The melody of Tico Tico is a typical example of the choro style – a virtuosic, almost solo-like melodic line that drives the music without respite. The harmonies, on the other hand, can sit back and relax and only sporadically go beyond the basic functions of tonality.
There are countless interpretations of this classic tune. Here Paco de Lucia, the maestro of flamenco guitar, performs his rendition: [VIDEO EMBED MISSING]
TICO TICO – LEARN THE MELODY
In order to become familiar with this way of playing, in addition to thorough preparation of the scales over the entire fretboard, confidence in the rhythmic figures at the sixteenth level is necessary.
The main part of the melody consists of a small motif, skillfully woven through the chord progression. As can be seen in the sheet music, there are some non-scale tones that have different origins:
- harmonic: chord tones of secondary dominants
- melodic: Enclosures and Passing Tones
The first part of Tico Tico [MUSICAL NOTATION MISSING]
Melodic Device: Enclosures
The melody’s characteristic sound is given particularly by a specific melodic device: Enclosures. This type of device has been common since classical music. Mozart’s “Rondo Alla Turca” is a famous example: [MUSICAL NOTATION MISSING]
In the above example in the Key of A-Minor, the first four notes form an enclosure of the root note A. It is one of the most typical enclosures: The diatonic note B from above and the chromatic note G# from below. When analyzing the beginning of Tico Tico you will find the same device: in this case the note E (the fifth of A minor or the root of E7) is enclosed chromatically from below (d#) and diatonically from above (f). Look for other enclosures in this melody!
Secondary dominant chord tones
Another striking feature is the consistent linking of the melody with the harmonic context. For example, in measure 3, the dominant seventh chord E7 in the melody is spelled with the tones D-H-G#-E. The non-scale tone G# is the third of the dominant and thus the leading tone to the tonic A minor. You will find another example in bar 7, where the secondary dominant B7 is melodically spelled out. This results in the non-scale tones D# (third of B7) and F# (fifth of B7). This type of melody is conceptually very similar to the chord-related improvisations in jazz music.
Paco De Lucias Arrangement
Paco de Lucia plays Tico Tico in the key of E minor with a capo on the 2nd fret (so, you are actually hearing F sharp minor). With this soundslice you can practice the melody with various useful tools. [SOUNDSLICE EMBED MISSING]
Get the arrangement! [PDF LINK MISSING]
Heitor Villa-Lobos is one of the most prominent Brazilian composer of classical music. He also maintained a close connection to Brazilian folklore, which is reflected in his works. He has composed a suite with various choros and has also worked elsewhere on the fusion of Brazilian and classical European music.
The Choro No.1 is probably the best-known product of this work and is still in the repertoire of numerous classical guitarists. The brilliant classical guitarist Julian Bream was one of the first artists to introduce Villa-Lobos’ music to European audiences: [VIDEO EMBED MISSING]
CHORO NO.1 – THE ANALYSIS
Choro No.1 is in the key of E minor. The chord progression in the first part begins on the secondary dominant F#7 and moves via the dominant B7 to the tonic – a typical harmonic movement in jazz and Latin music.
While the piece initially dances very cautiously due to the frequent use of the dotted eighth notes, in the following part there is a noticeable increase in choro-typical rhythms. Harmonically, too, Villa-Lobos reaches into his bag of tricks: the well-tried cadence of fifths is conjured up. The chord progression D7 – G – C7 – F – Bb7 leads via the detour A minor back to the secondary dominant F#7 and thus to the tonic.
To slow down the difficult passages and practice effectively, you can find a sound slice of Julian Bream’s recording here. [SOUNDSLICE EMBED MISSING]
Get the arrangement! [PDF LINK MISSING]
João Pernambuco
João Pernambuco was one of the first musicians to define the choro on the guitar. The state of Pernambuco in northeastern Brazil, from which he owes his nickname, is the cradle of many of Brazil’s cultural achievements. It is no coincidence that he bears the nickname of his state, Pernambuco: he represents the roots of his place and has composed more than a hundred beautiful themes characteristic of Brazil. He is still one of the most played Brazilian composers on the guitar. “Sons de Carrilhoes” is one of his most famous pieces.
Sons de Carrilhões
A special feature of this arrangement is the tuning of the low guitar string: the usual E is tuned down a whole step to D. This is an often used means to create a fuller sound, especially in keys close to D major. Classical guitarist David Russell, actually a specialist in baroque repertoire, plays the piece here: [VIDEO EMBED MISSING]
Learn The Song
As mentioned, the piece is in the key of D major and begins on a DMaj7 chord. The first 16 bars move again and again between the tonic, the Em chord of the second key degree. and A13, the dominant seventh chord with option tone.
In the last four bars of the first part, Pernambuco uses a beautiful stylistic device, an arpeggio of a diminished seventh chord. At this point, the diminished chord acts as a shortened secondary dominant, leading to the E minor chord, which again initiates the cadence back to the tonic. A successful conclusion!
With this soundslice you can practice the melody with various useful tools. In addition to slowing down the sheet music, you also have the option of repeating individual passages and practicing particularly difficult bars intensively.