Le livre Vocal réelle est la réponse à l'ouvrage de faux. C'est une alternative à la pléthore de volumes mal conçues, illisibles, inexacts, mal edited qui abondent sur le marché aujourd'hui. Le livre Vocal réelle est extrêmement précis, soignée et vise, avant tout, pour un usage pratique. Tous les efforts réalisés pour le rendre agréable à effectuer. La sélection de musiques pour ce volume met en évidence les principaux compositeurs jazz du passé des années 60, avec une attention particulière pour les années 1960 et 1970. Un certain nombre de chansons par Rogers

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.

The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles?the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won?t kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, ?One man?s remorse is another man?s reminiscence.? Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. 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 Bes

Par HUGHES DAVID. This is part of a series of inter-related instrumental workbooks for keyboard, guitar, bass guitar and percussion. Planned so that concepts are carefully introduced, consolidated and extended, this is the last of three workbooks each containing twenty-five units. They support and complement the teacher's resource through an innovative approach that encourages a creative attitude towards learning an instrument. Many sections contain work on improvisation and sight-reading and alternate units provide an ensemble piece, arranged for all the instruments covered by this project. Each book covers the same curriculum requirements regardless of instrument, however, this book acts both as a classroom resource and as an introduction to the art of percussion technique./ Méthode / Guitare

Jazz & Classical Voicings for Guitar. Par GREENE TED. Une collection et l'explication des différents types de progressions importantes pour le guitariste intermédiaire et avancé. / Méthode / Etude / Guitare

Par . Rob MacKillop presents 20 classic lute transcriptions; the 'greatest hits' of the Renaissance and Baroque lute repertoire arranged for pick acoustic electric or classical guitar. MacKillop has for many years played all these pieces on the lute and has created sensitive guitar arrangements that lose nothing from the original scores. Composers include Bach Weiss Dowland Spinacino among others. Finally we have a book of lute-to-plectrum guitar transcriptions by an arranger who is deeply familiar with and respectful of both instruments. Includes access to online audio for every item recorded by Rob MacKillop in plectrum style. / Date parution : 2023-01-24/ Recueil / Guitare

Par HARRIS PAUL. Improve your sight-reading! Guitar Grades 4-5 is designed to help classical guitarists overcome sight reading problems, especially in the context of graded exams. Step by step you build up a complete picture of each piece, firstly through rhythmic and melodic exercises related to specific technical issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of meticulously graded sight-reading pieces. Written to support the ABRSM's sight-reading requirements.Improve your sight-reading! Guitar Grades 4-5 is designed to help classical guitarists overcome sight reading problems, especially in the context of graded exams. Step by step you build up a complete picture of each piece, firstly through rhythmic and melodic exercises related to specific technical issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of meticulously graded sight-reading pieces. Written to support the ABRSM's sight-reading requirements. / Niveau : 4-5 / Pédagogie / Etude / Guitare

Par WALKER N.. Guitar Basics Christmas offers a dazzling assortment of classic Christmas carols and festive hits, all in easy-to-learn arrangements for young beginners. Technically tried and tested, the authors have applied their magic to every tune in the collection, guaranteeing an enjoyable and unique musical Christmas for players, teachers and parents alike! All-time favourites such as We Three Kings, I Saw Three Ships, In the Bleak Mid-Winter and O Christmas Tree. Grooved-up arrangements of traditional carols, including a reggae version of Silent Night and a jazzy rendition of Jingle Bells. Quick-to-learn festive hits such as Santa Claus Is Coming to Town, Rudolph the Red-nosed Reindeer and Rockin' Around the Christmas tree. All tunes can be performed by a solo player (with CD). Optional ensemble parts provided for selected songs to encourage group performance. Fun backing tracks to play along with. Practical and great fun, this is an ideal resource for group and individual playing and is the perfect festive companion to Guitar Basics./ Recueil / Guitare

Par MAW NICHOLAS. The work's title, Music of Memory , refers to the long-term memory of a golden age (and the corresponding hope that it can continue to nourish our own art) represented by the Mendelssohn - the short-term 'memory' of an original that lies behind the variation form - and the use of the different kinds of memory-related techniques and materials during the work - 'guitar sounds' typical of the instrument and its repertoire, and the 'memory recalls' of the coda. / Niveau : Elémentaire / Recueil / Guitare Classique

Edizione Critica A Cura Di Frédéric Zigante, From Op.170. Par CASTELNUOVO-TEDESCO MARIO. Mario Castelnuovo-Tedesco composed 52 Greeting Cards for various instruments between 1953 and 1967, collectively catalogued as opus 170, which he developed in a non-systematic manner up to the year before his death. These pieces were conceived as gifts for his interpreters and students, whom the author meant to gratify with these pleasant little vignettes. The 21 Greeting Cards for guitar, written from 1954 to 1967, are here collected for the first time. Historical introduction and critical commentary in Italian and English. / Niveau : Intermédiaire / Répertoire / Guitare

Par BRITTEN BENJAMIN. Britten's Nocturnal After John Dowland Op.70 is a fantastically varied and intricate piece for Solo Guitar, which has been edited here by Julian Bream. This piece will present an enjoyable challenge to the advancing classical guitarist. The first performance of Nocturnal was given by Julian Bream at the Aldburgh Festival June 12th 1964. The song upon which the work is based is #20 in The First Book Of Songs or Ayres of Four Parts by John Dowland, published in 1597. / Niveau : Intermédiaire à Avancé / Répertoire / Guitare Classique

Par ARNOLD MALCOLM. Fantasy for Guitar by Malcolm Arnold, edited by Julian Bream, who gave the first performance at Queen Elizabeth Hall in May 1971.  / Instrumental Music / Répertoire / Guitare