Cavaquinho originated in Portugal and came to Brazil, where it underwent modifications in
its structure and in its tuning. Cavaquinho is an instrument that is part of the main choro
groups along with the guitar, mandolin, flute and tambourine. This research aims to discuss
that the way of playing of Jonas Silva served as a training in the style of Luciana Rabello. For
this, analyzes were applied to the interpretive practice of the cavaquinho in the choro musical
genre through the transcription of the performances of the musician’s way of playing. The
transcriptions were made from the auditions of songs Cadência, Brejeiro, Ansiedade and Lulu
Espinafrando. The theoretical support of this research was based on studies by Almada
(2006), Cazes (1988) and Ribeiro (2014), authors specialized in the musical structure of choro
and in the study of the cavaquinho. The lack of didactic material and the great reference that
these musicians are to the new students of cavaquinho, was what motivated the
accomplishment of this work. It was found that Luciana brings a lot of rhythmic motifs in her
style that are recurrent of the Jonas’s way of playing.
Keywords: Jonas Silva. Luciana Rabello. Accompaniment. Choro. Cavaquinho.
