A collection of 28 Ernesto Nazareth compositions expertly transcribed for classic guitar solo.One of the major difficulties in trying to arrange Ernesto Nazareth's themes for any instrument, but the piano, is to separate the melodic line from its accompaniment: both are so closely together (that is one of the strongest characteristics of his pianistic style of composition) that it becomes almost impossible to treat one of the features disregarding the other. If one did that, the result would be only a pale and incomplete portrait of what was intended by the composer. That thought has guided us in the making of this book.In spite of the huge obstacles that resulted from the transposition of a piece originally written for the piano – a very rich instrument regarding the expressive recourses – to the more modest guitar, we always kept in mind our principal intention: to preserve at the most all the melodic dialogues of the scores, in special the ones between the melody and the bass line, both the elements that form the soul of Nazareth's compositions. We obviously had to do some changes. Thus, for instance, in some arrangements it was necessary to transpose the original key to a more appropriate one (at the guitar view-point, of course). Some phrases or fragments had also to be written an octave higher or lower (that can be perfectly understandable if we consider the very wide melodic range of the piano and the extensive way with which Nazareth uses it). Needless to say that all those recourses were used only when it has been strictly necessary. Despite the fact that those 28 pieces are only a little portion of Nazareth's work, this group of arrangements represents a good and representative panel. Among them there are some of Nazareth's greatest hits (Apanhei-te Cavaquinho, Odeon, Brejeiro, Ameno Resedá, etc.) as well as other not so known compositions– but no less beautiful and important. Listening to those pieces one can observe the compositional talent of Nazareth and his incredible harmonic, melodic and – especially – rhythmic versatility. Each of them has its own and unmistakable personality.The most part of the scores of this book – as well as in Nazarethian repertoire – is composed by tangos brasileiros (i.e., Brazilian tangos), but there are also some polcas and some of his most expressive valsas, like Confidências and Coração que Sente.
The main goal of this book is to present what could be called Brazilian guitar today, working melodically, harmonically and rhythmically in some of the most important Brazilian musical styles. .We have chosen to always use two electric guitars in these arrangements (but in the song "Violeiros e Cantadores",which is for solo electric guitar), so that the essential functions of the guitar – rhythm, melody and harmony – might beexpressed in the clearest and best way in each different style.We have made three versions of each piece, for ease of study: a complete one, one without the first electric guitar, and one without the second electric guitar. Therefore the student will be able to listen to the complete version and thenpractice with the other ones, playing the missing parts of the first guitar and the second guitar. At the end of the book, like an appendix, we have included the bass lines used in the recordings to strengthen the rhythmic and harmonic comprehension of each style."All music is in notation and tablature. A free recording of the music is available as an internet download.
The mandolin was brought to Brazil by Portuguese colonists in the 15th and 16th centuries, and eventually worked its way into traditional Brazilian music. the principal aim of this book is to present an overview of the several faces of the mandolin in Brazil. In this book's eighteen progressively arranged character studies, the mandolin student will find, besides a great number of aspects of the idiomatic technique of the instrument (i.e., changes of fingering positions, double stops, tremolos, arpeggios, legatos, chords, etc.), no less than fourteen different styles. All of the pieces are presented first in notation only as mandolin/guitar duets, followed by the mandolin part repeated with tablature.
Brazil offers a great and luxurious musical variety, not only for its large extension of land, but also for the multiple cultural interchange established along centuries among the several peoples which contributed to the forming of its rich and varied musical map. from that triple (though not always conscious) alliance among the native Indigenous, the European colonizer and the African (those latter brought here as slave workers), resulted a Brazility feeling which is common to every country side, despite the distances that separate them: joyous, melancholic, nostalgic or ritual, Brazilian music is always the most authentically expression of its people, their happiness and sorrows. This work is an effort to display some Brazilian popular melodies arranged for violin and piano. the themes chosen, coming from the country as well as urban areas, are part of a repertoire quite familiar to every Brazilian, some of them already belonging for centuries to Brazil's memory. No intention of producing a scientific or musicological work has been nourished by the arrangers. What guided them in the choice of the songs presented in this book was, above all, a poetic sense and deep love for the music of their country. Enclosed are 19 violin solos on historic Brazilian themes. A free piano accompaniment is available online.
This book presents twelve original compositions for piano solo encompassing three musical styles originated in the Brazilian Northeast: the xote, the baião and the frevo.
This book, the first in a series on a variety of Brazilian musical styles, is completely dedicated to the choro. It contains 12 piano pieces, including 6 original compositions by the authors and 6 arrangements of choros written by some of the greatest Brazilian composers like Patápio Silva, Joaquim Callado, Anacleto de Medeiros and Sátiro Bilhar.
This book consists of twelve original piano pieces composed by the authors: six sambas and six bossas. the sambas themselves display a varied range of derived styles: samba-de-roda, sambão, partido alto, samba amaxixado, and also the "pure" samba, in two of the pieces. the pieces reflect the rich musical tradition of Brazil and serve as excellent solo piano pieces.
This book presents 12 piano solos based on two more Brazilian rhythms originated in Rio de Janeiro: the valsa and the marchinha (parts I and II of this piano series are on choro, samba and bossa nova).
The mandolin was brought to Brazil by Portuguese colonists in the 15th and 16th centuries, and eventually worked its way into traditional Brazilian music. the principal aim of this book is to present an overview of the several faces of the mandolin in Brazil. In this book's eighteen progressively arranged character studies, the mandolin student will find, besides a great number of aspects of the idiomatic technique of the instrument (i.e., changes of fingering positions, double stops, tremolos, arpeggios, legatos, chords, etc.), no less than fourteen different styles. All of the pieces are presented first in notation only as mandolin/guitar duets, followed by the mandolin part repeated with tablature.
This book presents 12 piano solos based on two more Brazilian rhythms originated in Rio de Janeiro: the valsa and the marchinha (parts I and II of this piano series are on choro, samba and bossa nova).
The main goal of this book is to present what could be called Brazilian guitar today, working melodically, harmonically and rhythmically in some of the most important Brazilian musical styles. .We have chosen to always use two electric guitars in these arrangements (but in the song "Violeiros e Cantadores",which is for solo electric guitar), so that the essential functions of the guitar – rhythm, melody and harmony – might beexpressed in the clearest and best way in each different style.We have made three versions of each piece, for ease of study: a complete one, one without the first electric guitar, and one without the second electric guitar. Therefore the student will be able to listen to the complete version and thenpractice with the other ones, playing the missing parts of the first guitar and the second guitar. At the end of the book, like an appendix, we have included the bass lines used in the recordings to strengthen the rhythmic and harmonic comprehension of each style."All music is in notation and tablature. A free recording of the music is available as an internet download.
This book, the first in a series on a variety of Brazilian musical styles, is completely dedicated to the choro. It contains 12 piano pieces, including 6 original compositions by the authors and 6 arrangements of choros written by some of the greatest Brazilian composers like Patápio Silva, Joaquim Callado, Anacleto de Medeiros and Sátiro Bilhar.
This book consists of twelve original piano pieces composed by the authors: six sambas and six bossas. the sambas themselves display a varied range of derived styles: samba-de-roda, sambão, partido alto, samba amaxixado, and also the "pure" samba, in two of the pieces. the pieces reflect the rich musical tradition of Brazil and serve as excellent solo piano pieces.
A collection of 28 Ernesto Nazareth compositions expertly transcribed for classic guitar solo.One of the major difficulties in trying to arrange Ernesto Nazareth's themes for any instrument, but the piano, is to separate the melodic line from its accompaniment: both are so closely together (that is one of the strongest characteristics of his pianistic style of composition) that it becomes almost impossible to treat one of the features disregarding the other. If one did that, the result would be only a pale and incomplete portrait of what was intended by the composer. That thought has guided us in the making of this book.In spite of the huge obstacles that resulted from the transposition of a piece originally written for the piano – a very rich instrument regarding the expressive recourses – to the more modest guitar, we always kept in mind our principal intention: to preserve at the most all the melodic dialogues of the scores, in special the ones between the melody and the bass line, both the elements that form the soul of Nazareth's compositions. We obviously had to do some changes. Thus, for instance, in some arrangements it was necessary to transpose the original key to a more appropriate one (at the guitar view-point, of course). Some phrases or fragments had also to be written an octave higher or lower (that can be perfectly understandable if we consider the very wide melodic range of the piano and the extensive way with which Nazareth uses it). Needless to say that all those recourses were used only when it has been strictly necessary. Despite the fact that those 28 pieces are only a little portion of Nazareth's work, this group of arrangements represents a good and representative panel. Among them there are some of Nazareth's greatest hits (Apanhei-te Cavaquinho, Odeon, Brejeiro, Ameno Resedá, etc.) as well as other not so known compositions– but no less beautiful and important. Listening to those pieces one can observe the compositional talent of Nazareth and his incredible harmonic, melodic and – especially – rhythmic versatility. Each of them has its own and unmistakable personality.The most part of the scores of this book – as well as in Nazarethian repertoire – is composed by tangos brasileiros (i.e., Brazilian tangos), but there are also some polcas and some of his most expressive valsas, like Confidências and Coração que Sente.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.