Choro Songwriting Advice

Choro is joyful, sneaky, virtuosic, and poetic. If you think choro is just flute runs over guitar, think again. Choro is a conversation inside a crowded living room where everyone knows the wink and the joke. It is a genre that asks for technical skill and deep feeling at the same time. This guide gives you everything you need to write choros that respect tradition and sound fresh to millennial and Gen Z ears.

We will cover what choro is and what it is not. We explain common instruments and their roles. We break down melody craft, harmonic choices, rhythmic vocabulary, arrangement options, and practical writing workflows. We include exercises, real world scenarios, and quick edits you can use in rehearsal or on the bus to the gig. If you want choros that make people laugh while crying, this is your manual.

What Is Choro

Choro is Brazilian instrumental music that was born in the late 19th century. The word choro can mean a cry or a lament. The music itself is rarely downtrodden. It mixes melancholy with a sly grin. Choro grew in urban salons and on city streets. Over time it became a virtuoso chamber music tradition centered on melody and interplay.

Key features of choro

• Melody first The tune carries personality and often gets passed from instrument to instrument.
• Counterpoint and conversation Instruments trade lines and respond to each other. This creates texture and humor.
• Rhythmic swing and syncopation There is a samba ancestor in the feel. Rhythms pull against the pulse with tasteful tension.
• Harmonic richness Secondary dominants, chromatic bass motion, and tasteful chromatic passing chords appear often.
• Short forms and repeats Choros often have clear sectional forms that allow soloing and variation.

In practice choro is both formal and playful. A composition must be tight enough to survive a group of improvising players and loose enough to invite those improvisations. That balance is where melody design meets arrangement craft.

Instruments and Roles

Knowing instrument roles is songwriting hygiene. If you write a line that can only live on an instrument you do not have, you make life hard for your band. Typical choro instrumentation

• Flute or clarinet Often the primary melody carrier. Agile and bright. Think singing with breath and tongue clarity.
• Bandolim This is a Brazilian mandolin. It doubles melody and adds rapid ornamentation.
• Cavaquinho A small guitar like instrument. It provides chordal rhythm and percussive strumming.
• Violão This is the classical guitar voice of choro. It provides harmony and rhythmic patterns. A seven string violão adds a low counterpoint voice that is part bass and part counter melody.
• Pandeiro The hand tambourine. It is the rhythmic heart. It can be subtle or driving depending on touch.
• Other percussion At times you may have a small drum or a shaker. Keep the colors light.

Real world scenario

You bring a new choro to rehearsal. Your cavaquinho player expects a clear rhythmic pattern in the chart. Your seven string player expects a place to build a walking counter melody. If your arrangement gives them nothing but open space they will invent something that may not serve the melody. Give players roles. Give them phrases to respond to. That keeps the conversation controlled and brilliant.

Forms Common in Choro

Choro forms are practical. They give space for melody, variation, and solos. The most useful forms to know

• AABA Short and classic. Each A section presents the main theme. The B section provides contrast. Ideal for clear hooks.
• ABAC Often used when the composer wants a different mood in section C. Section A returns to reestablish identity.
• Theme and variation set A short theme appears then players take turns improvising over the form. Great for live conversation.

Practical tip

Write a 16 bar A section that is strong and repeatable. Use the B section to shift mode, tempo feel, or harmonic center. Return to A with a small melodic twist. That creates satisfaction and leaves room for a solo or a bandolim turn.

Melody Craft for Choro

Melody is the currency of choro. Great melodies are simple enough to stick and interesting enough to justify repeats. Here is how to write a melody that will work on flute bandolim or guitar.

Start with a motif

A motif is a small idea of two to four notes that has shape. It can be rhythmic and intervallic. Compose a motif and repeat it in different registers and with small variations. Motifs build identity and make the tune memorable.

Example motif idea

Think of a rising minor third followed by a step down. Repeat it with a turn at the end. That little gesture can become the hook.

Use question and answer phrasing

Write a phrase that feels like a question and then answer it. The question can linger on a suspended note. The answer resolves with a downward motion. This creates forward motion and is very choro friendly.

Pay attention to register

Choro melodies move between registers for drama. Start in the mid register. Move higher for the emotional moment. Let a lower register phrase create warmth and allow space for other instruments.

Ornamentation and articulation

Choro loves ornamentation. Trills slides mordents grace notes. But write ornaments with purpose. Not every note needs a flourish. Place ornamentation where it highlights a cadence or covers a repeat.

Real world example

Write your A section with a clean melodic outline. For the repeat add a grace note turn at the end of the second bar. During solo sections players can embellish more freely.

Harmony That Supports Conversation

Choro harmonies are richer than they initially appear. Simple progressions with clever passing motion give the music its charm. Here are harmonic moves to use and why they work.

Common harmonic tools

• Secondary dominants These are dominant chords that point to a chord other than the tonic. They push motion and help create cadence points.
• Chromatic bass lines Walk the bass line stepwise while chords change above. This creates smooth motion and voice leading that feels choro.
• Diminished passing chords Use dim chords as passing colors between diatonic chords to add tension without heavy drama.
• Modal mixture Borrow a chord from the parallel minor or major to add color. A minor iv in a major key can sound romantic and Brazilian.

Progression recipes

Use these templates and adapt them

• Classic move I vi II V. This is useful for a lyrical A section. The II can be played as II7 to create motion into V.
• Walk under melody I Imaj7 I7 IV. Walk a bass line from I down or up chromatically. The melody can float while the bass creates motion.
• Pivot modulation Use II7 as a pivot to move from the original key to its relative major or minor for your B section.

Practical chord voicing tip

Use closed voicings for cavaquinho and wider voicings for violão. Keep the bandolim and flute free to play the melody. If you have a seven string player ask them to create a walking line that outlines the changes and answers the melody with a low countermelody.

Rhythmic Vocabulary for Choro

Rhythm is the playful soul of choro. The pandeiro interacts with guitar and cavaquinho in a close knit pocket. These are rhythmic textures to study and use.

Pandeiro patterns

The pandeiro plays a composite rhythm that includes slap open tones and finger taps. Think of it as a drum kit in one hand. Common patterns accent the second half of beats and create a swinging feel. The pandeiro can also drop out to create space before a melody hit.

Cavaquinho strum patterns

Cavaquinho provides percussive chord rhythm. Use short staccato strums to propel verses and longer sustained chords in a more lyrical section. A typical pattern emphasizes beat two and the and of three. Practice small variations and pass them to your players with simple notation or by demoing in rehearsal.

Seven string bass approach

The seven string is part bass and part voice. It often plays counterpoint. Walk the root then add neighbor tones. If the melody goes high let the seven string answer with a low fragment that references the motif.

Real world scenario

In rehearsal the pandeiro player can ask for a one bar rhythm cue before the B section. That cue can be a soft slap on the head of the pandeiro. Use it to signal texture change and to tighten the group.

Arrangement Strategies

Writing a choro composition is also arranging for a small group. The arrangement creates conversation and frames solos. Use these strategies to make your song breathe.

Divide roles clearly

Give each player a primary function. For example flute plays melody, bandolim doubles with occasional fills, cavaquinho strums harmony and rhythmic punctuation, violão outlines harmony with arpeggios and five string or seven string provides bass and counterpoint, pandeiro drives rhythm. Clear roles reduce collisions and raise musical clarity.

Create call and response

Use short responses from the cavaquinho or seven string after the flute phrase. These answers can be literal repeats or altered motifs that comment on the melody. Call and response gives your tunes a conversational charm.

Plan solo space

Decide where soloing happens. Short solos fit choro. Keep solos musical with motifs rather than long displays of virtuosity that flood the tune. A 16 bar solo is often more tasteful than 48 bars in this repertoire.

Drop outs and small surprises

Drop instruments for one or two bars to spotlight a melody note or a clever rhythmic hit. Add a surprise like a sudden unison line for two bars. These micro moments make performances memorable.

Writing Lyrics for Choro

Many choros are instrumental. Some have lyrics. If you want lyrics think of them as an honest aside to the music. Keep text short and poetic. Imagine a postcard written to a friend at twilight. Choro lyrics often use imagery of streetlights lovers missed and city corners.

Lyric writing tips

• Short lines Keep lines concise for instrumentally driven arrangements.
• Place crumbs Use time and place images like twenty to eight Rio street corner or the rattle of a tram.
• Repeat a phrase Use a repeated title line that becomes a chant at the end of the A section.

Real world lyric example

Title My Tram Home

Verse 1 The tram sings metal lullabies. I hold my hat against July rain.

Chorus Tram takes me slow back to the place you said be patient. I laugh at the sky.

Short is sticky. In choro less is usually more.

Composing Workflow That Actually Works

Here is a clear step by step writing method you can use whether you write on piano guitar or record into your phone.

1. Find a motif Hum two to four note fragments for five minutes. Pick the one that repeats in your mind after you stop humming.
2. Create an A section Expand the motif into an 8 or 16 bar phrase with a clear cadence. Use a tension point near bar eight to push to B.
3. Write the B section Change mode or key center. Use a different register and introduce one contrasting melodic idea.
4. Plan the arrangement Write simple parts for each instrument. Notate the cavaquinho rhythm the pandeiro pattern and a short seven string line for the bass.
5. Demo fast Record a basic demo on your phone with counted intros. Play it to one other musician. Ask them to play one pass without instruction. Record that too. The first reactions reveal what the tune needs.
6. Edit Tighten the melody. Remove any bar that feels like filler. Add one small tag at the end of the tune so the ending feels earned.
7. Practice with players Rehearse with actual players and leave space for small improvisation. The best choro versions come from player input.

Exercises to Level Up Your Choro Writing

Motif expansion

Take a two note motif. Write four 8 bar phrases that alter it. Change rhythm articulation and register. This builds vocabulary fast.

Voice leading practice

Write a four bar progression and create three bass lines that move under it. Use chromatic passing tones and small leaps. Practice until the movement sounds inevitable.

Call and response drill

Write a 4 bar melody then write a 2 bar answer repeated twice. Play through with a friend and swap roles. This trains you to write conversational music.

Pandeiro mimic

Record a simple melody and clap a pandeiro pattern that fits. Listen and adjust the melody so the stressed syllables align with the pandeiro touches. Rhythm alignment makes melodies stick.

Common Mistakes and Fixes

• Too many ideas in the A section Fix by choosing one motif to anchor the section and strip others back to fills.
• Melody that is too busy Fix by removing ornaments on first pass and adding one or two in the repeat.
• Harmonic clutter Fix by simplifying the progression to strong cadences and reintroducing color chords only where they support a melodic target.
• Arrangement collisions Fix by assigning clear ranges to instruments and not letting two instruments play the same register in the same rhythm.

Examples and Before and After Lines

Theme playful urban lament.

Before The tune goes everywhere and no one can agree where to land.

After A short motif repeats as a question and returns as the answer. The A section ends on a suspended chord and the B section answers in a brighter key.

Before The accompaniment is constant and covers the melody on the repeat.

After Drop the cavaquinho for two bars on the repeat. Let the flute breathe. Bring the cavaquinho back on the last beat for a tiny rhythmic joke.

Recording and Producing Choro

Choro sits in the solid acoustic realm. When recording remember clarity and space. Here are quick production notes you can use.

• Mic choices Use small diaphragm condensers for flute and bandolim. Use a warm mic for the violão. Capture the pandeiro with a dynamic plus condenser blend to retain slap detail and room shimmer.
• Room A slightly live room helps choro. The small reflections glue parts together and give the music that lived in salon vibe.
• Balance Keep the melody slightly forward. Reduce low end on cavaquinho to avoid masking. Let the seven string fill the bottom with clarity.
• Multiple passes Record a clean pass with minimal ornamentation and then a decorated pass for comped vowels and flourishes. This lets you choose between simple and elaborate takes.

How to Make Choro Relevant to Modern Audiences

You do not have to turn choro into something it is not to make it relevant. You can however borrow production and arrangement ideas to reach younger listeners while keeping the core intact.

• Subtle electronic texture Add a low pad under the B section to add atmosphere. Keep it quiet. The pad is a texture not a lead element.
• Pop friendly hooks Keep an ear for a melodic gesture that can be whistled on the subway. Short memorable motifs travel well on playlists.
• Collaborations Work with a singer or rapper for one version of the tune. Use lyrics as a feature while keeping the original instrumental arrangement intact in another version.
• Short videos Create short performance clips that show one motif repeated and one small rhythmic joke. Visuals help the music spread.

Songwriting Checklist You Can Use Before Rehearsal

1. Is the main motif clear in the first eight bars
2. Does the B section provide contrast in key or mode
3. Have you given each instrument a role and a two bar phrase to start with
4. Is the pandeiro pattern notated or demoed for the player
5. Is there a planned solo space and how long is it
6. Do you have a one line performance note for the ending

FAQ

What makes a tune a choro

Choro is defined by melodic prominence counterpoint rhythmic swing and harmonic color. It is less about strict rules and more about the interaction between instruments and the playful use of harmony and rhythm. If the tune invites conversation between players and combines lyric melody with rhythmic sophistication it can be a choro.

Can choro include vocals

Yes. Many choros are instrumental but vocals have long been part of the tradition. Vocal choros usually keep the text concise and poetic. Lyrics work best when they mirror the conversational tone of the music and allow instrumental breaks to breathe.

How long should a choro be

Most choros are concise. Between two and five minutes is common. Live performances with solos will run longer. Keep the theme focused and resist the urge to repeat sections without adding variation.

Do I need to write for a seven string guitar

No. Many modern choros use standard six string guitars. The seven string adds a distinct low counterpoint voice and is traditional in many ensembles. If you do not have a seven string write a bass line that can be played by the violão or by an upright bass.

How do I notate choro rhythms clearly

Write simple rhythmic charts for cavaquinho and pandeiro. Use slash notation for comping and add small rhythmic cues for fills. A two bar example notation goes a long way in rehearsal. If players prefer learn by ear and record a quick demo to share.

How much improvisation is appropriate

Improvisation is central but taste matters. Short melodic solos that reference motifs are preferred. Long free form solos can lose listeners. Aim for solos that develop the theme rather than abandon it.

What keys work best for choro instruments

G major D major and A major are common for flute and bandolim. Choose keys that suit the lead instrument. If using guitar focus on keys that allow comfortable voicings. When writing for voice pick a key that fits the singer and keep transposition in mind.

Action Plan You Can Start Today

1. Hum or pluck a two note motif for five minutes and pick the one that keeps repeating in your head
2. Write a 16 bar A section around that motif and map a clear cadence at bar eight and at bar sixteen
3. Compose a contrasting B section that changes the mode or brightens the harmony
4. Draft a one page arrangement with roles for flute bandolim cavaquinho violão and pandeiro
5. Record a phone demo and send it to one other player for a first pass without instructions
6. Revise based on the rehearsal input and plan a two minute solo section that uses motifs rather than random runs