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Traditional Bulerias
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Sol y Sombra
Guitar
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditiona…
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 7 pages. Richard Hirsch #441703. Published by Richard Hirsch
An arrangement of traditional themes of the Flamenco style (palo) Alegrias de Baile (Alegrias for dance) that I acquired during my years of study with Juan Gonzlez ?Triguito? in Madrid in the late 1960s. The title of the piece that contains bright and happy passages in A major and slower more somber passages in A minor is taken from the name of a popular alcoholic drink that is a mixture of clear anisette (sol) and cognac (sombra). The composition is meant to resemble an Alegrias played in accompaniment to the dance, often performed by a solo woman dancer (bailaora) in a beautifully coloured long flowing dress. The piece finishes with a Macho por Buleras (finale) that is almost twice as fast as the passages in the introduction and middle parts. There is a long beautiful tremolo passage that rounds off the middle part before the jump into the finale. The piece is recommended for students of Flamenco guitar at the intermediate to advanced intermediate levels.
$4.99
4.66 €
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Guitar
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Traditional
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Sol y Sombra
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Richard Hirsch
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SheetMusicPlus
Patios de Córdoba
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Ar…
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por Bulerías) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetas”. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña” that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito” introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother” of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
3.72 €
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Traditional
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Recuerdos de mi tierra - Cuarteto para Clarinetes
Clarinet Quartet: 4 clarinets
Clarinet Quartet,Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1230360 Com…
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Clarinet Quartet,Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1230360 Composed by Everardo García Vargas. Chamber,Classical,Holiday,Multicultural,Traditional,World. 19 pages. Everardo García Vargas #826069. Published by Everardo García Vargas (A0.1230360). Recuerdos de mi tierra - Cuarteto para ClarinetesEsta pieza evoca recuerdos de los años 90 cuando formaba parte de la Banda BASTLAM en la comunidad Mixe de Tlahuitoltepec, Oaxaca, México. Practicábamos el estilo Zapateado-Vals con solos y acompañamiento de banda. Cada instrumento tenía solos y tuttis únicos. En ese entonces, era innovador tocar como solista en un pueblo rico en cultura pero aislado y con limitado acceso a información y conocimientos formales de música. Prácticamente no existían bandas infantiles ni juveniles, por lo que la creación de la Banda Infantil-Juvenil-Bastlam fue uno de los primeros grandes proyectos impulsados por las autoridades municipales. Posteriormente, adoptaron el proyecto y continuaron formando bandas infantiles escalonadamente en dicha comunidad replicándose en otros pueblos y regiones de Oaxaca.El origen del zapateado es incierto. Se cree que proviene de las sevillanas, fandanguillos, bulerías y peteneras españolas, las cuales se fusionaron con elementos africanos. Sin embargo, fue en México donde este tipo de zapateado instrumental se arraigó y enriqueció en las bandas filarmónicas tradicionales de los pueblos oaxaqueños. El zapateado representa una fusión global entre culturas y sus representaciones. No existe ningún baile o forma musical completamente puro; todos son producto de mestizajes.
$44.50
41.53 €
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Clarinet Quartet: 4 clarinets
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Everardo GarcÃa Vargas
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Recuerdos de mi tierra - Cuarteto para Clarinetes
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Everardo GarcÃa Vargas
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SheetMusicPlus
Recuerdos de mi tierra - Dúo para Clarinetes
2 Clarinets (duet)
Clarinet Duet Bass Clarinet - Level 4 - Digital Download SKU: A0.1240995 Composed b…
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Clarinet Duet Bass Clarinet - Level 4 - Digital Download SKU: A0.1240995 Composed by Everardo García Vargas. Chamber,Classical,Holiday,Multicultural,Traditional,World. 2 scores. 13 pages. Everardo García Vargas #836391. Published by Everardo García Vargas (A0.1240995). Recuerdos de mi tierra - Dúo para ClarinetesEsta pieza evoca recuerdos de los años 90 cuando formaba parte de la Banda BASTLAM en la comunidad Mixe de Tlahuitoltepec, Oaxaca, México. Practicábamos el estilo Zapateado-Vals con solos y acompañamiento de banda. Cada instrumento tenía solos y tuttis únicos. En ese entonces, era innovador tocar como solista en un pueblo rico en cultura pero aislado y con limitado acceso a información y conocimientos formales de música. Prácticamente no existían bandas infantiles ni juveniles, por lo que la creación de la Banda Infantil-Juvenil-Bastlam fue uno de los primeros grandes proyectos impulsados por las autoridades municipales. Posteriormente, adoptaron el proyecto y continuaron formando bandas infantiles escalonadamente en dicha comunidad replicándose en otros pueblos y regiones de Oaxaca. El origen del zapateado es incierto. Se cree que proviene de las sevillanas, fandanguillos, bulerías y peteneras españolas, las cuales se fusionaron con elementos africanos. Sin embargo, fue en México donde este tipo de zapateado instrumental se arraigó y enriqueció en las bandas filarmónicas tradicionales de los pueblos oaxaqueños. El zapateado representa una fusión global entre culturas y sus representaciones. No existe ningún baile o forma musical completamente puro; todos son producto de mestizajes.
$24.00
22.4 €
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2 Clarinets (duet)
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Everardo GarcÃa Vargas
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Recuerdos de mi tierra - Dúo para Clarinetes
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Everardo GarcÃa Vargas
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SheetMusicPlus
Essential Flamenco Guitar: Volume 2
Guitar notes and tablatures
Rumba. Exercises. Ebook and online video. 141 pages. Mel Bay Publications - Digital …
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Rumba. Exercises. Ebook and online video. 141 pages. Mel Bay Publications - Digital Sheet Music #30501MEB. Published by Mel Bay Publications - Digital Sheet Musi
ISBN 9781513455532. 8.75x11.75 inches.
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 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 rhythmic form is devoted to the popular flamenco Rumba, then Tangos, Tientos and that most profound of all the palos, the deeply moving Seguiriyas. Juan\'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 online video contain nearly three hours of explanation and demonstrations. The series is complemented by two other best-selling Juan Martin volumes published by Mel Bay. These provide progressively graded solo material to extend the repertoire, from beginner to concert level. Includes access to online video.
$34.99
32.66 €
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Guitar notes and tablatures
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Essential Flamenco Guitar: Volume 2
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Mel Bay Publications - Digital Sheet Musi
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SheetMusicPlus
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