The Guitar Music Of Cuba: Guitar TAB: Instrumental Album

Cette grande collection de musique du XIXe siècle est une reconnaissance des compositeurs cubaines qui, avec Manuel Saumell et Ignacio Cervantes, produit un riche héritage de la musique populaires et classiques des genres. Ecrit en notation standard. / Guitare Classique / 80 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.

An outstanding collection of 33 classic guitar solos transcribed from piano works by Manuel Saumell, Ignacio Cervantes, and many others. Cuban song and dance rhythms have had a global impact. These arrangements capture the rhythms, styles, and moods of the Cuban contradanza, danza, vals, canción and criolla of the 19th to early 20th centuries. The available online audio features Segovia student and Tulane University professor Elias Barreiro performing his arrangements of the multi-faceted music of Cuba. Written in notation and tablature. Includes access to online audio.

Guitar Solo. Ten transcriptions for solo guitar of beautiful music from many periods and styles edited and fingered by Christopher Parkening. All pieces are suitable for performance by the advanced guitarist. Contents: Afro-Cuban Lullaby · Empress of the Pagodes (Ravel) · Menuet (Ravel) · Minuet in D (Handel) · Passacaille (Weiss) · Pastourelle (Poulenc) · Pavane for a Dead Princess (Ravel) · Pavane for a Sleeping Beauty (Ravel) · Preambulo (Scarlatti-Ponce) · Sarabande (Handel).

Learn the Guitar in a creative new way. Par PELLS TIM / FRANKE JENS. Learn the Guitar in a creative new way: Playing music that makes you feel good, right from the outset. Passport to Play Guitar is a tutor series which is focused on learning to play the guitar through listening, reading and playing together, and is suitable for both classical and acoustic guitarists. The sheet music includes TAB alongside the standard notation. The books use music drawn from styles and cultures from all around the world, including Blues and Jazz from North America; Folk and Traditional music from Europe, Africa and Latin America; and pieces inspired by the people and places that the authors have encountered on their travels. Audio files

Presents the Contradanzas Habaneras of Manuel Saumell (1817-1870) who has been called a 'Pioneer of the Cuban danza.' Originally written for the piano this collection of contradanzas is a good example of Saumell’sinnate sensitivity to the rhythms characteristic of Cuban Music. Written in standard notation and tablature.

Par KLEYNJANS FRANCIS. La habanera est née vers 1841 à la Havane. Les espagnols l'exporteront en Europe en transformant son caractère, la rendant plus fière, plus affirmée, parfois même dramatique en marquant d'avantage les basses. J'ai voulu, avec Habanera Cubana, retrouver son esprit originel, fait de souplesse, de douceur et de volupté, véritable chant d'amour, parfois nostalgique, tourné vers les autres. Francis Kleynjans. Presse L'auteur nous présente lui-même cette oeuvre dans laquelle il a voulu retrouver l'esprit originel de la habanera, née vers 1841 à la Havane, 'fait de souplesse, de douceur et de volupté, véritable chant d'amour, parfois nostalgique, tourné vers les autres'. Disons simplement qu'il y réussit pleinement. L'Education Musicale Mai 2012, #59 / Niveau : Fin Du 2ème Cycle / classique / Répertoire / Guitare

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