Tico tico zequinha de abreu12/12/2023 ![]() He also was employed by the Bar Viaduto Orchestra and played in every opportunity throughout the city of São Paulo. On June 19, 1919, his father died and Zequinha moved, with his family, to São Paulo SP, where he was employed by the publishing house Casa Beethoven as a sheet-music demonstrator. ![]() When he asked for suggestions about the song's name, his bassist Artur de Carvalho replied that he had already named it: "Tico-tico No Fubá." ![]() He commented to his bandmates that those people were just like tico-ticos (a kind of little bird) eating corn meal. This jumpy, fast-tempo song made the dancing couples go crazy in the ballroom. In 1917, he played with his orchestra a new composition, still unnamed, at a ball. Around 1915, he had already written nearly 100 compositions. At this time, he was also a politician, but was composing even more: choros, marchinhas, valsas, tangos, and several other genres. Then, Zequinha formed the Lira Santarritense and Smart Orchestra (which played at the similary titled cinema), which were both very successful in nearby upcountry cities in 1911, the Lira earned second place at a band contest. In 1896, Zequinha composed the maxixe "Bafo de Onça." His xote "D'alva" and valse "Soluços" were published by Casa Sotero, RJ. Once in his hometown, he formed a locally renowned band. On his way home, he composed the valse "Flor da Estrada." One day, deciding to be a musician, he ran out of the seminary and went back home. Later he would study with Rossini Tavares de Lima (uncle of the famous researcher of the same name). There he began to take harmony classes with conductor José Pinto Tavares and Father Juvenal Kelly. At ten, he joined the group of José de Abreu, and, shortly after, in 1884, he entered the Episcopal Seminary to become a priest, his mother's wish. Moving to Itu to study at the Colégio São Luís, he was already playing an ocarina. At this time, he organized a little band with his classmates at school. At seven, began to take music classes with Dionísio Machado, and later with José Inácio. ![]() In this period, he was given a little harmonica, on which he quickly learned to play simple melodies. At five, Zequinha was already a music enthusiast, spending hours delightfully watching musicians play. His most famous composition, "Tico-tico No Fubá" (known abroad as "Tico-Tico"), is today still recorded by great artists worldwide, from all styles. To this day it remains one of the best known and most arranged pieces of Latin American music.Zequinha de Abreu was one of the prominent Brazilian composers of the "Belle Époque," having contributed to the establishment of the choro genre. Tico-Tico no Fubá has been featured in several other films, most notably in Walt Disney’s 1940s animation Saludos Amigos (in which the song is introduced by none other than Donald Duck) and in Woody Allen’s Radio Days (1987). Five years later (17 years after Abreu’s death) came a loosely biographical movie about the composer, also entitled Tico-tico no fubá. With added lyrics the music was made internationally popular by the Portuguese-born, Brazilian Broadway star Carmen Miranda who sang a very energetic version of it in the 1947 Groucho Marx film Copacabana. The story goes that at its first performance the jumpy, fast-tempo of the number made the dancing couples go crazy in the ballroom! His most well-known work, Tico Tico no Fuba (which translates roughly as the “Crown Sparrow in the cornmeal”), was written as an instrumental lament (choro) in 1917. Zequinha de Abreu was one of the prominent Brazilian composers of the “Belle Époque” and also one of the earliest and most successful modern Brazilian songwriters.
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