The choro cell is the settled one: no mute anywhere in the bar, five strokes ringing and three rests giving the phrase room to breathe. Where the samba cell chops and the teleco-teco cell chugs, this cell simply lets every stroke sound and settles at the bar line instead of pushing into the repeat.
The pattern, step by step
Eight eighth notes. The ringing pitches below are computed from the instrument's real open-string tuning with the library's first C major voicing under the hand — nothing in this table is typed by hand; a down or up stroke sounds the whole voicing at once, so every ringing row lists the same pitch set:
| Eighth | Stroke | Sounds | Pitches |
|---|---|---|---|
| 1 | down | E · G · C · E | 64, 67, 72, 76 |
| 2 | — | rest | — |
| 3 | up | E · G · C · E | 64, 67, 72, 76 |
| 4 | down | E · G · C · E | 64, 67, 72, 76 |
| 5 | — | rest | — |
| 6 | up | E · G · C · E | 64, 67, 72, 76 |
| 7 | down | E · G · C · E | 64, 67, 72, 76 |
| 8 | — | rest | — |
This cell carries 3 downs, 2 ups, 0 mutes, and 3 rests; it opens with a down stroke and rests on its final eighth.
Playing the space
With no mute to hide behind, every stroke in this cell is exposed — an uneven gap before a rest reads as a mistake in a way a chop-heavy cell can disguise. Count the three rests out loud at a slow tempo, and let each one last exactly as long as a stroke would have. The cell should feel unhurried, not tentative.
Then let it breathe under a slow melody instead of a strict click — a choro lilts more than it drives, and this cell is the batida engine's one cell built for that lilt. The metronome still keeps the bar honest even when the feel sits back from it.
Where it sits
Start here before the samba cell and the teleco-teco cell — a hand that cannot yet keep five open strokes even has no business adding a mute on top. The hub holds all three cells side by side.