Maxixe de Carrapatoso e Zé Povinho by Chiquinha Gonzaga Chamber Music - Digital Sheet Music
By Chiquinha Gonzaga
23052891
Maxixe de Carrapatoso e Zé Povinho
23052891
23052891
23052891
Details
Piano, Piano Solo - Level 5 - Digital Download
SKU: A0.1639493
By Roberto Szidon. Composed by Chiquinha Gonzaga. Arranged by Luiz C. Teixeira. This edition: pdf, streaming. 20th Century, 21st Century, Chamber, Classical, Latin. Score. 3 pages. Luiz C Teixeira #1207127. Published by Luiz C Teixeira (A0.1639493)."Maxixe de Carrapatoso e Zé Povinho" by Chiquinha Gonzaga is a vivid example of her brilliant fusion of popular Brazilian rhythms, social commentary, and musical sophistication. This composition reflects her unique ability to blend humor, cultural critique, and musical mastery, all within the lively and irreverent context of the maxixe, Brazil's first truly urban dance form.
Title & Context
Meaning of the Title
“Maxixe”: A syncopated dance genre born in Rio de Janeiro in the late 19th century. It is sometimes called the Brazilian tango and is known for its sensuality, syncopation, and African-rooted rhythms.
“Carrapatoso” and “Zé Povinho”: These are satirical or folkloric figures.
Zé Povinho originated in Portuguese satire (by artist Rafael Bordalo Pinheiro) as a symbol of the common man—often critical, ironic, and politically charged.
Carrapatoso is likely a fictional, humorous name (possibly derived from carrapato, meaning tick) used to caricature a person or social type, possibly referencing corruption or parasitic behavior.
So, the title suggests a comic, satirical dance, possibly mocking the elites and politicians through the lens of popular characters.
Musical Analysis
1. Form and Style
Typical of maxixe, the piece likely follows a multi-sectional structure (AABBACCA or similar), reminiscent of the European dance suite, but with syncopated Brazilian flair.
Uses repetition and variation to create an energetic and engaging structure, ideal for dance.
2. Rhythm and Syncopation
The rhythmic identity of the maxixe is built on syncopation, habaneira patterns, and a constant duple meter (2/4).
Gonzaga often used hemiolas, accent shifts, and unexpected rhythmic groupings, giving her music a spontaneous, swinging energy.
In this piece, the rhythm probably mimics street carnival energy, filled with playful cadences and percussive momentum.
3. Melody and Harmony
Melody: Catchy, danceable, often diatonic with expressive chromaticism and playful ornamentation.
Gonzaga’s melodic lines are usually tuneful and highly singable, influenced by modinhas, lundu, and folk songs.
Harmony: Rooted in Romantic tonality with occasional modulations, use of secondary dominants, and turns that echo theatrical music of the time.
The interplay between tonal balance and chromatic surprise is typical of Gonzaga's writing.
This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.
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