Editing Samba (section)

=== New sub-genres of samba ===
[[File:Ary_Barroso_1939.jpg|alt=|thumb|Ary Barroso became one of the major composers of samba in the "golden age" of Brazilian music.]]

Thanks to its economic exploitation through the radio and the records, samba not only became professional,{{sfn|Lopes|Simas|2015|p=229}} but also diversified into new sub-genres,{{sfn|Lopes|Simas|2015|p=149}} many of which were different from the hues originating in the hills of Rio de Janeiro{{sfn|Vagalume|1978|p=29}} and established by the interests of the Brazilian music industry.{{sfn|Lopes|Simas|2015|p=150}} The period of Brazilian music between 1929 and 1945 marked by the arrival of radio and electromagnetic recording of sound in the country and by the notability of major composers and singers,{{sfn|Mello|Severiano|1997|p=241}} – the so-called "golden age" registered several styles of samba, some with greater and others with less solidity.{{sfn|Matos|2013|p=127}}

Publications devoted to the topic disseminated a broad conceptual terminology, including denominations later enshrined in new sub-genres – such as [[samba-canção]], [[samba-choro]], [[samba-enredo]], {{ill|samba-exaltação|pt}}, {{ill|samba-de-terreiro|pt}}, [[samba de breque]] -, as well as registered [[Sheet music|scores]] and released labels and album covers printed various nomenclatures for samba in an attempt to express a functional, rhythmic or thematic trend – such as "samba à moda baiana" (samba in the Bahian style), "samba-batucada", "samba-jongo", "samba-maxixe" -, although some sounded quite inconsistent – such as "samba à moda agrião" (samba in the watercress style), "samba epistolar" (epistolary samba) and "samba fonético" (phonetic samba).{{sfn|Matos|2013|p=127}} In other cases, it was music critics that imputed pejorative labels with a view to disapproving certain aesthetic changes or fashion trends – as in the disparagingly called sambalada and sambolero for stylistic nuances the samba-canção.{{sfn|Lopes|Simas|2015|p=269}}

Established in the radio era as one of the main sub-genres of samba, the [[samba-canção]] style emerged among professional musicians who played in the [[revue]]s of Rio de Janeiro in the late 1920s and early 1930s.{{sfn|Gonzalez|2017|p=55}}{{sfn|Matos|2013|p=128}} Although the term began to circulating in the press in 1929 to mistakenly designate "Jura", by Sinhô, and "Diz que me amas", by J. Machado,{{sfn|Tinhorão|1974|p=150}} the starting point of the line was "Linda Flor (Ai, Ioiô)", a melody by Henrique Vogeler and lyrics by Luis Peixoto,{{refn|With a melody composed by pianist Henrique Vogeler, "Linda Flor" had three different versions for each lyrics, the most famous of which was "Ai, Ioiô", written by Luis Peixoto. According to José Ramos Tinhorão, the first version, entitled "Linda Flor" and recorded by Vicente Celestino at Odeon, displayed on the disc label, for the first time, the expression "samba-canção". On the other hand, Tinhorão comments that Celestino's voice and his operatic style were not appropriate to the configuration of the new sub-genre: "his voice emission ... did not allow to recognize the right dose of samba rhythmic balance, which Henrique Vogeler tried to introduce as a disturbing element of the classic melody of the song. "{{sfn|Tinhorão|1974|p=152}}|group=nb}} released in the revue and on disc by singer [[Aracy Cortes]].{{sfn|Marcondes|1977|p=684}} In general, the samba-canção was characterized as a slower tempo variant, with a dominance of the melodic line over the rhythmic marking{{sfn|Tatit|1996|p=23}} that basically explores the subjectivity of subjectivity and feeling.{{sfn|Matos|2013|p=129}}{{sfn|Lopes|Simas|2015|p=267}} As their releases took place outside the carnival season, the trend was linked to the so-called "mid-year samba". However, during the 1930s, the term samba-canção was used arbitrarily to designate many compositions contained under the name of "samba de meio de ano" ("mid-year samba"),{{sfn|Marcondes|1977|p=684}}{{sfn|Gonzalez|2017|p=55}} but which did not fit as samba-canção themselves.{{sfn|Matos|2013|p=129}}{{sfn|Tinhorão|1974|p=149}} On the other hand, many sambas at the time of their releases would later be recognized as samba-canção, as in the case of works by [[Noel Rosa]] and [[Ary Barroso]].{{sfn|Matos|2013|p=130}}{{sfn|Castro|2015|pp=72–73}} Not by chance, Zuza Homem de Mello and Jairo Severiano consider that this samba style was truly inaugurated with the second version of the song "No rancho fundo", with melody by Ary Barroso and lyrics by [[Lamartine Babo]].{{sfn|Mello|Severiano|1997|p=146}}

Basically, Carnaval was reserved for the launch of [[marchinha]]s and [[Samba-enredo|sambas-enredo]], a sub-genre typified in this way in the 1930s because of the lyrics and melody, which must comprise the poetic summary of the theme chosen by the samba school for its carnival parade.{{sfn|Lopes|Simas|2015|p=257}} Samba-de-terreiro – or also samba de quadra – was a short-tempo samba modality, with the second most measured part that prepares the [[bateria]] for a more lively return to the beginning.{{sfn|Marcondes|1977|pp=684–685}}{{sfn|Lopes|Simas|2015|p=287}} Its format was also consolidated in the 1930s.{{sfn|Lopes|Simas|2015|p=287}}

Also from that time, [[samba-choro]] – at first called choro-canção or choro-cantado – was a syncopated hybrid sub-genre of samba with the instrumental music genre [[choro]], but with medium tempo and presence of lyrics.{{sfn|Lopes|Simas|2015|p=267}} Created by the Brazilian music industry, it was released, with all indications, with "Amor em excesso", by Gadé and Valfrido Silva, in 1932.{{refn|The disc label, however, only showed the indication of [[choro]] music genre.{{sfn|Marcondes|1977|p=684}}|group=nb}}{{sfn|Brasil Silva|2008|p=123}} One of the most popular sambas of this variant is "Carinhoso", by [[Pixinguinha]], released as choro in 1917, received lyrics and ended up relaunched two decades later, in the voice of Orlando Silva, with great commercial success.{{sfn|Lopes|2019|p=114}} In the following decade, [[Valdir Azevedo|Waldir Azevedo]] would popularize chorinho, a kind of fast-moving instrumental samba.{{sfn|Lopes|2019|p=114}}

Widespread during the Estado Novo, samba-exaltação was a sub-genre marked by the character of grandeur, expressed notably by the extensive melody, the lyrics with a patriotic-ufanist theme and by the lavish orchestral arrangement.{{sfn|Marcondes|1977|pp=684–685}}{{sfn|Lopes|Simas|2015|p=268}} Its great paradigm was "[[Aquarela do Brasil]]", by [[Ary Barroso]].{{sfn|Pereira|2012|p=114}}{{sfn|Ferreira|2019}} From the huge success of the first version recorded by [[Francisco Alves (singer)|Francisco Alves]], in 1939, samba-exaltação started to be well cultivated by professional composers in the musical theater and in the music industry and radio media.{{sfn|Marcondes|1977|pp=684–685}} Another well-known samba of this type was "Brasil Pandeiro", by Assis Valente, a huge hit with the vocal group Anjos do Inferno in 1941.{{sfn|Lopes|Simas|2015|p=125}}

At the turn of the 1940s, [[samba de breque]] emerged, a sub-genre marked by a markedly syncopated rhythm and sudden stops called ''breques'' (from English word ''break'', Brazilian term for [[Brake|car brakes]]),{{sfn|Portes|2014|p=81}} to which the singer added spoken comments, generally humorous in character, alluding to the theme.{{sfn|Marcondes|1977|p=684}}{{sfn|Lopes|Simas|2015|p=256}} The singer [[Moreira da Silva]] consolidated himself as the great name of this sub-genre.{{sfn|Tatit|2000}}{{sfn|Portes|2014|p=17}}