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.

DVD 2 - Playing Chords and Licks in Every Key and Position-Ernie Hawkins continues his detailed exploration of the C-A-G-E-D guitar system using his long experience in country blues fingerpicking as the springboard for this lesson. You’ll start by learning to play the standard blues 12-bar blues chord progression in ever position and in every key the heart of the C-A-G-E-D concept. As in his previous DVD Ernie patiently and thoroughly provides drills exercises practice tips and the basic theory necessary to help you understand the principles behind this important system. You’ll see how licks can be transposed from one key to another; how to link chords with harmonized passing tones; how major and minor arpeggios helpyou find notes everywhere on the neck; and how all the notes intervals and chords work together to form a complete musical picture. Whether you’re playing blues folk jazz or rock this ‘magic key’ to the fingerboard will give you the security and confidence to branch out into any musical genre that interests you.

An excellent pop supplement to the Hal Leonard Guitar Method, or any Guitar method book 3. Includes 20 songs: Another One Bites the Dust - Change the World - Crazy - Crazy Train - Good Vibrations - Heart Shaped Box - Heartache Tonight - Lucy in the Sky with Diamonds - Sea of Love - Tequila - Yesterday - Y.M.C.A - You May Be Right - and more! / Guitare

Par CHRISTIANSEN MIKE. Révolutionnaire est un terme qui est souvent utilisé trop de désinvolture, mais dans le cas de décrire mon livre une nouvelle méthode d'abord de guitare guitare écrit par Mike Christiansen pour les jeunes étudiants-révolutionnaire est une description exacte. Cette nouvelle méthode utilise des couleurs en reliant le placement des doigts sur les cordes à cordes, tablature et solfège. Le répertoire est amusant, excitant, et de la hanche. Tout enseignant qui se penche sur cette méthode remarquerez immédiatement l'concept innovant et séquence. Il est l'amorce parfaite pour n'importe quelle méthode de début et ouvre la voie à la manière la plus positive pour l'étude continue de l'instrument. Après avoir terminé ma première guitare livre, l'étudiant saura neuf accords et de nombreux motifs mélodiques. En outre, les étudiants seront enseignés les notes sur quatre cordes, à lire tablature et standard, ainsi que la façon de compter les rythmes de base. Mike Christiansen est l'auteur ou co-auteur de plus de quarante livres, mais c'est son premier livre pour les jeunes enfants. Christiansen a développé ce nouveau concept en donnant des cours privés à son petit-fils, Beck. En combinant le matériau à partir des leçons de Beck et ses années d'expérience de l'enseignement de cours de niveau universitaire en pédagogie de la guitare, de la naissance a été donnée à ce texte révolutionnaire. / Niveau : Débutant / Méthode / Guitare

DVD Three - The Next Step: Exploring Blues and Ragtime Progressions-Ernie Hawkins uses the amazing C-A-G-E-D System when playing his specialty blues and ragtime tunes in alternate-thumb finger picking style. On his third lesson Ernie explores blues melodies as they move up into the highest reaches of the fingerboard as well as the popular 'circle of fifths' ragtime progression.

Partition pour guitareContenu :Marche ! Marche mon chaton - Pigeon amoureux - Nuages blancs - Complainte de l'ourson - Mon premier air espagnol - Valse de l'espérance - Mon premier air chinois - Mon premier air arabe - Tarentule - Air mélancolique - Libellule, où vas-tu ? - Valse des grenouilles - Etude pour Julie-Annie - Memorandum - Patchwork - Berceuse Créole - Fleurs panachées - Sombrero eterno - Vieille histoire - Coup de l'étrier - La Cordillère des Andes - Tango-Chôro - C'est ainsi

Tous les textes théoriques, méthodes, traités, articles, concernant la guitare sont reproduits en fac-similé, et regroupés en deux volumes. ANCELET - Abbé Joseph CARPENTIER (1-2) - Francisque CORBETTA - Michel CORRETTE - Robert DE VISEE - Nicolas DEROSIERS - DON*** - Encyclopédie - François-Alexandre-Pierre de GARSAULT - François LECOCQ - Joseph-Bernard MERCHI (1) - Marin MERSENNE - Pierre TRICHET. Table des matières : Mersenne Marin : Harmonie Universelle – 1636 Trichet Pierre : Traité des instruments – c.1640 Corbetta Francisque : La guitarre royale – 1671 De Visee Robert : Livre de guitarre – 1682 Derosiers Nicolas : Les principes de guitarre – c.1690 Le Cocq François : Recueil des pièces de guitare – 1729 Encyclopédie : Encyclopédie ou Dictionnaire raisonné des sciences – 1751/1772 Ancelet : Observations sur la musique – 1757 Don*** : Méthode pour apprendre à joüer – 1760 Garsault François-Alexandre-Pierre de : Notionnaire ou mémorial raisonné – 1761 Merchi Joseph-Bernard : Le guide des écoliers – c.1761 Corrette Michel : Les dons d’Apollon – 1762 Carpentier Joseph : Méthode pour apprendre, 1e partie – 1771 Carpentier Joseph : Méthode pour apprendre, 2e partie – 1773 Auteur : DELUME Caroline Format : 24 x 33 Nombre de pages : 272 Date de parution : 01/2004

La Bossa Nova apparaît à Rio de Janeiro au cours des années cinquante. Elle est née du mariage des rythmes de samba traditionnels avec les harmonies élaborées du jazz de cette époque. Si de nombreux musiciens ont contribué à sa gestation, les fondateurs en sont principalement le pianiste-compositeur Antonio Carlos Jobim et le chanteur-guitariste Joâo Gilberto. Popularisée en France grâce au film Orfeu Negro de Marcel Camus, la Bossa Nova fit rapidement le tour du monde, notamment à travers les enregistrements de A.C. Jobim avec Joâo Gilberto et le saxophoniste Stan Getz. Décrite par A.C. Jobim lui-même comme la version blanche et soft du Samba, elle est le pendant sophistiqué et très cool du samba, avant tout musique de danse et de carnaval. Mais les bossas sont des sambas... On pourra donc utiliser les mêmes rythmes, joués d'une manière plus répétitive, plus suave, sur des mélodies et des harmonies plus élaborées. Les guitaristes brésiliens ont créé dès les années 20 une manière spécifique d'accompagner les chansons. Comme pour d'autres styles sud-américains, la guitare (et donc la main droite) devra avant tout être considérée comme une percussion harmonisée (dixit Toquinho, un des grands guitaristes du genre). Le style s'est sans aucun doute élaboré à partir de l'osmose de la guitare avec les percussions. Dans le Samba, musique binaire à 2 temps, le surdo (sorte de gros tambour) joue les temps (un coup fermé et bref, puis un coup ouvert, long et grave). A la guitare, son rôle sera tenu par le pouce. Les doigts de la main droite reproduiront, quant à eux, principalement les rythmes du tamborim (petit tambour manuel, qui se frappe à l'aide d'une baguette) ou des agogos (composés de deux cloches en métal, reliées entre elles, et accordées à la quarte). Le pandeiro, ou tambour de basque en français, et le ganzé (shaker), créent le lien entre la régularité du surdo et la liberté rythmique du tamborim ou des agogos, en tissant un tapis de doubles croches accentuées. N.B.: Au Brésil, le mot Samba est masculin... En France, on parle plus volontiers de la Samba pour la danse, et du Samba pour la musique. Sur le CD, les morceaux sont joués d'abord en formation complète (thème, guitare d'accompagnement, basse, batterie), puis sans le thème, puis sans la guitare d'accompagnement. L'élève pourra ainsi travailler le morceau dans sa continuité, en rejouant sa partie plusieurs fois, jusqu'à n'être plus accompagné que de la basse et de la percussion. Compositeur/Auteur : HOARAU Jean-Christophe Discipline/Instrument : guitare Support : Partition + CD Style/Genre : variété - jazz Date de parution : oct.-05 Nombre de pages : 19

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 handy video takes the Guitar student through all the basic Guitar chords starting with the easy to play forms and moving into the standard and more difficult fingerings. Every chord is shown in a Guitar chord progressionand a play along segment is provided on the DVD for every chord and progression.Added features of this DVD are the presentation of Rock Power Chords in the keys of C G D A E and F and Blues Guitar Chord Progressions inthe keys of C G D A E and F.

This exhaustive yet compact (5 1/2'x8') QWIKGUIDE chord reference shows chords from simple triads through myriad extensions of the dominant seventh chord all in grid format only. All voicings and variants of chords are shownchromatically from the root tone beginning with C Cm C6 C7 C diminished C augmented etc. Chords are further subdivided into categories including chords with individually fingered strings barre chords and rock power chords.A special segment of the book offers 'Best Bet Jazz Chords' - a selection of the most commonly used jazz forms. The book closes with a group of four 12-bar blues progressions. Note: A full-size version of this item is available as21789 Modern Guitar Method Grade 2 Essential Guitar Chords.

With Online Audio-For decades Guitar students and teachers alike have struggled with the idea of left-handed individuals playing right-handed. Now that the idea of letting the dominant hand rule is widely accepted as the best course of action here at last is a proven method for the left-handed Guitarist! The world's premier method for learning modern plectrum style Guitar time-tested and proven successful in building the theoretic and technical foundation needed toplay in any style. All seven grades of this method are written in standard notation only to encourage better sight reading. In Grade 1 the student guitarist will learn to play solos duets scales and chords in the keys of C Aminor G and E minor. Even in Grade 1 the student is already exposed to the chord/melody concept of guitar performance.The world's premier method for learning modern plectrum style Guitar time-tested and proven successfulin building the theoretic and technical foundation needed to play in any style. All seven grades of this method are written in standard notation only to encourage better sight reading. In Grade 1 the student Guitarist will learnto play solos duets scales and chords in the keys of C A minor G and E minor. Even in Grade 1 the student is already exposed to the chord/melody concept of Guitar performance. A supplementary study book entitledGrade 1 Studies two different play-along audio recordings (pop version and traditional) and video are available. The companion recordings feature Tommy Flint and William Bay playing in split-track format withthe solo parts performed on the right channel and the accompaniment or second duet parts played on the left. The student can play along with the full recording or tune out either channel and play the missing part. TheLeft-Handed Modern Guitar Method Grade 1 provides a valuable enhancement to the world's most popular Guitar method. Includes access to online audio.