THE SEVEN-STRING GUITAR AND THE POTIGUAR CHORO: AN ACCOMPANIMENT OVERVIEW IN CHORO CHORO
Seven-string guitar, popular music, choro potiguar.
The present work seeks to present choros from Potiguar where there is the presence of the seven-string guitar, either in its nature of accompaniment or creating melodies, counterpointing the main melody, improvisation, obligation basses, inversion, ornaments and also, giving its contribution, as soloist in lower strings, also aims to highlight the compositions and composers of choro, the seven-string guitarists, influences of the seven-string guitar and regional who recorded choros potiguares in the state of Rio Grande do Norte. The potiguar choro consists of a range of composers, many are still anonymous, others already established. In this work, some compositions that mix these composers were chosen, they are potiguar choros where there is the presence of the seven-string guitar and its use in the use of counterpoints in relation to the main melody, aiming and providing the evolution of the guitarist musician in the absorption of the language of the seven-string guitar in choro. Borges in his dissertation, states that the seven-string guitar, through an oral tradition, contributed to the aspects of improvisation predominant in choro (BORGES, 1). However, orality makes it difficult to accurately analyze compositions and aspects related to style, melodies and musical form, which are often lost due to the lack of a defined counterpoint writing. Thus, we emphasize the importance of written records so that you have a better understanding of musical knowledge on the seven-string guitar. It is concluded that the production of this work is of paramount importance, because in addition to praising some potiguar composers, it also extols the Brazilian seven-string guitar, for this, it is based on the repertoire, composers, guitarists and interpreters who recorded choros in the state of Rio Grande do Norte.