Forró (pronounced Foho) is a Brazilian musical genre born in the northeast of Brazil. It covers different styles of dance, as well as various musical rhythms. This musical genre has gained popularity in all regions of Brazil. Forró is closely linked to the Brazilian festivals of June, called Festa Junina.
Forró is the most famous music and dance genre in northeast Brazil, since literally "going to the forró" simply meant celebrating. The forró music is based on a blend of three instruments; zabumba, accordion, and metallic triangle. However, the dance becomes very different when you cross borders from northeast to southeast. In the context of popular culture, it is continuously evolving. The traditional music used for the forró dance was brought to the northeast by Luiz Gonzaga, who transformed the baao into a more sophisticated rhythm. Over the following years, Forró gained popularity throughout Brazil in the form of a slower genre known as xote, which was influenced by pop-rock music to be more acceptable to Brazilian youth in the Southeast, Central, and South regions.
Forró, referring to music and not to dance, now covers different musical styles. The original musical style, from which most of the musical styles now called forró grew, was the forró of Luiz Gonzaga and others like Jackson do Pandeiro and Marinês.
This musical style, commonly known as the truncated line, is composed of a combination of three instruments. This mixture of instruments was defined as the basis of the forró by Luiz Gonzaga. Before Gonzaga, other combinations were frequently used. The accordion-triangle combination is a combination that previously existed in European folk music and is also used in Cajun music. As a result, Forró maintains a small ensemble format with several percussionists (in this case, two), which was common in Europe and the United States before the drum era.
This combination of instruments serves as a base and is not fixed, sometimes incorporating other instruments such as violin, flute, tambourine, bass, cavaquinho, and guitar.
The blend of zabumba and triangle is virtually always part of the rhythm segment of any forró group. The accordion is still part of a forró ensemble, in addition to the secondary style "forró rabecado," where the accordion is replaced by a violin.
From a melodic and harmonic point of view, forró makes intensive use of the Escala nordestina (literally northeast scale), which can be characterized as a mixture of Lidia and Mixo-Lidia modes. The northeast scale is the base of the more traditional Forró and Forró Pé-de-Serra, similar to how the blues scale is the basis of music for the Mississippi Delta.
As the forró has diversified far from its roots, it has incorporated other influences and, more importantly, has expanded into very different musical styles.
There are three forró rhythms: xote (slower tempo), baião (original forró), and drag-foot (the fastest of the three). Forró is danced in pairs, generally very close, the man's left hand holding the woman's right hand as in a waltz, the right arm at the back, and the left arm at the neck. The influences of sauces and other Caribbean dances gave mobility to the forum, with the woman and, sometimes, with the man, changing in various ways, even if it is not essential to return.
As the forró grows, you will now hear about the roots of the forró. This style of dance is closer and tends to use a lot more work on the foot or foot and allows movement instead of the arms.
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