A long-time teacher, Chico has improved his own skills with every master who has crossed his learning course.

The workshops conducted by Chico Saraiva result from all that experience and investigation – strengthened by didactic practice – of the multiple relations between the solo guitar and the song.

Having the Project Guitar-Song as synthesis of his work as composer and arranger, Chico provides the workshop participants with the unique opportunity to be in contact with this content.

Guitar in hand, Chico Saraiva leads the public throughout his research, revealing the most significant aspects of the contents and their articulation points with musical performance – all the result from wide reflection. During the workshop parts of the interviews he carried out with masters are shown: João Bosco Sérgio Assad, Paulo César Pinheiro, Paulo Bellinati, Marco Pereira, Luiz Tatit, Elomar and Guinga.

The workshops may be organized for large groups – in colleges and music education institutions – or for smaller groups focused on musical improvement in which case the interaction with participants is closer.

Workshops

• “O violão que acompanha a canção” (“The guitar that accompanies the song”) held at Centro de Música do Sesc Consolação em São Paulo, 2017. Available at Sesc São Paulo
• “Violão-Canção” (“Guitar-Song”) held at Sesc Arsenal and Sesc Rondonópolis in Mato Grosso, 2015. Available at Sesc Mato Grosso

Guitar-song: dialogues between the solo guitar and popular song in Brazil

The book shares the result of the experience gathered by the author in musical encounters dedicated to the intersection between the solo guitar universe and the popular song.

The book “Violão-canção: diálogos entre o violão solo e a canção popular no Brasil” (Guitar-song: dialogues between the solo guitar and the popular song in Brazil) is the register of Chico Saraiva’s research on the guitar as a solo instrument linked with the written tradition and as accompaniment for singing in the Brazilian music tradition. At the core of the book are seven interviews with masters of the Brazilian music: João Bosco, Paulo César Pinheiro and Luiz Tatit, in the popular song scope; Paulo Bellinati, Sérgio Assad e Marco Pereira, in the concert solo guitar; Guinga and Elomar as representatives of both traditions.

As the talk develops, Saraiva and the interviewees perform songs that are indicated in the book and can be watched on www.violao-cancao.com

The text organized in themes inspired in the idea of a cinematographic setting deals with the creation process, exchanges between lyrics, melody and harmony, aspects of musical execution, relation between instruments and popular and erudite guitar.

Thesis advisor of the master course dissertation from which the book is originated, conductor and professor Gil Jardim signs the text on the back cover: “Here is the most fascinating characteristic of this book: to bring in involving and accessible discourse intimacies of the music creation act in the voice of several experts in the Brazilian music”.

The e-book version may be found in virtual bookstores such as: Sesc São Paulo web portal, Amazon, Livraria Cultura, Livraria Saraiva, Kobo and Apple Store.

Content 

Check below the chapters of the book “Violão-Canção: diálogos entre o violão solo e a canção popular no Brasil” (Guitar-Song: dialogues between the solo guitar and the popular song in Brazil):

1 – VIOLÃO SOLO E VIOLÃO E VOZ

• 1.1 – um violão que canta
• 1.2 – um violão que se engrena na canção

2 – A PROCURA DO OUTRO

• 2.1 – o letrista
• 2.2 – matrizes rítmicas
• 2.3 – matrizes melódico-harmônicas

3 – CANÇÃO: GRAUS DE AÇÃO DO INSTRUMENTO NO PROCESSO CRIATIVO

• 3.1 – a não canção?
• 3.2 – “pétalas de rosas espalhadas pelo vento”
• 3.3 – a canção sem violão
• 3.4 – a pergunta de Tatit
• 3.5 – parece fácil, mas é impossível
• 3.6 – o composer, o songwriter and the grays in between
• 3.7 – o violão às vezes traz a melodia

4 – VIOLÃO: O ERUDITO-POPULAR E O TOCAR-COMPOR

• 4.1 – violão-piano
• 4.2 – o idioma do violão
• 4.3 – a sala, o banheiro e a praça
• 4.4 – o vigor e a sutileza
• 4.5 – tocar junto
• 4.6 – ressurgimentos: a escola de Meira e o ar maior
• 4.7 – som polido

5 – SANGUE MESTIÇO: CINCO SOLOS

• 5.1 – “Gagabirô” – com João Bosco
• 5.2 – uma pergunta para Brouwer – com Sérgio Assad
• 5.3 – é teu? – com Guinga
• 5.4 – rítmica brasileira – com Marco Pereira
• 5.5 – “Boi de mamão” – com Paulo César Pinheiro

6 – O FIXO E O FLEXÍVEL

• 6.1 – ver fazer: o “Jimbo no jazz”
• 6.2 – o “Jongo” de Bellinati e o “Jongo do Tamandaré”
• 6.3 – um problema antigo
• 6.4 – o momento da escrita
• 6.5 – uma coisa poética dentro de uma música com suingue

7 – ALUMBRAMENTO

Learn more about the Project “Violão-Canção” by navigating the interactive content of the video-site: www.violao-cancao.com

Articles published by Chico Saraiva:

• A etnografia musical como meio de desenvolvimento artístico: um relato (Musical ethnography as a means for artistic development: a report) | 2016
• Bellinati-Tatit: interfaces entre o Violãosolístico e a Canção Popular Brasileira  – (Bellinati-Tatit: interfaces between the Solo Guitar and the Brazilian Popular Song ) | 2012
• O berço de Jobim: o lado musical da canção na primeira metade do século XX (The cradle of Jobim: the song’s musical aspects in the first half of the twentieth century) | 2012
• Guinga e Elomar A presenca do violão solístico na gênese da canção (Guinga and Elomar: The presence of the solo guitar in the genesis of the song) | 2012
• A Influência de Villa-Lobos na canção popular brasileira (The influence of Villa-Lobos on the Brazilian popular song) | 2011