Latin Guitar Tab 'Mi'

250 Spartiti X 4 Volumi Serie Budget Book / Pop & rock / Recueil / Chant et Guitare

Guitar Play-Along-Performed by Christian Reichert guitar Accompaniment: Plovdiv Symphony Orchestra Conductor: Nayden Todorov Manuel Ponce's legendary Concierto del Sur remains one of the undisputed masterworks for guitar and orchestra and is arguably the greatest guitar concerto to emerge from Latin America. It is a vital part of the modern guitarist's repertoire. The concerto's unconventional melodic style and distinctly Latin American feel predominate integrating a near-perfect balance between guitar and orchestra. The writing for the guitar is brilliant forthright and leaves a strong impression on both player and audience. This Music Minus One edition presents a bravura performance of this20th-century classic from virtuoso guitarist Christian Reichert. Study his technique then you stand center-stage with the Plovdiv Symphony Orchestra under Maestro Nayden Todorov for your own Latin spectacular! Includes an authoritative newly engraved solo part printed on high-quality acid-free ivory paper containing the solo guitar part; a digital stereo compact disc featuring a complete performance of the concerto with orchestra and soloist and a second performance minus you the soloist; and a second compact disc containing a full-speed version of the complete version as well as a special -20% slow-tempo version of the accompaniment for practice purposes. The concerto is voluminously indexed for your practice and performance convenience.

Quatuors de guitare a marqué par le légendaire guitariste, Laurindo Almeida. Sont inclus les mouvements dans son célèbre ' Los Angeles Aquarelle Suite ' ('North Hollywood', ' Sunset Boulevard ',' quartiers Latin ', 'Mission de San Fernando', 'Beverly Hills' et 'Harbor Freeway'.) Le score et la 1ère partie de guitare sont disponibles en version imprimée. / Guitare Classique / 52 pages / niveau : Intermédiaire / Partition+Online Pdf - Format: 11 X 8,5

Par RIVOAL YVON. Ces recueils proposent un choix de mélodies populaires arrangées pour deux guitares. Les pièces ne comportent aucune difficulté technique majeure. Néanmoins, certaines formes rythmiques, liées à la musique traditionnelle de ces régions, demanderont une attention particulière. Aucune gradation n'a été établie dans la présentation des textes. Chaque recueil contiendra donc des pièces faciles et d'autres qui le seront un peu moins. / Niveau : Assez Facile / classique / Date parution : 1991-02-01/ Répertoire / 2 Guitares

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.

These two pieces for classic Guitar duo were composed for the Hanser-McClellan Guitar Duo.Two to Tango is a tango rhapsody for two Guitars using mainly tango rhythm combined with that of the milonga anotherArgentinean dance closely related to the tango. The interaction of the two Guitars playing single lines at times and then changing roles between the melody and the rhythm makes it more interesting for bothplayers.Millennium Duet was written as a homage to Chet Atkins. The piece opens with a brief reflection of country and western rhythmic ideas with a melody of a different character. It later moves on to otherpatterns at times combining some Latin American rhythms with a little touch of jazz harmony.This book includes two separate Guitar parts and a combined score written in standard notation only. The companion CD features thepremiere recording of the pieces by the Hanser-McClellan Guitar Duo.

Partition pour guitare Niveau : 2 Voici une bonne quinzaine d'années (et trois semaines) que j'espérais pouvoir écrire un jour ces pièces pour guitare à l'adresse de la plupart d'entre vous. C'est aujourd'hui fait. Cependant - et c'est là la principale raison de ce délai important - la conjugaison d'une certaine qualité musicale et d'une relative aisance d'exécution me semble toujours tenir de la plus haute difficulté en matière d'écriture. Et si j'ignore encore si ces 20 lettres remporteront ce défi-là, je sais au moins que je l'aurais tenté, répondant ainsi aux nombreuses voix amies qui depuis longtemps m'avaient invité à orienter mes travaux dans cette direction (très intimidant, cela dit et peut-être davantage que la composition même d'un concerto !). Aujourd'hui, au terme de ces quelques semaines de travail, ce qui probablement me ravit le plus est l'idée que ma musique puisse enfin être abordée par cette frange majoritaire de guitaristes qui, pour des raisons techniques compréhensibles, se sentait un peu exclue de la plupart de mes compositions. Cette lacune, je l'espère, fera donc désormais partie du passé. Contenu : Lettre à Sydney - Lettre à la Seine - Lettre noire - Lettre à soi-même - Lettre française - Lettre mi-longue - Lettre latine - Vénézuelettre - Lettre à Claude et Maurice - Lettre à la vieille Angleterre - Lettre Nordestine - Lettre à demain - Lettre et le néant - Lettre au calme - Lettre à Jacques Cartier - Lettre à Isaac, Emilio et les autres - Lettre encore - Lettre à la Saudade - Lettre à Julia Florida - Lettre à Monsieur Messiaen

Brouwer (Danza del altiplano. Dos temas populares cubanos. Estudios sencillos 1-5) - Castelnuovo-Tedesco (Tarantella) - Duarte (Petite Suite française, opus 60) - Fabini (Mozartiana) - De Falla (Homenaje pour le Tombeau de Debussy) - Halffter-Escriche (Giga) - Kováts (Petite Suite) - Krieger (Ritmata) - Mignone (Lenda sertaneja) - Mompou (Canción. Extraits de la Suite compostelana) - Poulenc (Sarabande) - Pujol (Pequena romanza. Trois Morceaux espagnols - Rodrogo (Pastorale) Ruiz-Pipò (Hommage à Antonio de Cabezón) - Tansman (Prélude #1. Extraits de la Suite in modo polonico) - Villa-Lobos (Chôros #1. Mazurka-Chôro #1. Prélude #1). / Guitare