D. João de jaqueta (Portuguese Edition)

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Contents

  1. D. João de jaqueta : cenas da roça : romance
  2. Tendências: Ganga Total
  3. João Godinho
  4. ForaDeJogo player ID same as Wikidata

And here are some photos from their Sao Paulo show. November 18, at am Leave a comment. The problem is, especially with por, that there are no single English equivelents. It is important to remember from the outset that por forms a contraction with the indefinite article in front of it. Pela amor de Deus For the Love of God! In expressions of time for duration, frequency and as a marker. Eles vieram por duas semanas They came for two weeks. Pela primeira vez, vi que ela era bonita.

For the first time, I noticed she was pretty. Meaning by, through, along, via, over. Vou pela praia. Is it over there? Vamos pela TAP, naturalmente. Ele vai pra onde? Viewpoint Esse trabalho e muito dificil para me. This work is very difficult for me. Conclusion To conclude, generally para is more direct and grounded in real things. Por is more indirect and often refers to concepts. Escrito por voce written by you versus Escrito para voce written for you Eu vou orar para Deus por voces I will pray to God for you. As Snoopy says in the cartoon above… Por outro lado lit.

Thematic Archive

Review by Kotro Prog Reviewer. It deserves a thorough analysis by someone clearly more competent to judge than me - still, I will try to do my best. To begin with, it's difficult to review because there is so much to analyse: vocals, instruments, song structure, History, similarities with other bands, originality, etc, and my own knowledge whether of music theory or just music in general is simply not enough to do it justice. So I will adopt my usual approach to reviews by trying to describe in the simplest, most honest way what I'm hearing. But boy, it won't be easy. Like in previous albums, the band took years of Portuguese folk and refurbished them in modern sounds, courtesy of electricity, while at the same time maintaining the use of archaic and traditional instruments.


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There is still room in this album for some of the melancholic folk of Coisas do Arco da Velha , but it offers so much more, in fewer songs than previous efforts. Acalanto opens the album with the typical eerieness of the band. A delicate flute is heard, accompanied by dissonant strings, before the dominant cello steps into the picture, paving the way to a languid male chorus.

A sudden change of pace as the full band comes in.

D. João de jaqueta : cenas da roça : romance

The acoustic guitar, flute and violin take the lead. A short violin solo makes the transition for the band's first attempt at rock, featuring a drum kit and an electric guitar - still, it's the violin and cello that have prominence, along with one of several instruments unknown to me. The track then returns to its opening eeriness and languid chorus. The next track, Despique , is another take on traditional themes.

It begins with the delicate sound of tuning, before another unusual instrument opens the song Stylophone? The drums are once more modern sounding, adding flavour to this amusing folk rant. In a strategy so common to Banda do Casaco, the famale vocals give way to the male, and vice-versa. The fast pace of this song is complemented by the drums, violin and a subtle electric guitar. A sudden change in pace in rhythm give way into an almost martial beat, with the adufes, drums and wild flutes being heard. A paraphernalia of small traditional percussion instruments then bring this excellent track to a close.

The celestial choir of the keyboard open this spacey song, soon enriched by a sweet flute, delicate electric guitar chords and the lovely voice of Gabriela Schaaf. After the first sung section, the drums, strings and unidentified electric instrument make their appearance. A delicate, yet powerful track, spacey in sound and theme an alien sighting , featuring, as usual, great arrangements and an unusual but highly welcome mellotron and electric guitar.

Dez-Onze-Doze is another take on the sounds of Portuguese folk, featuring an impressive array of traditional instruments, in a very celtic sounding track, whose percussion and strings provide it with a very fast pace, here and there broken by the melancholic chorus. The guitars introduce the vigorous lead male vocals, complemented by a full band chorus. Of special relevance in this track are the guitar and harmonica solos. A spacey female chorus brings the song to its end. The piano, harp and violin are replaced, in a second section, by acoustic and jazzy electric guitars, flute and bass, before the delicate, jazzy fade-out.

A delicate finish to an exciting album. Overall, it is an extremely varied record in terms in musicality, even if folk is the dominant trend. Here and there you can hear hints of chamber music, the space-rock of bands like Eloy, jazz- fusion in the vein of Miles, and the kind of ethnic music and chorus one could find among Oldfield's finest works, all delivered with a technical proficiency hard to find these days in a rock band.

The female vocals reach the heights of Maddy Prior and Annie Haslam sometimes surpassing them , while the male vocals vary from soothing to vibrant. It is truly an orgy of sounds, with plenty to explore. Few albums have been quoted as an influence by groups and artists so diverse in musical background - it is featured in the preferences of contemporary jazz, rock, pop, folk, punk, classic and minimalist composers in Portugal.

It is also a common presence in every list of greatest Portuguese albums regardless of genre. I am no exception to that - the album is placed high on my all-time favourites list. The degree of experimentation, technical ability, and quality of composition in terms of progressiveness is still high, even if it's already So, while late, it is indeed a masterpiece of progressive-folk, well-deserving of the five eggs.

Stars, I mean. The first three tracks express this tendency clearly: they are arrangements with the bands own lyrics of traditional songs. Morgadinha dos Canibais features a very varied rhythm between faster and slower paced, with intertwining male and female vocals, with some great flute, harmonic and cello playing, among the usual paraphernalia of instruments at the band's disposition - an excellent opener, and one of the highlights of the album.

The middle section is driven by the piano as the vocals multiply. A bassline and acoustic guitar give it a bit more punch, before the phantasmagoria of the vocals and strings return for the ending. Romance de Branca Flor begins with some very traditional vocals and percussion. What we ear is a sung dialogue between man and woman, the story of a woman cheating her husband, who soon discovers the betrayal Matty Groves, anyone? Hints of the band's early album are then heard as the traditional sounds give way to organ, wind instruments and cellos - a lovely piece.

Rigolindo is a short track mostly percussion and flute driven, with a full band choir - a typical traditional folk song. The acoustic guitar complemented by the eerie female chant in the background is the motor of the song, showcasing some excellent playing. Canto de Amor e Trabalho is one of the more upbeat songs on the album but not in a jiggy kind of way - Portuguese folk is much more melancholic than Spanish, French or even English or Irish folk. The violin makes its first clear appearance in this song, which once more features some great mix of male and female vocals, as it tells the story of a farmer returning home after a hard day's work and his wife's wait - a celebration of rural life.

The arrangements in this song are superb, with excellent strings and even what seems to be a didgeridoo, making any kind of percussion completely unnecessary. Virgolino Faz o Pino begins with a female choir backed by church organ, soon replaced by a single voice accompanied by strings. The whole first and second section repeat throughout the song.

A Mulher do Regedor is another upbeat and this time funny song about the less appropriate adventures of a lady in a village while her husband, a national assemblyman, is away in Lisbon , more jiggy than the others, dominated by the cello, violin and acoustic guitar.

Tendências: Ganga Total

Era Uma Vez Uma Velha is another song starting as a ballad with sudden changes in rhythm and punch. The quieter parts are, as usual, female sung accompanied by strings, before the rest of the band jumps from behind a rock displaying all their instruments and different vocals for the chorus.

Cantiga d'Embalar Avozinhas is another take on a traditional song, a really different take, as it is opened by a jazz piano and a full strings orchestra, and featuring a child singing a lullaby to his granny - an amusing display of the world upside-down that the band seem to love so much. This last songs brings the album to a closing. Musically, it's a more conservative effort, but still featuring some glimpses of brilliance. As in the first album, the singing, playing, composition and songwriting are among the best one will ever hear coming out of the Iberian Peninsula - but it's the musical approach that fails, due to its lack of experimentalism.

As all the albums of the band, it requires a lot of attention to fully grasp it and therefore appreciate it. Lyrically it's still a strong album, filled with rich wording and political or humorous themes - while the first album was a critical take on the corruption of city life, this second album is a praise of the rural lifestyle. But I am not a lyrics man, not even in my mother tongue, and so the writing, no matter how good it is, is not enough to rate this album highly, especially when doing so from a progressive rock or folk point of view, and to an audience that probably wouldn't understand them anyway.

Like the first album, it is an easy personal five stars for the beauty and quality of the compositions and songwriting, but for the purposes of a prog-oriented review I can only give three stars perhaps four if you're a real folk lover , due to its more traditional and less adventurous approach to folk. But don't take my word for it - judge for yourself.

So, I finally have some time to review the albums that I know from this almost forgotten band. More of a small orchestra then a typical piece band their origin was a phylarmonic, even if it was a fraudulent one - pun intended , Banda do Casaco took portuguese folk music to new heights, mixing modern instrumentation with traditional themes. Very much like any other folk-rock band, one might say. Well, it's not that simple. When Banda do Casaco first appeared, the concept of traditional folk music in Portugal was restricted to popular balls and marches, songs taught to children in pre-school, and ethnical dances.

Banda do Casaco took other themes from deep folk culture, and revamped them in new lyrics, using the unapparent musicallity of the Portuguese language through several wordplays.

João Godinho

But let's by trying to describe the most important element: sound. This is not a rock album. It's a full-blown folk album whose arrangements and experimentation make it fall under the "progressive" moniker. The album opens with the sound of drums, in an almost tribal rhythm, which is soon enough followed by an incredible paraphernalia of instruments, with the strings being the most dominant element. The first track reeks of Wyrd, although one cannot really be sure if the band knew what Wyrd was.

Percussion is present here and there, always in a fast-paced, almost tribal rhythm, with the later track featuring a hypnotic litany accompanied by flute. A Cavalo Dado is an astonishing track due to its multiple variations in such short time, less than 3 minutes, beginning with a pastoral choir accompanied by a jazzy piano, switching to a repetitive theme closer to a rock n'roll rhythm, then back to strict folk.

ForaDeJogo player ID same as Wikidata

Lovely choir vocals present throughout the song, before the cool ending with some sublime piano and declamation. The first half of Lavados Lavados Sim is the folkiest part of the album, close to the typical sounds of village fairs of days long gone. Featuring an interesting interplay of male and female choir, it soon sees the introduction of cello and horns, at times evocative of Renaissance.

The jazzy piano returns in the end, clearly breaking all conventions of folk tunes. Like A Cavalo Dado , it features plenty of variations in sound, between regular folk and some percussion that reminds me of Moerlen's work in Gong. A delicate electric guitar can be heard in the back. Na Boca do Inferno is a two-part song in only two minutes , featuring some very low, rough vocals in a grim track dominated by the violin.

It quickens in pace as it comes to the end and several instruments mostly flute and acoustic guitar take their place in an amazing vortex of sound. The Gong-like xylophone-like percussion returns for the beginning of Horas de Ponta e Mola , where we also get some piano and electric guitar in the background. The longest track of the album, it is more constant in its sad, delicate sonority than many of the other shorter tracks.

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The ending is extremely eerie, with a weeping violin being heard over the repetitive piano, like something out of the darkest Hitchcockian scene. The chorus drops this sonority at moments, but the sarcastic lullaby dominates. Vocals do dominate this album - as I said previously, a lot of the musicality inherent to the songs comes from the singing, greatly helped by a mastery of the Portuguese language not available to every native speaker.

The main concern was to make the words musical, something not very easy to achieve in any language, while at the same time having them making sense, which is even harder - yet the band managed to do so in style. Let's give the theme a quick run-trough.