Aspectos expressivos do saxofone no choro: análise comparativa de três interpretações de Linda Érika (Luiz Americano)

Abstract

In this dissertation, I sought to identify, define, and analyze interpretive resources of the saxophone present in three versions of Linda Érika. This choro was first recorded in 1929 by Luiz Americano, composer of the piece. It was then recorded by the group Os Chorões in 1971, and by Nailor “Proveta” Azevedo and his regional in 2009. In popular music, it is common for interpretation and composition to be closely related, due to the great expressive freedom given to the soloist. Therefore, the objective is to provide an overview of the resources used in the three interpretations, taking into account the characteristics of musical sound: duration, pitch, intensity, timbre, and phrasing. Among other resources, vibrato, effects, dynamics, articulations, grace notes, and accents were observed. To this end, the historical and artistic context of the recording (phonographic recording technology, type of arrangement, and instrumental formation) of each version was first analyzed to understand how this impacted the performance. Then, transcriptions were made in conventional musical notation and spectrograms were created using the program Sonic Visualizer. These two supports allowed the creation of an Audiovisual Performance Edition (EdiPa), which is the basis of this study (BORÉM, 2018). The analysis is qualitative, quantitative, and comparative, using data from this program to corroborate the transcripts. Thanks to this methodology, contrasting interpretive choices were observed, guided by different arrangements, influences, and sounds. Elements common to the three recordings were also examined, mainly related to the melodic structure, highlighting a tradition in the language of choro. Finally, the soloists use resources that show the versatility of the saxophone and the countless possibilities for (re)interpreting the same melody in choro.