This text is relevant to better understand this part of Autognosis and, consequently, to better understand my music.
Vocal Polyphony
estimated read time: 2 minutes
The most characteristic example of traditional music in Minho is choral music (only vocal) with an "archaic" yet complex polyphonic structure.
We find different traditional songs, for example, in work moments, in playful moments, in moments of religious devotion or even in nursery rhimes and lullabies. The songs were present in almost all moments of the life of the Minho people and it was through these songs that the people expressed their feelings[1].
The choral songs from Minho, also called "modas"[2], were sung spontaneously by the people during their work or during daily life moments where many people gathered together[3]. Most of these songs were performed in the open air, during work activities (harvesting, working the fields or the linen), on pilgrimages[4] and on the way to and from work and pilgrimages. Perhaps because of this, the themes of the lyrics are varied, speaking of "nature, love and death, family and social relationships"[5]. When there were pilgrimages, the pilgrims would walk to the celebrations. During these journeys, they would sing modas, accompanied by traditional guitars and bass drums. These modas helped to soften the journey and to cheer up those who took part in them. At the celebrations, they shared songs with people from other places[6].
These songs helped to soften the hardness of the work (for example, scutching and dulling linen) and of the paths, to pace the physical effort for the tasks to be carried out and also to brighten up the moments together, creating a cheerful atmosphere[7]. We find in Minho different examples of songs connected to social events (births, weddings, funerals, among others), religious celebrations (cantares de Reis, Aleluias, or cantares de S. João), lullabies, work-related songs (cantares dos pedreiros, or cantos de aboiar, for example) and songs of gratefulness for the food offered by the person for whom they worked[8].
Given the course of time, it is practically impossible to demonstrate the origin of polyphonic songs. Nevertheless, going back in time through collective memory, it is possible to "place these songs in what may have been their natural context", identifying their spatial-temporal dimensions[9].
The popular song despite its social character, is individual, and there is no correct way to sing it. It is only required that the group - once the song is sung in this form - agrees on a way to sing it, either in melodic, lyrical or harmonic terms. In fact, I think that one of the beauties of the popular song is exactly the possibility to be changeable in the moment, with minor or major transformations.
Women
estimated read time: 2 minutes
Vocal music in Minho is essentially linked to female singing. It was common in the Minho region to hear women singing alone or when they were in a group. It was like this in churches, during worship and in external ceremonies, or in popular songs with a religious or para-religious theme[10].
The “minhota” (woman from Minho) is recurrently portrayed in literature as being "vigorous, healthy, rosy, strong and cheerful", and affirming herself through work[11]. All domestic work was her responsibility, as was the creation and repair of clothes[12]. The woman had a crucial role in the day-to-day life of the most rural regions of Minho, and, in addition to being responsible for domestic work and the development of the children, she participated in all rural tasks, the same way as the man and even replaced him[13]. In this way, women are a determining element for the subsistence of the family, the house and the work, which gives them extreme importance at a family, social and economic level[14].
The relevance of the woman's role is also established by the singing and speaking. It is by these means that the Minho woman transmits the cultural elements accumulated throughout generations such as prayers, tales and songs. Women have, therefore, a very important role in the transmission of culture and in its preservation, mainly within the family and in work groups[15]. The transmission and conservation of traditional elements occurred, until not so long ago, through collective memory. Thus, the elders functioned as a "data repository" respected by everyone[16]. In Minho, it was mainly women who perpetuated these memories through myths, tales, sayings, proverbs, recipes, poems and songs, which were transmitted orally to the younger generations. Through the conservation of collective and ancestral memories, women played a key role in social cohesion and the intellectual assets of the group[17]. These polyphonic songs, performed by women, were closely linked to the social life of these women and thus part of the life and norms of the rural community[18].
Sardinha mentions three reasons why the polyphony of Minho is considered exclusively feminine[19]. Firstly, historically, the village women sang more than the men - a fact that may result from the medieval Galician-Portuguese tradition. The second reason seems to be the types of work exclusively carried out by women (work in the fields, linen processing, for example) in groups. Finally, Sardinha presents the fact that rehearsals of sacred music were mainly addressed to women.
Although it is mainly sung by women, Sardinha defends that these had a mixed origin (i.e. sung by female and male elements) but, due to socio-cultural characteristics of the region, especially considering the agricultural work, it developed into a form with a predominance of female voices. Therefore, it is the women who normally initiate the songs, and whenever they are present, the men also participate (singing, normally, the melody one octave lower)[20].
Polyphonic characteristics
estimated read time: 4 minutes
The polyphonic structure of these songs was, mainly, divided into three voices, with records of "modas" also sung in four and five voices[21]. According to Veiga de Oliveira, polyphonic choirs would have already been known in the 16th century.
The melody is sung by the contraltos, usually the lowest voices, also called “baixos”. Then the “meio” or “desquadro” is added, a voice that accompanies the melody in thirds or fourths and, later, the “segundo meio” also called “requinta”, harmonizing in intervals of fifths and sixths from the ”baixo”. Finally, in the last phrase or the last note of the song, we find the “sobreguincho” or "fim" which sings the notes of the melody one octave higher[22]. Sometimes the “baixão” is also sung, a voice that doubles the melody to the lower octave in some cadential moments[23]. Whereas the "baixo" can be interpreted by more than one person, the other voices are only sung by one person[24]. The last notes of polyphonic singing are usually extremely prolonged[25]. Due to the combination of the above mentioned voices, these "modas" have a very rich harmony[26].
Regarding the intervals, we can see examples where parallel 4ths and 5ths are used, and some intervals of 2nd and 7th. Nevertheless, the main intervals are 3rd and 6th[27]. The portamento is usually used in a range that can occasionally reach the 4th[28]. In these polyphonic songs we find dissonances that result from pedal notes, anticipations or retards. There is also a report of oblique movements and, sometimes, with quarter tone intervals[29]. In some of the choral pieces, there were examples of quarter tones that Gonçalo Sampaio associates with the "archaic Hellenic modes, Doric, Lydian and Hypolidian, "related to conjunctural Greek influences in this province" [30].
The traditional songs of Minho have as main characteristics the use of the major mode, the slowness (“almost dragging, in some cases”[31]) and a harmonic construction in levels. They are usually sung in Fa major or Fa minor, according to Leite because these are the most comfortable tonalities for the voice’s tessitura, and the range of songs is usually between Do 3 and Fa 4[32]. The melodies are wavy and develop by joint or neighbouring degrees, with 3rds being the most common melodic intervals. With the use of pedal notes, anticipations or retardos, sometimes "little dissonances" are observed[33].
Regarding the cadences, these follow almost always the same structure. The melody of the main voice is descending, by joint degrees, and usually ends in the tonic. The second-to-last chord, with functions of the dominant, does not always have the sensible present. The structure of the last chord depends on the number of voices in the song. When it has two voices, we find the fundamental (in the main voice) and the third. When it is a “moda” with three voices, the last chord has the fundamental, the third and the tenth. In songs with four voices, the chord can be composed in two ways: a) fundamental, third, fifth and octave; b) fundamental, third, octave and tenth[34].
In rhythmic terms, combinations of binary, ternary and compound bars are frequent, bringing to the “modas” a great rhythmic variety[35].
Several authors (Gonçalo Sampaio, Rebelo Bonito, J. Sardinha, among others) associate the examples of Minho vocal polyphony, only found in rural areas, with an ecclesiastic origin. We can easily observe this through the sometimes complex harmonic structures that could hardly appear in a spontaneous or collective way. After learning the vocal sacred music, the women (who were the ones who integrated the choirs in the churches) brought the polyphonic structures acquired there to the profane songs, influencing in this way the music they sang outside the sacred environment[36].
Thus, these seem to have some influence from polyphonic works by earlier composers[37]. The name given to the voices also seems to have an ecclesiastical origin[38]. In traditional polyphony we find examples of "Gymel" (singing in thirds) and fabordão (singing in thirds and sixths and more elaborate forms in three and four voices). It is also frequent in the songs from Minho the existence of breaths in the middle of the word or syllable, which we can relate to the medieval “hoquetus”[39]. Parallel movements of the perfect chord in three and four voices are usual, resembling the "organum". Polyphonic imitations are also common[40].
Lopes-Graça claims that Portuguese traditional vocal music, besides the influence of ecclesiastic music, was also influenced by Greek music (as argued in the beginning of the 20th century by Gonçalo Sampaio), by Slavonic music, due to a possible migration of Eastern peoples to Beira Baixa (region in the interior centre of Portugal) and by Oriental, Brazilian and African music[41]. Despite this, this author considers that traditional Portuguese vocal music would also have a common source (as happens with the history of Indo-European languages), modified or developed due to the different social and geographical milieus.
There are also several elements that can lead us to a connection between some of these songs and "a poetic autochthonous jogralesque", since some "archaisms" are still present in traditional Minho music. Some melodies, without a great rhythmic rigidity, could be written down without time signature, grouping the notes two by two or three by three, depending only on the rhythm of the text[42].
Classification
estimated read time: 3 minutes
According to Lopes-Graça, the first attempt at classifying Portuguese songs seems to have been made by António Arroyo in the second volume of "Notas sobre Portugal", where Arroyo categorised songs according to geographical areas[43].
According to Gonçalo Sampaio, Minho choral music can be divided in 3 categories: 1) “Romances”, in one or two voices, with the musical part almost always specific of this province; 2) Choreographic songs, with or without instrumental accompaniment; 3) “Modas de terno” or “modas de lote”, in four or five voices, sung by a group of women with 4 to 6 elements, to which a male voice can be added to the bass[44].
Lopes-Graça offers a possible classification from the formal or structural characteristics of the songs. Thus, he divides, initially, in two types: a) monodic song; b) polyphonic song[45]. We may divide the “monodic song” as follows:
a) without instrumental accompaniment:
1) Lullabies or carols, most love songs and songs of dance[46];
2) Toadilhas de aboiar;
3) Toadas de pedreiros;
4) Romances de cegos;
b) with instrumental accompaniment:
1) Cantares ao desafio;
2) Romances de cegos.
This category represents the majority of Portuguese folklore[47].
In the "polyphonic songs" we find:
a) without instrumental accompaniment:
1) Cantares de trabalho;
2) Modas de terno ou lote;
b) with instrumental accompaniment: 1) Cantares coreográficos; 2) Cantos de romaria.
Lopes-Graça offers another way of characterising traditional Portuguese songs, dividing them into four groups: a) tonal songs; b) modal songs; c) chromatic songs; d) songs structured in a simple tetra or pentachord core. The first group comprises the songs that follow the classical major-minor dualism. In the second group, we find the modal songs, which mainly follow the mixolydian, phrygian and eolian modes, sometimes modified. The third group includes the songs that use modes different from the liturgical modes, employing intervals of augmented or diminished 2nd. Finally, Lopes-Graça states that a fourth group could still be organised which includes the melodies structured in groups of tetrachords or pentachords[48].
Oliveira narrows down this categorisation, dividing it into only two more general categories: "Songs of the archaic type" and "Songs of the current type". The "Songs of the archaic type" correspond to the modal and chromatic categories, where sometimes altered medieval modes are presented, and also the older examples of the tetra or pentachordial category. Here, there is no sense of time signature, making rhythms freer or with metrical irregularities. The "Songs of the current type" correspond to the tonal category, according to musical concepts generalised in Europe, especially from the 17th century onwards. This type of songs have simpler melodies, using a major-minor relationship with the possible appearance of a modalism. In relation to rhythm, these songs are also simpler and more regular, following dance patterns[49].
Lastly, A. M. Azevedo distinguishes between the songs with a tonal structure and those with a modal structure. In the first group, mostly in major tonalities, one can sometimes observe major-minor dualisms (mentioned by Lopes-Graça). This (almost total) absence of minor modes can be explained by the use, and consequent influence, of the accordeon[50].
Another classification presented by A. M. Azevedo is that of the "simpler polyphonic songs, with a marked rhythm", following the "rules of the musical metric of time and measure", separating these from the songs with "a more complex harmonisation, very slow tempo, melismatic, with alternating rhythms 'ad libitum', at random", which require more concentration. The first ones, with a "more accentuated rhythm", have mainly the function of helping to pace the group effort. They may also have an entertainment function. The second ones, which G. Sampaio calls "modas de terno ou de lote", were sung by a group of women, between 4 to 6 elements. These would gather, often in circles, to facilitate the tuning and the interpretation of the piece.
We can also divide traditional Portuguese music following the parameters of "sacred music" and "profane music". Sacred music, sacerdotal or ecclesiastic, serves the cult and was created by the "more enlightened class". The profane music serves the "secular poetry and dance" and represents essentially the music created and interpreted by the common people[51].
The difficulty in classifying the several examples of traditional song is due to its variety, allied with the interchangeability of lyrics, melodies, harmonisations or even instrumentations resulting in uncertain boundaries (which could be used for that classification)[52]. The melodies constantly adapt to different lyrics, depending on the region where they are sung and also the course of the years[53].
Types of songs
estimated read time: 1 minute
In the Minho region we can find musical examples of religious or profane nature, performed with or without instrumental accompaniment[54].
Regarding the "Modas de Romaria" we find differences between the older and the most recent ones. The first, normally with a slower rhythm (which may be an inheritance of its medieval origin), with an undulating melodic line, succeeding by joint or little distant degrees, and that keeps the rhythm of the phrases with the same proportions, have a complex harmony[55]. The most recent ones are simpler and, by comparison, faster[56].
The “modas de terno” follow approximately the same style of harmonisation as the “modas de romaria”, but richer[57]. Here too, the lower voice begins the “moda”, singing the melody. The second voice enters later, harmonising in higher thirds[58].
The "religious choirs" are, as their name indicates, linked to divine devotion serving those who sing them[59]. In the North of Portugal there is a deep devotion to religiosity, as confirmed by the ancient polyphonic chants[60]. These religious choirs can be divided into two: those that are sung during liturgical services and those that are sung outside of them, in practices outside of worship, outside the church[61].
The "Toadas" and "Toadilhas" are monodies, sung mainly during work. They can be songs of "aboiar" (sung by shepherds, mainly when driving cattle), "coro das maçadeiras" (sung during the work of preparing linen), "toadilhas de pedreiros" (setting the pace on the job, helping to synchronise efforts). There are also examples of lullabies or "cradle songs", "desgarradas" and "dueto dos cegos"[62].
The "romances populares", usually monodies, were songs that narrated different stories. They could talk about kings and queens, knights, shepherds, or other fate-related stories.
During Lent, it was traditional to sing the “Encomendações das almas”, in the evening, in front of religious images or sculptures[63].
Finally, there are also the "Carnavalescas" and "Anfiguris".
Instrumental music
estimated read time: 2 minutes
Besides vocal music, we find in Portugal many examples of traditional instrumental music[64]. In Minho, instrumental music has a festive character and includes choreographic songs and dances of “ronda”, “desgarrada” and “desafios”, being presented in playful moments[65]. This type of music is generally sung, accompanied by the “rondas”.
“Rondas”, instrumental groups that interpreted “chulas”, “vareiras”, “malhões”, “viras” and “fandango”, were composed of regional chordophones (viola braguesa, cavaquinho, guitar[66]), percussive instruments (drums, triangle, reque-reque, castanholas and castanets) and, in some places, the clarinet, flute, ocarina, flutes and rabeca[67]. Nowadays, the accordion also plays an important role in the music of this part of the country[68].
These groups, also called “rusgas”, “rusgatas”, “tocatas”, “festadas”, “estúrdias” or “súcias”, have a festive and joyful character. The “rondas” are folk music groups, informally organised in festivals and fairs or in the leisure moments of rural agricultural and collective work[69], for the purpose of the occasion with a festive mood and where anyone could participate since the songs and dances were known and usually sung by everyone[70]. These groups are created informally.
Here, we introduce two of the most important musical genres in Minho: “Vira” and “Chula”.
Vira
“Viras” have a ternary metric[71]. This category includes “Gotas”, “Rosinha”, “Tirana”, and the “Fandangos Minhotos”. The latter are also known as “Viras Galegos” or just “Vira” [72]. They differ from the other examples for having the use of any quatrain (four-line verse), in verses of seven syllables, whereas the older and more "authentic" "Viras" use their own lyrics, in verses of five syllables[73].
“Tirana”, although melodically it may be related to the South of Portugal, is also a typical dance from the North of Portugal. “Tirana", with a "waltz" rhythm, can be presented in different ways: a) only with a vocal part, b) sung and danced, c) with or without an instrumental part[74].
Chula
This is an instrumental, vocal and choreographic musical form existing mainly in the North of Portugal. Due to the fact that the “chulas” have different particularities from place to place, it is complex to define the common feature that can characterise all specimens. Nevertheless, we can say that “chula” is a lively and festive “moda”, presented in playful moments and accompanied by local cordophones or by the “ronda minhota”, and can be presented as a choreographic dance or as “challenge singing”[75].
According to Leite, “chulas” are dances of binary or quaternary musical metrics and can be called “vareiras”, “verdegares”, “caninhas-verdes”, and the “malhões”[76].
The “chula” is danced with three small steps (polka steps from the dance halls), and some genres such as “Malhão” may have a different choreography[77]. According to Leite, another difference between “chulas” and “malhões” is the harmonic alternation of each of these genres: in “malhões”, each harmony lasts two bars, while in “chulas” it lasts one bar[78]. Although it is danced in other parts of the country, “malhão” is a typical Minho dance and, like the “chulas”, it combines instrumental and vocal musical accompaniment to the dance[79].
Musical genres - Dances
estimated read time: 2 minutes
Dance is an integral part of society and is present in several relevant events. The various dances found in the different civilisations of the world express a certain feeling, request divine protection or even create a closer community[80]. According to Isabel Varregoso, the Portuguese traditional dances, for being collective, and because there was a permanent sharing of all those involved, promoted the social integration of the group, generating social relationships of convivialityand communication[81].
There is an immense diversity in traditional dances in Portugal. According to T. Ribas, there is no single dance that traditionally represents Portugal from North to South[82]. Traditional dances from the North include “Viras”, “Chulas”, “Verde-gaios” and “Gotas”. Although there is a great variety in Portuguese popular dances, they are generally joyful, with a lively rhythm, and often sung by the dancer[83].
In Minho, labour dances (malhão and chulas) are associated with the hardness of agricultural work or with moments of social recreation. Therefore, these dances explore daily motifs from the past: harvesting the corncob, grape-treading, harvesting the olives, among others[84].
Ribas classifies Portuguese popular dances into four large groups: 1) ancient dances; 2) religious dances; 3) playful and danced games; 4) current dances. The ancient dances are those which were lost in the past, being lost for different reasons[85]. Some examples of these dances are the “bailia”, the “gitana” and the “judiaria”.
Religious dances were also put aside by the Catholic Church. In the past, religious processions incorporated profane elements. Among them were dances like the “mourisca”, “chacota”, “dança das ciganas”, “dança das donzelas”, among many others. With the prohibition of the Catholic Church, some of these dances disappeared, while others, like the “mourisca”" (or “Dança do rei David”), were used in other contexts. The third group is self-explanatory: dances where people had fun. In the fourth group we find, among others, the “Vira”, “Chula”, “Verde-Gaio”, “Malhão” and “Fandango”[86].
Ribas also mentions some dances that would be part of the Portuguese folk music but that would have been brought from other countries by soldiers or workers that migrated for some period of time. Among these dances there would be the waltzes, the polkas and the mazurkas[87].
Analysing their function, traditional dances can be divided into three categories 1) “Danças de Roda”, without instrumental accompaniment and of childish character; 2) “dança de Mímica, where adapted gestures related to the dance theme are used, with or without instrumental accompaniment; 3) “danças de Ronda”, always accompanied by a set of popular instruments. “Chulas” and “Viras” are part of this last category[88].
Folklore
estimated read time: 3 minutes
For decades, there was a feeling that folklore as a "living reality" was disappearing, as Lopes-Graça wrote in "A Canção Popular Portuguesa". While it is true that the social and cultural reality in rural areas has changed in the last decades, due to the global transformation at the technological level, but also due to the influence of the "fakelore" created over the decades, there are examples present in collections in recent years that prove that traditional Portuguese music is still alive. Folklore, i.e. cultural activities presented by the people in moments of leisure, continues and will continue to live, although older examples may be lost (forgotten).
Some of the elements mentioned above are being lost throughout the 20th and 21st centuries, also because of the late and slow transformation of agricultural work where the handmade agricultural tools were slowly replaced by industrial machines. The fact that fewer people were needed, coupled with the speed of the work now carried out, meant that the choral manifestations that used to exist in the fields and on the journey between home and work were gradually lost[89]. Another important contributing factor to the loss of songs and to the social transformation in rural areas was the use of speakers at celebrations and pilgrimages. Until their appearance, it was normal for the population to get together in groups that sang and danced together[90].
Some of the existing "Ranchos Folclóricos" had their origin in informal groups that occasionally made a presentation, after which the idea arose of regularly presenting themselves to the public[91]. In these presentations, the participants were keen to represent their homelands in the best way possible, thus displaying good costumes and performing eye-catching dances[92]. Furthermore, some of these groups were already aware that traditions were disappearing in their places of origin, and it was necessary to promote the appreciation of traditions in young people through these public presentations[93].
Despite this, these groups that represented traditions, would adulterate the music, dances and costumes of their lands, and were even accused of "folkloric counterfeiting" (Lopes-Graça) or "folkloric fraud" (Manuel Enes Pereira)[94]. The Estado Novo used these "traditional" groups in order to highlight patriotic or nationalist aspects, presenting the "ranchos de folclore" as holders of peasant purity and representatives of national ethnic identity[95].
Nowadays, the goal of folklore or ethnographic groups is to perform dances, songs and present costumes in order to create a show in which they recreate the traditional life of the past. Thus, these groups are no longer ‘authentic’ as they ‘merely’ represent tradition on stage[96]. For these stage performances to be even remotely faithful to the past and to traditions, it is necessary to collect information (music, lyrics, dance moves, old costumes)[97].
Since the beginning of the 21st century, there has been an attempt by "ranchos folclóricos" or other traditional performing groups to re-approach traditional examples. Some of these groups have done local ethnographic research, as for example the "Rusga de S. Vicente"[98].
Nowadays, after all the work of music collection carried out all over the country, it is still essential to continue recording. The country, like the world, is constantly changing, so it is important to continue collecting and recording what people are creating (and recreating) again. It may be true that, with the passage of time, some elements of traditional culture have been lost (songs, melodies, ways of singing, among others), but it will always be worthwhile to make this collection, even if it is only in order to perceive these "influences" outside the "closed" circuit of who is recorded (be it inserted in a rural or urban environment).
Also for this reason, and because every day new "live" folk songs or dances may appear, it is important to continue recording, preserving the old and more recent elements, in order to document and share information with those who want to learn them. It is important to continue recording, doing it regularly, so that these examples of collective creation are not forgotten. Popular culture is still alive, perhaps altered by the global factors that influence it. But this change or development is normal in the life of a people's culture[99].
The fieldwork will also help the creation of new works influenced by society. If there is a constant collection, there will certainly be material available for all who want to use it, whether for issues of collective or individual identity, or just as a personal preference[100].
Traditional Instruments of the Baixo Minho
estimated read time: 2 minutes
Chordophones are the richest and most varied category of typical Portuguese instruments. It is in this category of the Hornbostel and Sachs system that we can find the instruments in which the sound is produced mainly by the vibration of at least one stretched string. This group includes all the instruments normally called string instruments. In Portugal, the main chordophones used as popular instruments are the “viola” (portuguese traditional word for guitar) and its derived species: the Portuguese guitar, the mandolin and the cavaquinho.
These string instruments have a remote past. There is evidence of their existence in the 13th century, used by troubadours. From the 15th century onwards, these instruments were widely spread[101]. In the 20th century, the harmonicas, accordions and concertinas were gradually replacing these instruments in traditional music, causing some of them to become almost extinct[102].
All Portuguese guitars, despite being very similar to each other, have some particular characteristics. These are plucked string instruments, and although they have an "8" shaped case, they do not relate to the guitar, in fact they were developed from vihuela ibérica. All Portuguese guitars have double strings, and there are even some examples with sets of triple strings. In Portugal, the traditional cordophones are Viola Amarantina ("viola de dois corações" or simply "viola", typical of the Douro Litoral region), Viola Beiroa (or "bandurra", typical of the Beira Baixa region), Viola Campaniça (typical of the Alentejo region), Violas de Arame (Madeira), Viola de Arame de S. Miguel (Azores), Viola de Arame de Terceira (Azores) and Viola Braguesa (Braga) and Cavaquinhos and their derivatives. Miguel (Azores), Viola de Arame da Terceira (Azores), Viola Braguesa (Braga) and Cavaquinhos and related instruments.
In Minho, string instruments are used exclusively in playful and festive moments[103]. These instruments can be performed solo or accompanied by other string instruments, concertina/accordion and percussion instruments (drums, triangle, “reco-recos” and castanets)[104].
Below, I will present two typical and original instruments from Braga that are used in the traditional music of this region: Cavaquinho and Viola Braguesa. These instruments, with wire strings, although, as previously mentioned, originally from the Baixo Minho region, were taken by the Minho inhabitants during their emigrations to Madeira Island, the Azores and America, from where other instruments were created[105]. The reason I choose these two instruments is their relevance in the traditional and popular music of Braga.
Cavaquinho
estimated read time: 2 minutes
The name of this instrument suggests the previous existence of a "cavaco", a larger instrument, which no longer exists today. Maybe the "rajão madeirense" can demonstrate the existence of this instrument[106].
The origin of the cavaquinho is unclear, although Gonçalo Sampaio claims that the cavaquinho arrived in Braga through the Biscaínhos, a Spanish family[107]. This connection may have been made thanks to the existence of the “requinto”, a Spanish four-stringed instrument with a shallow neck and ten frets, tuned from treble to bass in mi4-do#4-la3-re3[108].
The Cavaquinho is a small guitar-type string instrument[109], with four metallic strings (“arame”, i.e. steel), twelve frets and flat tops. It has a double-bulged case, with the soundhole shaped as a "raia" or sometimes round[110].
In Portugal, we find different types of cavaquinho, regarding both the physical aspect and the function to which they are applied. In Minho, this instrument accompanies the "rusgas", normally using the characteristic "rasgado". In the Coimbra area, it was mainly played in association with the guitar or viola. In the South of the country (Lisbon, Ribatejo and Algarve), it was mainly used as a Tuna instrument, with plectrum ("pontiado"), giving the instrument a soloist role[111]. Finally, in Madeira we find examples of both types of technique. This is where the cavaquinho is also called “braguinha” or “machinho” [112].
The Cavaquinho was taken by the Portuguese, expanding to other territories and originating several instruments around the world, from Cape Verde, Brazil, Indonesia (originating the kroncong) and Hawaii (originating the ukulele) [113].
Although the dimensions may vary from one cavaquinho to another, the most common are: 52 cm in total length (12 cm for the headstock, 17 cm for the neck, and 23 for the body); the width of the larger “belly” is 15 cm, and that of the smaller one 11 cm; the length of the strings, from the but to the bridge, measures 33 cm. Also the height of the box can vary, being the most common to be 5 cm high[114].
When played as a harmonic instrument, the technique used is the “rasgado”, where the four fingers of the right hand are used (index, middle, ring and little finger), or only the thumb and index finger. Played as a soloist, performers can also use the smaller fingers of the left hand on the high strings to create melodies that stand out over the rasgado[115].
The instrument can be played solo, accompanying the singing or it can be integrated in a group of instruments with the guitar and percussion instruments.
There are different tunings for the Cavaquinho which vary according to the locations, musical forms and instrumentalists[116]. The main tunings are[117] [118]:
Viola Braguesa
estimated read time: 2 minutes
The Viola Braguesa has five courses of double strings, metallic, the same as “viola amarantina”, “viola beiroa” and “viola campaniça”[119], with the two highest courses tuned in unison, the three lowest orders in octave. This instrument is extremely popular in Northwest Portugal, especially in Minho, and is used for solo playing or accompanying the voice (with the possibility of playing along with the cavaquinho), in a group (in “rusgas”, “chulas” and “desafios”), accompanied by the mandolin, guitar, rabeca, accordion and percussive instruments (small drums, triangle and, sometimes, reco-reco).
Although the name refers to the city of Braga, it is not certain where it was created. There are allusions to the craftsmanship of viola makers in Guimarães and Braga from the 17th century. Nowadays these violas are mostly made in the Braga and Porto area.
According to Proença, this instrument is the “most frequent between Douro and Minho”, accompanying all kinds of Minho vocal music[120]. Traditionally, the viola was only played by men, although there is no express rule prohibiting women from playing this instrument[121]. Violas Braguesas are also used mainly in playful and festive environments[122]. These instruments were once almost extinct, and a recovery work has been done since the 1970s, influenced by a general movement to restore the most significant traditional and national elements.
This viola is also commonly used in popular music groups. In 1983, Júlio Pereira recorded the album "Braguesa" which introduced this viola to the general audience. Also "Diabo na Cruz", a rock group inspired by traditional Portuguese music, used the viola braguesa in their songs, incorporating the instrument in different sonorities.
There are mainly two types of viola braguesa, with two different sizes. The largest, usually referred to as the viola braguesa, is used for playing together with other instruments, and measures about 90 cm in length (ca. 45 for the body, 22 for the headstock and 23 for the neck), with the vibrating part of the strings measuring 50 cm. The smallest viola, the “requinta”, played mostly solo or to accompany the voice, measures about 77 in length, with a maximum width of 25, and the vibrating part of the strings about 42 cm[123]. The “requinta” is normally tuned 5 tones higher than the viola braguesa. Although these two examples are the most frequent, we can also find an even smaller species of viola braguesa: the Viola Braguesa Requintinha, tuned one octave higher than the Viola Braguesa[124].
The "rasgado" and "pontiado" techniques are also used on this instrument.
In the viola braguesa, as in other traditional instruments and as previously mentioned in relation to the cavaquinho, we find different tunings which depend on the musical genre being played, the player and the place[125]. These are some tunings which we can find:
