O violão de Romero Lubambo: aspectos de seu vocabulário improvisatório

Abstract

The present work aims to identify and analyze the improvisatory vocabulary used by guitarist Romero Lubambo through analysis of transcriptions in six solos. This work is in line with research on guitar improvisation in Brazilian instrumental popular music. We transcribed and analyzed Lubambo’s solos in the following songs: 1) “Mr. Jr” from the album “Duo”; 2) “Estamos Aí” from the album “Sampa”; 3) “Vera Cruz” from the album “Brasil from the inside”; 4) “My Future”, from the album “Two Brothers”; 5) “Haven Here”, from the album “Heaven Here” and 6) “Toada”, from the album “Dos Navegantes”. The six solos were practiced and performed by the research author. The process for assimilating the solos occurred primarily through listening to them, transcriptions, analysis of the transcriptions and practice. Eleven exercises were also created based on the materials collected through the analyzes and interviews given by the research object during the work. In addition, we also point out a little about the trajectory of the guitar in Brazil and the importance of the classical guitar for the popular guitar. Important points that we obtained through the interview with the guitarist were specific aspects about the technique, sound and posture. To base the analyses, we used the authors Coker (1991), Collura (2008), Polo (2018), Mangueira (2006), Silva (2018), Camargo (2015), Aldwell e Schachter (2003), Crook (1991), Liebman (2001) and Fernandes (2021). This research concerns Romero Lubambo's performance only in his way of improvising on the acoustic guitar, since the musician also has a rich trajectory on the electric guitar. It is beyond the purpose of the research to bring nuances of his practice with electric guitar, as well as his way of accompanying other musicians.