Choro, often referred to as “chorinho,” is an instrumental Brazilian music genre that originated in the 19th century in Rio de Janeiro. Despite not being typically categorized under Latin rhythms or Latin jazz, Choro holds an important place in the development of Brazilian music and shares some affinities with these styles due to its complex rhythms and melodic structures.

Characterized by its lively tempo and intricate melodies, Choro is considered the first characteristic genre of urban popular music in Brazil. It originated as a blend of European harmonic and formal structures, mainly from Portuguese music, with African rhythms and sensibilities brought to Brazil by enslaved people. The name “Choro” comes from the Portuguese verb “chorar,” which means “to cry,” referring to the emotive style of playing.

Traditional Choro ensembles use a variety of instruments, with the flute or clarinet playing the lead melody, accompanied by a cavaquinho (a small four-stringed instrument similar to a ukulele), a seven-string guitar that provides bass and harmony, and a pandeiro (a type of tambourine) for rhythm. Other instruments like the bandolim (mandolin), trombone, and saxophone can also be part of the ensemble.

Choro’s structure typically follows the form of a rondo (ABACABA), where A is the refrain or main theme, and B and C are contrasting sections, often with improvisation. The rhythm is syncopated and incorporates elements from African-originated rhythms such as lundu and maxixe, which add to its distinctive swing.

Iconic Choro pieces include “Tico-Tico no Fubá” by Zequinha de Abreu and “Brasileirinho” by Waldir Azevedo. Renowned artists and composers within the Choro genre include Pixinguinha, one of the most significant figures in Choro, and Jacob do Bandolim, known for his virtuosity on the mandolin.

Choro continues to be a vital part of Brazilian culture, with clubs and weekly rodas de choro (choro gatherings) keeping the tradition alive. The genre has also influenced modern Brazilian music styles and jazz musicians worldwide who are drawn to its complex rhythms and emotive melodies.

In practice, the rhythm might feature a steady beat provided by the lower-pitched instruments like the seven-string guitar, while the higher-pitched instruments, such as the bandolim or cavaquinho, play syncopated melodies that interweave with the beat. The pandeiro, a type of hand frame drum, provides the percussive backdrop with alternating accentuated beats that contribute to the characteristic “swing” of Choro. This all combines to create a rhythm that, while it can be written in straight time, is often felt and played with a particular “lilt” or swing that is typical of Brazilian music.

In Choro, the rhythm is not just in the background but is integral to the overall feel and is often played in such a way that the performers seem to be conversing with each other through their instruments. A typical Choro rhythmic pattern would have the lower instruments playing on the downbeats, while the higher-pitched instruments, such as the flute or clarinet, play syncopated melodies that might emphasize the offbeats, creating a lively and dynamic musical conversation.

A basic rhythmic cell that could be looped for practicing purposes might be notated in 2/4 time as follows:

Where ‘X’ represents the hit and ‘e & a’ represent the sixteenth-note subdivisions of the beat. The performers would typically embellish and elaborate on this basic pattern extensively in the course of a performance