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.

Guitar Play-Along DVD Volume 42-The Guitar Play-Along DVD series lets you hear and see how to play songs like never before. Just watch listen and learn! Each song starts with a lesson from a professional guitar teacher. Then the teacher performs the complete song along with professionally recorded backing tracks. You can choose to turn the guitar off if you want to play along or leave the guitar in the mix to hear how it should sound. You can also choose from three viewing options: fret hand with tab wide view with tab pick

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

Homemade American Music In visits with their friends and mentors Mike Seeger and Alice Gerrard trace the origins of rural American music from traditional folk cultures in the southern United States and then demonstrate how traditional music is learned played adapted and performed by younger musicians from urban backgrounds. In addition to Mike and Alice musicians include Tommy Jarrell Roscoe Holcomb Lily May Ledford Elizabeth Cotten Dewey Balfa Marc Savoy Tracy Schwarz Hank Bradley Jody Stecher Irene Herrmann Stefan Senders Will Spires Eric Thompson and Susie Rothfield. (1980 42 minutes) Sonny Terry Shoutin' the BluesIn a motel room inOakland California blind blues harmonica great Sonny Terry tells a story about his start in show business and then plays an original solo in his own amazing style created in over 50 years of playing. (1969 6 minutes) Les Blues de BalfaThrough their festival appearances concerts and recordings the Balfa Brothers became the most renowned Cajun musicians and the first group to take their traditional music outside of southwest Louisiana. Tragically just after this film was undertaken in 1979 brothers Rodney and Will were killed in a car crash. The surviving member of the group Dewey Balfa tells the history of his musical family and demonstrates the role of their musical tradition in his life as he continues to spread Cajun music and culture in schools music festivals and by playing with other musicians in local dance halls and clubs. In addition to the Balfa Brothers musicians include Allie Young Nathan Abshire Tony Balfa Rockin' Dopsie Raymond François and the Cajun Playboys and Tracy Schwarz. (1983 27 minutes) Cajun Visits Filmed at homes in rural southwest Louisiana this film presents six masters of traditional Cajun music: Denis McGee Wallace 'Cheese' Read Canray Fontenot Leopold François Robert Jardell and Dewey Balfa singing and playing traditional songs and tunes and talking about

(G-C-D-Em). Par . Impress yourself and your friends by playing this second volume of fifty more great songs with only four chords! Songs include: Body like a Back Road (Sam Hunt) ? Closer (The Chainsmokers feat. Halsey) ? Despacito (Luis Fonsi

Moderne Gitarrentechnik' [Modern Guitar Technique] shows how to play the instrument according to the player's personal taste, yet without any health risks. The anatomically sound approach includes the whole body, defines movements and their origin, counter-movements and postures, and addresses extensively the issue of recognizing and avoiding compensations, while taking individual physical requirements as well as the readers' aesthetic self-conception into account. Technical exercises help the player to develop the ability to play the instrument with natural means according to his preferences - and playing without pain naturally has a direct impact on the possibilities of artistic expression. / Guitare

Media Type : Book Level : Beginning Musical Genre : All Styles Series : Encyclopedia Number of pages : 336 This comprehensive reference work illustrates chords in all common forms from basic major to 13-flat-5-flat-9, grouped by root note and presented alphabetically. Each page in the encyclopedia contains one chord displayed at different positions on the guitar. Large, clear photographs show each chord position from the player's point of view, creating a comfortable familiar perspective conducive to recognition and comprehension. Each page also features large guitar fretboard diagrams, a keyboard layout graphic, and a diatonic grid depicting roots, thirds, fifths, sevenths, ninths, elevenths, and thirteenths used for that particular chord. The combination of all of these components creates a cross-reference to which all the members of the band can relate, helping them communicate musically.

Dvd 1-If you think of the guitar fingerboard as unknown and remote territory full of mystery and confusion we have the road map and compass for you! The C-A-G-E-D system provides you with a complete understanding of the entire neck of the guitar so you can find your way around without ever getting lost again! Guitarist Ernie Hawkins calls it ‘The Magic Key ’ and on this DVD he lays out a clear and easy method for finding any chord note or lick in any key anywhere on the fingerboard. He shows you how five basic chord shapes moved up and down can reveal all the scales intervals and voicings you’ll need to play any kind of music. Ernie patiently andthoroughly provides hours worth of drills exercises practice tips and the basic theory necessary to help you understand the principles behind this important system. His amazing lesson teaches the fundamentals of how a guitar works in a clear step-by-step way that will open your eyes give you security and confidence and forever change your guitar playing life!

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

This DVD supplements the popular and creative method of the same title for teaching guitar to young children. From the beginning it integrates chord playing with note reading. The student starts with easy one finger chord formsand strums accompaniments to numerous songs. Note reading is then methodically and carefully introduced. The method features Ron Wheeler's colorful cartoon artwork.

Hailed as the most comprehensive and complete beginner's Guitar method ever the Justinguitar.com Beginner's Course from Justin Sandercoe will take you through everything from buying a Guitar to basicimprovisation now including two CDs full of content. If you have ever thought about picking up a Guitar this book should be your first port of call. In renowned music teacher Justin Sandercoe'sfriendly and authoritative way he takes you through the basics of being a Guitarist  from the absolute beginning to playing some impressive songs. You will learn all the essential chords the fundamental scales and rhythmstrumming and picking. The CDs have been specially recorded by Justin giving you demonstrations of every chord technique and exercise to help you hear exactly how everything shouldsound. Justinguitar.com has been world-renowned since it was initially set up in 2003. The Independent newspaper has called him one of the most influential guitarists in history andhis combined total of 100 million viewers would certainly agree. His online videos have gained him huge recognition but he is also a teacher at the Guitar Institute and has taught thousands of students privately including KatieMelua and Cathy Dennis.  The course has been 20 years in the making and has incorporated everything that a beginning guitarist needs to know but that is often skipped over in less rewarding methods;things like music theory aural training and songs specifically chosen to reinforce techniques learned. Speaking of songs if you want more songs to learn as a fantastic complement to this book check out the  Justinguitar.com Beginner's Songbook .  Topics covered in this Beginner's

The third volume for guitar in the Easy Concert Pieces series. The selection of pieces, from Renaissance to twentieth-century works, is suitable for students with about 3 years of playing experience. Includes a CD of all pieces to aid and motivate practice. There are many favourite guitar pieces, but also several lesser-known gems along with arrangements of popular piano works. Organised chronologically, this is a journey through five centuries of guitar and lute history, from John Dowland to Francis Poulenc: a great repertory for concerts or competitions and the perfect complement to any guitar method. / Niveau : Facile à Moyen / Recueil / Guitare Classique

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 No.20 in The First Book Of Songs or Ayres of Four Parts by John Dowland published in 1597.