The book Método de Mandolina begins at the very beginning of learning to play the mandolin starting with the basic tuning of the instrument how to sit position one?s head and hold one?s hands. There are many pages of exercises that lead to easy pieces and more difficult short works all in Spanish style.In this age of the Guitar it is remarkable to know that the mandolin was the most popular instrument throughout the Western world at the turn of the last century at the time of the publication of this book. For the most part at that time the virtuosi were considered to be Italian and the best instruments from Italian makers though many other companies were involvedin the production of many forms of the mandolin. This is ironic however as it is frequently asserted that the earliest form of lute or mandolin entered Europe with the Moors onto the Iberian peninsula in the shape of the oud. In the late 19th and early 20th centuries serious composers included lute parts in their major works and wrote pieces expressly for mandolinists and for the thousands of mandolin Orchestras that sprang up throughout Europe and in the New World. That Método de Mandolina remains available is a testament to its usefulness and the expertise of its author in giving teachers and students a volume from which to teach and learn.

Par FREEMANTLE MARK E.. With decades of experience on the mandocello and even more on the mandolin and guitar, the author presents a comprehensive and progressive approach to learning to play this versatile instrument.Written entirely in bass clef?the logical clef for an instrument with the same low-to-high CGDA tuning as an orchestral cello?the book starts with basic technique and music theory and ultimately brings the reader to an intermediate to advanced plateau. Whether you come to the mandocello as your first fretted instrument or transition from mandolin or guitar, this method will facilitate your progress as a literate musician.The method includes mandocello etudes by pioneering multi-instrumentalist Myron Bickford (1876?1960), popular folk melodies, a pair of duets, and a few mandocello parts from mandolin orchestra arrangements. Fretboard diagrams and standard notation introduce scales, chords, position playing, and shifting/stretching concepts as each new key signature engenders new challenges. From basic down and upstrokes to tremolo, great attention is paid to mandocello picking technique, sight reading and overall musicianship.Most tunes in this book are written as solos. Along with its online play-along audio tracks, the variety of teaching repertoire in this new method will guide you step by step in mastering the mandocello in several musical genres. Then, as a skilled mandocellist who reads the bass clef, you will be welcome as an optional low voice in any musical ensemble. Includes access to online audio. / Date parution : 2023-06-01/ Méthode / Mandoline

With Guitar Accompaniment-Duet arrangements of three well-known Vivaldi Concertos arranged for mandolin and guitar: Concerto in A (RV82) Concerto in C (RV425) and Concerto in D (RV93). Each arrangement in this collection has been reduced from soloistwith string orchestra to a duet for mandolin and guitar. The mandolin performs the solo part and the guitar part is a reduction of the strings. In the guitar part chords have been added above the staff to allow forembellishment-a common practice of the Baroque era. Another C instrument such as flute violin or another guitar can be easily substituted for the mandolin. Musicians will find these accessible arrangements excellent forperformance in any setting from the recital hall to the local café. The score (guitar/mandolin) and mandolin solo part are available in hard copy while the guitar accompaniment part is available as a free internet download.The mandolin and guitar parts are presented in notation.

Manhã De Carnaval is the title of the popular song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria.Manhã De Carnaval appeared as a principal theme in the 1959 Portuguese-language film Orfeu Negro (Black Orpheus).Manhã De Carnaval became one of the first compositions identified with Bossa Nova to gain popularity outside Brazil. The title was particularly popular in the United States where the song is considered to be one of the most important Brazilian Jazz/Bossa songs that helped establish the Bossa Nova movement in the late1950s.Here it has been arranged for Mandolin Orchestra.

Mandolin 2-Manhã De Carnaval is the title of the popular song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria. Manhã De Carnaval appeared as a principal theme in the 1959 Portuguese-language film Orfeu Negro (Black Orpheus). Manhã De Carnaval became one of the first compositions identified with Bossa Nova to gain popularity outside Brazil. The title was particularly popular in the United States where the song is considered to be one of the most important Brazilian Jazz/Bossa songs that helped establishthe Bossa Nova movement in the late 1950s. Here it has been arranged for Mandolin Orchestra. This is the part for Mandolin 2.

La Cucaracha-The traditional Mexican folk song arranged for Mandolin Orchestra. Part for Mandolin no. 1.

Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject

La Cucaracha-The traditional Mexican folk song arranged for Mandolin Orchestra. Score.

From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score

'An atmospheric and subtly orchestrated piece it compels attention from the opening wisps of sound on xylophone and mandolin threading its way through forceful baritone phrases (William Dazeley excellent) and Daphnis-like choral spirits into a perfectly-paced crescendo before dying away in a trance.'Financial Times (Andrew Clark) 16 September 1996

The Full Story from Orchestras to Bluegrass to the Modern Revival-The sound of the Mandolin is well-known today due to its use in classical music blues Western swing jazz and even rock 'n' roll. This insightful book tells the fascinating story of The Mandolin In America charting its history from the 1880s when the instrument first became a national craze to the 21st century where it is still enjoyed as an established instrument with its own distinctive sound and repertoire. Filled with colour photographs posters and more this book covers every aspect of this unique instrument's past including: The makers - the companies that pushed the evolution of theAmerican Mandolin from the early copies of Italian bowbacks to the revolutionary carved-top designs of Orville Gibson and the later refinements of the Gibson company. The players - from classical virtuoso Giuseppe Pettine to vaudeville star Dave Apollon from bluesman Charlie McCoy to jazzers Tiny Moore and Jethro Burns from Bill Monroe's foundation of bluegrass to the cross-genre excursions of Mike Marshall Sam Bush Dave Grisman Chris Thile and many more. The music - the author Walter Carter discovers important musical moments in the Mandolin's history including the recordings of the early virtuosos film shorts in the 20s and 30s popular hit songs inspired by the Mandolin and the development of Mandolin techniques from the classical tremolo and duo styles to the bluegrass chop.  The instruments - the book features a glorious set of photographs of key instruments historical memorabilia and leading players. The last section is a reference section with detailed specifications of the models of the major makers including serial number lists for Gibson and Martin.