ANALYZING TICO TICO - Essay Example

Analysis of Tico-Tico Introduction Jazz music is one of the most dynamic kinds of music. It offers performers an opportunity to alter the interpretations of dynamics such as tempo, rhythm and pitches to articulate different expressions. By articulation, I mean how the player of an instrument, in this case guitar, attacks and releases a given note to produce different effects. Tico-Tico is a well-known Brazilian chord music that was originally known as Tico-Tico no Farelo. Zaquilha de Abreu composed the piece in 1917 ( Abreu Web).

This paper focuses on the Wooten and Levitin’s ideas about notes, articulation, and technique and the way they are used in the Tico-Tico composition.As Wooten argues, music plays a major role in expressing oneself since it is a language in itself. The arrangement and articulation of the different notes in a piece of music are very important. Being able to play the notes in a piece of music correctly requires one to understand the chord progression to be able to improvise as well as articulate different impressions and emotions (Levitin 215-217).

Tico-Tico makes use of both staccato and legato to articulate different expressions. The notes have been accented and connected but produce sudden contrast from time to time by alteration in tempo and tone. As Levitin argues, the way the notes are played in a piece of melody depicts the emotion the musician or performer wants to articulate. The Tico-Tico composition employs both the C major, D major progression as well as the A minor progression. There are frequent swings to upbeats, which are at times followed by slurring to the lower notes or down beats.

The articulation in this Tico-Tico composition could be termed as doodle tonguing since it makes use of almost all notes. There are different pattern of slurs and ascents within each jazz line. The accents keep changing to bring a feel of syncopation (Wooten 10-13).Technically, playing Tico-Tico composition requires one would require realizing the linkage between the different pitches due to the different ramifications and rhythmical momentums. Tico-Tico composition has butt-simple chord progression.

However, it can be played using different notes within the chromatic scale. In the composition, the melody provides room for plenty of improvisation by the performer. In Tico-Tico, there is demonstration of great linkage between the arpeggios for the different chords. The piece switches across all the twelve scales randomly. Like words of the song, the notes of this piece express the exciting countenance. The arrangement of the notes in this piece is exciting, which helps to articulate the electrifying message the song is supposed to convey.

Like Wooten and Levitin claim, the up, down articulations are very important in establishing rhythm, and help discern the expertise of a person. It demonstrates ones capability to shift the beats to depict different mood and tempo. Since the main accompaniment in Tico-Tico is guitar, the playing technique depends on the player’s capability to move the fingers within the different articulations. Minimal hesitation would result in problematic tonguing due to the fast tempo of the composition (Wooten 12-15; Levitin 237-240).

In conclusion, Tico-Tico is quite a dynamic composition that employs the entire scale. The composition is characterized by both staccato and legato in addition to a fast tempo. There is great linkage between the different arpeggios with rapid switches across the scale. To play this composition, it would require one to have great technique in mastering the pitch to articulate different modes and expressions.Works CitedBrazilian Music Institute 2009 - TICO TICO (Guitar Four-Hand Exchanging). By Zequinha Abreu. Perf. Fernando and Cecelia.

University of Florida, Florida. 23 May 2009 < http://www.youtube.com/watch?v=CcsSPzr7ays > Levitin, Daniel. This Is Your Brain on Music: Understanding a Human Obsession. New York: Atlantic Books, 2011.Wooten, Victor. The Music Lesson: A Spiritual Search for Growth Through Music. New York: Berkley Books, 2008.