Radamés Gnattali and the electric guitar:

Concerto Carioca nº1

Authors

  • Marcio Correa Universidade Estadual Paulista. Instituto de Artes

DOI:

https://doi.org/10.11606/issn.2447-7117.rt.2021.189066

Keywords:

Radamés Gnatalli, Electric Guitar, Concerto Carioca n. 1, Orchestration, Harmonica Analysis

Abstract

Radamés Gnattali was one of the Brazilian composers most committed to Brazilian urban popular music and American jazz (BARBOSA and DEVOS, 1984). In his concert music, he employed various musical elements, instruments and performance patterns from these fields of musical creation. In this article, I bring a harmonic and instrumental analysis of the moments when this composer used the electric guitar as a solo instrument in “Concerto Carioca nº1”, an unprecedented fact in concert music. I try to demonstrate that Gnattali was not looking for an instrument with greater sound volume, although this feature can be used occasionally, but rather, he was looking for a new instrumental timbre, using an electric instrument recently created at the time of writing this work. The use of the electric guitar, an instrument strongly linked to jazz, is an important demonstration of the commitment that Gnattali established with urban popular music.

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Author Biography

  • Marcio Correa, Universidade Estadual Paulista. Instituto de Artes

    Marcio Guedes Correa: Doctor and Master in Music from the Arts Institute of Unesp, graduated in a full degree in Music from the Alcântara Machado Arts Faculty (FAAM). He taught music courses at Faculdade Paulista de Artes (FPA), Faculdades Metropolitanas Unidas (FMU) and Unisantanna. He is currently a guitar teacher in the bachelor's and music degree courses at Centro Universitário Ítalo Brasileiro and in the postgraduate courses (specialization) in music at FACEC / Alpha. He is co-author and co-organizer of the books "Protagonists of Music Education and their Trajectories" (Ed. Cartago) and "1st Scientific Meeting of Music and Interdisciplinarity" (Ed. Unesp), in addition to being the author of several scientific articles and methods instrument teaching (guitar and guitar).

References

BARBOSA, Valdinha e DEVOS, Anne Marie. Radamés Gnattali; o eterno experimentador. Rio de Janeiro: Funarte/Instituto Nacional de Música, 1984.

HOBSBAWM, Eric. História Social do Jazz. São Paulo: Paz e Terra, 1990

LOBO, Eduardo Fernando de Almeida. O violão elétrico no Concerto Carioca n.º 1 de Radamés Gnattali : estudo histórico, analítico e estilístico visando a interpretação. Tese de doutorado apresentada ao Instituto de Artes da Unicamp, Campinas: 2018.

PICHERZKY, Andréa Paula, Armando Neves – Choro no Violão Paulista. Dissertação de mestrado apresentada ao Instituto de Artes da Unesp, 2004.

PISTON, Walter. Orquestracion. Madrid: Real Musical Madrid, 1984.

SHOENBERG, Arnold. Harmonia; Introdução, tradução e notas de Marden Maluf. São Paulo: Editora Unesp, 2001.

SHOENBERG, Arnold. Fundamentos da Composição Musical; Tradução de Eduardo Seincman. São Paulo: Editora da Universidade de São Paulo, 1996.

TINÉ, Paulo José de Siqueira. Concerto para guitarra elétrica e orquestra. Porto Alegre: ANAIS do SEFIM, v. 4, nº 1, 2019.

GNATTALI, Radamés. Concerto Carioca nº 1. Rio de Janeiro: Cópia Fac-similar do Manuscrito autógrafo, 1950 – 51.

GNATTALI, Radamés. Concerto Carioca nº 1. Interpretes: Orquestra Sinfônica Continental, Radamés Gnattali (Piano) e José Menezes (Guitarra elétrica). Rio de Janeiro: Gravadora Continental, 1965. 1 LP. (28’53”), estereofônico.

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Published

2021-11-11

Issue

Vol. 7 No. 1 (2021)

Section

Article

License

Copyright (c) 2021 Dr.

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

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Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

How to Cite

Radamés Gnattali and the electric guitar: : Concerto Carioca nº1. (2021). Revista Da Tulha, 7(1), 79-104. https://doi.org/10.11606/issn.2447-7117.rt.2021.189066