Around this time he also fused urban Brazilian influences and impressions, for example in his "Quarteto simbólico" of 1921. He included the urban street music of the "chorões", who were groups containing flute, clarinet and cavaquinho (a Brazilian guitar), and often also including ophicleide, trombones or percussion. Villa-Lobos occasionally joined such bands. Early works showing this influence were incorporated into the "Suíte popular brasileira" of 190812 assembled by his publisher, and more mature works include the "Sexteto místico" (1955, replacing a lost and probably unfinished one begun in 1917), and his setting of the poetry of Mário de Andrade and Catulo da Paxão Cearense in the "Canções típicas brasileiras" of 1919. His classical guitar studies are also influenced by the music of the "chorões".