Brazilian Folk Music

11 pieces in styles from all over the globeDescription : Tired of playing on your own? Bored with second-rate backing tracks? Now you can solo like a pro with some of the best musicians in the business! Musical Postcards takes you on a musical tour of the globe with pieces in world music styles from Rio to Red Square accompanied by top quality playalong CD backings. The trip takes in everything from a boisterous Cajun stomp to a Brazilian samba via China, Jamaica, Wales, Greece, Mexico and more! Each book includes melody lines, with chord symbols to help improvisation, illustrations and notes on the musical styles. The accompanying CD features both full performances and backing tracks performed by some of the best world and folk musicians in the business. Junior Musical Postcards is suitable for beginners and Musical Postcards is suitable for intermediate level players. A sheer delight to play and the recording quality is breathtaking. A superb series ….. I can’t recommend them highly enough … tremendous fun! Don’t hesitate - buy it! (Music Business).++Contents : Argentinien: Tango del fuego - China: The Silk Tree - Deutschland: Vier Bier Hier - Griechenland: Taverna Leaner - Jamaica: Kingston Sorry - Peru: Cancon de los pipas - Südafrika: Cape Nelson - Wien: Salzburger mit Fries - Wales: Seal Island Lament - USA: Cajun-Swamp Stomp Louis - Venezuela: Valse OrinocoLanguage : English / Saxophone / Boosey & Hawkes

Brazilian Folk Song-The word 'samba' comes from a Brazilian rhythm and dance and the word 'lele' is an expression of excitement. Expressing an invitation to dance the samba Will Lopes arranged the folk song for unaccompanied SATB chorus with divisi.

The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

10 easy solo arrangements of?Mercedes Sosa?s songs for classical Guitar. Transcribed by Oscar Nuñez Caballero Album de Guitarra Fácil N.10 - Mercedes Sosa?includes: Antiguo dueño de las fleches Graciasa la vida La añera Los mareados Pampa del sur ?Pequeña Pollerita Todav a cantamos Todo cambia?and ¿Será posible el sur?. Language: Spanish.Mercedes Sosa known as La Negra was an Argentine singer who was popular throughout Latin America and many countries outside the continent. Withher roots in Argentine folk music Sosa?became one of the preeminent exponents of nueva canción. She gave voice to songs written by both Brazilians and Cubans. She was best known as the 'voice of the voiceless ones'. Sosa?performed in venues such as the Lincoln Center in New York City the Thé tre Mogador in Paris and the Sistine Chapel in Vatican City as well as sell-out shows in New York's Carnegie Hall and the Roman Colosseum during her final decade of life. Her career spanned four decades and she was the recipient of several Grammy awards and nominations including a posthumous Latin Grammy award for Best Folk Album. She served as an ambassador for UNICEF.

Expand the horizons of your Guitar playing with this unique guide to the sounds and styles of Brazil. Explore the wide variety of music and disciplines from the Tango the Samba and the Bossa Nova to the complex and enchanting harmonies of Brazilian folk tunes. The author's authority and expertise lend the title an important level of authenticity and the tutorial material is fully comprehensive in both notation and Tab.An accompanying CD features recordings of all examples so that you can here exactly how these unusual and exciting musical approaches actually sound!

Brazilian Love Songs for Guitar and Rhythm Section-Baden Powell (1937-2000) was one of the great figures of Brazilian music in the 20th century. His music ranging from bossa nova to samba choro and folkloric styles resonated throughout the world. This MMO album presents ten of his greatest classics scored for solo guitar with rhythm section and puts you center stage! Includes an authoritative newly engraved solo part printed on high-quality ivory paper a digital stereo compact disc featuring a complete performance of each piece with rhythm section and soloist and a second performance minus you the soloist. Performed by Christian Reichert guitar Accompaniment: Markus Lechner Bass Friedemann Stert Drums/Percussion

Poul Ruder's Wind-Drumming for Wind Quintet and 4 Percussionists (1979/85). Parts are for hire: hire@ewh.dk Programme NoteWind-Drumming was written in 1979 on a commission from The Danish Percussion Ensemble.The piece is a clash of two kinds of sound-associations; the mystic exotic impact of Latin-American drumming and the more well dressed reputation of Western concert-instruments in this case a wind-quintet (w. electric flute).The two instrumental camps either melt into one soft humming ritual or are split wide apart the winds tearing their way through the undergrowth ofrainforest-drumming. There is more than one way of getting on to WIND-DRUMMING: obviously it is about the confrontation of two incongruent ways of living a lament on the damage done to the tropical rainforests of the world by modern civilisation. One can hear it plainly as a direct rhythm-show a downright number or a joyous homage to the most exiting kind of folkloristic music at all: the carnal spell of the Brazilian Samba. Poul Ruders

Fernando Obradors (1897-1945) was a self-taught composer and conductor. Born and raised in Catalonia he spent most of his working life in the Canary Islands but returned to Barcelona shortly before his death. Today he is remembered best for his four volumes of classic Spanish folk songs which he collected and arranged for solo Voice with Piano accompaniment. Canciones Clasicas Espanolas Vol. 4 is the last of these written c.1941.

Good work for examinations and recitals by an important British composer. Duration c.6'. AMEB (Australian Syllabus) 2004. Programme notes as follows:Lennox Berkeley was born in 1903 and died in 1989. After reading modern languages at Oxford he had no intention of becoming a composer until he met Ravel in 1926 who encouraged him to study in Paris with Nadia Boulanger. He stayed in Paris until 1932 developing his own musical language. In 1936 after the death of his mother he went to Barcelona for the International Society for Contemporary Music festival where he met Benjamin Britten. The two lived together at Snape in Suffolk for a while until the outbreak ofwar before Berkeley moved back to London to work for the BBC. Here he met his future wife Freda Bernstein. He taught at the Royal Academy of Music in London from 1946 until 1968 where his pupils included Richard Rodney Bennett Nicholas Maw and John Tavener among others. He was knighted in 1974. In early February 1971 I was playing in a concert at St. John's Smith Square London then only relatively recently restored as a superb venue for music. The programme which I believe was being broadcast included Berkeley's Serenade Op.12. It was a work I had always enjoyed playing and was standard string orchestra repertoire at the time. There was initially no platform at St. John's and so the audience sat virtually on top of the performers. So close were they on this occasion that I had to ask for a little more room in order to play. At the end of the piece the orchestra acknowledged the applause and the gentleman who I had all but practically decapitated with my over-enthusiastic playing stood up and took a bow. I had been almost playing in Lennox Berkeley's lap! The opportunity was too good to miss and I wasted little time in introducing myself. Mr Berkeley said that he had been fascinated by my playing and asked me to write to him about a possible commission.This I did on 6 February mentioning that