Play Solo Flamenco Guitar With Juan Martin Vol. 2

Progressively graded for intermediate and more advanced-This is the second volume of Play Solo Flamenco Guitar With Juan Martin. The book cotains 21 progressively graded solos for intermediate to advanced level players as well as a CD and DVD containing all of the solos in thebook plus 4 bonus extras! Written in both standard notation and TAB this book is perfect for all guitarists!

La pratique de la guitare en solitaire peut rapidement s'avérer assez frustrante. C'est pourtant le triste sort d'un grand nombre de guitaristes de flamenco. Pour tous ceux d'entre nous qui avons commis l'erreur de naître loin de l'Andalousie (ou de Madrid et de Barcelone), tenter de trouver un chanteur avec qui partager nos expériences musicales frise souvent l'utopie? C'est pourquoi nous avons pensé utile de vous proposer trois ouvrages de falsetas pour duo de guitares, et notamment ce premier volume dédié intégralement aux Bulerías. Hormis le plaisir partagé, jouer en duo vous aidera à acquérir une meilleure maîtrise du 'compás', surtout pour les formes rythmiquement les plus rigoureuses, telles que vous en trouverez dans ce recueil. Ainsi, les partitions pourront être utilisées de deux manières : jeu en duo (avec un autre guitariste ou en s'enregistrant), mais aussi interprétation en solo de la première partie de guitare (et souvent des deux). / Guitare

Progressively graded for absolute beginners to intermediate and more advanced-Designed as a comprehensive multimedia teaching set this book CD and DVD present 42 solos progressively graded in 6 levels from absolute beginners to more advanced to suit players of all levels. It containsexamples of eighteen different palos (rhythmic forms) of flamenco with a wealth of melodic falsetas and rhythms. The music for all these is accurately written in notation and flamenco tab (cifra) in the book and is also recordedon the companion CD. The DVD video contains over 57 minutes of solo music and also includes introduction by Juan Martin and brief scenes of Andalucia today which help to place this profoundly exciting and deeply felt music inthe landscape of its origins. Juan Martin has succeeded here is showing how even music which is simple and very easy to start with can express the essential sound and emotion of flamenco to build step by step theskills necessary for the performance of concert solos. Written in English and Spanish.

Par MARTIN JUAN. Four exciting concert solos for flamenco guitar from Juan Martín's best-selling album 'The Andalucian Suites'. This is the first of the four suites on the album. These suites are transcribed into standard notation and flamenco tablature (cifra), with introductory playing notes by Juan Martín. The four solos on the accompanying CD are performed by Juan. The complementary and contrasting variety of styles and rhythms of the four solos provide a brilliant display of Juan's artistry and the expressive capabilities of the flamenco guitar. Each solo is complete in itself. A powerfully evocative Zambra Mora is followed by the much-requested rumba 'La Feria', then a gently melancholic Milonga and finally a thrilling Bulerías, which combines modern elements with pure gypsy falsetas from Moron del la Frontera. These solos provide an exceptional opportunity to learn and enjoy the music of a master flamenco guitarist, whose two volumes of graded 'Solos Flamencos' are already Mel Bay best-sellers. / Niveau : Intermédiaire / Flamenco - Solos / Tablatures / Guitare Tablatures Classique

With Online Audio-Written in Spanish and English this book contains 12 of Juan Serrano's finest flamenco guitar solos. Selections include: Bella Mar (Verdiales); Ensueno (Petenera); Fantasy (Zambra); Juani (Farruca); Lidia;Majestuosas (Serguiriyas); Munequita (Zapateado); Nancy (Rumba); Nostalgia (Guajiras); Posadas (Soleares); Tentacion (Bulerias); and Verde Selva (Danzon).All solos are scored in notation and tablature. Includes accessto online audio recording download of Juan Serrano playing each solo.

Quelques duos chant-guitare ont durablement marqué l’histoire du flamenco. Ainsi, les cinq albums gravés par Camarón de La Isla et Paco de Lucía entre 1969 et 1973 ont véritablement révolutionné l’esthétique du genre, et constituent encore actuellement une référence pour les artistes contemporains. Ce volume vous propose donc la transcription intégrale des falsetas de Paco de Lucía pour ces cinq enregistrements aussi mythiques qu’incontournables. Certaines, parmi les plus célèbres, ont été reprises dans les disques solos de cette période, mais beaucoup d’autres ont été spécialement composées pour l’accompagnement du cante de Camarón. Les analyses de quelques exemples caractéristiques vous permettront de mieux comprendre le style du guitariste, et donc de relever d’autres falsetas du maître, ou de composer vos propres falsetas « à la manière de ». Enfin, le CD reprend tous les exemples présentés afin de faciliter votre compréhension et votre assimilation. Support média : Compact disc Langue : en français

For this unique lesson Fernando Perez composed an instrumental piece titled Jazz Manouche which encompasses many gypsy jazz guitar techniques.Besides teaching you how to play this exciting instrumental Fernando willexplain how to understand this style of music in order to create your own compositions in this style. You will learn:Different techniques i.e such as playing 'abanico' - a flamenco technique very useful forfingerstyle guitarPlaying ornaments on arpeggiosFingerpicking with your index middle and ring fingersStrumming a perfect groove for Jazz ManoucheStrum variations Breaking down basslines chords and melodies in order to know how they work Positions for harmonic movementsOriginal ideas for turning your guitar into a Jazz band and taking solos for guitar bass or even drums

Par WORMS CLAUDE. Dans le vocabulaire du flamenco, le terme compás désigne à la fois un cycle métrico-rythmique et un mode mélodique associé à des harmonisations traditionnelles. Les guitaristes flamencos utilisent pour chaque mode des positions d?accord particulières (posturas) qui déterminent tout autant l?identité musicale de chaque palo (forme) que le strict cadre rythmique. Pour travailler les compases, il est donc également indispensable d?étudier les voicings flamencos. Les apprentis tocaores (guitaristes flamencos), fascinés à juste titre par la richesse des compositions (falsetas) que nous ont léguées depuis plus d?un siècle les grands maîtres du genre, oublient trop souvent que leur premier devoir est d?intérioriser les compases, au sens large, jusqu?à ce qu?ils deviennent une seconde nature. Cet ouvrage a pour objectif de vous aider à maîtriser les compases, et à « jouer » avec eux, de manière naturelle, jusqu?à ne plus avoir à « compter les temps ». Nous apprendrons donc à « hacer compás » (à produire du compás), non seulement en rasgueados, mais aussi en variant rythmiquement et harmoniquement les motifs codifiés qui articulent aussi bien les solos que les dialogues entre chanteurs, danseurs et guitaristes (introductions, paseos, llamadas et remates). Ce sont ces cinq groupes de séquences que nous étudierons dans cet ouvrage, appliquées à un palo emblématique, la soleá. Le CD joint à la méthode propose la totalité des exemples musicaux au format mp3, pour en faciliter la compréhension et donc aussi l?assimilation. / Date parution : 2022-07-20/ Recueil / Guitare

Après l'interprétation du thème 'por Bulerias', on développe une étude détaillée des sept 'falsetas' (variations) et du 'remate' (coda), en montrant un ample évantail de possibilité de 'rasgueados'. Chaque variation est interprétée: sur un tempo lent accompagné par un métronome et sur un tempo de Buleria accompagné par les palmas, cajon et basse. En option plusieurs pistes de vidéo pour que les guitaristes et les bassistes puissent s'exercer. Livret de partitions inclus, en fançais, espagnol, allemand, anglais et japonnais. / Guitare (Fingerpick)

Serrano Juan (Taught). Par SERRANO JUAN. Flamenco guitar virtuoso Juan Serrano divides this unique video into technical and performance segments. In the first part, he teaches and demonstrates the basic elements of flamenco music. In the second part, he plays four outstanding concert solos in their entirety. A masterful video by a guitarist known world-wide for his innovative, flawless technique. This product now available as a video download through Mel Bay On Demand. / Niveau : Tous Niveaux / Flamenco - Solos / Accessoire / Guitare Classique

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.

The most favourable qualities of shaping a fine artistic personality are combined in Andrés Batista: vocation sensibility technique and the honest and reserved disposition that has marked his excellent self-taught work. His mastery of the flamenco Guitar as a soloist enabled him to analyse the Guitar technique first intuitively and then with a serious musical background and to translate it in two ways: the tablature and the musical notation so that it is useful for Guitar players with a musical background as well as for those purely intuitive who use the tablature.The main goal of the Metodo De Guitarra Flamenca (Flamenco GuitarManual) is to furnish the pupil with the theoretical and practical knowledge of the different styles in flamenco playing through the adequate explanations and exercises. The method has been divided into three parts: Theory Technique and Practice. Pictures and detailed descriptions are included throughout in Spanish English and French.Even though the final aim of this method is to aid and teach Batista suggests that the advice of a competent teacher will help to avoid mistakes and will also stimulate a better understanding progress and study of the instrument.