Renaissance Dance Music for Guitar Ensemble

Plus de 200 morceaux du début de la Renaissance et du Baroque aux périodes classiques et romantiques. Inclues des oeuvres de Carcassi, Bach, Tarrega et Mozart. / Guitare / Partition

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

This collection of the work of the Maltese composer Gordon Mizzi for solo guitar is being made available to the public for the first time. Saints and Fireworks The Music of Gordon Mizzi Volume Two is the second of two albumsof Gordon Mizzi's music which are available from Mel Bay Publications. This album takes its title from the newly released CD Gordon Mizzi Saints and Fireworks that has been recorded by Carlos Bonell one of today's mostcelebrated guitarists and which is available from Spearhead Music. This album contains a diverse collection of original works as well as transcriptions of Renaissance and Maltese folk music by Gordon Mizzi. The Branles de Malte byJean d'Estrée were originally composed by the French Knights of St. John in Malta in 1551 for the Dauphin of France. Gordon Mizzi has made guitar transcriptions of these five dances and this is the first time that they arebeing published. The Branles de Malte by Adrian Le Roy are also included. There are a number of original compositions. Saints and Fireworks a piece in two movements vividly represents Malta's village festas. Island Scenes aresix musical portraits of towns and villages dotting the landscape of Malta. They include Valletta- Barrakka Gardens San Giljan-After the Feast Mdina- Città Notabile the dreamy Comino-The Blue Lagoon Sliema- The Tower and the pulsatingly brash Paceville -Sin City. Three Love Poems : Hula Lahaina and Hana are influences from Hawaii. There are also two cradle songs Child Don't Cry and Ninna Nanna as well as folk inspired melodies such as NightCrossing and il- Maltija. The guitarist will find a veritable pot pourri of scents and sounds in this album.

Intended for both working guitarists and those who play strictly for the enjoyment of great music, this collection of Renaissance favorites transcribed for guitar will add something special to any party or social gathering. Including popular pieces such as John Dowland's 'Orlando Sleepeth,' 'Tarleton's Riserrectione,' and 'Mrs. Winter's Jump,' Luis de Milán's 'Pavan I' and 'Pavan III,' and Luis de Narváez's 'Diferencias sobre 'Guárdame las Vacas,'' this edition will provide a repertoire of crowd-pleasing Renaissance tunes for any event. A special section about plucked instruments of the Renaissance is included to make this book more useful and enjoyable to own. / Guitare

‘…a true celebration of great and heartfelt music.’ Acoustic Guitar” John Renbourn and Jacqui McShee are two pivotal figures in the history of British folk music. Founding members of the British folk-rock group Pentangle in the 1960s guitarist John Renbourn and vocalist Jacqui McShee have been musical collaborators and innovators for four decades. Renbourn’s guitar style is a unique product of years of curiosity and investigation. Exploring the guitar in unusual and beautiful ways John takes his listeners through a luxuriant musical landscape of masterful playing warm vocals and witty asides. The consummate fingerstylist plays a unique folk-baroque fusion of Britishand Celtic folk music with jazz blues ragtime classical Middle Eastern and pre-Renaissance music. London-born McShee combines an enchanting soprano voice with an experimenter’s outlook. Together John Renbourn and Jacqui McShee are a magical treat. Tunes include: Watch The Stars My Johnny Was A Shoemaker Can’t Keep From Crying Dark Island Abide With Me Great Dreams From Heaven One Morning In May South Wind The Plains Of Waterloo I Am A Maid That’s Deep In Love Sandwood Down To Kyle The Bonny Greenwood Side Lindsay Medley: Bunyan’s Hymn / I Saw Three Ships / English Dance Kokomo Blues Bonus Tracks: John’s Talk At The Break Of The Day (Duo with Clive Carroll)

Quezada, Ernesto. Par DALZA JOAN AMBROSIO / ATTAIGNANT / BORRONO / LE RO. / Niveau : Intermédiaire / Recueil / Guitare Seule

and Renaissance Music For Guitar-A collection of 28 fingerstyle guitar solos and duets by fingerstyle guitarist John Renbourn. These solos are drawn from Medieval and Renaissance lute dance tunes and solos. All solos are in notation and tablature. The onlineaudio contains 17 of the solos from the book.

For All Instruments With Guitar Chords. Par BIELEFELD ROBERT. Players of all kinds of instruments including flute, fiddle, mandolin, recorder, whistle, guitar, harp and more can use this collection of music which is popular at modern renaissance festivals. The music is presented simply, with melody lines and chord symbols, allowing for a wide range of interpretation. In addition to many period dance tunes, the book contains a selection of vocal numbers with lyrics included. Each selection is accompanied by text to suggest ideas for performance, place the music in a modern festival context and provide useful information to those interested in studying historical sources of early music. Cantiga's arrangements of some of the tunes in this book can be heard on the companion recording. They are played at a listening tempo by the ensemble: Wooden flute or recorder, fiddle, cello, harp and percussion. / Niveau : Débutant à Intermédiaire / Recueil / Tout Instrument

Great Fiddling Tunes - Early Music Gems. Early Music Gems contains 49 tunes dating from 1300-1791, including Medieval, Renaissance, and ancient melodies as well as a ?best of? John Playford's The Dancing Master. These delightful melodies are perfect for contradance, English country dance and concert settings. Suggested bowings, chords, tempos, and variations are included. An audio recording of each of the tunes includes the fiddle melody with guitar accompaniment. Includes access to online audio.

With Online Audio- Players of all kinds of instruments including flute fiddle mandolin recorder whistle guitar harp and more can use this collection of music which is popular at modern renaissance festivals. The music is presented simply with melody lines and chord symbols allowing for a wide range of interpretation. In additionto many period dance tunes the book contains a selection of vocal numbers with lyrics included. Each selection is accompanied by text to suggest ideas for performance place the music in a modern festival context and provideuseful information to those interested in studying historical sources of early music. Cantiga's arrangements of some of the tunes in this book can be heard on the companion recording. They are played at a listening tempo by theensemble: Wooden flute or recorder fiddle cello harp and percussion. Includes access to online audio.  

With Online Audio-Compiled by John LaBarbera this enjoyable collection of Mandolin music features pieces from various parts of northern central and southern Italy. Italian Folk Music For Mandolin includescomplete texts and translations of the songs with accurate accompanying arrangements for two Mandolins or Violin and Guitar. The selections include medieval and Renaissance instrumental folk dances sixteenth-century NeapolitanVillanelle work songs lullabies narrative ballads prisoner songs and popular dances including tarantellas pizzica Sardinian ballo tondo quadrille waltz and saltarello. The price of this book includes access toonline audio of all the featured pieces.