Grupo Labareda de Forro Downloads

LABAREDA DE FORRÓ (“Flare of Forró”) looks for, through the music of great composers, to value forró in its origin: the so-called “forró pé-de-serra”.Forró is party. Party of the common people. It´s a word that has, for its... Learn More »

LABAREDA DE FORRÓ (“Flare of Forró”) looks for, through the music of great composers, to value forró in its origin: the so-called “forró pé-de-serra”.

Forró is party. Party of the common people. It´s a word that has, for its origin, two explanations: the first one would be an abbreviation of the word “forrobodó”, that means meeting of people to commemorate around joy reasons: row, dances, sings, too much food; the second contains a singular history: the English had come to construct iron roads in the northeast region of Brazil. Hidden and noble, at their free hours they promoted parties in closed environments, only for its countrymen and small select groups of Brazilians of bigger degree in the functional and social hierarchy.

However, sometimes, they promoted parties for the laborers, manual workers of the construction of the iron road. These parties were announced as “for all”. The laborers, of low instruction, had transformed this pronunciation into “forró”.

With its music, and making use of few financial resources, the laborers had started to make proper parties where the orchestra was summarized to few and simple musical instruments, almost all times these instruments were improvised.

From there becames the basic musical formation of forró: concertina, zabumba and triangle. The word forró assigns and encloses some musical rhythms, between them: baião, xaxado, xote, coco, toada, quadrilha, marchinha, embolada, rojão.

From the 4th decade of the 20th century, forró was popularized through the radio, in all Brazil, by the artistic performance of two great exponents: Jackson of the Pandeiro and, mainly, Luiz Gonzaga, the “King of the Baião”, which had propitiated the multiplication of artists and musical groups in this cultivated field.

Forró,by its musical value and popular reach, never will lose its vigor in Brazil and deserves to be spread in the exterior as the manifestation of the Brazilian soul. Through sad or glad melodies, sometimes ridicules, and of letters focusing all type of subjects, forró looks for to translate the traces of the northeastern surrounding, including its natural and artificial beauties, and of its suffer, however glad, simple and humble people, who always faces the lifes´s disgut with good-humor and rude soul.

Throughout the time, forró evolved, advanced and got sophisticated with the introduction of new and modern musical instruments, although keeping its melody, rhythmic and letter essence.
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