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Partitions à imprimer
2 partitions trouvées
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Sons De Carrilhoes
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Guitare
#
FACILE
#
Joao Teixeira Guimaraes
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André Alberto Santos
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Sons De Carrilhoes
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Soul - Musical Creations
#
SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1227037 Composed by Joao Teixeira Guimaraes. Arranged by André Alberto Santos. 20th Century,Early Music,Folk,Latin,Mu...
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Solo Guitar - Level 2 - SKU: A0.1227037 Composed by Joao Teixeira Guimaraes. Arranged by André Alberto Santos. 20th Century,Early Music,Folk,Latin,Multicultural,World. Individual part. 3 pages. Soul - Musical Creations #823045. Published by Soul - Musical Creations (A0.1227037). Are you a guitarist looking for new and exciting music to add to your repertoire? Look no further, João Pernambuco's Sons de Carrilhões is an iconic piece and a must-learn for any guitarist.With our PDF sheet music, you can easily access and study this masterpiece from the comfort of your own home. No need to scour music stores or wait for it to ship, just download and start playing today.Sons de Carrilhões is not only a joy to listen to, but also a great challenge for guitarists of all skill levels. Its melody and dynamic rhythm will push you to improve your technique and musicianship.And with our high-quality sheet music, you can be sure you're getting an accurate representation of the original piece. Our PDF is carefully transcribed and edited, so you can play with confidence and accuracy.Don't miss the opportunity to add Sons de Carrilhões to your guitar repertoire. Download our sheet music in PDF today and start mastering this beautiful Brazilian classic.
$4.99
Patios de Córdoba
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Guitare
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FACILE
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individu...
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Solo Guitar - Level 2 - 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 BulerÃas) 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 “falsetasâ€. 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
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