Types of Frevo

Paço do Frevo

There is no way to resist Frevo! The slight rhythm that asks for passage and infects everyone. Know the origin and the different types of Frevo.

Music
Musically, frevo came from the combination of musical styles, such as polka, marches, quadrille, maxixe and dobrado, performed at the end of the 19th century by the military and civilian bands of Recife. With the mixture of these elements, a unique rhythm appears, subdivided into three categories: Frevo de Rua, Frevo Canção and Frevo de Bloco. Listen to our Web Radio: Rádio Paço do Frevo 

Frevo de Rua (Street Frevo)
It is a fully instrumental style, performed by orchestras where the metal family instruments (trombones, trumpets and tubas) and the wood family (saxophones, clarinets and requintas) stand out. The rhythmic base is led by the bass drum, snare drum and tambourine. It is still different from other types by the complete absence of lyrics. It can be divided into three modalities: frevo-abafo, frevo-coconut tree and frevo-gavia.
Music: 7 Hearts
Frevo Essência Orchestra
Download the sheet music here: http://migre.me/tSLNJ

Frevo de Bloco (Block Frevo)
It has an orchestra in which stand out the instruments of wood and string, such as guitars, cavaquinhos, banjos, mandolins, flutes and clarinets, besides the snare drum, tambourine, bass drum and saxophone. The songs are sung by a female choir portraying lyrical, nostalgic and exaltation to the beauty themes of the blocks and carnivals of the past.
Music: Valores do Passado
Edgard Moraes Coral

Frevo Canção (Frevo Song)
It has the same instruments used in Frevo de Rua and is usually sung on stage by performers. An example that is among the most famous compositions is "Frevo nº 3 do Recife", by the composer Antônio Maria, performed here by the great frevo interpreter Claudionor Germano.

Claudionor Germano - Segura no meu braço
Dance
The passo (step), as the frevo dance is known, is characterized by vigor, by the flexing of limbs, by the descent and rise of the body, play of the shoulders, facial expression and jumps. The step inherited the fighting aspect of the capoeiras, black people considered vagrants that came in front of the parades.

Frevo's dance brings together famous steps, such as “parafuso”, “ferrolho”, “tesoura” e “dobradiça”, composing a great repertoire of choreographies. Currently, there are several steps cataloged and invented. Learn three of them now!

Credits: Story

PAÇO DO FREVO DEVELOPMENT:

RECIFE CITY GOVERNMENT
Mayor: Geraldo Julio
Vice Mayor: Luciano Siqueira
Secretary of Culture: Leda Alves

ROBERTO MARINHO FOUNDATION
President: José Roberto Marinho
Secretary: Hugo Barreto
Executive Superintendent: Nelson Savioli
General Manager of Heritage and Culture: Lucia Basto
Institutional Development Manager: Flávia Constant

PRODUCTION CREDITS

FUNDAÇÃO ROBERTO MARINHO
General Coordination: Mariângela Castro

CONTRIBUTORS
Relations with Partners, Communication and Press Office: Hugo Sukman, Claudia Lamego, Rodrigo Cobra e Renata Couto
Administrative and Legal Support: Ana Érika Marques: Isabella Giusini, Carlos Carletto, Flávio Muniz, Luis Henrique Cordeiro, Cássia de Oliveira, Christian Mouron, Ana Luiza Bernart, Severino Jauhar, Solange Távora, Regina de Paula Vasconcelos, Aline Mazzarella, Luana de Freitas, Andréa Farroco e Adriana Manhães


PERMANENT EXHIBITION
Design and General Direction: Bia Lessa
Curatorship: Bia Lessa and Maria Lucia Montes
Curatorship of the Timeline: Leonardo Dantas Silva and Maria Lucia Montes
Carnival Glossary Curatorship: ​​Claudia Lima, Geraldo Vital and Mario Ribeiro
Contributors: Carmen Lelis, Lindinaldo Junior, Mario Ribeiro and Zélia Sales
Architecture: CAT Arquitetura
Production Management: Lucas Arruda
Research Coordination: Maria Lucia Montes e Maria Borba
Content Producer: Danilo Watanabe
Architectural Assistance / Timeline Room: Lucia Vaz Pato
Visual Communication: Cubículo
Sound Design: Dany Roland
Researchers: Joana D'arc Sousa Lima, Gleyce Kelly Heitor, Janine Primo Carvalho de Meneses, Nicole Cosh e Mariana Dantas
Video Team / Reception: Ana Paula Carvalho, Danilo Watanabe, Dany Roland, Juruna Malon e Maria Borba
Lighting: LD Studio
Dance Room By: Antônio Nóbrega
Music Room By: Hugo Martins
Video Direction / Dance Room and Music: Quito Ribeiro
Third Floor Photos By: Bruno Veiga
Special Effects / Traca-traca: R4 Metais
Timeline Book: KJPL
Art Painting: Leila Bastos
Text Revision: Maria Lucia Resende
Translation: Primacy
Administration: Eduardo Correia

TECHNICAL PROJECTS
Project Management and Works: Velatura Restaurações
Architecture, Restoration and Acoustics: GRAU - Grupo de Arq. e Urbanismo
Building Facilities: NORTECH Engenharia
Structure: ENGETI Consultoria
Air Conditioning: INTERLAN - Planejamento Térmico
Audio Project and Installation: AUDIUM - Áudio e Acústica
Digital Systems: KJPL ARBYTE
Optic Fibers: ZERO UM Informática
Signing: Dora Levy Design

BUILDING WORKS
Building and Restoration: CONCREJATO
Electrical Installations: RTS Construções
Air Conditioner: PADRON - Climatização
Building Facilities: JME Engenharia
Data and Voice: OMNI do Brasil
Special Glasses: Avec Verre
Hydraulic Tiles: O & S Tinoco Restauração
Partitions and Plasterboard: PERFIL Empreendimentos
Joinery: Ecomadeiras, Vitor Móveis e Divino Ofício
Lift: Elevadores Otis
Metallurgical Services: R4 Metais
Painting: TAKK Construções
Signing: KZ VISUAL Merchandising
Special thanks to all the associations, musicians, composers, conductors, dancers, researchers and technicians who collaborated in the realization of the Paço do Frevo.

PAÇO DO FREVO MANAGEMENT:
Institute of Development and Management - IDG
Chairman of the Board of Directors: Ricardo Piquet
Director of Institutional Development: Alexandre Fernandes Filho
General Manager of Paço do Frevo: Eduardo Sarmento
Institutional Development Manager: Joana Pires

GOOGLE CULTURAL INSTITUTE EXHIBITION
Creation of Virtual Narrative: 6D
Screenplay: Beto Martins and Betho Alves
Executive Production: Natália Erre and Paulica Coelho
Video Editing: Raoni Vidal

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions (listed below) who have supplied the content.
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