Brazilian rhythms have become more fashionable and well-liked in recent years the carnival style and energetic nature proving very popular in contemporary music. This DVD is a wonderful programme that teaches you the basics enabling beginners to master three traditional patterns. This extensive DVD tutorial includes a history of traditional Brazilian Instruments and shows you how to tune and the techniques to play the Pandeiro Tamborin Timbaland more.

A Method For Mandolin And Bandolim-Brazilian Choro: A Method for Mandolin focuses on teaching 'bandolim' technique for playing Choro. The combination of method book and online audio offers a great opportunity to add performance practice to theblack-and-white notes on the page. The book presented in both English and Portuguese is written for two different groups--Brazilians learning to play bandolim in the Choro tradition and non-Brazilians who play otherstyles and want to learn Choro. Paulo Sa a native Carioca who has played Choro since childhood understands Choro intuitively and brings a Brazilian perspective to the project. Marilynn Mair aclassical mandolinist who has spent much of the past four years refining her Choro technique in Rio brings an outsider's viewpoint recognizing the subtle distinctions that make Choro style unique. Together these renownedperformers and university professors have created a pathway to help you play Choro with a true Carioca accent. Music presented in standard notation. Includes access to online audio.

of Guitar Solos-Laurindo Almeida (1917-1995) belongs to an elite group of Brazilian/American guitarists who by composing important works for the guitar reinstated the instrument in his native country as worthy of serious musical study.Stylistically his compositions synthesize his classical background Afro-Brazilian rhythms traditional Brazilian music and American jazz. This collection presents Almeida's solos preserving the original left and right handfingerings. The fingering is unique and tells us something about his skills as a professional guitarist. It also reflects the Brazilian school of guitar technique in the 1930's. Written in standard notation only.

Brazil. Par NETO JOVINO SANTOS. Brazil has an extremely rich and diverse musical heritage that has distilled the best of the world's music and has given it an unmistakable Brazilian identity, branching out into hundreds of rhythms and song forms, assuming regional accents and never failing to provide a unique blend of contagious syncopated grooves, lyrical and sinuous melodies, and a deep harmonic language. This process is still in action, with contemporary creative Brazilian artists incorporating many of the musical languages of the globe, and giving them back to the world with a defi nite Brazilian tinge. Samba and Bossa nova are some of the most popularly recognized forms, but there is a lot more music waiting to be discovered./ Recueil / Ensemble Flexible

With Online Audio-As one can easily imagine it would be very hard for a Guitar student to start reading the scores of the traditional choro repertoire most of them with large number of technical difficulties. It would be much better if theycould start with some easier pieces - of intermediate level - in order to be presented to the choro language in a more gradual and appropriate manner.That is the main goal of this book. It has 13 studies (in the 13 morecommonly used keys for the choro Guitar) written in a reduced form and in the principal stylistic choro variants: besides real choros there are polkas maxixes Brazilian tangos and xotis. The more used and characteristicrhythmical figurations are present in each of the studies as the principal. Also aiming at the simplification of execution all studies were composed with only two voices (melody and bass) and with no chords (although harmoniesare quite evident due to the choro melodic particularities). An audio download available online contains all 13 studies.

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians students teachers and all those who take a general interest in this field of music.The focus of this series is on the language of instrumental music nowadays performed in Brazil based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music which are presented in the following versions:1. Complete takes in other words the full versions of the pieces included in the book which are performed by all the instruments playing simultaneously;2. Without melody / solo part so that the melodic instruments can play along with the recording executing their own interpretations and practicing improvisations;3. Without harmony so that the harmonic instruments can practice the language of accompaniment especially with regard to the rhythmic vocabulary of each style.4. Without bass so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects;5. Without drums so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations.Each book contains the scores in the form of lead sheets in four different versions: in C Bb Eb and bass clef. Due to the widely defined concept of this method it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution.The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos rhythmic comping phrases bass lines and drum grooves for instance can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition

arranged for Classical Guitar Solo. Par GUERRA STEPHEN. Choro is a popular instrumental-music tradition flourishing in Brazil and around the world. It preceded, influenced, and in turn was influenced by samba and bossa nova. Its repertory is vast, including thousands of choros composed by all manner of string, wind, keyboard, and percussion players?in addition to the guitar classics by João Pernambuco and Heitor Villa-Lobos.This landmark publication gives guitarists access to this seemingly endless repertory, empowering its readers to turn a choro written for any instrument into a convincing and idiomatic solo guitar arrangement. This process is taught through examples provided by Dr. Stephen Guerra, a versatile guitarist/composer intimately familiar with both classical and Brazilian guitar (violão brasileiro) as well as the choro idiom.This book is intended for both students of Brazilian guitar and classical guitarists seeking to add choros to their repertory and play them authentically. It includes: ?Original solo arrangements plus lead sheets and online recordings of 10 choros for the intermediate to advanced classic guitarist?Biographical and performance notes regarding the selected composers and compositions.?Insightful suggestions for further reading, listening, and study. ?Extensive endnotes explaining arrangement choices, notation practice and influences. Dr. Guerra focuses on classics from the pioneering generation of choro composers culminating in the artistry of João Pernambuco, Pixinguinha, and Heitor Villa-Lobos; among others, these include compositions by choro pianists Chiquinha Gonzaga and Ernesto Nazareth, samba singer-composer Noel Rosa, choro bandleaders Joaquim Calado and Anacleto de Medeiros, and Brazil?s early flute virtuoso, Patápio Silva.Includes access to online audio. / Date parution : 2022-04-26/ Recueil / Guitare Classique

Par VAN DER ROOST JAN. This major concert work cosists o five movements. 1st movement: La Laguna del ShimbeSituated high up in the Andes mountains in Northern Peru are the Huaringas, a group of lagoons in isolated and mysterious surroundings. The water has healing powersand for centuries traditional healers have settled there in small villages. From far the sick come to the Huaringas to be treated in nightly rituals, in which the hallucinating juice of the San Pedro cactus gives the prophet a look inside hispatient. The biggest lagoon is the “Laguna del Shimbe”, one of the countless wells of the immense Amazon stream. 2nd movement: Los AguarunasFurther downstream in Northern Peru we come across the rain tribe of Los Aguarunas. It’s a proud, beautiful andindependent race, which has never succumbed to domination, not even from the Incas. They live from everything the forest has to offer: fish, fruit, plants, . . . . They also grow some crops and live as semi-nomads. They take their fate into their ownhands and after having made contact with modern civilisation, they have integrated new elements into their lives without betraying their own ways. 3rd movement: MekaronMekaron is an Indian word meaning “picture”, “soul”, “essence”. The Indians are theorigina inhabitants of the Amazon region. They either live in one place as a group or move around a large region. They all have their own political system, their own language and an intense social life. At the same time they are master of music andmedicine. “Everywhere the white man goes, he leaves a wilderness behind him”, wrote the North American Indian leader Seatl in 1885. As a result of these contacts with the whites, the disruption of most Indian societies began. (In this century alone, 80 tribes have vanished completely). 4th movement: KêêtuajêThis is the name of the initiating ceremony of the Krahô tribe in the Brazilian state of Goias, in which young boys and girls enter adult life. They are cleansed with water, painted with redpaint and covered with feathers, after which the ritual dance holds the entire tribe spell-bound. 5th movement: Paulino FaiakanIn 1988 the Indian chiefs Faiakan and Raoni Kaiapo came to Europe to protest against the building of the Altamira dam inBrazil. As a result of the dam the Indians would be driven from their traditional land and enormous artificial would be created. The project was supported financially by, amongst others, the European Community. In February 1989 the Indian tribesaround Altamira held a protest march for the first time in their history together. Amongst other things they paid tribute tot Chico Mendez, who, murdered in 1988, was the leader of the rubber syndicate and a fierce opponent of the destruction of theBrazilian rain forest. Brazilian and world opinion was awakened. The building of the dam was -albeit temporarily - stopped. / Niveau : 6 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par VAN DER ROOST JAN. This major concert work cosists o five movements. 1st movement: La Laguna del ShimbeSituated high up in the Andes mountains in Northern Peru are the Huaringas, a group of lagoons in isolated and mysterious surroundings. The water has healing powersand for centuries traditional healers have settled there in small villages. From far the sick come to the Huaringas to be treated in nightly rituals, in which the hallucinating juice of the San Pedro cactus gives the prophet a look inside hispatient. The biggest lagoon is the “Laguna del Shimbe”, one of the countless wells of the immense Amazon stream. 2nd movement: Los AguarunasFurther downstream in Northern Peru we come across the rain tribe of Los Aguarunas. It’s a proud, beautiful andindependent race, which has never succumbed to domination, not even from the Incas. They live from everything the forest has to offer: fish, fruit, plants, . . . . They also grow some crops and live as semi-nomads. They take their fate into their ownhands and after having made contact with modern civilisation, they have integrated new elements into their lives without betraying their own ways. 3rd movement: MekaronMekaron is an Indian word meaning “picture”, “soul”, “essence”. The Indians are theorigina inhabitants of the Amazon region. They either live in one place as a group or move around a large region. They all have their own political system, their own language and an intense social life. At the same time they are master of music andmedicine. “Everywhere the white man goes, he leaves a wilderness behind him”, wrote the North American Indian leader Seatl in 1885. As a result of these contacts with the whites, the disruption of most Indian societies began. (In this century alone, 80 tribes have vanished completely). 4th movement: KêêtuajêThis is the name of the initiating ceremony of the Krahô tribe in the Brazilian state of Goias, in which young boys and girls enter adult life. They are cleansed with water, painted with redpaint and covered with feathers, after which the ritual dance holds the entire tribe spell-bound. 5th movement: Paulino FaiakanIn 1988 the Indian chiefs Faiakan and Raoni Kaiapo came to Europe to protest against the building of the Altamira dam inBrazil. As a result of the dam the Indians would be driven from their traditional land and enormous artificial would be created. The project was supported financially by, amongst others, the European Community. In February 1989 the Indian tribesaround Altamira held a protest march for the first time in their history together. Amongst other things they paid tribute tot Chico Mendez, who, murdered in 1988, was the leader of the rubber syndicate and a fierce opponent of the destruction of theBrazilian rain forest. Brazilian and world opinion was awakened. The building of the dam was -albeit temporarily - stopped. / Niveau : 6 / Répertoire / Fanfare

You Say You Know Everything-Here is a wonderful arrangement of a Brazilian folksong for young singers. Set in a steady samba style it tells a gentle and teasing story about two lovers. Includes Portugese and English lyrics.Available separately: 2-Part andVoiceTrax CD. Performance Time: Approx. 2:30

Traditional And Modern Rhythms. Par ASSIS GILSON DE. Langue: English(US)/Deutsch/Français/Nederlands / Méthode / Méthode / Percussions

The Collective: Ethnic Style Series-This instructional book with CD covers the rich music derived from a fusion of cultures. West Africa Europe and the indigenous Indian cultures of the Caribbean region all took part in creating this music style. Learn to playthis distinctive music style on bass guitar. The book has all the essential playing techniques and explores the special relationship of the bass to the many rhythm grooves of these drumming traditions. You'll also get historicalreferences and background useful information and explanations about the music styles notated musical examples of each approach detailed points about 'feel ' important performance tips extensive discographies andbibliographies biographies of each author and demonstration performances and play-along tracks on the accompaniment CD.

Par MAIR MARILYNN / SA PAULO. Choro brésilien: Une méthode pour mandoline se concentre sur l\'enseignement \'bandolim\' technique pour jouer Choro. La combinaison du livre de procédé et CD offre une grande opportunité d\'ajouter la pratique d\'exécution sur les notes en noir et blanc sur la page. Le livre, présenté en anglais et en portugais, est écrit pour deux groupes différents - les Brésiliens à apprendre à jouer bandolim dans la tradition Choro, et non-Brésiliens qui jouent d\'autres styles et que vous souhaitez apprendre Choro. M. Sá, un Carioca indigènes qui, en tant joué Choro depuis l\'enfance, comprend intuitivement Choro et apporte une perspective brésilienne au projet. Mme Mair, un mandoliniste classique qui a passé la majeure partie des quatre dernières années à peaufiner sa technique Choro de Rio, apporte point de vue d\'un étranger, tout en reconnaissant les nuances qui font style unique Choro. Ensemble, ces artistes de renom et des professeurs d\'université ont créé un parcours pour vous aider à jouer Choro avec un accent vrai Carioca. Musique présentée en notation standard. / Niveau : Débutant / Méthode / Mandoline