Nazareth is the most important and prolific pianist-composer during Choro’s first two generations. His strong classical training and exposure to Afro-Brazilian traditions fomented in his tango brasileiro– syncopated melodies supported by habanera accompaniment and baixiarias (moving basslines)– a hallmark trait of of Choro texture to this day.
Turuna (1899) features a bold, prominent bassline echoed in the melody. The rhythmic quality of the line is clearly Afro-Brazilian, linking together the ubiquitous “fork” cell. The arrangement used is based primarily on Pixinguinha’s own for small orchestra.