Juan Serrano

SERRANO JUAN & COREY WHITEHEAD FLAMENCO CLASSICAL GUITAR TRADITION 1 Method CD LIBRO SPARTITO

SERRANO JUAN & COREY WHITEHEAD, THE FLAMENCO CLASSICAL GUITAR TRADITION, VOLUME 1,
A Technical Guitar Method and Introduction to Music. 175 Pagine, 4 CD con 235 tracce audio. NO TABLATURE

LIBRO DI MUSICA FLAMENCO - CLASSICA CON 4 CD,
METODO, SPARTITI PER CHITARRA. CON ACCORDI E PENTAGRAMMA.

Product Description:
This beginning guitar method is written for aspiring classical or flamenco guitarists who want to learn how to read music up to the intermediate level. Music from the Spanish tradition such as Romanza, Pica-Pica, El Vito, Café de las Chinitas, Perfidía, La Virgen de la Macarena and flamenco music of Juan Serrano provides a technical and musical foundation that improves facility in playing scales, arpeggios, tremolo, and rasgueado.

Tablature is not included as the one of the primary aims of this book is to improve note reading and the comprehension of the fundamental elements of music. Performances of all musical examples are available online that includes one performance at tempo for each of the more than 230 musical examples. Short repertoire pieces from Gaspar Sanz, Dionisio Aguado, Fernando Sor, Mauro Guiliani, Ferdinando Carulli, and Mateo Carcassi are included at the end of the book and are repertoire studies that will prepare guitarists for further study in classical and/or flamenco guitar.

Product Number: 21029
Format: Book
ISBN: 0786674652
UPC: 796279100489
ISBN13: 9780786674657
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/18/2008
176 PAGES

 

A Brief History of THE GUITAR

The guitar is a descendant of two different instruments, the Spanish instrument called the vihuela de mano, and the European lute that descended from the Arabian oud. The Arabic word oud translates in English as "wood." The oud has six courses with the lowest sounding string being a single course. The word course refers to a single string or a pair of strings placed closely together. The European lute and the vihuela had a single high string or single course on top. On the lute this string was called the chanterelle. The vihuela and the European lute appeared in six-course versions. Various configurations of the lute used many tunings and had as many as thirteen courses.

The vihuela had as many as ten courses and was tuned like the modern guitar with the exception of the third string, which was lower by a half-step from the modern guitar tuning. It was tuned, from lowest to highest sounding course: E A D F# B E. The six-course lute was generally tuned, from lowest to highest: G C FAD G. There was no absolute tuning pitch at that time and some treatises instructed the student to rune the 1st string as high as possible without it breaking. The lute is often tuned a whole step higher to (A D G B E A) to take advantage of its more brilliant and shimmering tone quality at that pitch. The earliest guitars date from around the middle of the 13th century in Spain and were mentioned in 1265 by Juan Gil of Zamora in the treatise called Ars Musica. In 1487 Johannes Tinctoris wrote about the four-course guitar being invented by the Catalans. The first music published for the four-course guitar was by Alonso Mudarra (1510-1580) in Treslibros de musica en cifraspara vihuela (1546). Nine books of tablature were published by Adrien Le Roy (1520-1598) between 1551-1555. These publications contain the first music for five-course guitar. Later in the same century Juan Bermudo (1510-15-) and Miguel Fuenllana (1525-1585) wrote music in tablature for the guitar. A treatise from the late 16th century in Spain refers to two techniques of playing the guitar; rasgueado (strumming) or punteado (picking with the fingers). The technique of alternate picking toward the palm of the right hand with two fingers, such as the index and middle fingers, was called dos dedos. There was a further explanation of a technique called dedillo that refers to a rapid up and down movement of the index finger to strike an individual string when playing scale passages.

The baroque guitar had five courses that were tuned to unison at the first, second, and third strings and to an octave at the fourth and fifth strings. The two exceptions are that sometimes the fifth string did not have me bourdon or lower octave string, and sometimes the first string was a single course like the chanterelle of the lute. The former would make the fifth string the highest sounding string on the instrument, many performers preferred the latter, and some performers employed both. The fifth string was the highest sounding string and me fourth was the lowest. On the modern guitar the fifth string is tuned an octave lower than the guitar of Gaspar Sanzo In 1674 in Italy, Francisco Corbetta (1620-1681) published Guitarre Royale, dedicated to King Luis XIV of France. In 1596 in Italy there was a school of guitar playing called the Alpha Beta School. The primary scholars of the school were Juan Carlos y Amat and Palumbi. They developed a system of chord notation that was noted .m letters to describe the chord to be played. They also used the terms "rasgueado" and "punteado" in their rreanse. Between 1770 and 1800, the six single-course guitar was commonplace and following this development composers such as Fernando Sor (1778-1839) Spain/France/England, The famous Mauro Giuliani (1781-1829) Italy, ... 


Contents:

A Note from the Authors
The Guitar - A Brief History
La Guitarra (poem)
Preface
Parts of the Classical Guitar
Parts of the Flamenco Guitar
Names of the Open Strings
Tuning
Metronome
Note Locations on the Fretboard
Sitting Position and Holding the Guitar
The Fingers of the Right and Left Hand
Fingernail Shape and Maintenance
Picados (Scales) - Apoyando (Rest Stroke) and Tirando (Free Stroke)
Arpeggios (Broken Chords)
Tremolo (Preparatory Exercise)
Rasgueado (Strumming)
Basic Elements of Music Notation
Musical Expression Symbols
The Musical Alphabet
Half Steps and Whole Steps
The Major Scale
The Open Treble Strings
Systematic Arpeggio Exercises
Alternating Index and Middle Fingers...
Sueño
The Open Bass Strings
Playing on the Bass and Treble Strings
Notes on the First String
Soleares
Notes on the Second String
Music in Two Parts
Playing Eighth Notes
Notes on the Third String
Sevillanas
Sevillanas I (Trio)
Sharps and Flats on the 1st, 2nd and 3rd strings
The Fifth Position on the First String
The Natural Sign
Romanza in A Minor
Romanza
Farrucas
Sixteenth Notes
Slurs
Estudio No. 2
Estudio No. 2 (Duet)
The Major Scale
The Natural (Relative) Minor Scale
The A Harmonic Minor Scale
The A Melodic Minor Scale
The Chromatic Scale
Notes on the Fourth String
Chords
Fandango
Fandango Duo
Notes on the Fifth String
Historia de un Amor
The Dotted Quarter Note
Perfidia
Notes on the Sixth String
Farrucas (Bass Line)
Farrucas
El Zorongo (Bass Line)
El Zorongo (Melody)
Playing the F Major Chord
Playing Two Notes Together (Double-Stops)
El Vito
Rasgueado
Sevillanas Intro
The Natural Notes
Sharps and Flats on the Bass Strings
The Chromatic Scale
El Rancho Grande
Alternating Bass and Chord Progression
El Rancho Grande (Duet)
Ascending and Descending Slurs: Ligados
Left Hand Agility Exercise
Chords in C Major and A minor
Las Mañanitas
Greensleeves
Scales and Chord Progressions
Rumba Rhythm
Scales and Chord Progressions cont
The House of the Rising Sun
Variations on a Theme from Asturias
Malagueña
Intervals
Chords
Triads
C Major Arpeggio and Chord Inversion
The A Minor Arpeggio and Chord
The G Major Arpeggio and Chord
The F Major Triad
Barré Chords
Chord Progressions
Petenera
Café de Chinitas
La Virgen de la Macarena
The High D and E on the First String
Pica-Pica Melody (Guitar I)
Pica-Pica Accompaniment (Guitar II)
Pica-Pica Accompaniment (Guitar III)
Pica-Pica Accompaniment (Guitar IV)
Pica-Pica (quartet)
Key
Chord Substitution
Key Signatures
The Circle of Fifths
Major and Minor Scales in the First Position
More Chords in the Circle of Fifths...
Allegro by Ferdinand Carulli
Allegretto by Carulli
Andante by Carulli
Allegro in E minor by Carulli
Etude in G Major by Carulli
Andantino by Carulli
Larghetto by Carulli
Romanza
Menuet by Robert de Visée
Lección 38 by Dionisio Aguado
Clarines de los mosqueteros del rey de Francia by Sanz
Allegro by Mauro Guiliani
Andante by Ferdinand Carulli
Conclusion
About the Authors

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SERRANO JUAN THE ART OF ACCOMPANYING FLAMENCO DANCE DVD CHITARRA SEVILLANAS-TANGO-ALEGRIAS

SERRANO JUAN, THE ART OF ACCOMPANYING FLAMENCO DANCE. DVD

DVD DI MUSICA FLAMENCA PER CHITARRA. 

Product Description:
In this outstanding DVD Juan Serrano shares the spotlight with dancer Andrea Sanchez, and explains the interaction of the guitarist and dancer in the flamenco tradition. A sophisticated 3-camera filming technique, including split-screen and picture-in-picture format, reveals all aspects of this artistic relationship. Maestro Serrano applies his formidable knowledge of the flamenco guitar to the following rhythms in a perfectly synchronized display of technique and flamenco duende y gracia (fire and grace): Sevillanas, Farruca, Tangos, Romeras, Alegrias, Zapateado, and Bulerias. This video would be of interest to the aspiring flamenco dancer as well as the intermediate flamenco guitarist.

Prezzo: €24,00
€24,00

SERRANO JUAN THE FLAMENCO TRADITION DVD CHITARRA Siguiriyas-Soleares-Tangos-Fandangos

SERRANO JUAN, THE FLAMENCO TRADITION. DVD

DVD DI MUSICA PER CHITARRA.  

Product Description:
In this video, world-renowned flamenco guitar soloist, Juan Serrano, teaches the four basic flamenco song forms: Siguiriyas, Soleares, Tangos, and Fandangos. In addition, Serrano performs six brilliant concert solos utilizing these classic song forms. 180 MINUTES.

Publisher: Mel Bay Publications, Inc.

Prezzo: €39,99
€39,99

SERRANO JUAN FLAMENCO GUITAR DVD CHITARRA SOLEARES FANTASIA FARRUCAS GITANA MUSICA

SERRANO JUAN, FLAMENCO GUITAR. DVD

DVD DI MUSICA PER CHITARRA FLAMENCO.  

Flamenco guitar virtuoso Juan Serrano divides this unique video into technical and performance segments. In the first part, he teaches and demonstrates the basic elements of flamenco music. In the second part, he plays four outstanding concert solos in their entirety. A masterful video by a guitarist known world-wide for his innovative, flawless technique.

publisher: Mel Bay Publications, Inc.

Cueva Gitana Juan Serrano
Dos Colores Juan Serrano
Fantasia Juan Serrano
Farrucas Juan Serrano
Lagrimas De Granada Juan Serrano
Nostalgia Juan Serrano
Soleares Juan Serrano

Prezzo: €22,99
€22,99

SYSTEMATIC STUDIES FOR FLAMENCO GUITAR Juan Serrano 2 CD TABLATURE A FALSETA ANTHOLOGY ALEGRIAS

SYSTEMATIC STUDIES FOR FLAMENCO GUITAR. Serrano. 447 Pagine, 10 sevillana, 10 alegrial por arriba, 10 alegrias por medios, 10 bulerias, 10 colombianas, 10 fandangos, 10 farrucas, 10 granainas, 10 romeras, 10 siguiriyas, 10 soleares, 10 tangos, 10 tarantas. 2 CD TABLATURE

A FALSETA ANTHOLOGY 

Product Description:
This masterful, comprehensive book presents ten Sevillanas plus ten falsetas of each of the following popular and traditional flamenco forms: Alegrias por Arriba, Alegrias por Medio, Bulerias, Columbianas, Fandangos, Farrucas, Granainas, Romeras, Siguiriyas, Soleares, Tangos, and Tarantas. This landmark text presents the systematic development of Flamenco tech- nique. Each of the dance forms contains performance notes & a brief history. In English & Spanish and written in standard notation and tablature. Includes companion 2-CD set.

 

INTRODUCTION

All of the flamenco forms are based on one traditional rhythmical phrase of 8 or 12 beats (musically 3/4,4/4, or 3/4 and 6/8). The rhythmical flamenco phrase is called compas. The melodic themes that are played between each compas are calledjalsetas. A falseta can be composed of several flamenco compases. The flamenco selections are composed of its traditional compas with some rhythmical variations and several falsetas. Between falseta and falseta the compas or one of its variations is played.
The falsetas melodically are all different and are composed of different techniques, tremolos, picados arpeggios, rasgueados and different chords.
Almost all of the flamenco aficionados know which is the compas of each form and how to play it. Many prefer not to play compositions of other guitarists, but they prefer to learn many new falsetas in order to make their own arrangements.
This book is composed of 10 Sevillanas and 10 falsetas of each one of the most popular and traditional of the flamenco forms: I
i Sevillanas, Alegrfas por Ar1iba, Alegr{as por Medio, Bulerfas, Colombianas, Fandangos, Farrucas.
Granainas, Romeras, Siguiryyas, Soleares, Tangos and Tarantas .
All of the falsetas can be used as technical studies. Each falseta is equivalent to one study. It is recommended that each of the falsetas be practiced very slowly, following the fingering marked in each, so that the fingers memorize the order that they must follow. Thus, the synchronization of the two hands can be perfected and the falsetas can be played with more ease.
There are many flamenco guitarists that play the notes very clearly with a good sound. These guitarists are called "clean guitarists" (clear) within the flamenco world. There are others that are good musicians and have a very good sense of rhythm, but do not have a good technique. The notes sound sloppy. These guitarists are called "dirty guitarists" (sloppy) in the flamenco world.
It doesn't matter what type of music is played, jazz, classical or flamenco. All of the notes should sound clear with each one having its musical value.
Note Falsetas are the melodic phrases that are played between compas and compas. Compas is the rhythmical phrase that is played between falseta and falseta.

SYMBOLS
• The numbers 1 - 2 - 3 - 4, signify the fingers of the left hand.
• The letters P - I - M - A - S signify the fingers of the right hand.
• The Roman numerals designate the position, I - II - III etc.
• A letter C preceding a Roman numeral signifies Barre: CI - CII - CIII etc.
• The numbers in circles designate the strings. For example, a three in a
circleG)
means the
note played on the third string, a four @) fourth string etc.
TRANSLATIONS FOR MUSIC AND TABLATURE
Freestroke ----Tirando
Reststroke ----Apoyando
Scale ------Picado
 

Format: Book/2-CD Set

Contents:
01) Introduction --
02) Sevillanas --
03) Alegrias Por Arriba --
04) Alegrias Por Medio --
05) Bulerias --
06) Colombianas --
07) Fandangos --
08) Farrucas --
09) Granainas --
10) Romeras --
11) Siguiriyas --
12) Soleares --
13) Tangos --
14) Tarantas

 

 

INTRODUCTION

All of the flamenco forms are based on one traditional rhythmical phrase of 8 or 12 beats (musically 3/4, 4/4, or 3/4 and 6/8). The rhythmical flamenco phrase is called compas. The melodic themes that are played between each compas are calledjalsetas. A falseta can be composed of several flamenco compases. The flamenco selections are composed of its traditional compus with some rhythmical variations and several falsetas. Between falseta and falseta the compas or one of its variations is played.

The falsetas melodically are all different and are composed of different techniques, tremolos, picados arpeggios, rasgueados and different chords.

Almost all of the flamenco aficionados know which is the compus of each form and how to play it. Many prefer not to play compositions of other guitarists, but they prefer to learn many new falsetas in order to make their own arrangements.

This book is composed of 10 Sevillanas and 10 falsetas of each one of the most popular and traditional of the flamenco forms:

 

Sevillanas, Alegrias por Arriba, Alegrias por Medio, Bulerias, Colombianas, Fandangos, Farrucas,

Granamas, Romeras, Siguiras, Soleares, Tangos and Tarantas

 

All of the falsetas can be used as technical studies. Each falseta is equivalent to one study. It is

recommended that each of the falsetas be practiced very slowly, following the fingering marked in each, so that the fingers memorize the order that they must follow. Thus, the synchronization of the two hands can be perfected and the falsetas can be played with more ease.

There are many flamenco guitarists that play the notes very clearly with a good sound. These guitarists are called "clean guitarists" (clear) within the flamenco world. There are others that are good musicians and have a very good sense of rhythm, but do not have a good technique. The notes sound sloppy. These guitarists are called "dirty guitarists" (sloppy) in the flamenco world.

It doesn't matter what type of music is played, jazz, classical or flamenco. All of the notes should sound clear with each one having its musical value.

Note Falsetas are the melodic phrases that are played between compas and compas. Compas is the rhythmical phrase that is played between falseta and falseta.

SYMBOLS

• The numbers 1 - 2 - 3 - 4, signify the fingers of the left hand.

• The letters P - I - M - A - S signify the fingers of the right hand.

• The Roman numerals designate the position, I - II - III etc.

• A letter C preceding a Roman numeral signifies Barre: CI - CII - CIII etc.

• The numbers in circles designate the strings. For example, a three in a

circle G) means the note played on the third string, a four 4 fourth string etc.

TRANSLATIONS FOR MUSIC AND TABLATURE

Freestroke ----Tirando

Reststroke ----Apoyando

Scale ------Picado

 

 

SEVILLANAS

Sevillanasare one of the most popular forms of the flamenco music. One complete Sevillana set is composed of four coplas; that is, four different Sevillanas-ealled 1st, 2nd, 3rd, and 4th. The reason is that the Sevillanas are danceable and each of them is adapted to the choreography of the dance. The complete dance is divided into four parts. The choreography of the dance is based on the rhythm, not the melody, therefore the order of the 4 Sevillanas that are in the composition can be interchanged.

This section is composed of 10 different Sevillanas in tone and melody. The order is in a progressive form in technical difficulty (advancement).

It is recommended learning all of the 10 Sevillanas; then playing the four that are liked best and interchanging them in any order. It is also recommended that the second not be attempted until the first is mastered and so on.

although the compas and the musical form of all of the Sevillanas are the same, the techniques and melodies are completely different in each one of them; therefore when the 10 Sevillanas are learned, it will be much easier to master the rest of the falsetas that make up this book.

The Sevillanas are measured in 3/4. A flamenco compas has 6 beats equivalent to 2 measures of 3/4.

 

SEVILLANAS

Las Sevillanas son unas de las formas mas populares entre la musica flamenca. Una composici6n completa de sevillanas consiste en cuatro copIas, 0sea, cuatro Sevillanas diferentes que se les llama primera, segunda, tercera y cuarta. La razon es porque las Sevillanas son bailables y cada una de elIas esta adaptada a la coreograffa del baile.

La danza completa esta dividida en cuatro partes. Las coreograffas del baile estan basadas en el ritmo y no en la melodia. Por 10 tanto, el orden de las cuatro Sevillanas que se esten usando en la composici6n puede ser cambiado a la conveniencia del guitarrista que las interprete.

Esta eccion de Sevillanas se compone de diez Sevillanas diferentes en tonos y melodfas. El orden esta en una forma progresiva en dificultad tecnica.

recomiendo que los estudiantes aprendan las diez Sevillanas y asf podran tocar las cuatro que mas les gusten y podran cambiar el orden a su conveniencia y gusto. Tambien recomiendo que hasta que no hayan aprendido bien la primera, no empiecen con la segunda y 10 mismo con todas las siguientes.

Aunque el compas y la forma musical de todas las Sevillanas es igual, las tecnicas y las melodfas son completamente diferentes en cada una de elIas. Por 10 tanto, cuando hayan aprendido estas diez Sevillanas les sera mucho mas facil el aprendizaje de todas las demas formas que componen este libro.

todas las Sevillanas se miden en tiempo de 3/4. El compas flamenco se compone de seis tiempos equivalente ados compases musicales de 3/4.

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SERRANO JUAN FLAMENCO CONCERT SELECTIONS LIBRO CD TABLATURE-Rumba-Soleares-Bulerìas-Verdiales

SERRANO JUAN, FLAMENCO CONCERT SELECTIONS. LIBRO CON CD

LIBRO DI MUSICA CON CD, SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE. 

Verdiales, Petenera, Zambra, Farruca, Seguiriyas, Zapateado, Rumba, Guajiras, Soleares, Bulerìas, Danòn; il flamenco in tutte le sue varie tipologie, a seconda delle città, delle regioni, dei popoli, delle influenze arabe e occidentali. Ogni brano è preceduto da una breve introduzione storica e interpretativa, (in inglese e in spagnolo). Il flamenco come la musica blues è la musica di un popolo che suona, balla e canta, ripetendo ritmi, melodie, che si tramandano di generazione in generazione, senza teorie o libri. Tra questi musicisti ci sono degli uomini come, Maruza, Robert Johnson, Muddy Waters, Sabicas, ecc. che con la loro personalità, si distaccano dal "marmellatone uniforme", e creano qualcosa di proprio. Facendo un paragone, con la lingua popolare; possiamo dire che il dialetto è un linguaggio più vero e storico dell'italiano. Il dialetto ha in sé tutte le suggestioni delle genti e delle culture che hanno attraversato o che hanno dominato quella città, ha conservato le cadenze e le sonorità. In ogni dialetto vi è il passato di quella terra. C'è un paesino in Italia, ove per dialetto si parla una lingua molto simile al francese. Perché durante il turbine napoleonico nel 1797 fu invaso, e il linguaggio popolare ne è stato fortemente influenzato. E come ci sono dei poeti bravissimi che si esprimono con il dialetto, così è per la musica. Per chi ha un cognome diverso da De Lucia, e coloro che non possono imbarcarsi immediatamente per la terra Iberica, per frequentare un dispendioso corso di alto livello per chitarra, e per chi non discende da un casato di scatenati consuma-suole di Cordoba, ove i segreti e la cultura si trasmettono come nella migliore tradizione di questa forma musicale popolare, di padre in figlio. 200 Pagine di musica. CD TABLATURE
in spagnolo e in inglese

Product Description:
Written in Spanish and English, this book contains 12 of Juan Serrano's finest flamenco guitar solos. Selections include: Bella Mar (Verdiales); Ensueno (Petenera); Fantasy (Zambra); Juani (Farruca); Lidia; Majestuosas (Serguiriyas); Munequita (Zapateado); Nancy (Rumba); Nostalgia (Guajiras); Posadas (Soleares); Tentacion (Bulerias); and Verde Selva (Danzon). All solos are scored in notation and tablature.

Format: Book/CD Set

Contents:

Fantasy -- Juan Serrano
Majestuosas -- Juan Serrano
Lidia -- Juan Serrano
Nancy -- Juan Serrano
Bella Mar -- Juan Serrano
Juani -- Juan Serrano
Nostalgia -- Juan Serrano
Ensueno -- Juan Serrano
Posadas -- Juan Serrano
Muniquita -- Juan Serrano
Verde Selva -- Juan Serrano
Tentacion -- Juan Serrano

Prezzo: €33,99
€33,99

SERRANO JUAN FLAMENCO GUITAR SOLOS LIBRO CD TABLATURE CHITARRA BOLERO TIENTOS FANDANGOS

SERRANO JUAN, FLAMENCO GUITAR SOLOS. CD TABLATURE

Product Description:
This is a superb collection of 8 original flamenco concert guitar solos and two exciting guitar quartets. The selections feature Juan Serrano's usual technical brilliance and capture the vitality, fire and haunting Moorish moods characteristic of flamenco music. All solos are in notation and tablature. Selections include: Ensueno (Petenera for Four Guitars); Flamenco Dance (Sevillanas for Four Guitars); Canto Minero (Taranto); Mantillas de Feria; Capricho de Huelva (Fandangos); Alma (Bulerias in A minor); Andalucian Dance (Tanguillo); Blazing Guitar (Rumba); Memory of Love (Bolero); Ana Maria (Tientos). All of the solos are on the CD, but the quartets are not.

Format: Book/CD Set

Contents:

Capricho De Huelva (Fandangos) -- Juan Serrano
Flamenco Dance (Sevillanas For Four Guitars) -- Juan Serrano
Ensueno (Petenera For Four Guitars) -- Juan Serrano
Mantillas De Feria -- Arranged By Juan Serrano
Blazing Guitar (Rumba) -- Juan Serrano
Alma (Bulerias In A Minor) -- Juan Serrano
Ana Maria (Tientos) -- Juan Serrano
Andalucian Dance (Tanguillo) -- Juan Serrano
Canto Minero (Taranto) -- Juan Serrano
Memory Of Love (Bolero) -- Juan Serrano

132 PAGES

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€24,95

SERRANO JUAN FLAMENCO GUITAR TECNICAS BASICAS LIBRO CD TABLATURE CHITARRA METODO

SERRANO JUAN, FLAMENCO TECNICAS BASICAS. Metodo in inglese e spagnolo. CD TABLATURE

LIBRO DI SPARTITI DI MUSICA FLAMENCO PER CHITARRA, METODO CON CD E TABLATURE.


Product Description:
This book, written in both English and Spanish is the most authoritative method available on flamenco guitar technique. Juan Serrano is one of the world's premier flamenco concert soloist and is a seasoned teacher and performer in this vibrant, colorful musical genre. The text describes the history and development of flamenco music; teaches basic music theory; presents developmental studies on flamenco guitar techniques such as rasgueado and tremolo; and offers 14 exciting flamenco guitar solos. Written in notation and tablature.

 

The flamenco guitar descended from a long line of Spanish ancestors, and it is a deviation from its classical counterpart. According to one essayist on the subject, the guitar emanated from Egypt. Others like to believe that it evolved from the Greek~Assyrian cithara, brought into Spain by the Romans. However, the music of the guitar, that which accompanies the flamenco dance and song, in reality reveals evidence of Near-Eastem and Egyptian ancestry. During its acclirnatization in Spain, the minstrel and poet Bagdadi Ziryab added the fifth string. The Spanish guitar, accepted throughout the entire peninsula during the 10th Century, soon distinguished itself for the rasgueado technique. Since the beginning of the 19th Century it has had six strings: E, A, D, G, B, E. The music of the flamenco guitar depicts one of the rnarvels of the natural arts.

 

INTRODUCCION

La guitarra flamenca cuenta con una ilustre ascendencia hispana y marca una desviación de la clásica. Según algunos tratadistas, la guitarra es procedente de Egipto. Otros la suponen procedente de la citara Greco- Asiria importada a España por los Romanos. Pero la música de la guitarra tal como acompaña al baile o al cante flamenco acusa en efecto evidentes reminiscencias orientales. Durante su aclimatización en España el cantor y poeta Bagdadi Ziryab le añadió la quinta cuerda. La guitarra Española aclimatada en toda la peninsula en el Siglo X, pronto se distinguió por la técnica del rasgueado. Desde principios del Siglo XIX, la guitarra posee seis cuerdas: MI, LA, RE, SOL, SI, MI. La música de la guitarra flamenca constituye una de la maravillas del arte natural.


Format: Book/CD

Contents:

The history of flamenco
Music Theory
Learning Notes
Symbols
Tablature
Explanation of the Rasgueado
Preparatory Study
Rasgueado Exercises
Scale Study #1
Scale Study #2
Scale Study #3
Tremolo Study #1
Tremolo Study #2
Study for the Thumb
Studies in Legatos
Arpeggio Exercises
Study in C
Sevillanas I, II, III, and IV
Farrucas
Soleares
Alegrias
Alegrias para Baile
Fandangos de Huelva
Tempestad (Rumba flamenca)
Bulerias
Malaguena (Flamenca)
Malaguena (Regional)
Romance Flamenco

Prezzo: €34,99
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SERRANO JUAN KING OF THE FLAMENCO GUITAR CD TABLATURE CHITARRA LIBRO SPARTITI

SERRANO JUAN, KING OF THE FLAMENCO GUITAR. Mani vigorose e tendini tenaci, 230 pagine, Rapida introduzione alla tecnica di base della chitarra flamenca: rasgueado, studio sul tremolo, arpeggio, picado, golpe. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA FLAMENCA. 

SPARTITI PER CHITARRA : 

PENTAGRAMMA E TABLATURE. 

Product Description:
Introduces basic flamenco studies, concert selections, and a brief history of the flamenco tradition. Includes the four basic song forms (siguiriyas, soleares, tangos, and fandangos) that influence all flamenco music.

Format: Book/CD Set
230 PAGES.

Contents:

Dos Colores -- Juan Serrano
Punta Umbria -- Juan Serrano
Tarifa -- Juan Serrano
Nostalgia -- Juan Serrano
Cueva Gitana -- Juan Serrano
Lamento Gitano -- Juan Serrano
Amigo Mariano -- Juan Serrano
Lagriamas De Granda -- Juan Serrano
Fantasy -- Juan Serrano
La Juderia -- Juan Serrano
Dos Colores -- Juan Serrano
Punta Umbria -- Juan Serrano
Tarifa -- Juan Serrano
Nostalgia -- Juan Serrano
Cueva Gitana -- Juan Serrano
Lamento Gitano -- Juan Serrano
Amigo Mariano -- Juan Serrano
Lagriamas De Granda -- Juan Serrano
Fantasy -- Juan Serrano
La Juderia -- Juan Serrano

 

 

CONTENTS:

Juan Serrano

Flamenco Guitar

 

Basic Techniques

Rasgueado

Tremolo Study

Arpeggio Exercise

Picado

Golpe

Farrucas

Soleares

 

Concert Selections

Lagriamas de Granda (Granainas) .

Nostalgia (Guajiras) .

Fantasy (Zambra) .

Dos Colores (Sole a por Bulerias) .

 

Flamenco Tradition

The Four Basic Flamenco Songs*

 

*Lamento Gitano (Siguiriyas) I

Techniques

Rasgueado

Tremolo

Alzapua

*La Juderia (Soleares)

*Cueva Gitana (Tangos)

*Punta Umbria (Fandangos)

Tarifa (Alegrias por medic-Derived from Soleares)

Amigo Mariano (Colombianas-Derived from Tangos) 

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