Juan Martin: Play Solo Flamenco Guitar With Juan Martin Vol. 1: Guitar:

with Juan Martin. Designed as a comprehensive multimedia teaching set, this book with online audio/video present 42 solos, progressively graded in 6 levels from absolute beginners to more advanced, to suit players of all levels. It contains examples 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 recorded on the online audio. The online video contains over 57 minutes of solo music, and also includes introduction by Juan Martín and brief scenes of Andalucia today, which help to place this profoundly exciting and deeply felt music in the landscape of its origins. Juan Martín has succeeded here in 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 the skills necessary for the performance of concert solos. Written in English and Spanish. Includes access to online audio and video. Diseñado como un conjunto completo de enseñanza multimedia, este libro con audio / video en línea presenta 42 solos, graduados progresivamente en 6 niveles, desde principiantes absolutos hasta más avanzados, para adaptarse a jugadores de todos los niveles. Contiene ejemplos de dieciocho palos (formas rítmicas) diferentes del flamenco, con una gran riqueza de falsetas melódicas y ritmos. La música de todos estos está escrita con precisión en notación y tablatura flamenca (cifra) en el libro, y también se graba en el audio en línea. El vídeo online contiene más de 57 minutos de música en solitario, y también incluye la introducción de Juan Martín y breves escenas de la Andalucía actual, que ayudan a situar esta música profundamente emocionante y sentida en el paisaje de sus orígenes. Juan Martín ha conseguido demostrar aquí cómo incluso la música sencilla y muy fácil de empezar puede expresar el sonido y la emoción esenciales del flamenco, para construir paso a paso las habilidades necesarias para la interpretación de solos de concierto. Escrito en inglés y español. Incluye acceso a audio y video en línea.

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

Par MARTIN JUAN / CAMPBELL PATRICK. The acclaimed first volume of this exciting series gave extensive insights into basic techniques of flamenco Guitar playing and the two important rhythmic forms (palos) of Solea and Alegrias. This second volume continues on with an exploration of further essential rhythmic palos. The first of these, occupying the whole of the first DVD, is the Bulerias. Juan Martin brings his many years of experience as an internationally renowned flamenco soloist and accompanist for singers and dancers to unravelling its mysteries, explaining and demonstrating very clearly the different elements of its rhythmic structure and the various ways it may be accented and counted. He uses traditional and more modern examples of the different kinds of rhythm and melodic passages (falsetas) to provide an invaluable understanding of this wonderful palo. The second DVD is devoted to the popular flamenco Rumba, then Tangos, Tientos and that most profound of all the palos, the deeply moving Seguiriyas. Martin's solo playing is complemented by demonstrations of the Guitar's role in accompanying the flamenco dance (baile) and song (cante) with the help of outstanding dancers Raquel de Luna and Miguel Infante and singers Amparo Heredia (La Repompilla) and Carlos Brias. The music for solo Guitar is transcribed in standard notation and tablature (cifra) and the two DVDs contain nearly three hours of explanation and demonstrations. The series is complemented by two other best-selling Juan Martin volumes published by Mel Bay, shown below. These provide progressively graded solo material to extend the repertoire, from beginner to concert level./ Tablatures / Guitare Tablatures

This introductory piano method is a long overdue musical text for those interested in encouraging bilingualism in children and adults. Many of the selected tunes are gems that most Latin American children grow up hearing as partof their idiomatic folklore. Also presented are some award winning originals by the author herself. Songs include Senora Santana Ojos Azules Mama yo quiero Mi gallo and many others. Songs are chosen from many hispaniccountries and they can be played as piano solos as well as played and sung simultaneously. Includes guitar/piano for those wishing to add in harmony when they are ready. English and Spanish.

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.