05555 SS SF S555 5555555 SESE EESEEEEEEESEESSS The Choro Fake Book Second Edition 42 Selected Brazilian Chorinhos written in Lead Sheet form, and including some duet parts and obligados ‘Music by Pixinguinha, Ernesto Nazareth, Jacob do Bandolim, Zequinho Abreu, Heitor Villa Lobos, Ratinho, André Victor Corréa, Abel Ferreira, ‘Waldir Azevedo, K-Ximbinho, Radames Gnatalli, and more. 2004 2005 we oye Zi oe Tas— — = — — —” sw > ” ” a” ond —e od a eo oe o o — - = * io o » o a e o o a a a a = The Chéro Fake Book Second Edition and printing / 2005 Table of Contents Ainda Me Record... ‘André de Sapato Novo 3. Aquarela do Brasi 4. Assanhado 5. Ave Maria 6 Benzinho 7. Brasileirinho .... 8. Brojeiro 9. Catinhoso 10. Chega de Saudade 11. Chorando Baixinho, 12. Chorei... 18. Choro Negro .. 14. Choro N° 4, *Chéro Tipico”. 15. Cochichando 16, Delicado 17. Doce de Caco 18. Fla-Flu 19. Flauta, Cavaquinho e Viol8o 20. Gente Humilde 21. Ingénuo ‘When one eries to learn music from a new or “second culture” it is essential that you be shown how it's done from the real guys. The princed page is not enough. I'd like to thank my many teachers, players and friends for theic help and inspiration for my continued love affeir with Musica Brasileira. Marcos Silva, who must come first, Susan Musearella, The Jazz School in Berkeley, Dennis Broughton and Rich Rice who put together the incredible Califonia Brazil Camp, Carlos Oliveire, Ricardo Peixoto, Claudia Villela, Paulo Bellinati, Arnoldinho do Covaco, Harvey Weinaple, Claudio Bebiano, Jovino Santos Neto, my old band members Brian Rice, Jeff Sanford, Rick Elmore, Steve May, Randy Johnson who played ‘hese with me, Also the many jammers, collegues, friends and students who make my life fall of music. Thank you all page 1 22. Lamentos Duet 423, Manha de Carnaval Lead sheet 7 24. Na Gierla 8 25, No Me Toques. 10 26. Naquele Tempo 1227, Notes Cariocas 14 28, Odeon 19160 18 29. Os Oito Batutas 18 30. Proesas de Solon 19° 31. Receta de Samba swe 22 92, Remexenco Lead sheet 24 39. Rosa Dust 7 34. Saxofone, porque choras?. . Lead sheet 39 35: Segura cle Obigado 3226. Sempre 34 37. Sofre Porque Queres 36 38. Sonorosa 38 39. Temnura 49.40. Tico-Tico No Fuba 42 41, UmaZero (1 x0).. 43.42, Vou Vivendo 44 Acknowledgements “Even the little fish loves to swim.” page 46 Vocal Chart 50 48 a 51 . 52 eres Sa. Lead Sheet 56 Obligado 58 81 62 64 68 68 70 72 74 76 78 woe 78 .. 80 82 Duet a4 Lead sheet 86Notes on the 2nd edition — By popular demand I have brought out this, the 2nd edition of The Chéro Fake Book, and finally answered the pleas of my B-flat friends. Thanks to those people who bought up all the copies of the first edition, after two printings in 1999 and 2000, and wanted more. It is because of your enthusiastic response that I decided to, once again, break copyright laws and ill yublish music fowbich I have'no right. This is NOT gray area, but lac ou fucking illegal Sov, go buy the real stuff, as I have. T hope the publishers accept this plea as free advertising and don’t sue my ass. Tes really all about the love of the music. Shop online for the following, available through www.brazmus.com, www.acari.com.br, and elsewhere. © Melhor Do Choro Brasileiro, Vol, 2,3 O Melhor De Pixinguinha Cadernos de Choro Vol. 1,2 Principios do Choro Vol. 5 What’s different in the 2nd edition — There are 19 more tunes than the Ist edition. Although not all the new tunes are strictly chorinhos, are typically Brazilian. A few tunes have undergone rewrites, most notably Brejeiro, which is in a different key. There are chord changes/corrections and some formal changes. Measure numbers are now in boxes on the top left of each staff. There are no block chord charts in this edition. I've found that people capable of playing chorinhos would rather look at the notes ‘even if they are only laying Thythm. Also missing i a selected discography. I own over 600 ‘Bravilian CDs now and @ iscogrophy has become too big « progect. And some chord symbols have been streamlined. ‘As always, every effort has been made to layout the page and make it readable for “old blind guys.” Notes on Chord Symbols — In reading and waiting lead sheets for many years T have felt the need for a more concise nomenclature for certain chords. The m7 has always seemed to me to have an unnecessarily clumsy name, not to mention 6 () separate marks on the page. For this reason, the following symbols, which are are not my inventions, are used in this edition. I hope, they will continue to be tised by the reader, and others publishers so as to further advance the evolution of our musical language by employing more powerful and concise symbols. Co = __Cm765) or half-diminshed seventh chord - C Eb Gh Bb C°7 = = _—_Caim? or fully-diminshed seventh chord - C Eb Gb A car = — CMaj7_ or major seventh chord -C E GB mta7) = — Cmi(Maj7) or minor triad with major seventh - C Eb G B C+ = Caug or augmented triad (raised Sth) - C E Gt C74 == __ C7sus4 or dominant seventh, with suspended 4th - C F G Bb If you don’t know what these symbols mean then please support music education in the schools at ALL LEVELS by electing representatives who do not treat music a a fil oc t ism. Ie is essential core curriculum. Music education makes use of parts of the brain unused in most other endevours, and makes better thinkers, builds self-esteem, communal activity and socialization, not to mention the joy of the music itself. Without music and art education we now have rap, country and peaific. The talent continues to be present but needs t be tained. So, take a theory clase at cal community college, get online help or lessons from a qualified instructor. While we should all have learned this in schoo! when we were young, it’s never too late! PLEEEETEEELILIIITIGTIETITITITTTTTTTT TT TTTTGAinda me Recordo : Choro : Pixinguinha e Benedito Lacerda Fv 7 By po - i FA F DuFE Gm Ev/Gt Am co FFF FFF FSS SSS SESSSSSESSSSSESESSESIESSTSEEIEIGIIEIGIIS2 p. 2— Ainda me Recordo Gm Gir FA Ger cuG SALLE a] AG DyF pb c FmP. 3— Ainda me Recordo eee- ANDRE DE SAPATO Novo DUET Form: AABBACCA ANDRE VICTOR CORREA § Original Duet line SULULLLLLLTTTG enreroena-craresP.2- ANDRE DE SAPATO Novo 5 oe |e 2 ea Gm v7 Gm Fr 33333333333333338 is) L 2. DS. al Coda o f eeP. 3 - ANDRE DE SAPATO NovoSee ANDRE DE SAPATO Novo 7 s ANDRE VICTOR CORREA a if No Chord cm Dv Gm Form: AABBACCA Gm bm aT DoT Nc. cl es e— cm Gay eS Fine ow kB Fv \-e D? DS. al Fine is Gm Js} PpSSCC CSC SCSCSCSCSC SSCS SSSCSCSCSSCSTSSetesSSet_seststrrseestetererse 3]Alggavela de Brasil SAMBA Ary Barroso Intre — freely = ; : . - qt ALERT D ES Fw we we ee ee Gm Gm’ Gm? cy F FAT FS ART Gm Gm? Gmé c7 FS 128/04 Recta D 3 ALALLC CCC ccsg £ & . t a 4 t % i =o 5 6 ° 5 ? e 8 = & : OE & x z t je ¢ & E oO x 5 a rs e 5 5 a & * z & ‘ 6 ° 7. = z a 6 it & i a kB 10 Assanhado Jocob Bitencout #4 toto) 4 oe = = = = + - Original version stays on = A8/9 through out section. = mm er Be, ev AS ee [te =o SS eS Spee o Ee - = ov AS 2 — SSS = eS SSS ae = = = = 4p.2 — Assanhado u a a Cea nea Se, SE See == es cere fee bo yt patie # tebe net le ete a5 be wrt ott tee a Bm? e AS. ® re : : prone Sete oP tates te ° > a ” a ” ” ” ” - _ » = ol » = 2 oad - * — - - - _ = - — = - - DS. al CodaR Ave Maria FORM: Intro AA BB AR CC AA Valsa-Serenata FRODITES DECAMPOS Slowly Stee > ee x ~~ ™ e 2 To Coda ia, Am? Em Am | Br Em pine? G “. © aw Em E a E An? B87 Em Emee ee FFT TESTES ESTEE ESTEE ETE SESESESESS In G major on page 60 AS Brasileirinho Ams Las 2. AS eee ev 13 Waldyr Azevedo Sf DAS. al Coda +a BENZINHO i & Dm a JACOB DO BANDOLIM mn a = —— SS fom Or ey ofr Oy Bap ANG. AT aber Gor ie ay or Gm ) ALATA LL Tras ae, AT (Fill) HREKKRCE RECT T TTT TTT18 al Fine c a Gone pb Gm er aber eB D/A FA, @ Am Gm"t P. 2 — BENZINHO. Av c Gm7 % Gm? o ° ¢ Bi oO g | 8 & B CEECECECEEEERERAAEARASRAREAAREEERERECEREHREERE“LEE 8 &ie Brejeiro Ernesto NAZARETH 1863-1934, G Dp? OMAXKE = g vo oeW Fv i | bo (2e@m 2B 7 G D Gm av —_ Coda is) i bp D.C, al Coda 2 cm o p. 2 — Brejeiro cms are) oy br pv cme AT/CH Gm ov GiB cms Gq & Gm B Gm f ef & 8 Uae ate QETEETETALTCETELAETAETREARETEEAEAARERS.orm i — oe 8 EXER (aE) coca ~~ CARINHOSO penne pinto wee GAB” at az oy Fav =a Dm? Do? Gi3 170" Ems sc gris) == ze = ¥ Gl © CéG+} C7 ?t By Bree) BT Dm? a VULALTALAL TATA TATA Taa3a4a34389 TUULTTUULAAALATCHEGA DE SAUDADE Ww ‘Tom Jomina Gm, ar _-Bimieas 9) Dnvc 000088380 S| Bm av Dm Ee) Dm e Am? tg eee Tee TEESE EHF SEH 585565555 8DS20 CHEGA DE SAUDADE a AS%sust —A7C9) Ar) bv DavP. 3 — CHEGA DE SAUDADE 21 Dav Ds er | Ga? Gm? Fim? Fimys B7e9"13) ~ FHS Ff7e13) —, Bs769) tele $ sysjou nova reeset atte rari eee eters ee edna ee eects erase ed a aie Chorando Baixinho Serenata Choro Form: AA BBACCA Abel Ferreir, FUR & Dm Ave) By obm EG Bo ESS 4 a BTA? aig at o He SS Ses : oe oe 5 a BM sreak Dm Aria) pa ee 2 rn Gemgercece t's be ee el o = | ToCoda To Fine 3 I PDUBVAKCC CC eeceae.p. 2 — Chorando Baixinho 23 BovF ET E79) Am ares) Dm a Dmé Am Frog? Am DAS. al Coda D av D Gms Bm FR B’ Bre) Em Gam FF Oe OOS OS OES OOS SSS SS OSS S Ses esesesereseeeyHf 7 Chore Form: AA BB ACCA Pixinguinha & Benedito Lacerda q cr F To Coda @ To Fine % Gm _@tdim? > Foo Sa Sat, | AVAp.2—Chorei... cr liz pp DSalFine a eee ce 7 _ _ _ > > a — = - = ieee26 2 Form: AABBACCA Fo Original o 6 @ @ cee . e e e e bd eo - e- o- « - «27 p.2—Chorei.. & a & E & DETRTTTTTTUTRLTRLTALALTTAETTETTTTTT9999994EE28 p.3—Chorei... EUTCCCCCTTAT TTT TTT TALEChoro Negro . Paulinho da Viola gore Ams Gm cm? F7_-B78) BAT Gm cm? F? 7) Bhat Bm B Ge Em? Am? pve) ai? [1 Ga? 2. GA? he! - 7oCoda a Bm? Em? = Gm a5 @ _ Dm’G? Car 3. om’ FT Be BAT D/A Gm BF 2 ° 2 2 * . _ - ” 2 . - 2 2 ” e 2 2 a o a a = a a “ -~ a 22 “ a ” a = » 2 ” 2 a ” - - -30 Chéros - No. 1, "Chéro Tipico" FORM: AB ACCA $ Heitor Villa-Lobos mo FOBT Em Env@ a7 —Em (RE RRRRRREE EEE ERERE EEE EEEL) ereverrererereree| 32 Chéros - No. 1, "Chéro Tipico" «4 Ernesto NAZARETH FORM: AB ACC A cgay aene obligato original PKTTC III IAs rer nn ne non nea ein UTVITTITITTT TIT TS33 To Coda Chéro Tipico - p.2 StH Ee fat (3) ——— —— eee ——~— leeceeeeececneuac:. csce.. ooca.Chéro Tipico - p.3 D.S. al Coda Sn SfChéro Tipico - p.4 35 @ Coda — p p P P P , p , P , P P » - » - > » » » - - . . » - f 2. DS.alFine ToA e % Cochichando € Form: AA BB ACC A ‘CHORO Prriguini, fo de Baro, gad “Alberto RiberS Fe 67 7 & Dm ar = = ip # é e # - # e e “ + e eS Cl Dm av Ag?_prsyab am ETO - = ToCoda @ 4 ToFine %, FReSee eee eee eeeed Reese wh Dmie EB av opm il. Fee? 7 ||2-pm 7 ar Dm @ c Erith? D? Gmp. 2 — Cochichando 37 Faim? Ey Am N.C. B Bbmé > > DS. al Coda —E & 4VUSESSSSSPPPTT VST EVID SV TV AY “ z ae Delicado Form: AA B AA B Coda VAMP ‘ti ready G7 DYVSSSTSSYp.2 — Delicado 39 av° Doce de Céco eee G G Gar Am? pv Gar Am? bv Am Am(7) am? Amit) Am Am(‘?) Am? D7 NAULLTUTIT AAS C LITTITIIIIC Cece’ ToCoda tal Ga ay Am? Gar Ge Bav Fir br p. 2 — Doce de Coco bp pb? — chm? Gin? Am? & < tea 8] ' Tal ae Ps RECEEEEE a cca ee ee tt Sim aii gin BP:a FLA-FLu José Maria de Abreu To Coda oy | Am Em Br Em Fine * PERELORO ROD ODO ODO ee mee ee43 lente + eee 87 AL I ( B i an & 3 i | On See nt ais ie £ S lie ~ oO | | Sime & & a e L-OSeeeeeeeeeeceenesesecerenenecetnr @@2644424042464= Flauta, Cavaquinho e Violdo CHORO FORM: Intro-A-B-A- Outro C. Mesquita e O, Barbosa Gm Dm ar Intro/Outro ov Gm av Dm Be AT toFine A use tom "reo co F Pv cr F Fe? C7 [byEmeetacses @ Coda a Fine DS. al Coda Dm D.C. al Fine Dm e = a 7 eSB] g CULT45 7 ar Gm Garoto e Chico Buarque Em? Em? Em Gm& Eo? Gente Humilde 2. B? av Fim AT 1p av ig a & 8 eeccceecececeeecenceceecceecececece|c§ecece: Pusu tzase stausnstuaseninniadtadeQadesiiiei0ioiessaiseitharexrmntsaserererretereticosoccococoticcsecsciisesseererrerererimescrcarecaceesee 46 Form: ABCD CD ABCoda Ingénuo EvB Dmv/A E7/Gt GmpD cm cv) D/A cme bp = SS es oe ee ee re e Ge Bm? u Pos > Bm ip Oe a IP) f a a Qs re e SRAM AReeeeeeeecac a i tH ip. 2 - Ingénuo c apt tT 2 Gmp cH B7 Ab? G7 —- Coda 7 DGalCode OO48 Form: Intro AA B A Coda Lamentos Pi ixinguinha Intro Gace, ay A ” $ 7 Gar or Gar To Coda. ee sebieuieat oe : i Ht : | o 3 TULTTUTULTUVALLELTT TTL TTL TAT LATTE Li2333399aaap.2—Lameatos 9 Emit?) Em DS. al Cod, Em 27 oFNa Gloria Ary dos Santos & Raul de Barros ce Fidim? = GmDp. 2 — Na Gloria 51 DL. al Coda 1 @ Coda 29S OSSSSES at "Hey, ba ba ree ba” gee ee eel ns et re eer a .52 Manha de Carnaval {rom the 1959 Braziian fim “Orfeu Negra’ VOCAL CHART Luis Bonfa Bossa Am AmvC_, Bmés) 7 Am Am/C —-Bm?5) ET ————— I sing to the sun in the sky. I a am Anvc, Dm a maj? Chaim? artsy ——— SS sing while the sun rises high, Car-na-val &, Dm? q maj? Fmaj? £ = === = = $ oe Pe eee eee time is here Ma-gi-cal time of year and as the 3] Bm és) £709) Am Amc Bm7¢5) Ev time draws near dreams lift my _heart_ I im Am = Anve, ss Bm7eS) ET Am Ane Bm7s) EF Lt CUCEKCTAT TTT TTT CT TTT TAT ATTT AT TTTT TAT TTRATADY sing while I play my gui- tar I cling to this dream froma- far will Dm Dmvc Bm7s) — E7C8) Am AmVG Fmaj? —_ zt truclove comemy way on car naval day or will amis) Er Am anve TeCoda 4 Bmrés) Er) love stayinmy dreams__ a) Goda am Dm? Am? Dm? Am? Dm? E709) 3 —s— Will true love come my way on this car-na-val day or will I be a- lone, with my ly way y : Ly i Am? Bm?) eg Amo titard. dreams 2nd_x ritard, with my dreamsNdGo Me Toques... is Form: AA BB ACC A Zequinho Abreu wD Am Bo? ev & Am a) Am ev G > 3 av Dm Am er Coda TT amy Fine 2. am 9 3 - Am ev { 1.Am Am = D/S.al Coda @Coda Sam on fae 9 3 iB) S. al Fine EB} > e La [2 eee ee ee eee TTT TTT UTC TUTTE TEETH