Choros

Choro, with the plural form choros, is a Brazilian instrumental music genre that originated in Rio de Janeiro in the late 19th century. It emerged from a blend of European dance forms such as polka and waltz and Afro-Brazilian rhythms, developing in urban social gatherings and cafés. By the early 20th century, choros had become a distinct repertoire of lively, melodically driven pieces that emphasized improvisation and interaction among players.

Musically, choros are commonly performed by small ensembles that may include flute, clarinet, or violin as the main melodic instrument, supported by guitar, cavaquinho, or mandolin, with percussion such as pandeiro. The style favors virtuosic melodic lines, sophisticated harmony, and call-and-response exchanges between the lead melody and the accompaniment. Formally, choros often combine set sections with improvisatory passages, and they draw on diverse rhythmic roots, including polka, waltz, maxixe, and other dance forms, while maintaining a distinctive Brazilian character.

Prominent figures in the development and popularization of choro include Chiquinha Gonzaga, one of the early composers and performers; Pixinguinha, whose ensembles and arrangements helped standardize the genre; João Pernambuco, a master guitarist and innovator; and later players such as Jacob do Bandolim, Waldir Azevedo, and Altamiro Carrilho. These musicians contributed enduring tunes and instrumental vocabulary that shaped Brazilian instrumental music for decades.

Choro remains a living genre, performed in concerts and recordings in Brazil and internationally. It is studied in academic settings and continues to influence contemporary instrumental music, fusion hybrids, and new generations of virtuosic players, preserving a historical link between European dance aesthetics and Brazilian improvisational practice.