choro

Choro, sometimes referred to simply as choro, is a Brazilian instrumental music genre that originated in Rio de Janeiro in the late 19th century. The term conveys an expressive melodic style, while the form is known for lively rhythms, intricate melodies, and improvisatory interplay among players. It emerged from an urban milieu that blended European salon music—waltzes, polkas, mazurkas—with Afro-Brazilian rhythms and Brazilian popular song forms.

Choro is typically performed by small ensembles that center a melodic instrument such as flute, clarinet, violin, or guitar, augmented by a rhythm section that commonly includes cavaquinho, pandeiro, and a classical guitar (violão). Performances feature a head (the written melody) followed by improvisations, call-and-response exchanges, and contrapuntal passages among instruments. Pieces are usually compact, but can include extended sections with variations and development.

The genre developed in venues across Rio de Janeiro—cafés, dance halls, and street corners—and reached peak activity in the first decades of the 20th century. It was shaped by skilled composers and performers who expanded its harmonic language and formal possibilities. Notable figures associated with choro include Pixinguinha, Jacob do Bandolim, and Waldir Azevedo, among others. The style influenced related Brazilian genres, including samba and later popular music movements, and helped establish a repertoire that remains central to Brazilian instrumental music.

Today, choro remains a living tradition with dedicated ensembles, schools, and festivals. Performances emphasize virtuosity, improvisation, and ensemble collaboration, while new generations continue to reinterpret the repertoire for contemporary audiences.