Três estudos de concerto para violão de Radamés Gnattali: uma análise interpretativa através das diretrizes de Jan Larue

Abstract

The present research approaches the 3 Concert Studies for Guitar by Radamés Gnattali (19061988), namely Toccata em Ritmo de Samba n.1, Dansa Brasileira e Toccata em Ritmo de Samba n.2, composed, respectively, in 1950, 1958 and 1981. Despite being written in distinct times, they were published as a cycle in 1990 by Chanterelle Verlag, with Gennady Zalkowitsch and Michael McMeeken as editors. A systematic analysis, with Jan LaRue‟s Guidelines for Style Analysis (1970, 2ª ed.2011) as the main theoretic source, was made about the musical language present at the studies, highlighting technical and compositional characteristics which are crucial to the crafting of the work. Jan LaRue‟s Style Analysis proposes the understanding of musical discourse in dimensions of three magnitude, large, middle and small, and the decomposition in four contributing elements and a fifth combining element: (SHMRG – Sound, Harmony, Melody, Rhythm and Growth). The results attained confirms the understanding in Wiese‟s research (1995) and Zorzal‟s (2005) concerning the mix of stylistic and compositional elements found in jazz, romantic era, impressionism and Brazilian‟s popular music. Besides that, the use of rhythmic patterns and grooves with thematic treatment could be perceived, as well as the coordinated use of the relative ratios of internal parts as a source of Growth. With the paper it‟s expected to contribute with the discussions concerning the musical understanding of Gnattali‟s music in his solo guitar works, offering the guitar players and students theoretical foundations to their interpretations.