Inventing the American Guitar

Agustin Pio Barrios Ferreyra, a Paraguayan composer and guitarist, is nowadays known as the creator of the Mangorean or Indo-American school of the Guitar. 'The name, Mangoré, was adopted in honor of the great chieftain Mangoré, an important personage of the Paraguayan jungles'.Mangoré used for his works popular folkloristic themes of South America as well as sounds of nature ('the still waters of ['] the Amazon', 'the song of the birds'). But Magnoré also was inspired by European music: He composed gavottes, minuets and waltzes: 'It was in J.S.Bach where Barrios discovered the source of his universality [']'.Admired by many but despised by more was his way of stringing his guitar: '['] the way he attacked the strings with the fingers sideward, with very little use of the fingernails'. He also invented some kind of a muffler: He put 'small balls of rubber on the Pirastro steel string'. Jesus Benites R. who collected Magnoré's works for this edition says about him: 'Magnore is the genius of South America'. He was a strong influence for many composers and musicians, such as Heitor Villa-Lobos, Manuel Ponce and Andres Segovia. Vol. 1 of this 4 book collection contains 23 pieces, including Chôro da saudade, Danza Paraguaya, La Catedral and Madrigal (Gavota). Contenu - El sueno de la muneca - Estudio No. 2 und 3 - Minueto en La - Arabescos - Medallón antiguo - Vals Estudio No. 1 - Oración - Escala y Preludio - Confesión - London carapé - Tú y yo - Madrigal - Vals No. 3 - Canción de la Hilandera - Choro da saudade - Jha, che valle - Preludio en Do menor - Estudio de Concierto No. 2 - Caazapá - Danza paraguaya No. 1 (1. u. 2. versión) - La Catedral

Agustin Pio Barrios Ferreyra, a Paraguayan composer and guitarist, is nowadays known as the creator of the Mangorean or Indo-American school of the Guitar. ?The name, Mangoré, was adopted in honor of the great chieftain Mangoré, an important personage of the Paraguayan jungles?.Mangoré used for his works popular folkloristic themes of South America as well as sounds of nature (?the still waters of [?] the Amazon?, ?the song of the birds?). But Magnoré also was inspired by European music: He composed gavottes, minuets and waltzes: ?It was in J.S.Bach where Barrios discovered the source of his universality [?]?.Admired by many but despised by more was his way of stringing his guitar: ?[?] the way he attacked the strings with the fingers sideward, with very little use of the fingernails?. He also invented some kind of a muffler: He put ?small balls of rubber on the Pirastro steel string?. Jesus Benites R. who collected Magnoré?s works for this edition says about him: ?Magnore is the genius of South America?. He was a strong influence for many composers and musicians, such as Heitor Villa-Lobos, Manuel Ponce and Andres Segovia. Vol. 1 of this 4 book collection contains 23 pieces, including Chôro da saudade, Danza Paraguaya, La Catedral and Madrigal (Gavota).
Contenu
- El sueno de la muneca
- Estudio No. 2 und 3
- Minueto en La
- Arabescos
- Medallón antiguo
- Vals Estudio No. 1
- Oración
- Escala y Preludio
- Confesión
- London carapé
- Tú y yo
- Madrigal
- Vals No. 3
- Canción de la Hilandera
- Choro da saudade
- Jha, che valle
- Preludio en Do menor
- Estudio de Concierto No. 2
- Caazapá
- Danza paraguaya No. 1 (1. u. 2. versión)
- La Catedral / Partitions classique / Guitare - luth / Guitare / ZEN-ON

Par SAUMELL MANUEL. Select 'Contradanzas Habaneras' by 19th century Cuban composer Manuel Saumell (1817-1870). Saumell is known as the 'Father of nationalism in Cuban music'. In more than 50 Contradanzas Habaneras, Saumell never repeated himself, for within those 8 or 16-bar phrases, he was capable of astounding rhythmic and melodic invention. This group of contradanzas were originally written for the piano and arranged here for flute and guitar by Elias Barreiro. Presented in standard notation only with separate pull-out sections for guitar and flute. / Niveau : Intermédiaire à Avancé / Latin American - Duets / Recueil / Guitare et Flûte Traversière

Demon In Disguise-?The extraordinary folk-blues guitarist David Bromberg has strolled back into the spotlight as abruptly as he resigned from it nearly three decades ago when he dissolved his fantastic and popular touring band in 1980 to study violin making... The fluid orchestral invention of Bromberg?s fingerpicking ? his original calling card on pivotal late-1960S and 1970S sessions for Jerry Jeff Walker (?Mr. Bojangles?) and Bob Dylan (New Morning) ? is in undiminished bloom invigorating sturdy old blues and ballads.? - ROLLING STONEIn this intimate portrait the legendary David Bromberg talks about his influences and performs the music he loves - a wide panorama of Americanblues folk country bluegrass ragtime jazz and contemporary sounds.Inspired by the music of Pete Seeger and the Weavers among others he began studying the guitar at age 13. After graduating from Tarrytown High School he enrolled at Columbia University intent on a career as a musicologist. During this period he discovered the old recordings of Blind Blake Lonnie Johnson Big Bill Broonzy Marshall Owens Luke Jordan and other great country bluesmen as well as contemporary recordings of B.B.King Freddie King and Albert King. He studied with Rev. Gary Davis for several years and as Rev. Davis said ?I have no children but I have several sons?. David was a son to the great Reverend.Drawn to Greenwich Village's flourishing coffeehouse folk music scene of the mid-1960?s David left Columbia University and opted to devote full time to his music. Shortly thereafter his extraordinary guitar picking and exceptional stylistic range brought him to the attention of many other musicians: Bob Dylan Ringo Starr George Harrison Tom Paxton and Chubby Checker are only a few of the notables who sought David out as a back-up artist for recording. In all he has played as a sideman on over 100 albums.

Doc Watson is widely regarded as the finest flat-picking guitarist preeminent folk artist alive today. He is a living musical treasury of Americana. In this Ramblin' concert recorded in 1980 Doc is joined by his son Merle on guitar and banjo and Michael Coleman on bass. Their performance is a showcase of native folk traditions and a display of distinctive stylistic inventions. Doc and Merle Watson's repertoire encompasses country ballads bluegrass gospel jazz standards contemporary songs and blues. A visit with Doc and Merle at home in Deep Gap North Carolina and in concert in Rock Hill South Carolina is also included.