Product Description
Arranged for for Bb Trumpet, C Trombone & Piano "Tico-Tico no fubá" ("sparrow in the cornmeal", or, literally, "rufous-collared sparrow in the cornmeal") is a Brazilian choro song written by Zequinha de Abreu in 1917. A great arrangement for your next performance, sure to be a big hit with your audience!
Its original title was "Tico-Tico no farelo" ("sparrow in the bran"), but since Brazilian guitarist Américo Jacomino "Canhoto" (18891928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.
Eros Volusia and her dancers dance to "Tico-Tico" in 1942 Rio Rita. Ethel Smith performed "Tico-Tico" onscreen in Bathing Beauty (1944). Carmen Miranda performed "Tico-Tico" onscreen in Copacabana (1947); It was also featured in the "Aquarela do Brasil" segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).
In Quebec the song has been used for several decades in commercials for Sico paint.
In season three of Mama's Family episode "An Ill Wind," an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.
This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.
In season one of Narcos: Mexico, episode 3 ("El Padrino"), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fubá was produced in 1952 by the Brazilian film studio Companhia Cinematográfica Vera Cruz, starring Anselmo Duarte as Abreu.
The title phrase also features in the lyrics to the song "O Pato" made famous by João Gilberto.
Choro (Portuguese pronunciation: [ˈʃoɾu], "cry" or "lament"), also popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorõe
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