Arbos

Par BARBOSA-LIMA CARLOS. This innovative and comprehensive arpeggio studies book takes the guitarist past the studies of Sor, Coste, Aguado, Giuliani, and Carcassi. These studies explore the entire fingerboard within the harmonic evolution of the 20th century with the key of E as the basic guide. The book deals with harmonies from triads through thirteenths in new, exciting ways--information which is extremely practical and invaluable for contemporary guitar performance! / Niveau : Débutant à Intermédiaire / All Styles - Technic / Recueil / Guitare Classique

Par BARBOSA-LIMA CARLOS. Virtuose de la guitare de classique et jazz brésilien Carlos Barbosa-Lima et John Griggs ont collaboré à l'écriture ces cinq étendu, compositions originales de solos. Ces pièces d'explorer une grande variété de rythmes jazz brésiliens, harmonies et couleurs de ton. Le disque compact ci-joint présente performance de Lima-Barbosa de chaque solo. Pensivement écrit en notation standard distincte et les éditions de la tablature, ces pièces seraient mieux être joués sur une guitare à cordes de nylon par l'intermédiaire de guitariste avancé. / Niveau : Intermédiaire à Avancé / Brazilian - Solos / Tablatures / Guitare Tablatures Classique et Fingerpick

Intermezzo Malinconico translates in English to Intermezzo Melancholy. This Bass Clarinet solo was expertly composed by Hilda Paredes. Known as Mexico’s leading contemporary composer Hilda Paredes has received many prestigious awards for her work including the Arts Council of Great Britain fellowship for composers the Rockefeller Fund for Culture Mexico/USA and many others. Paredes work has been commissioned by soloists ensembles and orchestras around the world and performed by internationally renowned ensembles including among many others Grup Instrumental de Valencia Plural Trio Arbós and the London Sinfonietta.

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.

A five-movement suite for solo Guitar dedicated to Alice Artzt Carlos Barbosa-Lima and Alirio Diaz. The movements are Quisqueya Homenaje a la Catedral de Santo Domingo Pavana Guajira (al estilo del Son Cubano) Boriken (Cancion-Mazurka) and Seis Milonga. Written in standard notation only and recommended for the intermediate to advanced guitarist. The companion recording by Carlos Barbosa-Lima is highly recommended.

Music From The Motion Picture Soundtrack-The Pirates of the Caribbean franchise is back with the 2017 release of Dead Men Tell No Tales. This Piano solo folio features ten songs from the soundtrack penned by Geoff Zanelli. Includes the songs Beyond My Beloved Horizon The Brightest Star in the North Dead Men Tell No Tales The Dying Gull Kill the Filthy Pirate I'll Wait My Name Is Barbosa No Woman Has Ever Handled My Herschel Salazar Treasure and You Speak of the Trident.Includes 8 pages of color artwork from the film!

Cette anthologie de guitare classique DVD a des représentations par certains des meilleurs joueurs du monde. Pièces et représentations comprennent Carlos Barbosa-Lima: Mi Bossa bleu et braises, Duo Castellani-Andraccio : Sonate en ré mineur, Nikita Koshkin : Suite de Cambridge, Ronn McFarlane, Jorge Morel, Newman - Oltman Duo : Prélude, Juhel Perroy : BWV 997, Andrew York : Marley Ghost, Fabio Zanon : Appassionata et plus encore. / Classic - Concert/Documentary / Accessoire / Guitare Classique

editor: Bernard Thomas arranger: Bernard Thomas Dance Music Instrumentation: 3-5 recorders (SAT/SATB/SSAT/SAATB/SATTB) Edition: performance score The Schott Recorder Consort Anthology presents a wealth of music from the fifteenth to the seventeenth centuries. Although the bulk of the collection is laid out for a variety of four-part ensembles there are also duets and trios, as well as five- and six-part pieces. The repertoire includes both original instrumental works and transcriptions of vocal pieces. There are lively and stately dances, fantasias, and arrangements of expressive madrigals, catchy chansons and more restrained religious pieces; all are chosen for their effective realization by recorder consorts. 136 Renaissance pieces with notes on sources, editorial technique and interpretation. Volume I contains a valuable introduction to the series and to the art of consort playing. 2-6 recorders: Descant, Treble, Tenor, Bass in various combinations. Anonymous: La Danse de Cleves (SAT) Anonymous: Pavana in passo e mezzo (SATB) Anonymous: Saltarello La barca del mio amore (SATB) Anonymous: Pavana La fasane (SATB) T. Susato: Bergerette Dont vient cela (SATB) J. d'Estrées: Basse danse Bernadine (SSAT) E. du Tertre: Pavane & Gaillarde (SAATB) E. du Tertre: Branle de la guerre (SATB) E. du Tertre: Branle (simple) (SATB) E. du Tertre: Branle (simple) (SATB) P. + B. Hessen: Allemande Jamais n'aymeray masson (SATTB) C. Othmayr: Ein beurisch Tanz (SSAT) Anonymous: Polish Dance (ATTB) G. Mainerio: Putta nera ballo furlano (SATB) G. Mainerio: L'arboscello ballo furlano (SATB) Anonymous: Pavan with Divisions (SSATB) A. Holborne: Pavan (SAATB) A. Holborne: (Nowell's) Galliard (SATTB) C. Negri: Barriera (SATB) C. Negri: Bianca fiore (SATB) G. Zanetti: Passo e mezzo (SATB) G. Zanetti: Ballo de colla (SATB) G. Zanetti: Pavaniglia (SATB) G. Zanetti: La bella pedrina (SATB) P.F. Caroubel: Branle gay I (SAATB) P.F. Caroubel: Branle gay II (SAATB) P.F. Caroubel: Branle gay III (SAATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet des matelotz (SATB) M. Praetorius: Volte (SAATB) W. Brade: Courante (SSATB) after Playford: Grimstock (SATB) after Playford: Goddesses (SATB) after Playford: Heart's Ease (SATB)

Edition : score and parts Instrumentation : for 7 (8) Recorder (SATB) and 3 Triangel ad lib.

Par PART ARVO. / Répertoire / 7 ou 8 Flûtes à Bec (SATB) et 3 Triangles Ad Libit