Latin American Guitar Music

Par LAURINDO ALMEIDA. This collection presents guitar duets by Laurindo Almeida and musical friends plus related photographs of historical interest. Features Radames Gnattali, 'Pixinguinho' (Alfredo da Rocha Viana Filho - 'Father of the Samba'), Heitor Villa-Lobos, Charlie Byrd, Ernesto Nazareth, and 'Garoto' (Anibal Augusto Sardinha). In addition to music from Brazil this collection addresses a variety of Latin American styles with arrangements of melodies from Venezuela, Cuba and Mexico. A piece by the American film composer, Stanley Wilson is introduced here for the first time. The collection ends with captivating duet arrangements of the haunting Intermezzo Melancólico by Manuel Maria Ponce and Tango Español by Isaac Albéniz. / Niveau : Intermédiaire à Avancé / Classic - Duets / Recueil / Guitare Classique

Books 4-6 and Advanced Technique-The Guitar Lessons of Julio Sagreras are among the most universally used collections of guitar music and represent a milestone in guitar didactic literature. The original six lesson books along with the book Advanced Technique were an immediate success on their introduction and remain so today. This edition brings together under one cover Lesson Books Four Five and Six as well as Sagreras's Advanced Technique volume. The studies in each book arecarefully fingered and graded. They are charming melodious and extremely effective in the classroom. They are also an ideal introduction to classical guitar playing and also to Latin American guitar music. Some of the laterstudies are appropriate as concert repertoire. This text is in English and Spanish with French and German translations in an appendix at the back of the book.

Par ZARADIN JOHN. John Zaradin l'Angleterre est un artiste doué jazz tant dans le domaine de la guitare classique. Il est particulièrement bien informé dans le monde vaste et diversifié d'Amérique latine les styles guitare solo et rythmique. Ce livre contient six solos basés sur le rythme de la Rumba (Mosaico de Rumbas) et six solos en mode Bossa-Samba (Ambientes Brasileiras). Chaque solo est inscrit dans la notation et de tablature et reflète la vitalité, le rythme et la nature improvisé de cet idiome. / Niveau : Intermédiaire / Latin American - Solos / Tablatures / Guitare Tablatures Classique et Fingerpick

/ Solos de guitare classiques. Ecrit en guise de suivi à des rythmes de danse populaire en vedette dans les rythmes de l'Amérique latine pour guitare. Renommée virtuose argentin Jorge Morel apporte des éclaircissements à jouer à des rythmes de danse latine complexe : la milonga, tango, malambo et baião-plus une bossa nova, branchez-vous ! Ecrit en tablature et notation standard. / Guitare Classique Et Fingerpick / 28 pages / niveau : Intermédiaire / Partition - Format: 11 X 8,5

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.

Par ZARADIN JOHN. Ce livre est un guide pour les techniques nécessaires pour \' embarquais de guitare jazz latin \'. Il y a 5 sections indépendantes : références et la définition des termes - exercices et/ou de pièces qui démontrent les diverses techniques de guitare - exemples de patrons communs de Rasgueado - la \'Suite de bateaux à aubes,\' études pour le développement de la capacité rythmique et appréciation - et pièces dans une variété de différents styles latins. Le CD, utilisé en conjonction avec les symboles écrites de notation, la tablature et la corde, donne une idée claire de ce qui est requis pour les joueurs et les enseignants de tous les niveaux. On suppose que le lecteur est familier avec la notation de guitare et de la musique, mais les glossaires des termes sont incluses pour référence. Il existe une variété de modèles qui sont employés dans les différents styles de musique - les exemples montrent comment aller \' en \' certaines formes de base. Toutes les techniques décrites sont jouables sur la guitare fingerstyle et les pièces eux-mêmes sont sélectionnés et arrangés avec la performance à l\'esprit. / Niveau : Débutant à Intermédiaire / Latin American - Methods / Tablatures / Guitare Tablatures Classique et Fingerpick

Guillermo Diego's Album Pieces for Solo Guitar Volume I embody a collection of original works conceived by this recognized Mexican composer for classical guitar. These pieces have being written with different musical languagesthat goes from the inspiration in Mexican styles to free pieces that use contemporary and different resources that belongs to the guitar concerto style. This works are plenty of musical colors and offers different challenges tothe guitarist. The writing is completely idiomatic very natural for the guitar; it is music in which one the professional finds an artistic meaning but also the students will find the elements to improve his technical and willnear them to original works that have being composed recently and inspired in Mexican and Latin American music. The publication of this book is a premiere and will give to the guitarist part of the knowledge of what it is happencurrently in Mexican classical guitar. Guillermo Diego is a well-known composer into the sphere of classical guitar who has being recognized for his contributions to the art of the guitar.

Par MELLO CHRIS. Le guide plus complet et détaillé décrivant le rôle de la guitare dans la musique de Cuba, Brésil, Colombie, Mexique et autres pays sud-américains à imprimer. Un guide pour tout guitariste intéressé dans l'exécution de différents styles de musique latine et compléter le sondage. Chaque chapitre porte sur les styles communs à la musique d'un pays en vedette. Comprend une exploration approfondie de l'histoire, instrumentation commune, rythmes de base, patrons de la guitare et voicings corde, transcriptions, application et fournit des exemples musicaux de chaque style. Elèves exploreront : Mambo, Cha-Cha, Samba, Bossa Nova, Cumbia, Vallenato, Baion, Bolero, Rumba Flamenco et Pop?just Latin contemporain pour n'en nommer que quelques-uns ! Etudiants peuvent choisir de se concentrer dans sur un style ou échantillon beaucoup. Cet ouvrage de ressources contient des connaissances précieuses guitaristes peuvent également utiliser dans une application à une multitude de styles de la Direction générale de la (smooth jazz, pop, jazz, rock et la croissance jamais - marché de la musique latine), y compris ce qu'il faut jouer avec un ensemble... / Niveau : Débutant à Intermédiaire / Latin American - Methods / Méthode / Guitare Classique

The presentation of this album marks a special event in classic guitar publishing! This anthology contains 11 truly representative examples of the folklore of Latin America, all highly revered folk songs considered jewels of the musical traditions of: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela and Mexico. Artfully arranged by the renowned Mexican composer and guitarist, Guillermo Diego, students and professionals alike will discover multiple items of interest and important technical challenges while learning some of the most popular Latin-American folk tunes. To facilitate dialog between teacher and student, rehearsal numbers have been added at key points of each arrangement - additionally, the guitarist will find a handful of pieces faithful to various Latin-American styles composed by Diego. Written in standard notation only for the intermediate to advanced classic guitarist, these arrangements will make delightful additions to recital and concert programs./ Recueil / Guitare

Par BURKHARD BUCK WOLTERS. Styles populaires de guitare : Latin and Salsa reflètent les styles populaires récents et transférer leur classique ou fingerstyle technique. Les joueurs de guitare qui veulent ajouter de la musique latine et de la salsa à leur répertoire de solo trouveront une collection originale et unique de compositions qui donnera la joie à la fois des joueurs et des auditeurs. Le niveau de jeu est intermédiaire d'avancer. Difficultés de gauche comme barrés et étendues sont minimisés autant que possible pour le rendre plus facile à fabriquer le sillon de la musique. Ecrit en notation standard et l'onglet. / Niveau : Intermédiaire à Avancé / Latin American - Solos / Tablatures / Guitare Tablatures Classique

Media Type : Book/CD Set Level : Intermediate Musical Genre : Latin American Number of pages : 32 Renowned Argentine virtuoso Jorge Morel offers insight in the playing of complex Latin dance rhythms: the milongo, tango, samba, malambo, and choro - plus a salsa tune! In standard notation and tablature.

Over 30 songs, all with a Latin American beat, arranged for piano, voice and guitar. Includes the classics 'Anapola', 'Malaguena', 'Granada' and 'La Bamba'. / Piano/Vocal/Guitare (PVG)

Par BARREIRO ELIAS. Une collection de danzas par cinq des plus importants compositeurs portoricain du XIXe et du XXe siècle : Juan Morel Campos, Luis R. Miranda, Angel Mislan, Manuel G. Tavarez et Braulio Dueno du côlon. Toutes les chansons sont joliment disposés par Elias Barreiro, avec le score et de pièces de pull-out de première et deuxième guitare - tous en notation standard. Un enregistrement de CD compagnon de tous les neuf chansons est également inclus. / Niveau : Débutant à Intermédiaire / Latin American - Duets / Recueil / Guitare Classique