111 Sentences With "cavaquinho" | Random Sentence Generator

She learned to play the cavaquinho, and she thinks that differentiated her.

Choro ensembles feature flute, cavaquinho (a stringed instrument), guitar and hand percussion, in intricate counterpoint.

Her albums in the 1970s drew renewed attention to nearly forgotten older samba songwriters like Nelson Sargento, Cartola and Nelson Cavaquinho.

Her first album cover features a photo of her with her cavaquinho among male musicians, a design she says was intentional.

Mr. Zé uses instruments and rhythms from Brazilian tradition — the cavaquinho (small guitar) of samba, the accordion and triangle of forro — but gives every element a twist.

Step up to a traditional samba circle in Brazil and you'll find this: a group of 5 to 15 men, each playing an instrument — a tambourine, a cavaquinho, a drum.

In the late 1970s, Ms. Carvalho was drawn to a new samba style: pagode, which grew out of informal backyard parties in Rio and was often played by musicians sitting around a table, adding instruments like banjo (tuned like a cavaquinho) and a conga-like drum called the tantan to typical samba lineups.

Portuguese and Brazilian cavaquinhos The Brazilian cavaquinho is slightly larger than the Portuguese cavaquinho, resembling a small classical guitar. Its neck is raised above the level of the sound box, and the sound hole is usually round, like cavaquinhos from Lisbon and Madeira. The Venezuelan concert cuatro is very nearly the same size and shape, but has its neck laid level with the sound box, like the Portuguese cavaquinho. The cavaco is a smaller version of the Brazilian cavaquinho, similar in size to the Portuguese cavaquinho.

The cavaquinho (pronounced in Portuguese) is a small Portuguese string instrument in the European guitar family, with four wire or gut strings. More broadly, cavaquinho is the name of a four-stringed subdivision of the lute family of instruments. A cavaquinho player is called a cavaquista.

Venezuelan Concert Cuatro. The cuatro is a family of larger 4-stringed instruments derived from the cavaquinho that are popular in Latin-American countries in and around the Caribbean. Versions of the iconic Venezuelan cuatro are very similar to the Brazilian cavaquinho, with a neck like a Portuguese cavaquinho.

A related instrument, the Bahian guitar, was developed in Brazil beginning in the 1940s. Bahian guitars typically have a solid body and four or five strings tuned in fifths, but are considered to be electric versions of the cavaquinho rather than the mandolin which is why it's sometimes called electric cavaquinho (or cavaquinho elétrico).

His uncle, Hilário Jovino Ferreira, a musician known as "Lalu de Ouro" gave him his first cavaquinho. Following his uncle steps, he learned the instrument and presented himself as Mano Heitor do Cavaquinho. He started playing in candomblé religious gatherings in houses where other experienced musicians played and improvised African rhythms such as jongo, lundu, cateretê, samba, etc., with percussion instruments or cavaquinho.

Different forms of cavaquinho have been adapted in different regions. Varieties used outside of Iberia are found in Brazil, Cape- Verde, and Madeira. The locally iconic Caribbean region cuatro family and the Hawaiian ukuleles were both adapted from the cavaquinho.

"4th part of the documentary 'Apanhei-te cavaquinho' – YouTube video" (Madeleine appears between 52.32 – 54.37).

The piece is in F-sharp minor and is marked Très peu animé, and evokes the nostalgic countryside atmosphere associated with the cavaquinho .

Two cavaquinhos in Cape Verde. In Cape Verde the cavaquinho was introduced in the 1930s from Brazil. The present-day Cape-Verdean cavaquinho is very similar to the Brazilian one in dimensions and tuning. It is generally used as a rhythmic instrument in Cape-Verdean music genres (such as morna, coladeira, mazurka) but it is occasionally used as a melodic instrument.

Nelson Cavaquinho, 1972. Nelson Cavaquinho (October 29, 1911 – February 18, 1986, birth name Nelson Antônio da Silva) was one of the most important singer/composers of samba. He is usually seen as a representative of the tragic aspects of samba thematics, with many songs about death and hopelessness. He was a prominent figure of samba school Estação Primeira de Mangueira.

Portuguese cavaquinhos The instrument's name cavaquinho means “little wood splinter” in Portuguese. The Venezuelan concert cuatro is very nearly the same instrument, but somewhat larger.

Caminha was also a writer of samba lyrics, and had as a music partner the Brazilian samba singer Nelson Cavaquinho. They met in Tiradentes Square, in downtown Rio de Janeiro, a place where sambists used to get together. Caminha and Cavaquinho were partners in the composition of at least two songs: Notícia and A Flor e o Espinho. A Flor e o Espinho represents a controversial matter.

Nelson was born in Rio de Janeiro. Coming from a poor family, he quit school at a young age to seek employment in a factory. He showed a musical talent at a young age playing a home-made guitar made of a cigar box and wires. When he could, he would borrow a cavaquinho and try and copy the techniques of professional cavaquinho players.

According to popular legend, he was an expert player of the Portuguese machete or cavaquinho and was believed to be the inspiration for the name of the Hawaiian ukulele.

Related Portuguese instruments are the cavaquinho or braguinha and the rajâo. The braguinha and the rajâo taken to Hawai'i by Portuguese immigrants from Madeira are the forerunners of the ukulele.

It is part of a samba ensemble (see the international section, below). The name cavaco means “wood splint” in Portuguese - probably back-formed from the original name cavaquinho (“little wood splint”).

The machete is a steel-string version of the cavaquinho from Madeira. It is a predecessor of the modern ukulele. The Machete de Braga (“Braga-style machete”) is called a braguinha.

The instrument evolved from the Portuguese cavaquinho. The body is usually hollowed out of a solid piece of wood. It is mainly used to play Keroncong music along with the Cak.

Today, Mauro Diniz is among the most praised cavaquinists in Brazil, and is one of the most studious. Mauro developed, as does every cavaquinho player, his own style, which was one of the most influentials and which is already part of the history of samba. His strumming patterns are among the most unpredictable and surprising in the samba world, and a lot of the patterns which are part of the standard repertoire of cavaquinho players in the current samba scene were introduced by him. Mauro has recorded with all major samba names; his recordings with Almir Guineto are specially known for cavaquinho rhythm virtuosism; not the least, his recordings with Zeca Pagodinho and Beth Carvalho are registered as the foundation for new generations of sambistas.

Instruments commonly played in choro Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). Other instruments commonly played in choro are the mandolin, clarinet, saxophone, trumpet and trombone. These melody instruments are backed by a rhythm section composed of 6-string guitar, 7-string guitar (playing bass lines) and light percussion, such as a pandeiro. The cavaquinho appears sometimes as a melody instrument, other times as part of the rhythm.

The group, which used to perform only with its own members, now has a supporting band consisting of drums, 6-string guitar, contrabass, percussion, cavaquinho and piano. The group in the early 1940s.

Paulinho da Viola (born Paulo César Batista de Faria on 12 November 1942) () is a Brazilian sambista, singer-songwriter, guitar, cavaquinho and mandolin player, known for his sophisticated harmonies and soft, gentle singing voice.

Bailinho da Madeira Folklore music in Madeira is widespread and mainly uses local musical instruments such as the machete, rajao, brinquinho and cavaquinho, which are used in traditional folkloric dances like the bailinho da Madeira. Emigrants from Madeira also influenced the creation of new musical instruments. In the 1880s, the ukulele was created, based on two small guitar-like instruments of Madeiran origin, the cavaquinho and the rajao. The ukulele was introduced to the Hawaiian Islands by Portuguese immigrants from Madeira and Cape Verde.

Cape Verde is known internationally for morna, a form of folk music usually sung in the Cape Verdean Creole, accompanied by clarinet, violin, guitar and cavaquinho. Funaná, Coladeira, Batuque and Cabo love are other musical forms.

He demonstrated a great ability to play the instrument and composed a choro ("Caminhando") which gained him notoriety as a musician (due in part to an uncommon modulation which made it hard for other instrumentalists to harmonize it). He was finally given a cavaquinho and having demonstrated a unique playing style on the instrument was given the nickname "Nelson Cavaquinho". He demonstrated a unique style of playing with only two fingers. As a young man he became acquainted with famous samba players like Cartola, Carlos Cachaça and Zé da Zilda.

Inside Blues Guitar. String Letter Publishing, 2001. resulting in their most famous model: the Dinâmico, (their trade term for resophonic instruments). Current range of products manufactured by Del Vecchio includes classical and resonator guitars, banjos, mandolins, cavaquinho, and viola caipiras.

AOL Waltzes into Brazil, Unprepared for the Samba. New York Times, December 11, 1999. Accessed December 29, 2007. It is noticeable that the ensemble does not present a cavaquinho or banjo, traditional instruments featuring songs in the genre of pagode.

Mauro Diniz was an enviable autodidact, during a long while. At the age of 24 he bought his first cavaquinho, never letting go of the instrument until exchanging it for one which had belonged to "Master Nelson Cavaquinho", which accompanies him to this day. In 1982, started attending Physical Education College, not finishing the course due to the frequent trips he took integrating singer Beth Carvalho's band. Mauro Diniz studied music with people such as the late Copinha, maestro Joaquim Nagle and, indicated by producer Rildo Hora, went on to study classical piano, harmony and perception.

Five years later in 1919, Pixinguinha, along with his brother China, Donga, João Pernambuco, and other prominent musicians, formed the revolutionary musical group (). The instrumental lineup was at first fairly traditional, dominated by a rhythm section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand percussion. Performing in the lobby of the Cine Palais movie theater, Os Oito Batutas soon become a more popular attraction than the films themselves. Their repertoire was diverse, encompassing folk music from northeast Brasil, sambas, maxixes, waltzes, polkas, and "brasilian tangos" (the term choro was not yet established as a genre).

The sambist Guilherme de Brito, who also wrote the lyric for the music, said in an interview to Brazilian newspaper Folha de S.Paulo that Caminha had only paid Cavaquinho to sign the composition. De Brito told the same version of the story to Flávio Moreira da Costa, author of a book about Cavaquinho. A Flor e o Espinho was recorded several times, one of them by the famous Brazilian singer and actress Elizeth Cardoso, in 1965. The official record of the Brazilian Union of Composers shows the name of Caminha among the authors of the lyric.

There are several forms of cavaquinho used in different regions and for different styles of music. Separate varieties are named for Portugal, Braga (braguinha), Minho (minhoto), Lisbon, Madeira, Brazil, and Cape Verde; other forms are the braguinha, ‘cavacolele’, cavaco, machete, and ukulele.

Neder, Alvaro. [ Clara Nunes biography]. All Music Guide. She had an enormous success with samba songs written by composers such as Nelson Cavaquinho, Paulinho da Viola and Chico Buarque, in addition to songs devoted to orishas and Portela, her favorite samba school.

He wrote 130 compositions during his lifetime, including the Brasileirinho. He is considered by many to be the first Brazilian cavaquinho shredder ever. One of his compositions, Delicado [Baiao], is a Latin American dance that has been arranged for piano. He died in São Paulo, aged 57.

The minhoto cavaquinho, associated with the Minho region in Portugal is similar to the viola braguesa. Its neck is on the same level as the body. Like the braguesa, the minhoto's sound hole was traditionally shaped like a stylized ray (fish); the shape is called “raia” in Portuguese.

Fala Mangueira! is a 1968 tribute album to the Mangueira Samba School founded by Cartola. The live album features several medleys and individual singles by five of the greatest traditional samba artists of the 1960s and '70s: Odete Amaral, Carlos Cachaça, Cartola, Clementina de Jesus, and Nelson Cavaquinho.

Rabo de Lagartixa ("gecko's tail") is a Brazilian instrumental Choro ensemble founded in the 1990s by Daniela Spielmann on Saxophone(soprano and alto), Alessandro Valente and Jayme Vignoli on cavaquinho, Marcello Gonçalves on Seven-string guitar, Alexandre Brasil on Double Bass (acoustic and electric) and Beto Cazes on Percussions.

Bailinho da Madeira The Music of Madeira reflects its cultural heritage, this can be seen in the local Folklore music, which in Madeira is widespread and mainly uses local musical instruments such as the machete, rajao, brinquinho and cavaquinho, which are used in traditional folkloric dances like the bailinho da Madeira.

Other than the violin, Travadinha played wonderfully well with the twelve string guitar, the cavaquinho and the guitar. Travadinha interpreted traditional music styles of Cape Verde including the morna and coladera. One of his songs Travadinha made was "Feiticeira di côr Morena". He died in 1987 when he reached great popularity.

Fado, depicted in this famous painting (c. 1910) by José Malhoa, is Portugal's traditional music. Portuguese music encompasses a wide variety of genres. The traditional one is the Portuguese folk music which has deep roots in local customs having as instruments bagpipes (gaita), drums, flutes, tambourines, accordions and ukuleles (cavaquinho).

Caram lives in São Paulo. She has a Lebanese background. Besides vocals Caram also plays acordeon, piano, guitar and cavaquinho and usually carries a notebook with her to write down lyrical inspirations. Asked about important influences and examples, Caram mentions Maria Bethânia, Elis Regina, Ney Matogrosso, Elba Ramaloh, Liza Minelli and Édith Piaf.

Eugénio Tavares was an influential songwriter of the period, and his songs are still extensively performed. Morna also spread to São Vicente, and composers like B. Leza and Manuel de Novas became popular. Solo vocalists are accompanied by a guitar, violin, bass guitar) and a piano. The cavaquinho (similar to a ukulele].

Both Spain and Portugal took their instruments with them overseas. Spanish instruments were related to the vihuela. The Portuguese cavaquinho also was the forerunner of a family of instruments. Even after the Muslims were conquered in Spain or driven out, the process of experimentation continued, leading to a number of European instruments, including the guitar.

This segment has Donald Duck and José Carioca meeting the Aracuan Bird, who introduces them to the pleasures of the samba. The accompanying music is the 1914 polka Apanhei-te, Cavaquinho by Ernesto Nazareth, fitted with English lyrics. The Dinning Sisters provide the vocals while organist Ethel Smith appears in a live-action role.

The origins of this Portuguese instrument are elusive. Author Gonçalo Sampaio holds that the cavaquinho and the guitar may have been brought to Braga by the Biscayans. Sampaio explains Minho region’s archaic and Hellenistic modes by possible survival of Greek influences on the ancient Gallaeci of the region, and stresses the link between this instrument and historical Hellenistic tetrachords.

Raphael Rabello was born in Petrópolis, Rio de Janeiro, Brazil. He was the youngest child of his family, which included many musicians. His sister Luciana was a well-known cavaquinho player and his other sister, Amélia, became a singer. His first guitar teacher was an older brother, Ruy Fabiano, when Raphael Rabello was seven years old.

Chantre is a singer, musician, arranger and composer. The base of Chantre’s melodies are Capeverdean, morna and the slightly father coladero, and he sticks with traditional instruments guitar, cavaquinho (a mandolin-like instrument from Cape Verde), violin and piano. He sings in Creole, Portuguese and French. What distinguishes Chantre’s work is influence from his love of Cuban and Brazilian music.

On 8 July 2010 "Take Your Love With Me (The Ukulele Song)" reached number 4 on iTunes' New Zealand Singer-Songwriter Music Chart.Sophie Madeleine's Chart History . Retrieved 5 March 2013. In 2012, Madeleine was interviewed on a Portuguese television documentary about ukuleles called Apanhei-te cavaquinho, for RTP2, where she also performed her song "Take Your Love With Me (The Ukulele Song)".

Portuguese experiments led to the Portuguese guitar, and other instruments seen today in places that Portuguese ships landed. There are several forms of cavaquinho used in different regions and for different styles of music. Separate varieties are named for Portugal, Braga (braguinha), Minho (minhoto), Lisbon, Madeira, Brazil, and Cape Verde; other forms are the braguinha, ‘cavacolele’, cavaco, machete, and ukulele.

Fantcha was born as Francelina Almada in Salamansa on São Vicente Island, Cape Verde. She grew up singing in a musically rich household. From the earliest age, she loved to sing. Instead of playing with dolls or hopscotch with her little girlfriends, her biggest pleasure was to sing with her two brothers who enjoyed playing guitar and cavaquinho at home.

Choro das 3 is a Brazilian instrumental music group, which plays a style known as Choro. They started in 2002 with the three sisters Corina (transversal flute), Elisa (mandolin, piano and clarinet) and Lia (7 string guitar), together with Eduardo, their father. Eduardo plays the pandeiro and percussion. In their first album they had also the participation of Adriano Andrade, playing cavaquinho.

A samba cavaco (right). The cavaco - a small version of the Brazilian cavaquinho - is a very important instrument in Brazilian samba and choro music. The samba cavaco is played with a pick, with sophisticated percussive strumming beats that connect the rhythm and harmony by playing the rhythm “comping”. Some of the most important players and composers of the Brazilian instrument are Waldir Azevedo, Paulinho da Viola, and Mauro Diniz.

Thiaguinho learned how to play guitar with Isabella Ribeiro and started to compose at 12 years of age. By 14, he learned how to play cavaquinho. At 15, he had already formed his first samba group, Sabe Demais, later producing the group's first CD. In 2002, he was a contestant in the talent show Fama, produced by Rede Globo. In 2003 he joined Exaltasamba, replacing former singer Chrigor.

Transmontana Bagpipe The Portuguese musical instrument Cavaquinho used in traditional music. Recent events have helped keep Portuguese regional folk (rancho folclórico) traditions alive, most especially including the worldwide roots revival of the 1960s and 70s. Cante Alentejano, from the Alentejo region, was included in the UNESCO Intangible Cultural Heritage Lists in 2014. The people of the Azores islands maintain some distinct musical traditions, such as the traditionally fiddle-driven chamarrita dance.

Spanish guitarro The Guitarro () is a small, baroque, five-stringed guitar from Aragon, slightly larger than the requinto or cavaquinho. The instrument is also found in other regions of Spain, such as Andalusia, La Mancha, and Murcia. Common tuning is B F# D A E, but this sometimes varies. While all five strings are usually single, the three middle strings can also be doubly strung to produce a stronger sound.

Valdir Azevedo or Waldir Azevedo (January 23, 1923 in Rio de Janeiro - September 21, 1980 in São Paulo) was a choro conductor and performer, considered to be the most successful musician of this genre. Azevedo was born in Rio de Janeiro. He played flute starting from the age of seven, and later switched to mandolin and to the cavaquinho. He first performed in public in 1933 at the Carnival, playing flute.

Examples of prominent songs which can classified as partido alto are the famous "Não Vem (Assim Não Dá)", from the classic record "Quatro Grandes do Samba", where Candeia, Elton Medeiros, Nelson Cavaquinho and Guilherme de Brito share the verses, and "Perdoa", by Paulinho da Viola, where he and Elton Medeiros share the verses. Partido Alto has been documented in the film of the same name by Leon Hirszman.

Comadre Florzinha, also known as Comadre Fulorzinha or Comadre Fulozinha, is a Brazilian group formed by Karina Buhr (vocals, percussion and rebec), Mairah Rocha (vocals, harmonica and percussion), Flávia Maia (vocals and percussion), Marcelo Monteiro (saxophone and flute) and Letícia Coura (vocals, cavaquinho and acoustic guitar). The band was created in Recife, Pernambuco and became famous for recording several rhythms of that region and contributing to spreading the culture of that state.

Buhr and França, however, continued together for some years. But, after recording the second disc, França decided to start her solo career, leaving Comadre Fulozinha. However, the leader Buhr did not give up and invited other musicians for continuing her works. Currently, the lineup is Karina Buhr (vocals, percussion and rebec), Mairah Rocha (vocals, harmonica and percussion), Flávia Maia (vocals and percussion), Marcelo Monteiro (saxophone and flute) and Letícia Coura (vocals, cavaquinho and acoustic guitar).

In the Canary Islands, Isa, a local kind of Jota, is now popular, and Latin American musical (Cuban) influences are quite widespread, especially with the charango (a kind of guitar). Timple, a local instrument which resembles ukulele / cavaquinho, is commonly seen in plucked-string bands. A popular set on El Hierro island consists of drums and wooden fifes (pito herreño). The tabor pipe is customary in some ritual dances on the island of Tenerife.

The cuatro is a family of Latin American string instruments played in Cuba, Puerto Rico, Venezuela and other Latin American countries. The instrument's 15th century predecessors were the Spanish vihuela and the Portuguese cavaquinho. Although some have viola-like shapes, most cuatros resemble a small to mid- sized classical guitar. In Puerto Rico and Venezuela, the cuatro is an ensemble instrument for secular and religious music, and is played at parties and traditional gatherings.

Emigrants from Madeira also influenced the creation of new musical instruments. In the 1880s, the ukulele was created, based on two small guitar-like instruments of Madeiran origin, the cavaquinho and the rajao. The ukulele was introduced to the Hawaiian Islands by Portuguese immigrants from Madeira and Cape Verde. Three immigrants in particular, Madeiran cabinet makers Manuel Nunes, José do Espírito Santo, and Augusto Dias, are generally credited as the first ukulele makers.

Fred 04 at SESC Pompeia - SP. Fred 04 (born in Jaboatão dos Guararapes, Pernambuco, on July 11, 1965) is the leader, singer, guitarist and Cavaquinho player of Brazilian band Mundo Livre S/A. He is the co-author, along with DJ Renato L, of the Mangue Bit manifesto, "Caranguejos Com Cérebros" ("Crabs With Brains"). He has a degree in journalism. He made up his nickname '04' after the two last digits in his identity document.

Morna. Cape Verde is known internationally for Morna, a form of folk music usually sung in the Cape Verdean Creole, accompanied by clarinet, violin, guitar and cavaquinho. The islands also feature native genres such as funaná, batuque, coladeira, and mazurka. Cesária Évora is perhaps the best internationally known practitioner of morna. One of Cape Verde's most famous stars, on her passing, one Cape Verdean restaurateur stated that she was "more important than our flag".

In 1943 she recorded Apanhei-te, Cavaquinho and Urubu Malandro, which led to a successful career as a singer. In 1944 she got a contract with the radio station Rádio Tupi in Rio de Janeiro, and worked for more than 10 years at the station. In 1945 she played the polka Rato, Rato, which is considered a classic of the Choro genre and earned her the title "Rainha do Choro", or the Queen of Choro.

Rufino Almeida (born 1962 in Mindelo, São Vicente), better known as Bau, is a Cape Verdean musician. His father, an instrument maker taught him how to make and play the guitar, the cavaquinho and the violin. In 1994, he joined the touring band of Cesária Évora and in 1996 became her musical director.Bau (The Leopard Man's African Music Guide) In September 1999 he moved on and his song Raquel was featured in Pedro Almodóvar's 2002 film Talk to Her.

The ukulele originated in the 19th century as a Hawaiian adaptation of the Portuguese machete (cavaquinho), a small guitar- like instrument, which was introduced to Hawaii by Portuguese immigrants, mainly from Madeira and the Azores. It gained great popularity elsewhere in the United States during the early 20th century and from there spread internationally. The tone and volume of the instrument vary with size and construction. Ukuleles commonly come in four sizes: soprano, concert, tenor, and baritone.

Monsueto Campos de Menezes (November 4, 1924 – March 17, 1973), better known as Monsueto, was a Brazilian sambista, singer, composer, drummer, painter, and actor. He was a part of the samba de morro (Portuguese for "hill samba") school, and helped popularize it along with other artists such as Cartola, Nelson Cavaquinho, Clementina de Jesus, Silas de Oliveira, Mano Décio da Viola, and Zé Keti. His musical output, though small, is considered very valuable to the history of Brazilian music.

Music in Madeira is widespread and mainly uses local musical instruments such as the Machete, rajao, Brinquinho and Cavaquinho, which are used in traditional Folklore dances like the Bailinho da Madeira. Famous performers of contemporary music include Max, Luís Jardim and Vânia Fernandes. Trás-os-Montes' musical heritage is closely related to the music of Galicia, Cantabria, and Asturias. Traditional bagpipes (gaita-de-fole transmontana), a cappella vocals and a unique musical scale with equal semitones have kept alive a vital tradition.

ThanatoSchizO spent all of 2010 in studio, recording Origami. The group had the collaboration of multiple guests such as Banda de Mateus (brass and woodwind ensemble from Vila Real), Ricardo Frade (a young local percussionist), Hugo Correia (from Fadomorse, responsible for orchestrations), Pan-lellos (a choir group), João Apolinário (accordion), José Silva (balalaika) and Francisco Sousa (cavaquinho). After ten years with a stable set of members, TSO was now reduced to a quartet. Patrícia, Guilhermino, Filipe and Paulo started to rehearse with two session members.

The Portuguese cavaquinho, a four-stringed instrument from which the ukulele is descended Jack Johnson, folk rock musician, was born and raised on Oahu's North Shore. The music of Hawaii includes traditional and popular styles, ranging from native Hawaiian folk music to modern rock and hip hop. Hawaii's musical contributions to the music of the United States are out of proportion to the state's small size. Styles such as slack-key guitar are well known worldwide, while Hawaiian-tinged music is a frequent part of Hollywood soundtracks.

Novos Baianos is a Brazilian rock and MPB group from Salvador, Bahia. It was formed in the 1960s and enjoyed success throughout most of the 1970s. The band members were Paulinho Boca de Cantor (vocals), Pepeu Gomes (electric guitar), Moraes Moreira (vocals and acoustic guitar), Baby Consuelo (vocals and percussion) and Luiz Galvão (lyrics). The group always counted on the collaboration of the band A Cor do Som, composed of Pepeu Gomes (guitar), Dadi (bass), Jorginho (cavaquinho, drums and percussion), Baixinho (drums and percussion) and Bolacha (percussion).

Dona Ivone Lara was born as Yvonne Lara da Costa in Rio de Janeiro. She graduated in nursing, with specialization in Occupational Therapy, and worked as a social worker until she retired in 1977. With this professional background, she worked in psychiatric hospitals, where she knew Nise da Silveira. With the death of her mother when she was three, and of her father when she was twelve, Dona Ivone was raised by aunts and uncles and with them she learned to play the cavaquinho.

His first recording as a sideman was at age 14 on a recording of choro music by classical guitarist Turibio Santos. In this period, he took lessons from guitarist Dino 7 Cordas (Dino 7 strings), with whom he recorded an LP in 1991. In 1976, he founded the group Os Carioquinhas, with his sister Luciana Rabello (cavaquinho), Paulo Alves (mandolin), Téo (acoustic guitar) and Mario Florêncio (tambourine). The band became famous and played with many other choro groups, such as Época de Ouro and Quinteto Villa-Lobos.

The Tahitian ukulele, another variant, is usually carved from a single piece of wood, and does not have a hollow soundbox. Close cousins of the ukulele include the Portuguese forerunners, the cavaquinho (also commonly known as machete or braguinha) and the slightly larger rajão. Other relatives include, the Venezuelan cuatro, the Colombian tiple, the timple of the Canary Islands, the Spanish vihuela, the Mexican requinto jarocho, and the Andean charango traditionally made of an armadillo shell. In Indonesia, a similar Portuguese-inspired instrument is the kroncong.

Guitars could have come to Hawaii from several sources: sailors, missionaries, or travelers to and from California. The most frequently told story is that it accompanied the Mexican cowboys (vaqueros) brought by King Kamehameha III in 1832 in order to teach the natives how to control an overpopulation of cattle. The Hawaiian cowboys (paniolo) used guitars in their traditional folk music. The Portuguese introduced an instrument called the braguinha, a small, four-stringed Madeira variant of the cavaquinho; this instrument was a precursor to the `ukulele.

A modern ukulele. The Hawaiian ukulele also has four strings and a shape similar to the cavaquinho, although tuned differently - usually G C E A. The ukulele is an iconic element of Hawaiian popular music, which spread to the continental United States in the early 20th century. It was developed from the braguinha and rajão, brought to Hawaii in the late 19th century by Portuguese immigrants from Madeira Island. The machete was introduced into Hawaii by Augusto Dias, Manuel Nunes, and João Fernandes in 1879, which further influenced the development of the ukulele.

António Variações had no formal music training. His first musical influence was his father, who played accordion and cavaquinho, but never had the chance to become a serious musician. From his travels abroad, Variações was able to get in touch with artists and genres which were not widely known back home and began fusing genres such as pop, rock, jazz, blues and new wave with his Portuguese folk and fado roots. Not knowing how to play or compose music did not stop António from making music by himself.

Carvalho is a very important artist in the history of samba, as she celebrated and brought the spotlight to the work of legendary composers such as Cartola, Nelson Cavaquinho & Guilherme de Brito when they weren't receiving the attention they deserved. Almost all of her records have songs by these composers, among other legendary sambistas such as Nelson Sargento and the Old Guard of Portela. Her samba school was Mangueira, but that didn't stop her from recording dozens of songs from composers of Portela, the other great traditional samba school in Rio. National Archives of Brazil.

Melbourne Conservatorium of Music, Instrument areas, Guitar He has performed on soundtracks for the films 'The Sapphires' (2012), 'Red Dog' (2011), and 'Under the Lighthouse Dancing ' (1997).IMDB Doug de Vries Other projects include producing the "It's About Time" album tour for Christine Sullivan, orchestrating film scores for The Last Days of Chez Nous, Lucky Break and Mushroom; forming the New Tango Quintet playing original contemporary compositions, writing the commissioned New Metamorphoses for the Melbourne Symphony Orchestra for the August 1996 "Metropolis Series" and performing as the Melbourne Samba School's lead player on the cavaquinho.

He is the son of the engineer João Nobre and of Anita Nobre. His mother, Anita Nobre, controlled three pagode bands, where Dudu, already in his infancy, used to play with tam-tam and pandeiro with the same ease that his neighbors were applied in marbles. And he did not reject this apprenticeship in his backyard. Official Site As a result, when he was six years old, he started to study classic piano, and when he was nine he received the instrument that would never separate from him—the cavaquinho.

The company was founded in 1900 by Tranquillo Giannini (1876–1952), an Italian immigrant with luthier talents.The Company (sobre nos) on Giannini website, 24 Oct 2019 Their first industrial plant was located at Av. Sao Joao in the city of São Paulo. Today, Giannini's plant is located at Salto, a city in the state of São Paulo (not far from the capital). They currently produce nylon and steel stringed guitars, craviola, viola caipira, cavaquinho, mandolin, violins, electric guitars and basses and some accessories such as guitar tuners and guitar strings.

Donga was born in Rio de Janeiro, the son of Pedro Joaquim Maria and Amélia Silvana de Araújo; he had eight siblings. His father was a bricklayer and played the euphonium in his spare time; his mother was the known Tia Amélia from the group of tias baianas of Cidade Nova and liked to sing modinhas and promoted countless parties. He participated in the musical gatherings at the home of Tia Ciata, alongside João da Baiana, Pixinguinha, Hilário Jovino Ferreira and others. A big fan of Mário Cavaquinho, he started playing that instrument by ear, at the age of 14.

The couple had five children, three of whom, including Radamés, were named after characters from Verdi operas (the others being Aida and Ernani). He began to play the piano with his mother at the age of 6, and went on to learn the violin with his cousin Olga Fossati. When he was 9 he received an award from the Italian consul for conducting a children's orchestra in arrangements of his own. In the following years, he also learned the guitar and cavaquinho and started playing these instruments in a successful group called Os Exagerados, as well as at silent films and dances.

Venezuelan Concert Cuatro Its 15th-Century ancestor was the Portuguese Cavaquinho. The predecessor of the Venezuelan cuatro is the four-string Spanish guitar which disappeared in the 16th century after a short period of surging popularity. In the 1950s, Fredy Reyna documented the evolution of the renaissance guitar into the current Venezuelan Cuatro, and reinvented the cuatro as a solo instrument, equally capable of rendering traditional Venezuelan music as well as Renaissance pieces. The popularity of the instrument in Venezuela and elsewhere may be due to its apparent simplicity, having only four strings, as well as its compact size.

In 2003, several of the former members of The Cherry Bombs, including Gill and Crowell, re-united. Emory Gordy Jr. opted not to participate in the reunited group, which by then comprised Eddie Bayers (drums), Richard Bennett (electric guitar, bouzouki, cavaquinho), Hank DeVito (steel guitar, Dobro), Tony Brown (piano, keyboards), John Hobbs (piano, keyboards), and Michael Rhodes (bass guitar), with Gill and Crowell alternating as lead singers. A year later, the band was signed to a record deal with Universal South Records to record their first album as an actual band. Due to legal concerns, the band was renamed The Notorious Cherry Bombs.

Oscar Alemán Alemán was born in Machagai, Chaco Province, in northern Argentina. He was the fourth child of seven born to pianist Marcela Pereira, a native Argentine, and Jorge Alemán Morales, who played guitar in a folk quartet with his children Carlos, Juan, and Jorgelina. At the age of six, Alemán joined the family ensemble, the Moreira Sextet, and played the cavaquinho, a chordophone related to the ukulele, before taking up the guitar.Bob Brozman, The History & Artistry of National Resonator Instruments, Centerstream Publishing, 1993, The group travelled to Buenos Aires to perform at the Parque Japonés, Nuevo Theater, and at the Luna Park.

The composition of a group for playing the coladeira is not rigid. A medium-sized band may include besides a guitar (popularly called “violão” in Cape Verde) a cavaquinho (that plays the chords rhythmically), a solo instrument besides the singer’s voice and some percussion. A bigger band may include another guitar, an acoustic bass guitar, more than one solo instrument (a violin — popularly called “rabeca” in Cape Verde —, a clarinet, a trumpet, etc.) and several percussion instruments (a shaker, a güiro, a cowbell, congas, etc.). The specific way of strumming the strings in a guitar is popularly called “mãozada” in Cape Verde.

In spite of the harsh tone, Portela responded with clear proposals to make it clear that it was not losing sight of its initial goals. Despite this, the elements of the response from Portela were never discussed by the school board of Oswaldo Cruz and were not instituted. In response, Candeia and other samba artists and composers founded the Black Art Recreational Guild Quilombo Samba School, which would not participate in Carnival and emphasized Afro-Brazilian cultural identity. In 1977, Candeia participated in the album "Quatro Grandes do Samba", which also featured Nelson Cavaquinho, Guilherme de Brito and Elton Medeiros.

Following that project, she was invited by Brazilian poet and songwriter Chacal to take part in the CEP 20.000 project. She later performed in the Casa da Mãe Joana, after being embraced by Brazilian singer and composer Wilson Moreira. At the beginning of her career, Teresa performed mostly in bars in Rio de Janeiro, and especially in the Madureira neighborhood, singing sambas of Jair do Cavaquinho, Monarco and Argemiro da Portela, among other. In 1998 she started performing in the Bar Semente, in Lapa, where she was a leading figure in reviving the musical heritage of the neighborhood.

Samba-choro - tribuna In the 1960s came the "Paradinha" ("little stop") of Mestre André, a famous director of the Mocidade Independente de Padre Miguel. André was the creator of the musical effect in which the bateria suddenly stop playing during a parade, leaving only the cavaquinho (a small string instrument) and voice components for a moment. When the music returns, the effect is of surprise and excitement. The expected effect, considered beautiful by the critics, is also risky because it increases the chances that the samba song can mistakenly be taken up again at the wrong moment.

In 1973 he released the first single for Polydor Records, with songs "Transa de amor" and "Saravá Nega", which caused major interests in radio and television programs. The first record was released by CID in 1975, with forgotten songs of enshrined composers as Ivan Lins, João Donato, Jorge Benjor, Nelson Cavaquinho, Guilherme de Brito, Marcos Valle and Paulo Sergio, among others. He moved the following year to the Philips/Polygram, staying on this label until 1984, by which released ten albums – all with little effect. In 1985, he was chosen as the best performer in the "Festival of Festivals", TV Globo with the song "Elis, Elis".

A bagpiper playing Gaita-de-fole coimbrã in the late 1930s The Gaita-de-fole coimbrã is a type of old Iberian bagpipe. Along with the machinho de Coimbra - a kind of cavaquinho, and the viola toeira - a traditional guitar, it is one of the most important traditional music instruments in the Beira Litoral Province. The Coimbra bagpipe belongs to the Iberian gaita-family. Unlike a Galician bagpipe, the chanter is thinner and smaller and presents an old "out- of-tune" scale, the drone is larger, heavy, but showing a fine woodturning job, and the old blow mechanism is primitive and very hard to handle.

The group was formed by members of rock band Pedro Luís e A Parede in 2000 as an education project and continues to run a percussion course each year. However, the group's popularity soon led to the creation of a professional touring band, the Monobloco Show, which has toured extensively around Brazil and has also travelled internationally. Their public 'rehearsals' at Fundição Progresso in Lapa, the nightclub district of central Rio de Janeiro, regularly attract up to 4,000 paying spectators on the Friday nights leading up to Carnival. At these shows the group consists of over 100 percussionists as well as singers and cavaquinho player.

Born in 1952 in one of the most traditional neighborhoods of carioca samba, Oswaldo Cruz, at the age of 4 stayed between his father's legs, stunning everyone with his ability on the first cavaquinho chords. At the age of 8, besides having written a parody for one of his father's sambas, for the samba-enredo of the Bloco da Alegria carnival block, was presented with a guitar by his mother Thereza, pastora of the samba school Portela. Therefore, Mauro Diniz gave his first steps towards music guided by the Old Guard of Portela. Had his dreams rocked by antologic sambas from his greatest idol, his father, known by some as the "Extraordinary Monarco from Portela".

Around the end of 18th century, Domingos Caldas Barbosa wrote a series of modinhas that were extremely popular, especially in salons, and so can be termed salon music. The modinha of the late 19th century was sung in the streets or as an outdoor serenade, usually accompanied by flute, guitar, and cavaquinho. The earliest known literary reference to "Brazilian modinha", most likely in reference to Barbosa's music, was made by Portuguese satirical poet Nicolau Tolentino de Almeida in 1779. One of his characters in a farce from 1786--A rabugem das velhas [The old women's rage]-- also mentions "this new modinha that's been invented now", which sends her grandmother into a rage, eulogizing the past.

Gnattali's musical career straddled popular and classical genres and their traditions. His arrangements of samba pieces, involving strings, woodwind and brass (rather than the traditional accompaniments with two guitars, cavaquinho, accordion, tamborin and flute) exposed him to lifelong critical attacks from Brazilian musical traditionalists who resented the "jazzing up" of the genre. Conversely, some of his serious concert pieces (música de concerto) attracted the opposite criticism of inappropriately introducing instruments such as the mandolin, marimba, accordion, mouth organ and electric guitar into the concert hall. In doing this, he was inspired by his friends from the world of popular music, including Jacob do Bandolim (literally, "Mandolin Jacob"), Edu da Gaita ("Harmonica Edu") and Chiquinho do Acordeom ("Accordion Chiquinho"), for each of whom he composed dedicated concert pieces.

Armandinho (born Armando da Costa Macêdo, May 23, 1953) is a Brazilian composer and singer. He was born in Salvador, the son of Osmar Macêdo, from the world's first trio elétrico, the Trio Elétrico de Dodô e Osmar. (In the 1940s, at the same time the electric guitar was invented, Osmar Macêdo along with bandmate Adolfo Nascimento [who was an electrical engineer] independently created the Guitarra Baiana, a type of electric cavaquinho, which gave the Trio Elétrico its name.) In his early career, he played in his bands Trio Elétrico Mirim in 1962 and Hell's Angels in 1967. In 1970, he formed A Cor do Som with bassist/vocalist Dadi, keyboardist/vocalist Mú Carvalho, percussionist/vocalist Ary Dias and drummer Gustavo Schroeter.

Developed in the 1880s, the ukulele is based on several small guitar-like instruments of Portuguese origin, the machete, the cavaquinho, the timple, and the rajão, introduced to the Hawaiian Islands by Portuguese immigrants from Madeira and Cape Verde. Three immigrants in particular, Madeiran cabinet makers Manuel Nunes, José do Espírito Santo, and Augusto Dias, are generally credited as the first ukulele makers. Two weeks after they disembarked from the SS Ravenscrag in late August 1879, the Hawaiian Gazette reported that "Madeira Islanders recently arrived here, have been delighting the people with nightly street concerts." One of the most important factors in establishing the ukulele in Hawaiian music and culture was the ardent support and promotion of the instrument by King Kalākaua.

Two years later they came up with what most people call the best Korzus album to date, Mass Illusion. With production of Roger Moreira (vocalist/founder of the Brazilian rock band Ultraje A Rigor) the band gained more attention outside Brazil. A videoclip for the song "Agony" was made, and it received heavy air play on Furia Metal (a Brazilian version of MTV's Headbangers Ball). Drummer Beto Silesci and the guitarist Marcello Nicastro left the band, as each one pursued their own projects (Beto Silesci formed a band with his wife and tried the drums in the hardcore band Ratos de Porão; Marcello Nicastro became a well-known player of cavaquinho - a short four- string guitar used to play samba).

To the annoyance of the government, these two pamphlets were widely circulated in Honolulu and even sent to London by the British ambassador to Hawaii.; ; ; ; ; These works and other factors including the Aki opium scandal and the failed attempt to form a Polynesian Confederacy contributed to the demise of the Gibson administration and the passage of the Bayonet Constitution of 1887, which severely limited the power of the king. Purvis made many friends among Hawaii's Portuguese immigrant community and became an expert player of the machete (otherwise known as the cavaquinho). Thus, it is popularly believed that the Hawaiian musical instrument, the ukulele (an adaption of these Portuguese instruments), was named for Purvis, as the term can be translated as "jumping flea"a nickname of the small, excitable, and quick-fingered Purvis.

The repertoire consists not only of original lyrics by Pedro Marques and Daniela Varela, but also poems by Eugénio de Andrade, José Régio, Ary dos Santos, David-Mourão Ferreira and Maria José de Castro, among others. The sound is based on popular Portuguese music, from fado to folk, but the end result also stems from the fusion of music from other continents, with a strong popular flavor. The vocals of Daniela Varela can be heard alongside Pedro Marques on percussion, Jose Camacho on guitar, Vasco Corisco on bass and a number of guest musicians playing cavaquinho, mandolin, flute, accordion or piano. Daniela showed a gift for singing at an early age, appearing in Ana Faria's "Jovens Cantores de Lisboa" when she was 8, and in plays directed by Filipe La Féria such as "Jasmim ou o Sonho do Cinema" and "Godspell" after the age of 10.

Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal.

Perhaps because of his popularity, Bana was accused of collaboration with the Portuguese colonial government, after his son's birthday near Amilcarthe Cabral's death. He later went to Dakar, Senegal where he recorded his first album in 1962 and gave his first performance, the record had four songs, 2,000 copies were sold within the first weeks. Afterwards he moved to Europe in a few months, first to Paris which he remained until 1968, there Bana made two LPs including Pensamento e segredo and Bana à Paris, Bana later moved to Rotterdam in the Netherlands where he made a group "Voz de Cabo Verde" ("Voice of Cape Verde") with other exiled Cape Verdeans including Luís Morais (1934-2002), Jean da Lomba, Morgadinho, Toy de Bibha, Frank Cavaquinho and several others, he also published two "long-plays" and six EPs. In 1969 he headed southwest to Portugal where he opened "Restaurante Monte Cara" in Lisbon, named after one of the island's prominent feature Monte Cara west of Mindelo (also Casa de Cabo Verde), he met two of his friends, Luís Morais e Morgadinho.

Each school displays glamour in colorful costumes and floats with special effects and is organized into different segments or "alas" ("wings"). The "alas" represent different components of the school's theme, or "enredo", as they act out a homage to a myth, historic event or figure, or express their view on a social, environmental, or international issue. The "alas" display distinct costumes or "fantasias" and also reflect traditional samba school roles developed years ago. Thus, each samba school parade has the "comissão de frente"; individuals who open the parade by walking in social attires, saluting the crowds; the "ala das Baianas", or the traditional segment of Bahian African-Brazilian ladies with impressive round dresses spinning through the avenue; the "puxadores" (lead singers) singing the "samba-enredo" or theme-song while they play the "cavaquinho" or other string instruments; the "velha guarda", or veterans who made history in the school; the "bateria", or samba band with drums, "cuicas" and other instruments, preceded by the "madrinha da bateria", or band godmother who is often a sexy female celebrity.