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 ragtime and early jazz music pioneers during the first decades of the last century didn???t know that the sounds they created would echo in the music that people loved for years to come. They started an American music traditionthat is alive to this day. I was born and raised in Sweden and I have always enjoyed the music from that era but being a Guitarist I never thought that playing back-up in a jazz band was for me. I???d rather do something with thesesongs so that they would fit my approach playing fingerstyle Guitar.Many of the early jazz songs and of course classical ragtime often is played as Piano music with a steady left hand playing bass notes and chords togetherwith the right hand playing a syncopated melody on top. This style of playing is very similar to the alternating bass style on the Guitar. So these tunes easily lend themselves to a fingerstyle arrangement.With classicalragtime I approach arranging by transcribing the original Piano sheet-music. The important thing is to find keys that suit the Guitar and then decide what notes not to play since it is not technically possible to play all thenotes in a Piano score on the Guitar. I like to play in keys that will give me the opportunity to use open strings in the bass while the melody moves up and down the neck. This is especially important since my aim is to make myarrangements not too difficult to play so that the player can concentrate on the music instead of being too concerned with the technical aspects of his/her playing. The most important challenge though is to make the tune soundlike Guitar music not Piano music played on the Guitar.

For more than a century guitarists have been irresistibly drawn to Bach’s remarkable cello suites. Here for the first time are the first four in the easiest and most resonant guitar keys. Suites I–IV must be transposed to work on the guitar whereas Suite V is always played in A minor in Bach’s own lute version and the equally demanding Suite VI can only be played in its original key of D.By adding as little as possible these arrangements preserve the integrity of the originals in which melody bass and harmony are woven effortlessly into a single fabric. They also crucially offer the guitarist Bach at a lower level of difficultythan his music for lute or unaccompanied violin.Another unique feature is the inclusion of optional ‘improvised’ divisions – suggestions for the additional ornamentation of passages to reflect typical 18th-century performance practice.This is an essential addition to any guitarist's library with selected movements featured in the 2009 ABRSM guitar syllabus (Grades 5-8).“This publication beats the others hands down; no contest. I can’t see me needing any other edition of these four suites. They are that good. Buy with confidence.”Classical Guitar

Worship Band Play Along Volume 5-The Worship Band Play-Along series is a flexible and innovative tool for worship leaders and bands. Each volume offers five separate correlated book/CD packs: Keyboard Guitar Bass Drumset and Vocal.Bands can use the printed music and chord charts to play live together and members can rehearse at home with the CD tracks. Worship leaders without a band can play/sing along with the CD for a fuller sound. The eight songs in each volume follow a similar theme for easy set selection and the straight-forward arrangements are perfect for bands of any level.The CDs are playable on any CD player and also enhanced so Mac and PC users can adjust the recording to anytempo without changing pitch to learn the songs at their own pace.

Par MIDDLETON OWEN. Composer/arranger Owen Middleton delivers the goods in these intermediate-level, idiomatic arrangements of 21 traditional hymns and patriotic songs for solo classic guitar. The book includes optional parts for cello and flute in supporting and lead roles. Written in standard notation only, a few tunes feature altered tunings. Light left-hand fingering is provided for the more challenging passages as well as access to online audio for each piece.Middleton?s years of experience as a choral singer and composer for the guitar and piano shine through in these tasteful settings; his awareness of voice-leading concepts, inner parts, and basslines often gives these time-honored melodies a modern twist. / Date parution : 2022-07-20/ Recueil / Guitare

Huit pièces de 'scènes d'enfance' arrangés pour deux guitares, imprimés en combiné format de partition. (Certaines parties ne sont pas disponibles séparément.) Contrairement à son ' Album pour les jeunes, ' (opus 68), les 'scènes d'enfance' (op. 15) pour piano ne sont pas des pièces pour enfants, mais sont plutôt, en termes de Schumann,'les réflexions par les adultes pour adultes'. La dynamique originale de ces pièces est resté principalement sur le côté tranquille, afin que les arrangements pour la guitare sont assez proches des caractéristiques tonales des instruments tranquilles de la première moitié du XIXe siècle. Les indications dynamiques originales ont été utilisées dans l'ensemble, pour rendre les gradations clear pour les artistes interprètes ou exécutants. En utilisant un remplaçant tuning pour la guitare, il était possible de conserver quelques notes bass à l'octave inférieure de la composition originale. Pour la première guitare de trois pièces, j'abaisse la chaîne sixième à c et la cinquième chaîne à g. Puis la sixième chaîne peut être réglée à d pour les pièces restantes. Guitare II est en D-t... / Guitare Classique

Designed to motivate and inspire students Guitar Sherpa's innovative learning systems employ a hands-on contextual format. Students 'play' their way through Guitar Sherpa curriculum rather than working through tedious examples and exercises.Muriel Anderson world-renowned Guitarist and composer presents this intensive study program for intermediate and advanced fingerstyle Guitar players. Innovations for Acoustic Guitar guides the student through essential theory techniques and other 'tricks of the trade' to enhance the player's performance arranging and composition skills.Using several of her own compositions as lesson examples (Arioso Mister Chester TwoShores A Baker's Dozen and Muriel's highly popular Angelina Baker Medley) Innovations for Acoustic Guitar reveals a variety of Muriel's signature techniques and approaches for generating new ideas and fresh arrangements or compositions.You'll learn how to flavor your arrangements and compositions with a variety of harmonic techniques including Irish and Cuban influences and odd time signatures. You'll learn how to develop a theme play expressively and imitate the sounds of a banjo mandolin or bass. Muriel also demonstrates how connect notes in a rhythmic tune in the classic style of Chet Atkins.Innovations for Acoustic Guitar will strengthen your fingerstyle technique enhance your performance and presentation of material and spark innovative composition and arranging. Hands-On Learning Tools included with Innovations for Acoustic Guitar: Text Lesson Guide Standard Notation Guitar Tab Power Tab Files Power Tab Software Bonus Material. Secure PIN enclosed in DVD package for quick and secure download of learning tools.

Bridges: A Comprehensive Guitar Series serves as the official resource for guitar assessments of the Royal Conservatory Music Development Program. Innovative in its structure, Bridges supports students from the beginner to advanced levels with carefully sequenced repertoire, etudes, and technique. Each of the Repertoire and Etudes books in the series spans all major style periods and a variety of genres, presenting an organized compilation of pieces appropriate for that level of technical development. Nine progressive levels of Repertoire and Etudes scaffold student learning at every stage of musical development. Each book contains a balanced and representative selection of works from the Renaissance, Baroque, Classical, Romantic, and contemporary style periods. From the classics of Aguado to the modern compositions of Zenamon, Bridges connects students to both essential literature and enticing masterpieces never before found together. The Etudes have been carefully selected to support the repertoire and isolate specific technical and musical challenges, making Bridges an ideal collection and a comprehensive teaching resource. / Guitare

Add to your repertoire and reinforce your technique with this collection of traditional easy-to-play American roots music. This book and CD pack contains fifteen old-time classics arranged so that acoustic guitarists can practice single-note melodies basic strums and basslines and simple chords. Includes detailed notes on song origins and arrangements complete song lyrics standard notation tab and chord diagrams plus a companion CD with complete guitar parts!

A thorough method of instruction that teaches both pickstyle and fingerstyle playing for acoustic and electric guitar.You will get a thorough introduction to note reading, scales and chords. Includes optional duets, favorite classical and folk melodies from around the world arranged for guitar solo or duet. Designed to be used simultaneously with Bass Today. Clear diagrams and photos included.

In this seventy-five minute DVD Fred teaches nine standards every country picker or singer should know...from start to finish! You???ll learn an intro for each song a backup pattern and bass runs to play while singing aninstrumental solo and an ending. Fred keeps the arrangements fairly simple but includes a few up-the-neck chord positions and hot licks. You???ll learn solos and runs in five different keys. Each song is played atregular speed and then slowed down on a split-screen that gives you a close-up look at the picking hand and the chording hand. All the arrangements are clearly written out in tab and music in the included PDF along with lyrics.

Mastering Hawaiian Slack Key Guitar. The Hawaiian word for slack key guitar, k? h??alu, means to ?loosen the key? or retune some of the strings to create a harmonious sound with an open or alternate tuning. Slack key is a fingerpicking style characterized by strong alternating bass lines played with the thumb. While slack key can be played on any guitar, most players prefer a nylon- or steel-stringed acoustic instrument. This book presents 25 intermediate to advanced traditional and original tunes in the Hawaiian slack key style. Melodies are often harmonized in sixths or thirds played with or without double stops. Techniques like syncopated bass lines, hammer-ons, pull-offs, slides, and harmonics are tastefully employed to evoke the images of ocean breezes, swaying palms, hula dancers and white sandy beaches. The author writes, ?Unless you grew up playing slack key, it?s hard to get from the material presented in most books and DVDs to a fluid, play-it-your-own-way style.? This book seeks to reveal the insights the author has gleaned from studying and jamming with some of the giants of the slack key style, and help you develop a style all your own. Includes access to online audio tracks of all 25 relaxing but challenging Hawaiian slack key tunes.