 music
 environment,
 where
 most
 of
 it
 is
 learned
 by
 ear
 and
 
creativity
 and
 flexibility
 are
 very
 important,
 I
 started
 to
 understand
 music
 through
 a
 
new
  perspective.
  But
  now,
  the
  perspective
  of
  being
  a
  songwriter,
  which
  demands
 
the
 use
 of
 creativity
 with
 structure,
 joining
 artistry
 and
 craft
 to
 make
 new
 forms
 of
 
music,
 shows
 itself
 as
 a
 deeper
 level
 of
 engagement
 with
 music
 making.
 
Nowadays,
 being
 a
 singer
 seems
 like
 a
 more
 limited
 goal
 in
 face
 of
 the
 possibilities
 
that
  are
  shown
  to
  me
  through
  songwriting,
  developing
  many
  aspects
  of
  my
 
musicianship.
 
 
This
  project
  will
  show
  how
  the
  tools
  offered
  by
  Berklee
  Valencia
  helped
  me
 
participate
  actively
  in
  more
  phases
  through
  the
  music
  making
  process
  –
  not
  just
 
working
  as
  the
  entrepreneur
  for
  other’s
  compositions,
  but
  writing
  my
  own
  music,
 
arranging,
  recording
  and
  also
  using
  the
  guitar
  as
  a
  second
  instrument,
  to
  perform
 

2
 

 

and
  compose.
  Hopefully,
  the
  result
  of
  these
  experiences
  will
  show
  the
 
transformation
 of
 a
 singer
 into
 a
 singer-­‐songwriter
 and
 a
 better
 musician.
 
My
  personal
  journey
  is
  related
  as
  well
  to
  the
  growing
  number
  of
  female
  singer-­‐
songwriters
 in
 Brazilian
 music.
 It
 is
 a
 recent
 phenomenon
 and
 deeply
 connected
 to
 
the
  subject
  of
  gender
  in
  music
  and
  the
  question:
  “why
  aren’t
  there
  many
  female
 
composers?”.
 This
 is
 a
 very
 profound
 discussion
 and
 this
 project
 does
 not
 intend
 to
 
give
 answers
 to
 such
 serious
 question,
 but
 studying
 about
 the
 careers
 and
 work
 of
 
female
 singer
 and
 songwriters
 in
 Brazilian
 music
 is
 helpful
 to
 the
 process
 of
 building
 
my
  own
  identity
  as
  a
  woman
  and
  an
  artist
  –
  and
  I
  cannot
  avoid
  the
  identification
 
with
  the
  theme.
  They
  will
  serve
  as
  an
  example
  to
  follow
  and
  to
  better
  understand
 
the
 reasons
 that
 lead
 women
 not
 to
 be
 composers
 or
 songwriters
 and
 what
 are
 the
 
struggles
 on
 that
 path.
 
During
 all
 years
 of
 my
 musical
 studies,
 I
 was
 taught
 to
 reproduce
 music
 written
 by
 
others
  –
  whether
  as
  a
  violin
  student
  (with
  the
  classical
  repertoire)
  or
  as
  a
  singer
 
(with
 Brazilian
 music).
 This
 project
 represents
 a
 shift
 in
 this
 reproductive
 relation
 
with
 music
 to
 a
 creative
 relation
 with
 it.
 
PROJECT
 OBJECTIVES
 
The
  goal
  of
  this
  project
  is
  to
  go
  through
  the
  process
  of
  becoming
  an
  artist
  who
  is
 
engaged
  in
  all
  the
  aspects
  of
  composition,
  arranging,
  rehearsing
  and
  recording
  my
 
music
 and
 to
 take
 control
 of
 my
 own
 work
 –
 and
 the
 final
 product
 of
 that
 experience
 
will
 be
 shown
 in
 the
 recording
 of
 six
 original
 songs.
 

3
 

 

Discovering
  the
  skills
  and
  tools
  needed
  to
  become
  a
  singer-­‐songwriter
  that
  is
 
engaged
 with
 all
 the
 process
 of
 producing
 music,
 from
 composing
 and
 arranging
 to
 
recording
 and
 live
 performance,
 this
 project
 will
 show
 the
 process
 a
 musician
 has
 to
 
go
 through
 to
 be
 proficient
 in
 all
 areas
 of
 production
 of
 a
 musical
 project.
 In
 order
 to
 
accomplish
 this,
 we
 will
 look
 into
 the
 following
 elements:
 
-­‐

What
  should
  a
  Brazilian
  female
  singer
  and
  songwriter
  do
  to
  distinguish
 
herself
  from
  the
  many
  other
  ones
  that
  are
  starting
  to
  release
  their
  albums
 
now;
 

-­‐

What
  elements
  and
  tools
  should
  this
  composer
  and
  performer
  have
  in
  her
 
music
 to
 be
 noticed;
 

-­‐

In
 what
 ways
 the
 formal
 training
 in
 music
 college
 can
 improve
 the
 final
 result
 
of
 this
 artistic
 work;
 
 

-­‐

What
 are
 the
 challenges
 faced
 by
 women
 in
 the
 songwriting
 area
 and
 music
 
in
 general.
 

The
  main
  motivation
  of
  this
  project
  is
  a
  personal
  quest,
  to
  have
  a
  deeper
 
understanding
  about
  music
  and
  a
  greater
  engagement
  with
  all
  the
  phases
  of
  the
 
music
  making
  process,
  working
  as
  composer,
  singer,
  instrumentalist,
  producer,
 
arranger
 and
 band
 leader.
 
 
During
 all
 years
 of
 my
 musical
 studies,
 I
 was
 taught
 to
 reproduce
 music
 written
 by
 
others
 –
 whether
 as
 a
 violin
 student
 (with
 the
 classical
 repertoire)
 or
 as
 a
 singer
  -­‐
 
performing
  music
  composed
  by
  my
  friends.
  I
  was
  never
  motivated
  to
  write
  my
  own
 
music
 and
 recently
 started
 to
 pay
 attention
 to
 the
 fact
 that
 there
 are
 more
 men
 than
 
4
 

 

women
  in
  music
  and
  this
  gender
  gap
  is
  even
  more
  evident
  when
  it
  comes
  to
 
songwriters
 or
 composers
 in
 general
 (in
 classical
 or
 popular
 music)
 –
 and
 I
 began
 to
 
discover
 relations
 between
 both
 facts.
 
After
 interviewing
 the
 Brazilian
 female
 composers
 Clarice
 Assad
 and
 Joyce
 Moreno
 
and
  reading
  some
  articles
  about
  this
  gender
  gap
  in
  music,
  I
  felt
  a
  connection
  with
 
their
 stories.
 There
 are
 plenty
 of
 studies
 that
 try
 to
 find
 an
 answer
 for
 the
 question
 
“why
 aren’t
 there
 many
 women
 composers”?
 Looking
 into
 the
 subject,
 it
 is
 easy
 to
 
find
  explanations
  about
  the
  music
  education
  system,
  that
  always
  encouraged
 
women
  to
  be
  good
  instrumentalists
  (with
  the
  purpose
  of
  home
  entertainment)
 
rather
  than
  being
  motivated
  to
  write
  their
  own
  music
  or
  to
  specialize
  in
  music
  as
 
professionals
 –
 for
 their
 activities
 should
 be
 as
 housewives,
 not
 as
 professionals
 in
 
any
 area.
 
 
Many
  are
  the
  reasons
  for
  that,
  and
  the
  goal
  of
  this
  project
  is
  not
  to
  work
  on
 
explanations
 for
 this
 gender
 gap.
 However,
 I
 felt
 that
 what
 led
 me
 not
 to
 write
 my
 
own
  music
  before
  was
  inherited
  from
  this
  culture
  of
  predominance
  of
  male
 
composers
 and
 songwriters.
 
 
Leaving
 that
 prejudice
 behind
 and
 based
 on
 the
 fact
 that
 both
 men
 and
 women
 can
 
achieve
  high
  levels
  of
  accomplishment
  in
  music,
  this
  project
  is
  an
  experience
  to
 
understand
 the
 path
 that
 a
 musician
 has
 to
 go
 through
 when
 working
 not
 only
 in
 the
 
roll
  of
  performer
  but
  also
  as
  the
  composer,
  band
  leader
  and
  producer
  –
  and
  how
 
that
  might
  be
  different
  if
  this
  musician
  is
  a
  woman.
  This
  project
  is
  focused
  on
  the
 
musical
 production
 of
 women
 in
 Brazilian
 music,
 specifically
 singer-­‐songwriters.
 
5
 

 

-­‐
 Methodology
 
In
 this
 Culminating
 Experience,
 the
 questions
 about
 what
 is
 necessary
 to
 become
 a
 
singer-­‐songwriter
 will
 be
 answered
 during
 the
 process
 of
 composing,
 arranging
 and
 
recording
  six
  original
  songs,
  in
  Brazilian
  styles.
  Also,
  there
  will
  be
  interviews
  held
 
with
 Joyce
 Moreno
 and
 Clarice
 Assad,
 talking
 about
 the
 Brazilian
 female
 singer
 and
 
songwriters
 in
 the
 international
 context,
 their
 struggles
 and
 their
 careers
 in
 music.
 
The
  goal
  of
  these
  interviews
  is
  to
  understand
  the
  profile
  of
  the
  Brazilian
  female
 
artists,
 to
 know
 what
 it
 means
 to
 be
 a
 songwriter
 in
 Brazilian
 music
 and
 what
 are
 
the
 main
 challenges.
 
 
-­‐
 Process
 and
 tools
 
 
Transcriptions,
  interviews
  held
  with
  Brazilian
  female
  singer-­‐songwriters,
  articles
 
about
 women
 in
 music,
 discography
 of
 Brazilian
 female
 singer-­‐songwriters,
 material
 
available
  at
  Berklee
  Valencia,
  classes
  taken
  during
  the
  course,
  recording
  sessions,
 
rehearsals,
 private
 instruction.
 
-­‐
 Justification
 and
 context
 
Brazil
  has
  always
  been
  a
  country
  of
  many
  great
  female
  singers.
  Among
  them,
  names
 
such
  as
  Elis
  Regina,
  Leny
  Andrade,
  Nara
  Leão,
  Maria
  Bethania
  and
  Gal
  Costa
  are
 
known
  all
  around
  the
  world.
  But
  all
  of
  them
  had
  in
  common
  the
  fact
  of
  dedicating
 
themselves
 only
 to
 performing
 other
 composer's
 music.
 They
 were
 famous
 by
 their
 
interpretations
  but,
  despite
  their
  ability
  to
  transform
  compositions
  by
  creating
 
different
  versions
  and
  also
  improvising
  on
  them,
  they
  weren't
  the
  songwriters.
  In
 
6
 

 

the
  jazz
  world,
  the
  same
  applied
  to
  singers
  like
  Ella
  Fitzgerald,
  Billie
  Holiday
  and
 
Sarah
 Voughan.
 
 
In
  the
  specific
  case
  of
  Brazilian
  music,
  the
  most
  famous
  composers
  are
 
predominantly
  male.
  That
  is
  a
  reflection
  of
  the
  music
  business
  world,
  where
  the
 
majority
  of
  composers,
  arrangers
  and
  instrumentalists
  are
  male.
  Berklee
  Valencia
  is
 
an
  example
  of
  that,
  with
  a
  majority
  of
  male
  students
  and
  teachers,
  in
  face
  of
  the
 
female
  group.
  It
  seems
  like
  the
  bigger
  part
  of
  the
  group
  of
  women
  that
  dedicate
 
themselves
  to
  music,
  choses
  to
  sing,
  more
  than
  writing,
  arranging
  or
  playing
  an
 
instrument.
 But
 why
 would
 that
 happen?
 
 
As
 it
 is
 known,
 women
 faced
 gender
 discrimination
 for
 a
 long
 time
 in
 human
 history,
 
in
 a
 sexist
 society.
 They
 weren’t
 allowed
 to
 vote,
 work
 or
 make
 choices
 for
 their
 own
 
lives
 and
 had
 to
 dedicate
 themselves
 to
 family
 only.
 The
 ideas
 about
 women’s
 role
 in
 
society
 and
 their
 limited
 intellectual
 ability
 were
 supported
 by
 intellectuals
 such
 as
 
Rousseau,
 Kant
 and
 Schopenhauer,
 as
 shown
 in
 the
 article
 “The
 Woman
 Composer
 
Question:
  Philosophical
  and
  Historical
  Perspectives”
  by
  Eugene
  Gates.
  And
  in
 
accordance
  to
  that,
  the
  theories
  about
  music
  education
  for
  women
  descbribed
  the
 
musical
  ability
  as
  necessary
  to
  entertain
  their
  families
  and
  evoke
  the
  feminine
 
characteristics
 for
 good
 taste
 and
 sensibility
 –
 never
 leading
 women
 to
 high
 levels
 of
 
musical
 accomplishment
 or
 use
 of
 creativity
 and
 genius
 in
 composition.
But
 after
 fighting
 against
 that,
 they
 began
 to
 be
 a
 part
 of
 the
 music
 business
 world
 as
 
composers
 and
 not
 only
 interpreters.
 
 

7
 

 

The
 first
 important
 example
 of
 female
 composer
 in
 Brazil
 was
 Chiquinha
 Gonzaga.
 
Born
 in
 1846,
 she
 was
 a
 pianist
 and
 composer
 who
 fought
 for
 women’s
 rights.
 When
 
her
 husband
 told
 her
 to
 choose
 between
 music
 or
 marriage,
 she
 separated
 from
 him
 
-­‐
  a
  very
  progressive
  attitude
  for
  that
  time
  in
  the
  XIX
  century.
  She
  told
  him:
  “My
 
husband,
  I
  don’t
  understand
  life
  without
  harmony!”.
  Chiquinha
  was
  a
  pioneer
  in
 
many
 ways:
 she
 was
 the
 first
 female
 to
 work
 as
 composer,
 conductor
 and
 the
 first
 
one
  to
  write
  a
  “marchinha
  de
  carnaval”,
  typical
  music
  for
  the
  carnival
  season.
  Her
 
music,
  “Ô
  Abre
  Alas”
  is
  still
  a
  symbol
  of
  the
  carnival
  in
  Rio
  de
  Janeiro.
  (Source:
 
www.chiquinhagonzaga.com
 )
 
 
Many
 years
 after
 her,
 another
 woman
 was
 also
 very
 important
 for
 the
 female
 role
 in
 
popular
 Brazilian
 music:
 Dona
 Ivone
 Lara.
 Born
 in
 1921,
 during
 her
 childhood,
 she
 
sang
 in
 a
 choir
 conducted
 by
 the
 great
 composer
 Heitor
 Villa-­‐Lobos
 and
 also
 listened
 
to
 amazing
 popular
 musicians
 like
 Pixinguinha
 and
 Donga.
 Dona
 Ivone
 was
 the
 first
 
woman
 to
 ever
 be
 a
 member
 of
 the
 very
 restricted
 composer’s
 group
 of
 the
 Escola
 
de
 Samba
 Império
 Serrano,
 from
 Rio
 de
 Janeiro,
 when
 she
 wrote
 the
 samba-­‐enredo
 
“Os
 Cinco
 Bailes
 da
 Corte”.
 Despite
 her
 talent
 for
 music,
 she
 worked
 as
 a
 nurse
 for
 
many
 years
 and
 decided
 to
 dedicate
 herself
 exclusively
 to
 music
 only
 in
 1977,
 after
 
she
 retired
 from
 the
 hospital
 where
 she
 worked.
 Since
 then,
 she
 recorded
 more
 than
 
15
  albums,
  has
  her
  compositions
  recorded
  by
  a
  big
  number
  of
  singers
  and
  is
 
considered
 

the
 

greatest
 

www.donaivonelara.com.br
 )
 
 

8
 

 

woman
 

in
 

samba
 

of
 

all
 

times.
 

(Source:
 

Following
 the
 legacy
 of
 those
 two
 women,
 other
 female
 songwriters
 began
 to
 appear
 
in
  the
  Brazilian
  popular
  music
  contemporary
  scenario
  in
  the
  decades
  of
  70’s,
  80’s
 
and
  90’s.
  Names
  like
  Rosa
  Passos,
  Joyce
  Moreno,
  Sueli
  Costa
  and
  Tania
  Maria
  are
 
some
  of
  the
  best
  examples.
  But
  they
  were
  still
  very
  few,
  compared
  to
  the
  amount
  of
 
male
 songwriters.
 
 
In
  the
  interview
  held
  for
  this
  project
  with
  the
  musician
  Clarice
  Assad
  states:
  “To
 
conquer
  a
  bigger
  and
  more
  relevant
  space
  in
  the
  area
  of
  composition,
  it
  would
  be
 
important
 for
 women
 to
 be
 encouraged
 to
 do
 more
 that
 what
 is,
 in
 some
 way,
 expected
 
from
 them.”
 
 For
 Joyce
 Moreno,
 the
 other
 composer
 interviewed:
 “What
 was
 expected
 
in
 the
 “Golden
 age”
 of
 Brazilian
 Popular
 Music
 in
 the
 XX
 century
 was
 that
 women
 were
 
singers,
 in
 other
 words,
 spokesperson
 for
 the
 ideas
 of
 men.”
 
 According
 both
 of
 them,
 
there
 seems
 to
 be
 a
 correlation
 between
 what
 is
 expected
 from
 women
 in
 music
 and
 
what
 they
 are
 able
 to
 accomplish.
 
After
 the
 revolution
 in
 music
 industry,
 more
 and
 more
 singers
 started
 writing
 their
 
own
 music
 as
 a
 way
 to
 control
 the
 copyrights
 of
 their
 work,
 since
 the
 record
 labels
 
lost
  their
  power
  and
  the
  artists
  started
  being
  the
  owners
  of
  their
  material.
  It
 
happened
  first
  in
  pop
  music
  and
  now
  is
  a
  tendency
  in
  the
  Brazilian
  music
  market
 
also.
  Now,
  with
  the
  new
  technologies
  that
  made
  it
  easier
  for
  musicians
  to
  have
  their
 
albums
 recorded
 and
 released
 using
 only
 home
 studios
 and
 the
 internet,
 there
 are
 
many
  Brazilian
  singers
  starting
  their
  careers
  online.
  A
  lot
  of
  the
  times
  that
  is
 
accomplished
  with
  no
  training
  and
  no
  professional
  collaboration
  in
  sound
 
engineering,
  recording,
  composing
  and
  arranging.
  And
  in
  most
  cases,
  the
  lack
  of
 

9
 

 

structure
 gets
 in
 the
 way
 of
 the
 artistic
 results.
 In
 the
 interview
 with
 Clarice
 Assad,
 
about
  this
  growing
  number
  of
  new
  female
  singer
  &
  songwriters
  in
  the
  Brazilian
 
music
  market,
  she
  says:
  “there
  is
  an
  expectation
  related
  to
  success,
  in
  general.
  The
 
desire
  to
  be
  famous
  might
  motivate
  someone
  to
  try
  to
  express
  themselves
  through
 
music,
 only
 to
 reach
 that
 goal.”
 For
 her,
 many
 of
 the
 new
 artists
 have
 fame
 as
 their
 
ultimate
 goal,
 and
 the
 musical
 quality
 is
 left
 aside.
 
 
This
  Culminating
  Experience
  is
  an
  experiment
  on
  how
  to
  do
  the
  production
  process
 
of
 a
 Brazilian
 singer
 &
 songwriter
 material,
 with
 a
 solid
 technical
 structure
 in
 both
 
musical
 and
 technological
 ways.
 I
 believe
 that
 this
 process
 will
 lead
  to
 the
 recording
 
my
  second
  album,
  starting
  from
  a
  new
  level
  of
  engagement
  with
  the
  project.
  And
 
hope
  that
  the
  multiple
  skills
  acquired
  during
  this
  year
  can
  be
  used
  further,
 
throughout
 a
 professional
 career,
 as
 a
 performer,
 composer,
 arranger
 or
 teacher.
 
-­‐
 Artistic
 product
 
The
  expected
  result
  of
  this
  project
  is
  to
  produce
  the
  first
  six
  songs
  of
  my
  second
 
album
  –
  which
  will
  have
  only
  original
  songs.
  This
  will
  be
  achieved
  by
  using
  the
 
knowledge
  and
  experiences
  in
  classes
  such
  as
  Production
  Concepts
  for
  the
 
Contemporary
  Performer,
  Performance
  Forum,
  Harmony,
  Performing
  Musicians
  in
 
Global
  Economy
  and
  Private
  Instruction.
  Each
  class
  will
  provide
  tools
  and
 
techniques
 to
 enhance
 skills
 in
 technological,
 creative
 and
 artistic
 levels.
 
 
Another
  important
  goal
  of
  this
  work
  is
  to
  understand
  the
  music
  business
  through
 
women's
 point
 of
 view
 -­‐
 what
 are
 the
 obstacles,
 the
 bias
 and
 the
 advantages.
 

10
 

 

The
  long-­‐term
  goal
  is
  to
  become
  a
  full
  time
  singer
  and
  songwriter,
  expanding
  my
 
skills
  and
  versatility
  as
  a
  musician,
  being
  able
  to
  control
  all
  the
  phases
  in
  the
 
production
  of
  an
  album
  -­‐
  from
  pre-­‐production
  (composing
  and
  arranging),
  to
 
production
  (recording)
  and
  post-­‐production
  (editing,
  mixing,
  mastering,
  releasing,
 
publishing
 and
 performing).
 
 
THE
 PROCESS
 
Each
  song
  composed
  and
  recorded
  will
  be
  now
  analyzed
  and
  the
  process
  from
 
composition
  to
  recording
  will
  be
  explained
  and
  commented.
  The
  songs
  are
 
presented
 in
 chronological
 order
 according
 to
 the
 recording
 sessions.
 
1) “Mansinho”
 (Luiza
 Sales
 &
 Gustavo
 Pereira)
 
 
Context
 
This
 was
 the
 first
 song
 I
 worked
 on
 when
 I
 first
 got
 to
 Berklee
 Valencia.
 In
 the
 first
 
week
 of
 the
 Production
  Concepts
  for
  The
  Contemporary
  Performer
 class
 this
 was
 the
 
song
  chosen
  for
  the
  recording
  project.
  The
  process
  of
  this
  song
  was
  the
  most
 
complicated
 for
 me,
 because
 it
 showed
 clearly
 the
 need
 to
 work
 with
 musicians
 that
 
know
  the
  language
  and
  characteristics
  of
  Brazilian
  music
  styles
  and
  showed
  how
 
unprepared
  I
  was
  to
  lead
  rehearsals
  and
  a
  recording
  session.
  Despite
  my
  previous
 
experience
  as
  a
  singer
  in
  both
  rehearsing
  and
  recordings,
  I
  was
  always
  helped
  by
 
musical
  directors
  and
  arrangers,
  who
  would
  lead
  the
  band
  for
  me.
  This
  was
  the
  first
 
time
 I
 had
 full
 responsibility
 as
 the
 music
 director
 and
 the
 relevance
 of
 topics
 such
 
as
 rhythm
 section,
 instrumentation,
 chords
 and
 voicing,
 bass
 lines,
 accompaniment
 
11
 

 

and
  arrangement
  became
  more
  evident.
  The
  expectations
  of
  the
  performance
  and
 
the
 real
 result
 were
 contrasting
 and
 I
 was
 not
 able
 to
 communicate
 exactly
 what
 was
 
the
 groove
 and
 the
 sound
 intended.
 I
 tried
 different
 instrumentations
 and
 different
 
musicians
  and
  it
  wasn't
  sounding
  the
  way
  I
  wanted,
  especially
  in
  the
  rhythmic
 
section
 aspect.
 
 
Fortunately
 the
 lyricist
 of
 the
 song,
 Gustavo
 Pereira,
 who
 is
 my
 good
 friend,
 was
 in
 
Valencia
 to
 visit
 and
 I
 was
 able
 to
 record
 the
 song
 with
  him
 and
 Mateus
 Xavier,
 both
 
Brazilian
 musicians,
 who
 made
 it
 sound
 true
 to
 the
 characteristics
 of
 the
 style.
 
The
 first
 learning
 outcome
 is
 that
 each
 musical
 genre
 has
 specific
 codes
 that
 most
 of
 
the
  times
  are
  not
  explicit.
  Musicians
  that
  aren’t
  exposed
  to
  a
  particular
  rhythm
  or
 
style
 need
 time
 and
 practice
 to
 deliver
 a
 performance
 that
 sounds
 true
 and
 has
 the
 
specific
 vocabulary
 of
 that
 genre.
 
 
The
 second
 learning
 outcome
 was
 that
 I
 would
 have
 to
 adapt
 –
 and
 this
 lesson
 stuck
 
with
 me
 for
 the
 rest
 of
 the
 process,
 until
 the
 last
 song
 recorded.
 
 
Musical
 aspects
 
“Mansinho”
  is
  a
  “bossa-­‐nova”
  inspired
  tune
  that
  is
  not
  strictly
  a
  “samba”
  and
 
contains
 jazz
 elements
 in
 harmony
 and
 melody.
 It
 doesn’t
 follow
 a
 traditional
 form,
 
for
 the
 different
 parts
 are
 connected
 through
 the
 melodic
 design
 (always
 ascendant).
 
It
 doesn’t
 have
 clear
 A
 and
 B
 parts,
 has
 little
 repetition
 and
 doesn't
 have
 a
 chorus.
 
 
This
 aspect
 of
 the
 musical
 form
 stood
 out
 and
 after
 a
 suggestion
 of
 a
 teacher
 in
 one
 
of
  the
  classes,
  I
  added
  a
  “bridge”
  to
  the
  end,
  to
  create
  tension
  and
  build
  up
  to
  a
 
12
 

 

culminating
  point
  in
  the
  “emotional
  timeline”
  of
  the
  arrangement.
  The
  “emotional
 
timeline”
  was
  a
  topic
  discussed
  at
  the
  Production
  Concepts
  for
  The
  Contemporary
 
Performer
 class
 and
 helped
 me
 to
 build
 the
 arrangement
 for
 this
 piece.
 I
 also
 wrote
 a
 
melody
 that
 serves
 as
 “hook”
 for
 the
 song,
 as
 seen
 below.
 
 


 
It
  was
  interesting
  to
  notice
  that
  this
  is
  the
  part
  of
  the
  song
  that
  all
  my
  colleagues
 
learned
 and
 is
 the
 favorite
 of
 the
 audience
 in
 the
 live
 performances
 I’ve
 had
 so
 far
 in
 
Spain.
 Since
 the
 song
 is
 in
 Portuguese,
 this
 part
 of
 the
 song
 has
 no
 lyrics
 (to
 break
 
the
  language
  barrier)
  and
  has
  an
  easy
  melody,
  which
  helps
  creating
  a
  connection
 
with
 the
 listener
 and
 invites
 to
 sing-­‐a-­‐long.
 

 
2) “Chuva”
 (Luiza
 Sales)
 
Context
 
This
  was
  the
  second
  song
  recorded
  and
  the
  first
  one
  with
  both
  lyrics
  and
  music
 
written
 by
 me.
 In
 contrast
 with
 the
 previous
 one,
 in
 the
 recording
 session
 I
 had
 the
 
opportunity
  to
  play
  with
  an
  outstanding
  Brazilian
  instrumentalist
  and
  composer,
 
Chico
 Pinheiro.
 He
 was
 in
 Valencia
 in
 January,
 recording
 with
 Placido
 Domingo
 and
 

13
 

 

the
  fact
  that
  we
  were
  both
  spoke
  the
  same
  language
  in
  music
  joined
  us
  together.
  He
 
also
  told
  me
  a
  lot
  about
  his
  experience
  as
  a
  Brazilian
  musician
  with
  an
  international
 
career
 and
 it
 was
 a
 very
 inspiring
 meeting
 for
 me.
 
 
The
 original
 plan
 was
 to
 record
 another
 song
 for
 my
 second
 recording
 project
 in
 the
 
Production
 Concepts
 for
 The
 Contemporary
 Performer
 class,
 but
 since
 I
 had
 the
 luck
 
to
 have
 Chico
 around
 and
 he
 kindly
 accepted
 my
 invitation,
 the
 plans
 changed.
 
We
 did
 a
 session
 with
 only
 voice
 and
 guitar
 and
 his
 studio
 performance
 and
 guitar
 
playing
  were
  a
  lesson
  on
  professionalism
  and
  high-­‐level
  musicianship.
  The
  same
 
topics
  that
  were
  an
  issue
  in
  the
  previous
  recording
  (such
  as
  groove,
  voicing,
  bass
 
lines
 and
 accompaniment)
 were
 solved
 in
 this
 situation
 by
 his
 playing.
 
 
And
 as
 Chico
 himself
 said
 during
 his
 clinic
 at
 the
 Performance
 Forum
 class,
 telling
 a
 
story
 about
 his
 experience
 playing
 with
 Buena
 Vista
 Social
 Club’s
 musicians:
 when
 a
 
musician
 has
 the
 opportunity
 to
 play
 with
 others
 that
 are
 in
 a
 higher
 performance
 
level,
 instead
 of
 feeling
 intimidated
 or
 limited,
 the
 feeling
 is
 that
 you
 play
 better
 too,
 
and
 the
 level
 raises
 as
 you
 are
 being
 pushed
 up
 by
 the
 other
 musicians
 around.
 
 
Musical
 aspects
 
“Chuva”
 is
 a
 “baião”
 –
 genre
 from
 the
 northeast
 of
 Brazil.
 Differently
 from
 the
 first
 
song,
  this
  one
  has
  a
  more
  structured
  form,
  with
  an
  introduction
  section,
  clear
  A
  and
 
B
  sections
  and
  an
  interlude.
  The
  experience
  with
  the
  previous
  song
  helped
  create
 
awareness
 to
 the
 importance
 of
 having
 a
 structured
 arrangement,
 with
 clear
 parts
 
that
 help
 develop
 the
 musical
 ideas.
 
14
 

 

The
  interlude
  was
  inspired
  by
  Hermeto
  Pascoal’s
  music,
  specially
  the
  melodic
 
outline
 of
 tunes
 like
 “Forró
 em
 Santo
 André”
 and
 “Forró
 Brasil”
 –
 which
 are
 based
 in
 
the
 same
 Brazilian
 style,
 “baião”
 that
 is
 one
 of
 the
 types
 of
 “forró”.
 
This
  is
  the
  first
  exploration
  of
  “scatting”
  as
  a
  resource
  in
  the
  arrangements
  of
  my
 
songs.
  This
  is
  an
  aspect
  I
  want
  to
  add
  to
  my
  music
  and
  my
  artist
  identity,
  for
  I
 
believe
 it
 will
 differentiate
 me
 from
 other
 singers
 in
 Brazil
 who
 in
 their
 majority
 do
 
not
 improvise
 or
 “scat”.
 
Interlude:
 


 
The
  harmonic
  aspect
  of
  this
  piece
  is
  also
  interesting,
  for
  it
  has
  traces
  of
  what
  is
 
called
  “Coltrane’s
  Changes”,
  moving
  chords
  by
  thirds
  in
  various
  moments.
  Using
 
techniques
 learned
 at
 the
 Contemporary
 Harmony
 class,
 re-­‐harmonization
 was
 a
 tool
 
chosen
 to
 add
 variation
 to
 one
 of
 the
 phrases,
 for
 the
 changes
 in
 that
 section
 were
 
very
 repetitive.
 
 
Original
 harmony:
 


 
Re-­‐harmonization:
 

15
 

 


 


 
This
 song
 starts
 to
 show
 the
 changes
 in
 the
 music
 making
 process
 promoted
 by
 the
 
tools
 provided
 by
 different
 classes
 at
 Berklee
 Valencia.
 The
 influence
 of
 the
 harmony
 
studies
 and
 the
 musical
 production
 ideas
 showed
 their
 first
 results
 in
 this
 recording.
 
3) “A
 frio”
 (Luiza
 Sales
 &
 Pedro
 Carneiro)
 
 
Context
 
This
 was
 the
 second
 song
 written
 by
 me
 entirely
 at
 Berklee
 Valencia
 and
 the
 third
 
song
  recorded.
  The
  most
  interesting
  thing
  about
  this
  piece
  is
  the
  collaborative
 
composition
 process
 –
 it
 was
 co-­‐written
 with
 Pedro
 Carneiro,
 a
 pianist
 who
 I
 studied
 
with
 in
 my
 undergrad
 in
 Brazil
 that
 currently
 lives
 in
 Portugal
 and
 was
 in
 Valencia
 
to
 perform
 with
 me
 in
 February
 2014.
 
Pedro
 is
 a
 student
 of
 Escola
 Superior
 de
 Música
 in
 Lisbon
 and
 he
 is
 also
 pursuing
 a
 
Masters
  degree
  in
  music.
  His
  master’s
  project
  is
  to
  trigger
  a
  creative
  process
  in
 
music
  by
  living
  different
  experiences
  and
  for
  that
  he
  is
  going
  through
  a
  series
  of
 
experiments
 related
 to
 his
 composition
 process.
 When
 he
 was
 telling
 me
 about
 it,
 I
 
asked
  to
  join
  him
  in
  one
  of
  the
  compositions,
  for
  I
  was
  interested
  in
  developing
  new
 
strategies
 to
 write
 music
 and
 experience
 new
 processes
 in
 music
 making.
 

16
 

 

Our
 experience
 took
 place
 in
 Berklee
 Valencia
 and
 had
 a
 simple
 work
 dynamic:
 we
 
spent
 40
 minutes
 in
 a
 room
 in
 total
 silence,
 looking
 at
 each
 other’s
 eyes.
 We
 couldn’t
 
speak,
  laugh
  or
  move
  at
  all
  –
  and
  specially,
  we
  were
  not
  allowed
  to
  look
  away.
  After
 
those
 40
 minutes,
 we
 could
 only
 communicate
 through
 music
 –
 and
 from
 that,
 a
 new
 
composition
  could
  happen,
  or
  not.
 
  We
  were
  also
  allowed
  to
  write
  some
  text
  or
 
poetry,
 if
 desired.
 
It
  was
  a
  very
  intense
  experience
  that
  demanded
  full
  concentration
  and
  total
 
involvement
  with
  the
  moment.
  After
  the
  40
  minutes
  were
  over,
  I
  wrote
  a
  poem
 
about
 how
 people
 do
 not
 really
 look
 at
 each
 other
 nowadays
 and
 how
 one
 can
 see
 
itself
 by
 the
 eyes
 of
 others
 –
 and
 this
 poem
 turned
 out
 to
 be
 the
 lyrics
 of
 the
 song.
 
The
  music
  composition
  process
  was
  also
  very
  interesting.
  We
  first
  started
 
improvising,
  feeding
  each
  other
  with
  musical
  ideas.
  He
  would
  play
  chords
  in
  the
 
piano,
  and
  I
  would
  respond
  with
  melodies.
  For
  about
  30
  minutes,
  we
  improvised
  on
 
a
  Phrygian
  harmonic
  structure,
  but
  it
  wasn’t
  going
  anywhere
  as
  far
  as
  structure
  and
 
motivic
 development
 concerns.
 
After
  that,
  he
  started
  playing
  the
  chord
  progression
  that
  led
  to
  the
  composition
  of
 
the
 actual
 song.
 We
 built
 a
 melody
 on
 top
 of
 it
 and
 after
 that,
 I
 made
 the
 adaptations
 
to
 fit
 the
 lyrics,
 and
 the
 song
 was
 done
 in
 about
 one
 hour
 and
 a
 half.
 
It
 was
 the
 first
 time
 I
 wrote
 a
 piece
 entirely
 in
 collaboration
 with
 another
 musician
 
and
 the
 process
 showed
 me
 how
 to
 create
 an
 environment
 that
 is
 propitious
 to
 have
 
a
 flow
 of
 musical
 ideas.
 I
 learned
 as
 well
 how
 to
 control
 this
 flow
 of
 ideas
 and
 give
 
them
 a
 form
 for
 it
 to
 become
 a
 piece
 of
 art.
 This
 experiment
 led
 me
 to
 a
 high
 level
 of
 
17
 

 

artistic
 and
 technical
 development
 and
 at
 the
 same
 time
 was
 a
 deeply
 personal
 and
 
emotional
 experience.
 
Musical
 aspects
 
The
  original
  composition
  was
  a
  ballad
  but
  was
  arranged
  as
  a
  “slow
  bossa”
  for
  the
 
recording
  session.
  The
  initial
  chord
  progression
  sounds
  very
  similar
  to
  Tom
  Jobim’s
 
“Águas
  de
  Março”,
  due
  to
  the
  use
  of
  chord
  inversions
  and
  the
  bass
  line
  structured
  in
 
a
 descendent
 movement.
 
Chord
 progression
 and
 introduction
 melody:
 


 
Another
  curious
  fact
  about
  this
  introduction
  is
  that
  it
  was
  originally
  written
  it
  in
 
another
 key,
 with
 a
 different
 chord
 progression
 and
 it
 was
 meant
 to
 be
 the
 start
 of
 
another
  song.
  But
  after
  “A
  Frio”
  was
  ready,
  I
  experimented
  using
  this
  melody
  that
 
was
 written
 before
 and
 it
 fit
 perfectly
 –
 coincidence
 or
 not.
 
In
  the
  recording
  session,
  I
  decided
  to
  play
  guitar
  and
  sing
  at
  the
  same
  time
  -­‐
  as
  a
 
personal
  challenge
  to
  push
  me
  into
  performing
  as
  a
  guitar
  player.
  The
  guitar
  was
 
already
 a
 great
 tool
 in
 composition
 and
 arranging
 since
 the
 beginning
 of
 this
 process
 
of
  becoming
  a
  songwriter.
  But
  playing
  at
  home
  or
  in
  the
  practice
  room
  is
  very
 
distinct
 from
 playing
 in
 a
 recording
 session
 or
 live
 performance.
 The
 performance
 I
 
delivered
 during
 recording
 session
 was
 not
 in
 the
 level
 expected
 from
 a
 professional
 
18
 

 

musician,
  but
  served
  as
  a
  learning
  experience
  and
  a
  motivation
  to
  go
  further
  with
 
the
 instrument
 practice.
 
 
The
  arrangement
  of
  the
  song
  had
  guitar
  (playing
  the
  role
  of
  rhythmic
  and
  harmonic
 
base),
  clarinet
  (playing
  the
  introduction
  melody
  line
  and
  backgrounds)
  and
 
vibraphone
  (doing
  a
  solo
  section
  and
  harmonies).
  The
  vibraphone
  and
  clarinet
  gave
 
a
 very
 special
 timbre
 to
 the
 song
 and
 I
 consider
 this
 as
 the
 best
 recording
 made
 in
 
this
 project.
 
 
By
  this
  moment
  of
  the
  process,
  I
  was
  better
  prepared
  to
  rehearse,
  with
  a
  full
 
arrangement
  written
  for
  the
  song
  and
  a
  clear
  idea
  of
  what
  I
  wanted
  from
  the
 
musicians.
  It
  was
  the
  easiest
  song
  to
  rehearse
  and
  record,
  regarding
  the
 
participation
  of
  other
  musicians
  and
  the
  technical
  situation
  in
  studio
  -­‐
  and
  that
  is
 
clearly
 heard
 in
 the
 final
 result
 of
 the
 recording.
 

 
4) “Aventureira”
 (Luiza
 Sales
 &
 Gustavo
 Pereira)
 
Context
 
Tittle
 song
 of
 my
 possible
 next
 album,
 is
 a
 song
 about
 being
 a
 woman
 in
 the
 music
 
business,
 trying
 to
 find
 my
 own
 way,
 seeing
 life
 as
 an
 adventure
 –
 the
 lyrics
 basically
 
summarize
 my
 whole
 experience
 of
 becoming
 a
 songwriter.
 
 
It
  was
  written
  in
  the
  first
  semester,
  when
  I
  was
  first
  starting
  to
  compose
  more
 
frequently
  and
  is
  influenced
  by
  the
  learning
  experience
  provided
  by
  the
 Latin
 Jazz
 
Ensamble,
  with
  Victor
  Mendoza.
  I
  always
  listened
  to
  Latin-­‐American
  music
  and
 
19
 

 

admired
  groups
  like
  Irakere,
  Buena
  Vista
  Social
  Club
  and
  artists
  such
  as
  Omara
 
Portuondo,
  Celia
  Cruz
  and
  Arturo
  Sandoval.
  But
  this
  ensemble
  gave
  me
  an
  inside
 
look
  into
  the
  vocabulary
  of
  latin
  music
  –
  and
  this
  is
  related
  to
  the
  subject
  talked
 
about
 in
 the
 production
 process
 of
 “Mansinho”:
  it
 takes
 a
 lot
 of
 time
 and
 practice
 for
 
a
 musician
 to
 get
 familiar
 with
 the
 vocabulary
 of
 new
 style.
 
In
 order
 to
 get
 more
 familiar
 with
 Latin-­‐american
 styles,
 especially
 Cuban
 music,
 the
 
composition
  seemed
  to
  me
  like
  a
  tool
  to
  put
  to
  prove
  my
  understanding
  of
  that
 
music.
 
Musical
 aspects
 
This
  song
  is
  a
  “cha-­‐cha”,
  influenced
  by
  João
  Donato
  –
  a
  Brazilian
  composer
  a
 
composer
  from
  the
  “bossa
  nova”
  era
  who
  mixed
  Latin-­‐American
  styles
  with
 
Brazilian
 music.
 
 Compositions
 such
 as
 “Nasci
 Para
 Bailar”
 and
 “Amazonas”
 were
 the
 
main
  inspiration.
  Specifically
  in
  comparison
  to
  “Amazonas”
  the
  first
  motive
  of
  the
 
melody
 in
 “Aventureira”
 is
 very
 similar.
 
 
The
  instrumentation
  of
  the
  arrangement
  is:
  electric
  bass,
  piano
  and
  percussion
 
(congas,
  guiro,
  timbales
  and
  cowbell).
  It
  was
  a
  very
  enriching
  experience
  to
  have
 
musicians
 that
 were
 familiar
 with
 the
 style
 to
 play
 on
 this
 recording.
 
Vocabulary
 resources
 such
 as
 piano
 montuno,
 clave,
  typical
 percussion
 instruments
 
and
 hits
 inspired
 by
 Tito
 Puente
 (showed
 bellow)
 are
 present
 in
 the
 arrangement
 to
 
make
  it
  sound
  closer
  to
  the
  style,
  despite
  the
  lyrics
  in
  Portuguese
  and
  the
  chord
 
progressions
 that
 is
 not
 very
 traditional.
 
20
 

 

“Tito
 Puente
 Hits”:
 


 
Improvisation
  was
  my
  personal
  challenge
  in
  this
  recording
  and
  I
  had
  the
  help
  of
 
Celia
  Mur
  in
  Private
  Instrucion
  class
  and
  all
  the
  experiences
  with
  improvisation
 
provided
 by
 Topics
 in
 Improvisation
 with
 Perico
 Sambeat.
 
 It
 is
 a
 short
 solo
 section
 
over
 one
 chord
 basically,
 but
 it
 was
 the
 first
 time
 I
 recorded
 a
 vocal
 improvisation
 
and
 it
 was
 very
 demanding
 for
 me
 as
 a
 musician.
 I
 believe
 this
 was
 the
 first
 step
 into
 
a
  deeper
  investigation
  on
  vocal
  improvisation
  in
  Brazilian
  music
  as
  a
  tool
  to
 
differentiate
 my
 work
 from
 other
 singer-­‐songwriters
 in
 the
 same
 style.
 
In
 order
 to
 go
 deeper
 into
 the
 question
 of
 the
 use
 of
 vocal
 improvisation
 in
 Brazilian
 
music
 some
 transcriptions
 were
 made.
 I
 looked
 into
 the
 work
 of
 Leny
 Andrade,
 one
 
of
  the
  only
  Brazilian
  singers
  that
  use
  scat
  singing
  as
  a
  tool
  in
  their
  performance.
 
After
  a
  short
  research
  on
  her
  discography,
  some
  examples
  of
  scat
  singing
  were
 
found
  and
  the
  transcriptions
  showed
  the
  large
  use
  of
  rhythmic
  ideas
  based
  in
 
syncopations,
 accents
 in
 the
 upbeats
 and
 the
 subdivisions
 of
 samba
 and
 bossa-­‐nova.
 
The
 transcriptions
 of
 Leny
 Andrade’s
 scat
 solos
 can
 be
 found
 attached
 to
 this
 paper.
 
5) “Força
 do
 tempo”
 (Luiza
 Sales
 &
 Vinicius
 Castro)
 
Context
 
This
  song
  was
  recorded
  in
  collaboration
  with
  the
  Batucada
  Ensemble,
  directed
  by
 
professor
  Mariano
  Steimberg.
  The
  Batucada
  is
  a
  percussion
  group
  of
  Berklee
 
Valencia
 students
 that
 uses
 Brazilian
 music
 typical
 percussion
 instruments
 to
 work
 
21
 

 

on
 rhythmic
 abilities,
 exploring
 genres
 from
 all
 over
 the
 world
 and
 Brazilian
 music
 
as
 well.
 
 
The
  participation
  of
  the
  Batucada
  in
  this
  recording
  project
  was
  an
  experience
  that
 
showed
 me
 that
 there
 are
 no
 boundaries
 for
 music
 and
 that
 the
 musicians’
 abilities
 
to
 play
 in
 one
 style
 only
 depend
 on
 practice.
 
 When
 I
 started
 the
 project,
 I
 believed
 
that
 I
 would
 need
 Brazilian
 musicians
 to
 have
 my
 songs
 recorded
 but,
 happily,
 I
 was
 
led
  to
  other
  conclusions
  thanks
  to
  situations
  presented
  in
  different
  stages
  of
  the
 
process.
 
The
 rhythmic
 section
 had
 10
 musicians
 playing
 at
 the
 same
 time
 in
 the
 Scoring
 Stage
 
studio
 at
 Berklee
 Valencia.
 
Musical
 aspects
 
“Força
 do
 Tempo”
 was
 written
 in
 collaboration
 with
 Vinicius
 Castro,
 a
 composer
 and
 
producer
  from
  Brazil,
  who
  will
  be
  the
  producer
  of
  my
  next
  album
  -­‐
  which
  will
 
contain
  the
  songs
  presented
  in
  this
  project.
  The
  song
  is
  based
  in
  Maracatu,
  a
 
traditional
  rhythm
  from
  Pernambuco
  state,
  in
  the
  northeast
  region
  of
  Brazil.
  The
 
rhythmic
 and
 harmonic
 aspect
 are
 the
 most
 important
 parts
 of
 the
 song,
 for
 they
 are
 
responsible
  for
  adding
  variation
  to
  the
  melody,
  that
  is
  built
  basically
  in
  repeated
 
notes,
 as
 pedal
 structure.
 
Basic
 structure
 of
 
 “A”
 section:
 

22
 

 


 
Basic
 structure
 of
 “B”
 section:
 


 
The
  interlude
  is
  contrasting,
  for
  it
  is
  built
  based
  in
  arpeggios,
  with
  more
  melodic
 
development
  and
  adds
  a
  third
  rhythmic
  structure
  to
  the
  arrangement.
  During
  the
 
composition,
 the
 chord
 changes
 suggest
 a
 modal
 approach,
 using
 the
 Im7
 and
 IV7(9)
 
chords
 from
 the
 Dorian
 mode.
 But
 only
 in
 the
 interlude
 section
 the
 melody
 confirms
 
the
 mode
 by
 the
 use
 of
 both
 the
 minor
 3th,
 7th
 and
 major
 6th
 grades,
 characteristic
 
notes
 of
 the
 Dorian
 scale.
 


 
The
 choice
 for
 a
 modal
 harmony
 was
 based
 on
 the
 characteristics
 of
 the
 music
 styles
 
from
  the
  northeast
  of
  Brazil,
  which
  traditionally
  is
  structured
  in
  modes
  such
  as
 
23
 

 

Mixolydian,
  Lydian,
  Dorian
  and
  Aeolian.
  According
  to
  the
  research
  of
  the
  Brazilian
 
musicologist
  Ermelinda
  Paz
  in
  the
  article
  “O
 modalismo
 e
 suas
 incursões
 na
 criação
 
do
 universo
 musical
 brasileiro”,
  the
  modal
  harmony
  is
  widely
  present
  in
  the
  music
  of
 
Dominguinhos,
  Hermeto
  Pascoal,
  Tom
  Jobim,
  Alceu
  Valença,
  and
  Jackson
  do
 
Pandeiro,
 among
 others.
 
 Acording
 to
 Ermelinda
 Paz,
 Luiz
 Gonzaga
 was
 the
 pioneer
 
in
  using
  modal
  songs
  in
  Brazilian
  popular
  music
  (known
  as
  MPB)
  and
  the
 
mixolydian
 mode
 is
 the
 most
 utilized
 one
 (PAZ,
 1999).
 
 
In
 the
 case
 of
 “Força
 do
 Tempo”,
 there
 is
 a
 strong
 influence
 of
 the
 theme
 “Forró
 em
 
Santo
 André”,
 by
 Hermeto
 Pascoal,
 in
 dorian
 mode
 –
 which
 I
 was
 listening
 to
 a
 lot
 
during
 the
 compositional
 process
 of
 my
 piece.
 
 
Another
 interesting
 point
 to
 note
 is
 the
 use
 other
 resources
 of
 the
 guitar
 to
 build
 the
 
arrangement,
  especially
  the
  use
  of
  harmonics
  and
  rhythmic
  patterns
  exploration.
 
The
  interaction
  between
  the
  guitar
  and
  the
  Batucada
  Ensamble
  is
  very
  simple
  but
 
the
  use
  of
  basic
  elements
  to
  add
  variation
  is
  important
  to
  keep
  interest
  in
  the
 
arrangement.
  For
  example,
  the
  “B”
  section
  has
  no
  low
  drums,
  and
  they
  are
  added
 
later
 to
 build
 up
 for
 the
 following
 section
 and
 lead
 to
 a
 break
 that
 leaves
 the
 vocal
 
solo,
  creating
  a
  moment
  of
  suspension.
  Also,
  the
  use
  of
  long
  notes
  in
  the
  guitar
 
accompaniment
 part
 and
 the
 use
 of
 only
 agogos
 and
 cowbell
 in
 the
 last
 “A”
 section
 
creates
  another
  suspension
  moment,
  followed
  by
  the
  return
  of
  the
  Batucada
  in
  its
 
full
 instrumentation.
 
6) Janelas
 Floridas
 (Luiza
 Sales)
 
Context
 
24
 

 

The
  last
  song
  composed,
  inspired
  on
  Choro,
  another
  musical
  genre
  from
  Brazil.
 
Choro
 is
 a
 mostly
 instrumental
 style
 that
 was
 born
 in
 Rio
 de
 Janeiro
 in
 the
 beginning
 
of
 the
 XX
 Century.
 In
 the
 Private
 Instruction
 class
 with
 Celia
 Mur
 I
 studied
 two
 pieces
 
of
  this
  genre:
  one
  was
  a
  traditional
  choro,
  “Assanhado”
  by
  Jacob
  do
  Bandolim
  and
 
the
 other
 was
 a
 contemporary
 choro,
 “Chorinho
 para
 ele”,
 by
 Hermeto
 Pascoal.
 
 
Despite
  being
  originally
  an
  instrumental
  music
  genre,
  Ademilde
  Fonseca
  and
 
Carmen
 Miranda
 were
 important
 singers
 who
 recorded
 various
 choros,
 adding
 lyrics
 
to
  famous
  themes
  such
  as
  “Brasileirinho”,
  “Assanhado”
  and
  “Tico-­‐tico
  no
  fubá”.
 
Ademilde
  is
  known
  as
  the
  “Queen
  of
  Choro”,
  for
  her
  numerous
  recordings
 
interpreting
  Choros
  with
  lyrics
  that
  were
  already
  famous
  in
  their
  instrumental
 
version
 and
 for
 their
 demanding
 technical
 level.
 According
 to
 Daniela
 Ferraz,
 in
 her
 
masters
  dissertation:
  “A
  voz
  e
  o
  choro:
  aspectos
  técnicos
  vocais
  e
  o
  repertório
  de
 
choro
  cantado
  como
  ferramenta
  para
  o
  estudo
  do
  canto
  popular”,
 the
 study
 of
 Choro
 
repertoire
  by
  singers
  can
  be
  a
  great
  tool
  to
  approach
  better
  vocal
  technique
  in
 
Brazilian
 popular
 music.
 
 
After
 Ademilde,
 Baby
 Consuelo
 (that
 currently
 uses
 the
 artistic
 name
 Baby
 do
 Brasil)
 
was
 the
 singer
 who
 continued
 recording
 Choros
 with
 lyrics
 written
 by
 her
 self
 in
 the
 
70’s
  and
  90’s,
  with
  a
  more
  contemporary
  approach.
  The
  original
  instrumentation
  of
 
Choro
  was
  known
  as
  “Regional
  de
  Choro”
  and
  is
  composed
  basically
  by
  6
  and
  7
 
strings
  guitars,
  bandolim,
  cavaquinho
  and
  pandeiro,
  having
  also
  flutes
  or
 
saxophones
  as
  soloists.
  Baby
  Consuelo
  recorded
  Choros
  substituting
  the
  original
 
instrumentation
 and
 adding
 electric
 guitar
 and
 bass.
 
 

25
 

 

Besides
  the
  originally
  instrumental
  Choros
  that
  gained
  lyrics
  afterwards,
  there
  is
 
also
  a
  sub-­‐category
  known
  as
  “Choro-­‐canção”,
  that
  is
  meant
  to
  be
  sung.
  The
  most
 
famous
 piece
 in
 that
 category
 is
 “Carinhoso”,
 by
 Pixinguinha
 –
 which
 is
 known
 by
 all
 
Brazilian
 people
 and
 is
 almost
 a
 second
 national
 anthem
 in
 Brazil.
 
 
Following
 the
 example
 Baby
 do
 Brasil
 of
 modernization
 in
 the
 Choro,
 this
 song
 was
 
recorded
  with
  Tablas
  –
  a
  typical
  percussion
  instrument
  from
  Indian
  traditional
 
music.
  The
  experience
  with
  instruments
  foreign
  to
  Brazilian
  music
  is
  very
  enriching
 
in
  both
  sonic
  and
  cultural
  perspectives.
  It
  brings
  a
  new
  timbre
  and
  groove
  to
  a
 
traditional
 musical
 form,
 promoting
 innovation
 in
 the
 style.
 
Musical
 aspects
 
In
 comparison
 to
 the
 other
 songs
 presented
 in
 this
 project,
 this
 is
 the
 composition
 
that
  shows
  more
  motivic
  development
  and
  with
  the
  most
  complex
  melodic
  and
 
rhythmic
 contours.
 The
 musical
 phrases
 are
 longer
 and
 the
 melodic
 range
 is
 wider
 
than
 the
 other
 ones
 (one
 octave
 and
 a
 half).
 
 
The
 “A”
 section,
 for
 example,
 has
 3
 distinct
 musical
 ideas:
 


 


 


 
26
 

 

In
 this
 example,
 the
 tool
 utilized
 for
 motivic
 development
 is
 augmentation:
 


 
The
  form
  doesn’t
  follow
  the
  traditional
  Choro
  form,
  ABACA
  (inherited
  from
  the
 
Rondó
  form
  of
  classical
  music),
  having
  only
  an
  introduction,
  A
  and
  B
  (chorus)
 
sections.
 
 
 
Regarding
  the
  harmonic
  aspect,
  there
  are
  many
  studies
  about
  Choro
  published
  in
 
Brazil,
  and
  according
  to
  one
  of
  them,
  by
  Alexandre
  Almeida,
  the
  harmonic
 
characteristic
  of
  the
  style
  is
  harmonic
  simplicity,
  with
  the
  use
  of
  secondary
 
dominants,
  chord
  inversions
  and
  fast
  modulations
  in
  an
  instability
  between
  minor
 
and
  major
  keys
  (ALMEIDA,
  1999).
  Until
  the
  70’s
  the
  traditional
  Choro
  composers
 
conserved
  basically
  a
  tonal
  approach
  and
  after
  that
  the
  harmony
  got
  more
  complex.
 
“Janelas
 Floridas”
 is
 closer
 to
 the
 contemporary
 Choro
 that
 started
 developing
 after
 
1970,
 with
 the
 use
 of
 modal
 interchange
 chords
 as
 one
 of
 the
 characteristics
 in
 the
 
modernization
 of
 the
 style.
 
CONCLUSIONS
 
What
 is
 necessary
 to
 become
 a
 singer-­‐songwriter?
 What
 are
 the
 “must
 have”
 skills?
 
 
Some
  possible
  answers
  to
  these
  questions
  were
  found
  during
  the
  execution
  of
  the
 
project.
 These
 main
 skills
 that
 started
 being
 developed
 through
 the
 year
 are
 listed
 
bellow,
 divided
 in
 three
 main
 areas:
 Musical,
 Technological
 and
 Personal
 skills.
 

27
 

 

-­‐

Musical
 skills
 
1)
 Playing
 a
 harmonic
 instrument
 

The
  use
  of
  a
  harmonic
  instrument
  was
  indispensable
  all
  through
  the
  process.
  Not
 
only
  for
  accompaniment,
  but
  it
  was
  useful
  to
  help
  writing
  arrangements,
  creating
 
harmonic
  progressions
  and
  also
  when
  communicating
  with
  the
  musicians
  playing
 
with
 me.
 Both
 the
 composers
 interviewed
 for
 this
 project
 stated
 the
 importance
 of
 
playing
 a
 harmonic
 instrument.
 For
 Clarice
 Assad,
 “composing
 without
 an
 instrument
 
is
 possible
 but
 it
 is
 much
 more
 harder
 and
 laborious
 to
 do
 it”.
 For
 Joyce
 Moreno,
 “the
 
guitar
 leads
 the
 way
 for
 me,
 giving
 ideas
 to
 the
 composer
 and
 keys
 to
 the
 singer...”.
 
It
  is
  important
  to
  know
  the
  mechanics
  and
  structure
  of
  accompaniment
  and
  playing
 
a
  harmonic
  instrument
  helps
  creating
  awareness
  on
  the
  musicians’
  different
  roles
 
and
  the
  rhythmic
  section
  issues.
  In
  addition,
  being
  able
  to
  do
  a
  live
  performance
 
using
  only
  voice
  and
  guitar
  broadens
  the
  promotion
  opportunities,
  for
  it
  is
  easier
 
and
 cheaper
 to
 do
 a
 voice
 and
 guitar
 concert
 than
 to
 have
 a
 full
 band
 together.
 
 The
 
Private
 Instruction
 guitar
 class
 with
 Israel
 Sandoval
 is
 showing
 new
 possibilities
 for
 
me
  to
  use
  the
  instrument
  and
  I
  had
  great
  opportunities
  to
  do
  live
  performances
  and
 
recordings
  playing
  and
  singing
  during
  the
  year,
  which
  were
  a
  great
  stimulus
  to
 
practice
  the
  instrument
  and
  keep
  perfecting
  the
  instrumental
  technique
  to
  reach
 
proficiency
  and
  take
  advantage
  of
  the
  great
  resource
  that
  a
  guitar
  can
  be
  for
  a
 
singer-­‐songwriter.
 
2) Harmonic
 knowledge
 

28
 

 

Harmony
 is
 the
 foundation
 of
 musical
 composition
 and
 arranging.
 All
 musical
 ideas
 
for
  me
  start
  with
  the
  harmonic
  structure
  and
  after
  taking
  Contemporary
 Harmony
 
and
  Harmony
 IV
  classes
  there
  are
  more
  tools
  available
  to
  my
  compositional
  process.
 
The
 harmony
 stands
 out
 for
 me
 as
 the
 musical
 aspect
 that
 gets
 my
 attention
 and
 the
 
basic
 element
 around
 which
 the
 other
 musical
 elements
 gather.
 
 
3) Ear
 training
 
As
 a
 singer,
 ear
 training
 was
 always
 a
 very
 important
 area
 of
 my
 musical
 studies.
 I
 
believe
 that
 singing
 in
 choirs
 and
 acappella
 groups
 helped
 me
 developing
 that
 part
 
of
 my
 musicianship.
 But
 it
 was
 always
 focused
 on
 vocal
 performance,
 melodic
 lines,
 
tuning
  and
  timbre
  with
  other
  singers.
  During
  the
  execution
  of
  this
  project,
  my
  ear
 
training
  abilities
  expanded
  to
  other
  areas,
  including
  recording
  techniques,
  mixing
 
and
 mastering
 audio.
 The
 sound
 perception
 limits
 were
 broadened
 by
 the
 process
 of
 
recognizing
  the
  placement
  of
  instruments
  in
  the
  stereo
  field,
  the
  timbre
  variations
 
with
  each
  microphone
  used
  to
  record
  or
  each
  plug-­‐in
  or
  effect
  used
  for
  post-­‐
production
  of
  the
  recorded
  material.
  It
  is
  a
  type
  of
  hearing
  that
  demands
  training
  to
 
achieve
 an
 expertise
 level
 but
 I
 believe
 that
 at
 this
 point
 when
 I
 listen
 to
 a
 recording
 
or
 a
 live
 performance
 my
 ear
 recognizes
 more
 layers
 of
 information,
 weather
 being
 
musical
  content
  (instrumentation,
  harmony,
  arrangement,
  melody,
  rhythm)
  or
 
music
 production
  aspects
  (balance
 of
 sounds,
 timbre,
  effect,
  stereo
  field
  positioning,
 
volumes).
 
4) Improvisation
 

29
 

 

This
  is
  a
  way
  to
  approach
  music
  making
  that
  demands
  the
  development
  of
  other
 
musical
  skills
  such
  as:
  ear-­‐training,
  harmonic
  knowledge,
  stylistic
  vocabulary,
 
phrasing,
  motivic
  development
  and
  instrumental
  proficiency.
  Improvisation
  is
  the
 
main
  tool
  found
  in
  order
  to
  differentiate
  my
  musical
  work
  as
  a
  Brazilian
  singer-­‐
songwriter
  from
  the
  others
  in
  the
  same
  style,
  since
 it
 is
  a
  resource
  that
  is
  used
  by
 
very
 few
 Brazilian
 singers.
 Through
 the
 study
 of
 improvisation
 and
 the
 use
 of
 it
 in
 
the
  Brazilian
  music
  context,
  singularity
  will
  be
  added
  to
  my
  general
  sound
  and
 
performance
 on
 stage.
 
5) Vocal
 performance
 
It
 is
 indispensable
 for
 singer-­‐songwriters
 to
 master
 the
 use
 of
 their
 own
 vocal
 ability.
 
In
 my
 work,
 the
 voice
 is
 the
 main
 instrument
 to
 communicate
 the
 musical
 and
 lyrical
 
content
  of
  the
  songs
  and
  is
  the
  best
  vehicle
  to
  convey
  emotions
  to
  the
  audience
  –
 
who
  relates
  deeply
  to
  the
  human
  voice
  and
  musical
  story
  telling.
  Being
  a
  good
 
vocalist
 requires
 good
 vocal
 technique,
 knowledge
 of
 different
 styles
 and
 repertoire.
 
Also,
  it
  demands
  stage
  presence
  and
  the
  construction
  of
  a
  personality
  or
  an
  artist
 
identity,
  changing
  sometimes
  the
  natural
  timbre
  and
  using
  expressive
  tools.
  The
 
most
  important
  learning
  outcome
  from
  this
  experience
  was
  the
  need
  to
  learn
 
different
 styles
 and
 gain
 versatility
 as
 a
 singer
 to
 be
 able
 to
 chose
 between
 diverse
 
elements
  that
  can
  be
  used
  in
  different
  types
  of
  music.
  This
  is
  also
  a
  way
  to
 
differentiate
  my
  artist
  identity
  from
  the
  other
  singers
  in
  Brazil,
  that
  are
  focused
 
mainly
  in
  Brazilian
  styles
  and
  basically
  repeat
  the
  ideas
  of
  great
  singers
  from
  the
 
past,
 mainly
 Elis
 Regina.
 Having
 other
 singers
 as
 a
 reference,
 like
 Ella
 Fitzgerald
 or
 

30
 

 

Concha
 Buika,
 who
 have
 completely
 distinct
 vocal
 personalities
 and
 styles,
 showed
 
me
  new
  vocabulary
  elements
  that
  I
  can
  add
  to
  my
  vocal
  interpretation,
  bringing
 
singularity,
 a
 new
 sound.
 
-­‐

Technological
 skills
 

1) Basic
 video
 editing.
 
 
I
 decided
 to
 record
 videos
 of
 the
 songs,
 taking
 advantage
 of
 the
 cameras
 available
 in
 
the
 school’s
 Equipment
 Room,
 to
 promote
 my
 new
 songs
 on
 Youtube
 –
 which
 is
 the
 
world’s
 third
 most
 visited
 website
 (after
 Google
 and
 Facebook)
 and
 is
 currently
 the
 
main
  online
  platform
  for
  artists
  to
  promote
  their
  music.
  Five
  of
  the
  songs
  composed
 
during
  this
  project
  have
  videos
  that
  were
  edited
  by
  me
  and
  posted
  on
  a
  Youtube
 
playlist.
 They
 have
 already
 more
 than
 2.000
 views
 total.
 
2) Basic
 use
 of
 Internet
 tools.
 
 
This
  comes
  handy
  when
  updating
  a
  professional
  website
  or
  managing
  a
  Facebook
 
page.
  The
  knowledge
  of
  the
  functioning
  of
  social
  networks
  online
  or
  on
  building
 
website
  templates
  is
  beneficial
  for
  growing
  a
  fan
  base,
  promoting
  concerts,
  selling
 
albums
 and
 solidifying
 a
 career
 as
 well
 as
 making
 professional
 contacts
 and
 having
 
an
 “on-­‐line”
 business
 card
 presented
 in
 a
 professional
 way.
 It
 is
 important
 as
 well
 to
 
learn
  about
  platforms
  such
  as
  CD
  Baby,
  Rdio,
  OneRpm
  (for
  music
  distribution)
  or
 
crowdfunding
 platforms
 that
 make
 it
 possible
 to
 have
 projects
 sponsored
 directly
 by
 
the
 fans.
 
 
3) Basic
 knowledge
 of
 Music
 Business.
 
31
 

 

Subjects
 such
 as
 Music
 Publishing,
 Touring,
 Budget
 Planning,
 Marketing
 Strategies,
 
Synchronizations,
  Copryrights,
  Contracts
  and
  360
  Deals
  are
  very
  important.
  It
  is
  not
 
necessary
  to
  become
  an
  expert
  in
  those
  areas,
  but
  it
  is
  relevant
  to
  have
  a
  basic
 
knowledge
  in
  order
  to
  protect
  the
  music
  work,
  specially
  the
  copyrights,
  being
 
careful
 when
 dealing
 with
 business
 plans
 or
 signing
 contracts.
 
4) Music
 production
 knowledge.
 
Nowadays,
 the
 knowledge
 on
 recording
 techniques
 and
 basic
 sound
 engineering
 is
 
crucial
 for
 the
 artistic
 result
 of
 a
 musician’s
 work.
 The
 growing
 availability
 of
 more
 
advanced
  technological
  tools
  for
  home
  made
  recordings
  gets
  a
  musician
  closer
  to
 
have
 an
 album
 recorded
 and
 start
 a
 career
 with
 a
 nice
 product
 in
 the
 music
 business.
 
However,
  the
  restrict
  budgets
  make
  it
  harder
  to
  have
  experienced
  professionals
 
working
  as
  engineers
  or
  producers
  and
  this
  brings
  the
  responsibility
  to
  the
  artist,
 
that
 has
 to
 be
 aware
 all
 the
 time
 of
 the
 choices
 being
 made
 during
 the
 recording
 and
 
post-­‐production
 phases.
 
 It
 is
 necessary
 to
 understand
 what
 is
 important
 in
 studio
 to
 
plan
 the
 recording
 sessions
 and
 get
 the
 best
 out
 of
 the
 studio
 time.
 A
 good
 recording
 
starts
  way
  before
  the
  recording
  session
  itself:
  it
  begins
  with
  a
  great
  song,
  well
 
arranged
 and
 well
 rehearsed,
 with
 musicians
 who
 are
 technically
 able
 to
 provide
 a
 
high
  level
  performance.
  Still,
  the
  tools
  provided
  by
  the
  new
  technologies
  must
  be
 
mastered
 and
 used
 as
 resources
 to
 achieve
 a
 higher
 artistic
 ideal.
 
5) Basic
 knowledge
 of
 Protools
 and
 Finale.
 
These
  two
  Softwares
  were
  essential
  to
  record
  songs
  and
  make
  edits
  without
  the
 
need
  of
  an
  engineer
  and
  to
  edit
  music
  scores
  and
  have
  the
  arrangements
  well
 
32
 

 

prepared
 for
 the
 other
 musicians.
 Those
 music-­‐making
 softwares
 are
 useful
 for
 the
 
activities
 in
 the
 day-­‐by-­‐day
 of
 a
 musician
 and
 save
 precious
 time.
 
-­‐

Personal
 skills
 

1) Being
 a
 bandleader.
 
During
 the
 rehearsals
 and
 recordings
 it
 was
 very
 clear
 the
 importance
 of
 knowing
 
how
  to
  get
  what
  is
  wanted
  form
  the
  musicians,
  learning
  how
  to
  cooperate
  and
  to
  be
 
aware
  of
  all
  the
  rhythmic,
  melodic
  and
  harmonic
  implications
  of
  the
  interaction
 
between
  the
  band
  members.
  Having
  a
  clear
  idea
  of
  the
  goals
  that
  are
  being
  pursued
 
and
 how
 to
 express
 that
 idea
 is
 key
 for
 the
 final
 artistic
 product.
  Being
  a
  bandleader
 
demands
  a
  high
  level
  of
  musicianship
  development
  and
  good
  personal
  skills,
  to
  deal
 
with
  both
  musical
  and
  personal
  aspects
  of
  being
  involved
  in
  music
  making
  as
  a
 
group.
 

 

 

 

 

 

 

 

 

 

 
33
 

 

6
 –
 REFERENCES
 

 
ALMEIDA,
 Alexandre
 Zamith.
 “Verde
 e
 amarelo
 em
 preto
 e
 branco:
 as
 impressões
 do
 
choro
 no
 piano
 brasileiro”.
 Masters
 dissertation.
 University
 of
 Campinas,
 1999.
 
ANDRADE,
 Valéria.
 “Notas
 para
 um
 estudo
 sobre
 compositoras
 da
 música
 popular
 
brasileira,
 século
 XIX”.
 In
 Travessia
 ISSN
 0101-­‐9570.
 Published
 by
 UFSC,
 Brasil,
 1991.
 
Link:
 https://journal.ufsc.br/index.php/travessia/article/viewFile/17176/15744
 
FERRAZ,
 Daniela
 Silva
 de
 Rezende.
 “A
 voz
 e
 o
 choro:
 aspectos
 técnicos
 vocais
 e
 o
 
repertório
 de
 choro
 cantado
 como
 ferramenta
 para
 o
 estudo
 do
 canto
 popular”.
 
 
Masters
 Dissertation.
 Unirio,
 Rio
 de
 Janeiro,
 2010.
 
GATES,
 Eugene.
 “The
 Woman
 Composer
 Question:
 Philosophical
 and
 Historical
 
Perspectives”.
 In:
 The
 Kapralova
 Society
 Journal,
 volume
 4,
 issue
 2,
 2006.
GOSFIELD,
 Annie.
 “Confessions
 of
 a
 ‘Composeress’”
 article
 published
 in
 the
 blog
 
The
 Score,
 NY
 Times,
 2013.
 Link:
 
http://opinionator.blogs.nytimes.com/2013/08/06/confessions-­‐of-­‐a-­‐
composeress/?_php=true&_type=blogs&_r=0
 
Instituto
 Cultural
 Cravo
 Albin.
 “Catálogo
 Cravo
 Albin
 –
 Mulheres
 Compositoras
 na
 
Música
 Popular
 Brasileira”.,
 Rio
 de
 Janeiro,
 2004.
 Link:
 
http://institutocravoalbin.com.br/projetos/catalogos-­‐tematicos/mulheres-­‐
compositoras-­‐na-­‐musica-­‐popular-­‐brasileira/
 
Interview
 with
 Clarice
 Assad.
 
Interview
 with
 Joyce
 Moreno.
 
Interview
 with
 Sueli
 Costa
 published
 on
 Jornal
 de
 Música
 n.5,
 april
 1975.
 (“Sueli
 
Costa
 Não
 Existe”).
 
MELLO,
 Maria
 Ignez
 Cruz.
 “Relações
 de
 gênero
 e
 musicologia:
 reflexões
 para
 uma
 
análise
 do
 contexto
 brasileiro”
 in
 Revista
 Eletrônica
 de
 Musicologia
 UFPR.
 Vol.
 XI,
 
2007.
 Link:
 http://www.rem.ufpr.br/_REM/REMv11/14/14-­‐mello-­‐genero.html
 
MURGEL,
  Ana
  Carolina
  Arruda
  de
  Toledo.
  “Entre
  Capitus,
  Gabrielas,
  Tigresas
  e
 
Carolinas:
  O
  olhar
  feminino
  na
  canção
  popular
  brasileira.”
  Article
  presented
  at
  VII
 
Seminário
 Internacional
 Fazendo
 Gênero,
 Brazil,
 2007.
 
PAZ,
  Ermelinda
  Azevedo.
  “O
  modalismo
  e
  suas
  incursões
  na
  criação
  do
  universo
 
musical
  brasileiro.”
  In:
  Revista
  da
  Academia
  Nacional
  de
  Música,
  Rio
  de
  Janeiro,
 
1999.
 

34
 

 

ROSSI,
 Marina.
 “No
 Brasil,
 o
 Palco
 é
 das
 Mulheres”,
 article
 published
 in
 El
 País,
 São
 
Paulo,
 2014.
 Link:
 
http://brasil.elpais.com/brasil/2014/01/04/cultura/1388866538_319611.html
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
35
 

 

INTERVIEWS
 
(Originals
 in
 Portuguese,
 translated
 to
 English
 by
 the
 author)
 
CLARICE
 ASSAD
 
1)
  What
  is
  the
  role
  of
  female
  composers
  in
  the
  history
  of
  Brazilian
  music?
  In
  your
 
opinion,
 why
 there
 are
 more
 female
 singers
 than
 composers?
 
C.A-­‐
 I
 am
 not
 sure
 what
 would
 be
 the
 answer
 to
 the
 first
 question,
 regarding
 the
 role
 of
 
female
 composers
 in
 the
 history
 of
 Brazilian
 music…
 I
 think
 we
 have
 some
 important
 
icons
 (that
 were
 mentioned
 by
 you),
 that
 opened
 way
 to
 a
 lot
 of
 good
 things
 to
 happen,
 
but
  I
  think
  we
  are
  still
  crawling
  in
  that
  direction.
  To
  conquer
  a
  bigger
  and
  more
 
relevant
  space
  in
  the
  area
  of
  composition,
  it
  would
  be
  important
  for
  women
  to
  be
 
encouraged
 to
 do
 more
 that
 what
 is,
 in
 some
 way,
 expected
 from
 them.
 
Brazil
  has
  a
  very
  strong
  tradition
  of
  singers,
  a
  phenomenon
  that
  might
  have
  been
 
cristalyzed
 in
 people’s
 collective
 consciousness.
 Another
 argument
 is
 that
 the
 voice
 is
 
already
  born
  with
  us
  and
  to
  use
  it
  to
  make
  music
  is
  easier
  and
  more
  organic
  than
 
learning
 an
 instrument.
 
 
There
  is
  also
  the
  issue
  of
  the
  musical
  career
  itself,
  survival.
  Composing
  without
  an
 
instrument
 is
 possible
 but
 much
 more
 harder
 and
 laborious
 to
 do
 it.
 Whit
 practice
 and
 
study
  one
  learns
  eventually
  how
  to
  use
  tools
  to
  create
  music.
  But,
  why
  do
  that
  amount
 
of
  effort,
  if
  a
  musical
  career
  is
  completely
  uncertain
  and
  the
  “cool
  thing”
  for
  most
 
people
  is
  to
  be
  the
  bandleader?
  That
  leads
  to
  another
  argument:
  there
  is
  an
 

36
 

 

expectation
  related
  to
  success,
  in
  general.
  The
  desire
  to
  be
  famous
  might
  motivate
 
someone
 to
 try
 to
 express
 himself
 or
 herself
 through
 music,
 only
 to
 reach
 that
 goal.
 
2)
  What
  do
  you
  think
  about
  the
  transformation
  in
  the
  profile
  of
  the
  female
  artists
 
that
  are
  now
  releasing
  their
  work?
  Could
  you
  name
  a
  female
  singer-­‐songwriter
  in
 
the
 new
 generation
 whose
 work
 you
 admire?
 
I
 have
 no
 authority
 in
 that
 subject
 because
 I
 am
 not
 aware
 of
 what
 is
 happening
 now
 
in
 Brasil
 –
 but
 I
 see
 a
 transformation
 such
 as
 this
 as
 a
 natural
 process,
 and
 it
 is
 related
 
to
 the
 moment
 we
 are
 going
 though
 now…
 the
 old
 model
 is
 over.
 No
 one
 knows
 exactly
 
what
  happens
  inside
  music
  right
  now,
  after
  the
  long
  and
  painful
  death
  of
 
phonographic
  industry,
  of
  the
  selective
  standard
  of
  the
  record
  labels
  that
  edited
  and
 
chose
 who
 would
 do
 what…
 The
 population
 grew
 a
 lot
 from
 the
 last
 30,40
 years
 to
 now,
 
in
 other
 words,
 besides
 the
 inexistence
 of
 the
 filter
 imposed
 by
 the
 record
 labels,
 now
 
there
 are
 more
 people
 than
 ever
 competing
 for
 space.
 And
 since
 there
 is
 a
 lot,
 and
 a
 lot
 
of
 good
 things
 going
 on,
 people
 are
 starting
 to
 see
 a
 need
 to
 venture
 and
 do
 more
 than
 
what
 is
 expected
 from
 them,
 and
 find
 new
 alternatives
 to
 be
 known.
 
3)
  With
  this
  “double-­‐function”,
  of
  both
  singer
  and
  composer,
  the
  artist
  has
  to
  seek
 
quality
  in
  singing
  and
  also
  composing.
  However,
  having
  both
  sides
  developed
  to
  a
 
high
  level
  of
  performance
  is
  not
  easy.
  You
  are
  a
  fantastic
  example
  of
  an
  artist
  that
 
manages
 to
 be
 instrumentalist,
 composer
 and
 singer
 in
 a
 high
 level.
 What
 is
 the
 most
 
important
 skill
 to
 you
 and
 in
 what
 proportion
 you
 dedicate
 yourself
 to
 each
 one?
 
C.A.
 -­‐Well,
  first
  of
  all,
  thank
  you.
  For
  me
  there
  is
  no
  thing
  that
  is
  more
  important
  than
 
the
 other.
 I
 love
 to
 make
 music
 and
 for
 me
 it
 was
 imperative
 to
 develop
 my
 capacity
 to
 
37
 

 

express
  myself
  in
  it.
  I
  see
  music
  as
  a
  very
  strong
  communication
  vehicle,
  that
 
transcends
 the
 spoken
 language
 and
 I
 want
 to
 speak
 that
 musical
 language
 very
 well,
 
so
  I
  can
  communicate
  better.
  That
  is
  why
  I
  keep
  an
  enormous
  fixation
  in
  learning
  new
 
things.
  Knowing
  how
  the
  acoustics
  of
  an
  instrument
  works,
  knowing
  how
  that
 
instrument
 is
 used
 in
 the
 context
 of
 chamber
 music,
 popular
 music
 or
 a
 big
 orchestra.
 
How
  the
  same
  instrument
  (voice,
  for
  example)
  is
  used
  in
  many
  ways
  in
  different
 
cultures,
  and
  so
  it
  goes.
  My
  interest
  in
  music
  is
  very
  diverse,
  so
  is
  very
  hard
  to
  measure
 
the
 proportions.
 
4)
  Along
  music
  history,
  as
  composers
  or
  instrumentalists,
  the
  majority
  is
  masculine.
 
We
 see
 it
 clearly
 on
 stages,
 with
 the
 band
 members…
 and
 also
 in
 music
 schools.
 Here
 
at
  Berklee
  Valencia,
  more
  than
  70%
  of
  the
  students
  are
  male.
  And
  among
  the
  few
 
women,
 the
 majority
 are
 singers,
 not
 instrumentlists.
 Tell
 me
 about
 your
 experience
 
as
  instrumentalist
  and
  composer.
  Did
  you
  have
  to
  state
  your
  space
  among
  men
  in
 
any
  way?
  How
  is
  it
  to
  be
  a
  woman
  in
  a
  leadership
  position
  in
  music
  (as
  musical
 
director,
 conductor,
 composer,
 soloist)?
 
C.A.
  -­‐The
  world
  is
  dominated
  by
  men
  and
  of
  course
  that
  affects
  all
  the
  areas
  and
  all
 
types
  of
  professions…
  in
  my
  case,
  to
  say
  the
  truth,
  I
  never
  saw
  myself
  as
  a
  “woman
 
doing
  music
  in
  a
  world
  of
  men”.
  Maybe
  because
  I
  grew
  up
  in
  a
  musical
  invironment
 
and
  seing
  /
  listening
  to
  my
  aunt
  practicing
  guitar
  10.000
  hours
  a
  day,
  I
  must
  have
 
thought
  that
  it
  was
  all
  normal.
  My
  father
  also
  encouraged
  me
  a
  lot,
  and
  never
  went
 
through
 his
 mind
 not
 sharing
 his
 musical
 genius
 with
 me
 because
 I
 was
 a
 girl…
 I
 never
 
think
  about
  it,
  despite
  knowing
  that
  many
  times
  doors
  close
  completely
  for
  women
 

38
 

 

(specially
 conductors),
 just
 for
 the
 fact
 that
 they
 are
 women.
 And
 that
 for
 me
 is
 absurd,
 
you
  know?
  Medieval.
  But
  I
  see
  also
  that
  at
  least
  now
  we
  have
  women
  conductors
  in
 
important
  positions,
  like
  Marin
  Alsop,
  that
  directs
  OSESP
  and
  Baltimore
  Symphony.
 
She
 is
 made
 history
 and
 is
 opening
 the
 way
 for
 other
 young
 female
 conductors
 that
 see
 
in
 here
 an
 inspiration
 to
 keep
 trying.
 This
 is
 very
 good.
 
5)
 Here
 at
 Berklee
 I
 am
 having
 for
 the
 first
 time
 the
 notion
 of
 how
 Brazilian
 music
 is
 
admired
 internationally.
 You
 are
 a
 Brazilian
 artist
 that
 lives
 in
 the
 US
 and
 performs
 
internationally,
 participating
 in
 festivals,
 concerts
 and
 workshops
 around
 the
 world.
 
What
  are
  the
  main
  differences
  you
  see
  between
  the
  market
  for
  Brazilian
  music
  in
 
brazil
 and
 abroad?
 
C.A.-­‐
 I
 see
 that
 in
 Brazil
 unfortunately
 there
 is
 still
 a
 vestige
 of
 the
 colonial
 times,
 and
 
the
  tendency
  is
  to
  believe
  that
  everything
  that
  comes
  from
  abroad
  is
  better.
  It
  is
  a
 
sindrom
 that
 can
 only
 be
 explained
 in
 social-­‐cultural
 or
 even
 philosophical
 terms,
 and
 I
 
wouldn’t
  go
  deeper
  in
  that
  subject
  because
  along
  the
  years
  my
  solution
  was
  to
  seek
 
ways
 to
 join
 together
 various
 languages
 and
 cultures
 in
 my
 musical
 vocabulary.
 I
 end
 
up
 oscillating
 a
 lot
 and
 I
 loose
 track
 of
 those
 differences.
 
6)
 Living
 in
 the
 US
 and
 being
 Brazilian,
 do
 you
 think
 about
 aiming
 your
 work
 to
 the
 
Brazilian
 or
 foreign
 audience?
 
C.A.
  -­‐
  As
  I
  was
  born
  and
  raised
  in
  Rio
  de
  Janeiro
  until
  I
  was
  18,
  a
  lot
  of
  my
  musical
 
heritage
 comes
 from
 Brasil
 and
 I
 play
 a
 lot
 with
 that.
 But
 I
 also
 spent
 18
 years
 of
 my
 
adult
 life
 in
 the
 US
 and
 during
 this
 other
 half
 of
 my
 life
 –
 being
 a
 foreigner
 here
 and
 in
 
39
 

 

Brazil
 –
 I
 realized
 that
 the
 most
 important
 thing
 is
 to
 make
 music
 as
 true
 as
 possible.
 
Being
 true,
 believing
 in
 what
 we
 do,
 comes
 first.
 When
 we
 are
 honest,
 we
 let
 show
 some
 
qualities
 that
 people
 see
 and
 identify
 themselves
 with.
 Then,
 it
 doesn't
 matter
 the
 style,
 
the
 language,
 the
 time
 but
 the
 message,
 the
 communication,
 the
 exchange.
 
7)
  How
  do
  you
  deal
  with
  singing
  in
  Portuguese
  or
  English,
  when
  you
  compose
  or
 
record
 songs?
 
C.A.-­‐
  What
  I
  really
  like
  is
  not
  to
  sing
  in
  any
  language.
  But
  the
  issue
  with
  the
  spoken
 
language
  for
  me
  depends
  on
  the
  project
  I
  work
  at
  each
  moment…
  In
  my
  second
  to
  last
 
work
  I
  really
  wanted
  all
  the
  songs
  to
  be
  in
  Portuguese
  and
  the
  rest,
  instrumental
  or
 
scat.
  In
  the
  last
  album,
  I
  mixed
  Portuguese,
  English,
  Spanish,
  but
  I
  invited
  people
  to
 
sing
 those
 languages
 and
 I
 recorded
 only
 a
 small
 part
 of
 a
 song
 in
 English.
 For
 me
 it
 
depends
 on
 what
 I
 think
 will
 sound
 good,
 beautiful
 or
 natural
 to
 my
 voice
 in
 particular.
 
My
  tendency
  is
  to
  imitate
  the
  accent
  of
  the
  jazz
  singers
  if
  I
  am
  singing
  in
  English,
 
because
 it
 works
 well.
 But
 then
 is
 hard
 even
 for
 myself
 to
 recognize
 my
 “voice”
 in
 the
 
philosophical
 sense
 of
 the
 word,
 in
 it.
 It
 is
 a
 process.
 
8)
  In
  Brazil,
  scat
  singing
  or
  vocal
  improvisation
  is
  not
  a
  resource
  that
  is
  used
  by
 
singers
 in
 general.
 You
 are
 one
 of
 the
 few
 that
 work
 on
 developing
 that
 technique.
 
Tell
  me
  about
  what
  motivated
  you
  do
  introduce
  this
  resource
  to
  your
  vocal
  work
 
and
 what
 is
 the
 relation
 you
 see
 between
 the
 ideas
 of
 jazz
 and
 Brazilian
 music.
 
C.A.
  -­‐
  When
 I
 was
 little
 I
 was
 amazed
 by
 singers
 that
 explore
 their
 voice
 as
 instruments,
 
such
 as
 Ella
 Fitzgerald,
 Sarah
 Vaughan,
 after,
 Bobby
 McFerrin
 and
 later
 Aziza
 Mustafa
 
Zadeh.
 I
 found
 all
 that
 very
 fascinating
 and
 I
 would
 listen
 so
 much
 to
 them
 that
 I
 was
 
40
 

 

singing
 along,
 trying
 to
 learn
 or
 understand
 how
 that
 all
 worked.
 When
 I
 wrote
 things
 
ate
  the
  piano,
  sometimes
  I
  would
  miss
  listening
  to
  one
  thing
  or
  another
  that
  I
  couldn’t
 
do
  only
  with
  the
  piano
  and
  I
  started
  creating
  timbres
  with
  the
  voice
  to
  complement
 
what
  I
  was
  listening
  inside
  of
  that
  sound
  universe.
  Then
  I
  started
  exploring
  my
  own
 
physical
  capacities
  with
  voice.
  With
  time,
  I
  started
  to
  write
  more
  complex
  things,
  to
 
test
  my
  limits
  and
  see
  if
  what
  I
  was
  imagining
  in
  my
  head
  was
  possible
  to
  do
  with
 
piano
 and
 voice.
 After
 a
 lot
 of
 practice
 and
 effort,
 I
 was
 finding
 ways
 to
 do
 it.
 I
 think
 
the
  difference
  between
  the
  “scat”
  I
  do
  and
  explore
  has
  to
  do
  with
  the
  nature
  of
 
Portuguese
 language,
 that
 is
 very
 different
 from
 English.
 

 

 
JOYCE
 MORENO
 
1)
  What
  is
  the
  role
  of
  female
  composers
  in
  the
  history
  of
  Brazilian
  music?
  In
  your
 
opinion,
 why
 there
 are
 more
 female
 singers
 than
 composers?
 
J.M.
 -­‐
 I
 would
 say
 that
 we
 are
 few
 because
 only
 recently
 it
 became
 “normal”.
 What
 was
 
expected
  in
  the
  “Golden
  age”
  of
  Brazilian
  Popular
  Music
  in
  the
  XX
  century
  was
  that
 
women
 were
 singers,
 in
 other
 words,
 spokesperson
 for
 the
 ideas
 of
 men.
 
2)
  What
  do
  you
  think
  about
  the
  transformation
  in
  the
  profile
  of
  the
  female
  artists
 
that
  are
  now
  releasing
  their
  work?
  Could
  you
  name
  a
  female
  singer-­‐songwriter
  in
 
the
 new
 generation
 whose
 work
 you
 admire?
 

41
 

 

J.M.
  -­‐
  I
 confess
 that
 I
 didn’t
 have
 time
 to
 listen
 to
 all
 the
 new
 things
 that
 are
 coming
 
now
 up
 now,
 it
 is
 a
 lot.
 I
 would
 say
 Alice
 Caymmi,
 Antonia
 Adnet
 and
 Maíra
 
 Freitas.
 
3)
 There
 is
 now
 a
 “double-­‐function”,
 of
 both
 singer
 and
 composer,
 the
 artist
 has
 to
 
seek
 quality
 in
 singing
 and
 also
 composing.
 However,
 having
 both
 sides
 developed
 
to
 a
 high
 level
 of
 performance
 is
 not
 easy.
 What
 is
 the
 most
 important
 skill
 to
 you
 
and
 in
 what
 proportion
 you
 dedicate
 yourself
 to
 each
 one?
 
J.M.
  -­‐
  I
 am
 a
 person
 that
 thinks
 music,
 so
 all
 these
 sides
 reflect
 my
 musical
 thinking.
 But
 
the
 guitar
 leads
 the
 way
 for
 me,
 giving
 ideas
 to
 the
 composer
 and
 keys
 to
 the
 singer...
 
4)
  Tell
  me
  about
  your
  experience
  as
  instrumentalist.
  Did
  you
  have
  to
  state
  your
 
space
 among
 men
 in
 any
 way?
 
J.M.
  -­‐
  I
 always
 had
 to.
 Especially
 in
 the
 beginning
 of
 my
 career,
 it
 was
 complicated
 for
 a
 
woman
 to
 impose
 herself
 as
 instrumentalist
 and
 bandleader.
 It
 only
 changed
 starting
 
in
 the
 90’s,
 at
 least
 for
 me.
 Nowadays,
 this
 is
 solved.
 
5)
  In
  your
  album
  recordings
  and
  your
  concerts
  you
  are
  usually
  surrounded
  by
  men.
 
How
  do
  you
  deal
  with
  this
  leadership
  position?
  What
  does
  it
  mean
  to
  you
  to
  be
 
feminine
 in
 the
 music
 business?
 
J.M.
  -­‐
  I
 deal
 with
 it
 well,
 because
 I
 don’t
 work
 with
 sexist
 men.
 They
 also
 know
 how
 I
 
work,
  and
  everything
  is
  fine.
  This
  is
  not
  an
  issue
  for
  me,
  for
  a
  long
  time
  now.
  Now,
 
  the
 
music
  business..
  is
  Always
  complicated
  and
  it
  is
  not
  only
  a
  gender
  matter,
  but
  it
  is
 
about
 artistic
 choices.
 

42
 

 

6)
  What
  are
  the
  main
  differences
  that
  you
  see
  between
  the
  Market
  for
  brazilian
 
music
 in
 Brazil
 and
 abroad?
 
J.M.
  -­‐
  It
  is
  almost
  impossible
  to
  make
  good
  quality
  music
  in
  Brazil,
  we
  have
  been
 
through
  a
  long
  cultural
  winter,
  where
  culture
  is
  treated
  as
  an
  “elite
  thing”.
  This
  is
 
causing
 a
 very
 big
 musical
 “dumbing
 down”,
 it
 seems
 like
 what
 is
 not
 in
 the
 popular
 TV
 
shows
 doesn’t
 exist.
 Sincerely,
 I
 feel
 discouraged
 and
 sad.
 There
 is
 a
 whole
 generation
 
that
 has
 no
 idea
 that
 this
 type
 of
 music
 even
 exists,
 because
 they
 never
 had
 access
 to
 it.
 
The
  foreign
  audience
  responds
  well
  and
  loves
  our
  music,
  but
  it
  is
  impossible
  to
  be
 
happy
 knowing
 that
 we
 are
 guardians
 of
 an
 art
 walking
 to
 extinction.
 
7)
  Your
  CD
  “Gafieira
  Moderna”
  was
  released
  first
  internationally
  by
  Far
  Out
  records
 
and
 then
 in
 Brazil,
 by
 Biscoito
 Fino.
 Other
 albums,
 like
 “Hard
 Bossa”,
 were
 released
 
exclusively
  abroad.
  What
  are
  the
  artistic
  differences
  between
  your
  national
  and
 
international
 albums?
 Do
 you
 think
 about
 the
 audience
 when
 you
 are
 writing
 songs
 
or
 producing
 the
 albums?
 
J.M.
  -­‐
  I
  don’t
  think
  about
  the
  audience.
  Selfishly,
  I
  think
  about
  myself
  and
  do
  what
  I
 
want
  to
  do.
  Who
  follows
  my
  work,
  here
  or
  abroad,
  already
  knows
  about
  it
  and
 
appreciates
 those
 surprises
 and
 overturns
 that
 music
 has.
 That
 is
 why
 I
 have
 space
 and
 
good
 conditions
 to
 record
 custom
 albums
 for
 international
 labels.
 And
 if
 it
 happens
 at
 
times
  that
  one
  of
  my
  albums
  is
  not
  released
  in
  Brazil
  is
  because
  I
  release
  one
  after
  the
 
other
  arround
  the
  world,
  but
  Brazil
  doesn’t
  have
  space
  for
  more
  than
  one
  album
 
release
  per
  year,
  maximum.
  This
  way,
  there
  is
  always
  something
  good
  left
  aside,
 

43
 

 

unfortunately.
 In
 2009,
 for
 example,
 I
 had
 4
 CDs
 in
 diferente
 territories...
 only
 one
 came
 
out
 here.
 
8)
  Despite
  the
  transformations
  of
  Brazilian
  music
  since
  the
  60’s
  until
  nowadays,
 
Bossa
 Nova
 is
 still
 considered
 the
 principal
 music
 original
 from
 Brazil
 by
 the
 foreign
 
audience.
 Where
 would
 you
 put
 your
 artistic
 production,
 between
 Bossa
 Nova
 and
 
the
 new
 Brazilian
 music?
 
 
J.M.
 -­‐
  I
 am
 a
 daughter
 of
 Bossa
 Nova
 but
 I
 have
 a
 commitment
 to
 the
 development
 of
 
the
 language.
 I
 have
 my
 own
 path,
 mixing
 my
 influences
 and
 creating
 others.
 And
 the
 
path
  for
  me
  is
  what
  matters.
  I
  love
  bossa
  nova,
  but
  how
  the
  “bossa”
  is
  new,
  I
  invent
  my
 
way
 to
 practise
 it.
 In
 my
 way.
 

 

 

 

 

 

 

 

 

 
44
 

 

TRANSCRIPTIONS
 

Influência do Jazz

TRANSCRIPTION:
LUIZA SALES

LENY ANDRADE
SCAT SOLO
(Album: Carlos Lyra Songbook)

Samba / partido-alto

& 42 Π.

Carlos Lyra

œ
œ œ œ >œ
œ œ œ œ œ œ œ œ œ œ œ œ œ>
œ
œ
œ
œ
œ œ
>
>

&œ œ œ œ
>

!

5

œ

œ œ œ œ œ œ œ œ
œ œ #œ œ œ œ œ œ œ œ œ

‰ ‰
&!œœœœœœœ œ œ œ œ œ œ œ œ
œ. œ.
œ œ œ œ ¿ œ œ
>

9

13

&

œ bœ œ œ œ œ

17

&œ

‰

‰ œ œ œ œ ‰
>

!

œ œ œ œ œ œ œ œ œ # œ œ œ œ >œ .
œ
œ
!

¿ œ œ bœ.

¿ œ œ >œ

œ b >œ

œ. # œ œ
œ
>

! ¿ œ œ œ œ
>

&œ œ œ œ ! ¿ œ œ œ œ œ œ œ œ œ œ œ
>
>
>
œ œ œ œ œ œ œ.

œ

21

&‰

25

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ.

29

&

œ
> œ œ

!

‰

œ œ #œ
¿ œ œ œ œ œ œ #œ œ #œ
3

3

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3

œ œ #œ œ œ œ œ

œ œ œ œ œ œ
>
3

3


 

 
45
 

 

2

&Œ

33

37

&œ

Influência do Jazz

‰ #œ œ #œ

‰ œ œ œ

œ œ œ œ #œ œ œ œ œ œ œ œ

‰ #œ œ #œ œ œ œ œ œ
‰. r #œ œ
œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ œ œ. œ.
> .
>


 

 

 
46
 

 

RECORDED in the album
"Bossa Nova"

Night In Tunisia

TRANSCRIPTION: Luiza Sales

LENY ANDRADE - SCAT SOLO

& 44 Œ b œ . œ œ . œ œ . œ
‰

5

&

œ bœ œ œ ˙

b˙.

‰. r
‰. r
bœ œ bœ œ œ œ œ bœ bœ œ bœ œ œ œ œ œ œ œ œ œ

bœ œ œ œ œ bœ œ
œ œ œ œ œ œ œœœ œ œ œ

œ . œ œ œ. . ! œ œ œ. œ b œ œ œ
>
>

Œ ! bœ œ œ œ œ
& b œ œ œ œ œ œœœœ œœœœ œ
j
œ
œ
œ >œ œ > œ œ >œ œ > œ œ œ
b
œ
œ
b
œ
œ
œ
œ
>
œ >. œ > œ
œœ œ
> >
>

9

3
3
3
b >œ œ œ œ œ œ b œ
& œ œ #œ œ bœ nœ œ #œ œ œ œ œ œ bœ ˙ 1
#œ œ Œ œ œ œ œ œ œ œ œ œ bœ œ œ
>
> >
3

13

1/2

17

& bœ
œ œ œ œ bœ œ œ œ œ œ œ

>
‰bœ œ œ ‰ œ œ œ
>

3
^
œ ˙
! bœ. œ Œ ‰. r
J
œ bœ œ œ œ >

(V)

‰
‰
& ‰b œ œœ
œ
œ
œ
œ
b
œ
œ
œ
b
œ
˙
> > œ œ œ œ œ# œ œ œ
œ œ œ > œ# œ œ
œ œ œb >œ œ# œ œ >œ n œ# œ œ# œ œ# œ œ œ

21

25

&

(V)

œ œ œ œ # œ œ œ œ œ b œ ~~~˙
3

3

¿
&œœœœ œ

29

3

3

œ œ œ b œ œ >œ œ b œ œ œ Œ

Œ œ bœ œ ‰ œ œ œ bœ bœ œ
3

3

3

>
! bœ œ bœ œ ! œ œ œ œ ‰. œ
R
œ >
œ>

‰. r #œ œ œ nœ œ œ bœ œ
œœ
bœ
œ > >
> .
>
3

3


 

 

 
47
 

 

Recorded in the album
" Embraceable You"

'S Wonderful

Transcription: LUIZA SALES

Leny Andrade - Scat Solo

(Fast Samba fill)

& 42 ‰ œ œ # œ œ œ œ # œ œ œ œ œ œ
œ

5

& œ œ.

œ.

9

&œ œ
œ

œ œ.

! r
œ. œ œ œ œ œ œ œ œ œ œ

œ #œ œ.

œ
œ œ œ

‰

&œ œ œ œ œ œ

13

17

3

3

& #œ #œ œ œ #œ
&‰

œ œ. ‰ œ œ œ œ œ œ œ œ œ œ
>.

3

!

œ
¿ œ >œ œ œ œ œ œ œ œ œ œ œ

œ # œ.

#œ œ œ œ #œ œ œ œ œ œ œ œ

‰.

r
œ œ.

œ.

#œ œ #œ #œ œ œ œ

.
# œ œ œ # œ œ œ œ >œ # œ.

21

œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ

25

& œ œ #œ œ œ
& ‰.

29

r œ
œ œ

œ
œ œ

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>

œ
> œ œ œ œ

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3

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! r
œ

œ œ œ.
>

œ œ œ œ œ œ œ œ œ
>

 


 

 
48
 

 

ORIGINAL
 COMPOSITIONS
 
 

Samba-jazz

Mansinho

INTRO

#
& # 42 ..

%
#
& # ‰.

D maj7

!

B b maj7

!

r
œ œ œ
œ œ

E b maj7

œ

D maj7

5

Music: Luiza Sales
Lyrics: Gustavo Pereira

!

" nœ œ œ œ œ œ.
A 7(9)

Nas - cen - do pr'um mar

G m7

C 7(9)

œ bœ œ œ œ œ œ œ

man - si - nho/eu vi

b

..

!

um

di - a

de/a

di - vi - nhar

C sus4
D maj7
E maj7
A 7(9)
## ‰ . r œ œ n œ œ " œ œ œ œ œ œ .
œ nœ nœ œ œ œ
b
œ
œ
œ
œ
œ
&

9

e sol - to no - ar

13

&

## ˙

œ

C 7(9)

# œ
& # nœ œ œ
G m6

co - brir

pra ver

fa - ce de/um de - se - jo que não
C#

eu

&

B b maj7

se/es - con - deu

o

œ œ œ bœ
œ œ œ nœ

fra - ses de/um re - du - to

fi - ca

mor mai - or

## ˙

se

B b maj7

co-res de/u-ma tar-de que/eu já sei

## œ œ œ œ
&
1.

e

œ

G m7

de cor

œ

de pai - xão

" œ

n œ .. ˙

2.

B b maj7

do - eu

bœ

pra

-

bom de/a - ma - nhe -

zer

de

pa -

o

des -

gar

nœ œ œ œ
œ nœ œ œ

B

que tra - duz num bei - jo mais fe -

e/a fe - li - ci - da- de de/um aC#

o

co - ra - ção que

œ œ œ
nun

-

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˙

nœ

" bœ

œ œ nœ œ œ

D m7

que pra vi - da/a-con-te - cer
C 7(9)

C # 7(9)

qui - ser

nœ œ œ œ
œ bœ nœ œ œ œ œ œ

C maj7

25

3
do - ce

par

A m7

21

liz que

va - ga - va/o gos - to

œ nœ œ

F maj7

em

17

sen - tir

" œ n œ .. œ

cer

-

pra se

To Coda

Œ

‰.

œ

ca

mais

e

só

r
œ

D maj7

Luiza Sales 2014


 

 
49
 

 

2

Mansinho

#
& # .. œ .

30

33

&

38

&

##
##

œ œ.
" nœ

œ

fi

œ

G7

!

!

œ

œ œ.

œ.

F maj7

œ œ.

B b maj7

nœ œ.

œ

œ

" nœ

E 7(9)

!

#
& # .. œ . œ œ . œ œ . œ œ . œ œ . n œ œ . œ œ

49

&

##

œ

" nœ

C maj7

œ ˙

œ

‰.

r
œ ..

nœ œ.

C maj7

œ ˙

œ
E b maj7

!

B b maj7

44

œ.

!

œ
r
‰ . œ ..

D.S. al Coda

r
‰. œ

D maj7

Œ

F maj7

" nœ œ œ.
nœ œ. œ
D maj7

!

!


 

50
 

 

Chuva

Baião
E b7

C7

B b7

F7

& .. œ œ œ œ b œ œ œ
se

a noi - te

o

se um ra- io se/a-cen-der

& œ œ œ œ bœ œ œ
se

a

chu - va te/a - ssus - tar

ou - ve/a noi - te
D b maj7

& ‰ b œj b œ œ

21

26

G b6

a - bre/a

& bœ.
res

-

ja

j
œ

E b/D b

-

˙

& bœ

var

a - pa - ga/a luz

œ œ bœ

œ

ne - la/e

to - da tris - te

œ

œ

dei - xa/o
D 7(9)

A b/E b

bœ

œ œ bœ œ

ven

D b maj7

"

‰

bœ œ œ

B b m7

3

-

-

es - que - ce/a dor

za que/há a

-

œ œ bœ

˙

j
bœ bœ

œ

bœ.
qui

D b maj7

j
œ bœ.

pas - sou

"

D bm

œ

to te/a - bra - çar

es - pe - re/a

F # maj7

œ

lo

E b/D b

bœ

..

"

œ

G m7

3

..

œœœœ œ
é só o ven - to
F7

F m7

bœ

˙

es-tá cho-vendo

cho - ra/a - mor

C m7

sur - gir

3

não

œ bœ œ œ œ.

A b maj7

F m7
31

bœ

cho - ra/a - mor

œ œ bœ œ

A b maj7

tro - ve - jar

!

B b7

ai por fa - vor

A m7

2.

não

œ bœ œ œ œ.

& œ œ œ œ bœ œ œ

17

co - ber - tor

cor-tan-do/o céu

1.

F7

F7

œ œ bœ œ œ

E b7

C7

13

B b7

œ bœ œ œ œ.

te rou - bar

B b7

‰ œ œ œ ‰bœ œ œ ‰
œ
œ
œœœœ

E b7

C7

E b7

C7

& 42 ‰ œ œ œ œ ‰ b œ œ œ œ ‰ œ œ
œ bœ ˙

9

Luiza Sales

3

-

œ

chu - va

bœ bœ bœ
go/o sol vai
œ

œ

vai

la -

A 7(9)

B b7

j
œ ˙

pas - sou

˙

œ
& .. ! # œ œ œ # œ œ œ œ œ œ # œ œ œ ! œ œ œ b œ œ œ b œ œ . œ ! œ œ .. b ˙
œ

37

A7

C7

1.

2.

Luiza Sales 2014


 

 

 
51
 

 

A Frio

Slow bossa

C/B

INTRO

& 42 .. œ

b

() b

D m7 b 5 /A

A m7

œ œ œ œ œ œ

G6

œ œ
bœ œ ˙
C/B b
F/A

3

C

Luiza Sales e Pedro Carneiro Silva

C/B

# ()

F m7 b 5

œ œ bœ
œ
œ
G # Maj7

&‰ œ œ œ œ œ
œ œ œ. œ œ œ
œ
œ
˙

7

()

C

&‰œ œ
œ #œ œ
˙
não se dei - xa/en - xer gar
F/A
G # Maj7
3

a men - te não

tar

#

Am

G 7M

fri - o

CODA

b

& .. œ œ œ
fi - o
C/B b
A m7

31

C/B

& . ‰ Œ
œo

37

a

C/G

se - co

A m7

() b

D m7 b 5 /A
3

() b
!

D m7 b 5 /A

œ œ œ œ œ
ho - ras œ
a
fi - o

F
3

!

# ()

œ œ œ œ œ
ho - ras œ
a
fi - o

To CODA

Œ

˙

# ()
!
F m6

a

F m6

3

œ œ œ

ho - ras a

F m7 b 5

F m7 b 5
3

j
œ
œ.

˙

ve - jo me/o - lhar

sem des - vi - ar

G6

A m7M

3

œ œ œ œ œ

G6

Œ

#

te

o - lha

nem que - ro ten -

Am

œœ œ
#œ œ œ

D/F

a - go - ra

!

3

se/eu

& œ œ œ.
œ œ œ œ. œ œ œ œ

SOLO

G 7 b9

3

me ve - jo de ver - da - de

25

()

e/a gen - te quan - do

nes - se/es pe - lho não con - fi - o

G 7sus 4

‰ r
œ. œ œ œ bœ œ œ œ œ

&˙

vê

G 7sus 4 G 7 b 9

3

19

G 7sus 4

()C
C/B
C/B b
%
3
! ‰ œ œ œ œ
œ œ œ œ œ. œ œ œ œ

O que/o co - ra - ção pres - sen - te

13

œ œ ..

œ œj .
œ. œ œ œ bœ
œ

3

G 7 b9

F m6

F m6

!

C

..

!

D.S.

!

Luiza Sales & Pedro Carneiro 2014


 

 

 
52
 

 

Maracatu

Força do Tempo
Music: Luiza Sales
Lyrics: Vinicius Castro

#
& # 44

B m7

#
& # .. "

B m6

!

!

B m7

5

B m+5

E 7(9)

œ
œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ ˙

!

8

&

11

&

15

&

##

"

œ. œ œ
œ œ ˙

men - to de/as - sus - tar

##
##

B m7

"

B m6

#
& # ..
#
& #

B m(#5)

!

a for - ça

œ nœ

que/o tem

-

œ œ

po

œ

traz?

nœ œ œ œ œ œ œ œ œ œ œ œ nœ
F # maj7

œ œ œ œ
N.C.

vi - ra

œ

œ œ œ œ œœ œ œ œ
B m6

vi - ra

noi - te

E 7(9)

!

w
A m7

œ œ

œ œ œ œ œ œnœ œ
a - tá a - noi-te - cer

D m6

vi - ra/um di - a/a

œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ ˙
Pr'ou - tro di - a nas - cer es - sa ter - ra vai ter que ci - ran - dar

mais

..

!

D m6/A

œ œ œ #œ œ œ œ œ œ nœ

di - a

B 7(# 9)

quem con - cla - ma o fo - go/e/o - ar

!

Di - a vi - ra noi - te vi - ra di - a vi - ra/o ba - que/e vai

#
& # "

F # m7

D m6/A

bœ œ œ œ

te

"

bœ œ œ œ œ œ œ œ œ

20

22

1.

D m7

18

quem so-prou es-se ven-to que can-ta/um la -

C 7(9)

F m7

qual

œ
œ œ œ œœ œ œ œ œ œ

sa - be lá quem co - man - da/o tro - vão

w
2.

G m7

!

B m7

"

Sa-be lá quem man-dou a -cen-der es-sa noi - te de lu - ar
E 7(9)

B m6

w

‰

E b maj7

j
bœ

noi

..

B m7

"

œœœ œ œ œœ œ œ œ œ

e to - da ca - cho - ei - ra vai ter que cor -


 

 

 
53
 

 

2
25

&

Força do Tempo

##

E 7(9)

œ. œ œ œ ˙
œ

rer pra ver o mar

G m7

"

C 7(9)

bœ œ œ œ œ œ œ œ œ

sa - be lá quem co - man - da/o cor - dão

B m7
E 7(9)
# # ‰ œ œœ œœ œ œœ " œ œœ œœ # œœ œœ œ
œœ œœ œœ # œœ ˙˙
œ
œ
œ
œ
œ ‰ œ
&
w

28

#
œ œ
& # ‰ œœ œ œ œœ # œœ ˙˙
E 7(9)

31

#
& # ‰

34

B m7

œœ œœ œœ œœ œœ

F # m7

"

B 7(# 9)

œ œœ œ œ œ œœ œ

qual a for - ça que/o tem - po traz?

œ œ œ
œ œœ # œ œ
‰ œœ œ œ œœ œ " œœ œ œ œ œœ

B m7

E 7(9)
œœ # œœ œœ œœ .. œœ
œœ # œœ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
‰ œ
œ "œ
œ ‰ œ
B m7

œ #œ
" œœ œœ œ œ œœ œœ

‰

œœ œœ œœ œœ # œœ

E 7(9)

˙˙


 

 

 
54
 

 

Aventureira

Cha-cha

Bass
A b maj7/B b
Improv.

b
& b 44

INTRO

&b

5

A

b

!

A b 6/B b

!

17

F m7

&

bb

Œ

B b 7( b 9)

Œ.

b

nœ œ
J

só

b Ó.
b
& œ œ œ œ

se - de que dá

&

bb

F m7

˙.

-lhar

-

pas

-

so/u - ma

teu

pra

B b 7( b 9)

j
œ œ œ œ œ

que/o/a
- - mor é -um

dom

˙.
-

Luiza Sales 2014

a - cei-to

E bMaj7

!

Œ
-

to-da

Timbales fill

..

D 7(9)

w

B 7sus4
j Timbales fill
Û Û
œ nœ nw
J
pa - nhar

me/a - com -

ver - o que/é bom
-

E b maj7

no céu que vai a -

Û
œ

C 7(b9b13)
A b maj7/B b
‰ Ûj ˙
Ó
œ bœ œ œ œ œ œ œ Ó
Ó
Œ . n œJ
sem me - do de vi

Œ . n œj œ b œ œ œ

pra can - tar

C 7sus4

a - bra - ço

C 7(b9b13)

‰ nœ œ #œ

ra - zão

Œ Ó
‰ Ûj Ûj Û
j
œ #œ œ œ œ #œ nœ œ œ
J
J J

Œ.

Œ

D m7

D 7(9)

me fal - ta/o

A b maj/B b

25

œ # œ n œj ˙

D 7(9)

Ve - jo/em ca - da

b
& b œ n œJ œ

29

œ # œj œj œ

Œ

˙.

que/a vi - da ti - ver

C maj7/D

œ

dor e pra-zer
E b maj7( # 5)

j
œ œ œ œ œ

!

2nd time: To A1

bem mais do que só

de/um so - nho qual - quer

cor

C maj7/D

21

55
 

 

B b 7(# 5)

!
b

lém


 

!

A maj/B
C 7(b9)b13
j
.
Ó
‰
Ó
Û ˙
b
œ bœ œ œ œ œ œ œ Ó
& b .. œ œ œ œ Ó
Œ . n œJ
Que - ro che - gar
mais per - to de/on - de/eu pos - sa to - car

b
& b ˙.


 

A b(#5)/B b

!

A b maj/B b

9

13

A1

A b 6/B b

!

A b(#5)/B b

Pos-so vi-ver

B

A b(#5)/B b

!

A b maj7/B b

Luiza Sales
Gustavo Pereira

C 7(b9b13)

Œ . n œj œ b œ œ œ
-

a - pren- - do/em ca --da/o -

E b maj7

.. ‰
œ œ œ œ œ œ œ
que - ro
-

ter san - gue
- quen - te


 

2

‰ Û ‰ Û Û
‰ Ûj ‰ Ûj Û
Û
bb Û
& ‰
‰ œ bœ œ œ œ œ œ
œ œ œ œ œ Œ

33

C

Aventureira

A b m6

A m7( b 5)

-

F#

o

na mi - nha ve - ia

que - ro

ser

b
& b ‰œ œ œ # œ œ œ œ ‰ œ œ œ œ Œ
œ

36

F m7

que -ro que/a gen-te/in-ven - te

40

&

bb

2.

E b maj7

!

u- ma ma - nei-ra

di - fe - ren - te
E maj7

‰

œ nœ#œ

‰

G m7

œ œ œ œ œ

Œ

a - ven - tu - rei - ra
E b maj7

#œ nœbœ ˙

Ó

..

pra po-der se/en-con- trar

!

To INTRO

..

FORM:
Intro - Bass solo
A (2x) - cha cha groove
B - bossa fill
A1
C (2x) - piano montuno
Intro - Open vocal solo
A1
C - voice + piano montuno
C - tutti - hits
C - cha cha groove


 

 

 
56
 

 

Choro-canção

Janelas Floridas
Luiza Sales

# 2
& 4 ‰.
#
& ‰.
G6

5

F 7(9)

E 7(9)

E 7(9)

# œ
œ œ œ œ
& .. œ œ œ
fé na me-sa/ao fim

da tar-

œ œ œ
#
& œ œ œ œ
G/F

tal um pé de fru - ta

&

œ œ œ

so - no

#

bom

œ bœ.

na re

A m7

que/es - ta ca - sa/e - xis - te/e

só

-

põe de

que/es-con-de

F/E b

& œ œ œ œ œ œ œ

21

ma - nhã te

pi -

œ bœ

por - ta/a - ber

œ

de

-

ta

tem pão quen - ti -

de

de

u - ma

G6

3

de

œ œ œ œ œ œ œ œ

3

œ nœ œ

œ

D 7(9)

A m7

13

si - no da/i - gre - ji - nha

r
œ
bœ
œ œ œ œ

‰ . œR b œ n œ œ œ n œ œ œ œ . œ ‰ œ œ

ca - sa com ja - ne - las flo - ri - das

# œ

E b 7(9) D 7(9)

E b 7(9)

œ œ.

D 7(9)

r
œ
bœ œ œ œ œ nœ
œ œ œ œ

G6

A/G

9

C maj7

G6

r œ œ œ œ bœ nœ œ œ œ œ ‰.
œ
F 7(9)

G6

17

E b 7(9)

r œ œ œ œ bœ nœ œ œ œ œ ‰.
œ

G6

pa - ra/a

vi - da

on - de/o

no quin -

nho e ca - fu - né

œ
‰ œ

2.

1.

œ

‰ œ œ .. œ

D 7(9)

pé

D (#5)

D 7(9)

tem ca

-

e no

pi - co - lé

E m7

œ

œ
3

so - nhos

D 7(9)

G6

œ œ œ œ œ œ ˙
3

3 - de
vo - cê sa - be/on

é

œ
pra

œ

œ
3

man - ter

B m7

œ

œ
a

fé

‰. œ
R

por -

œ œ œ œ œ œ bœ
Œ ‰ œ

G 7(13)

C maj7

e no

so - no bom

na re -

Luiza Sales 2014


 

 

 
57
 

 

2

26

&

30

&

Janelas Floridas
F/E b

# œ bœ. œ
-

#

G/D

œ œ œ œ œ œ
3

de

F 7(13)

œ œ œ œ œ œ
3

E b 7(9)

3

so - nhos pra man - ter

vo - cê

3
sa - be/on
- de

‰.
˙

G6

é

C # m7( b 5)

a

œ

fé

C maj7

‰. œ œ œ œ œ œ œ
R
por - que/es - ta

ca - sa/e - xis - te/e

œ

só

r œ œ œ œ bœ nœ œ œ œ œ ‰. r œ œ œ œ
œ
œ
F 7(9)

E 7(9)

G6

E b 7(9) D 7(9)

#
œ
œ bœ nœ œ œ œ œ ‰. r œ œ bœ œ œ
& b œ œ œ œ n œ ‰ . œr œ œ œ
œ
œœ

34

D 7(9)

G6

F 7(9)

E 7(9)

G6


 

58