LIBRO CON CD E DVD

INIZIAZIONE AL CONTRABBASSO JAZZ IN 3D. LIBRO CON CD E DVD IN ITALIANO.

LIBRO METODO DI MUSICA JAZZ, CON CD E DVD. 
PENTAGRAMMA, ACCORDI.

Autore Rossi, Aurelio

Strumento Contrabbasso
Prodotto Libro con CD e DVD
Formato Metodi, Studi, Tecnica
Lingua Italiano

Descrizione Contenuto:

Quest’opera propone una serie di esercizi musicali originali molto progressivi che si rivolgono prima di tutto ai contrabbassisti principianti. Seguendo i diversi capitoli di quest’iniziazione, troverete numerosi consigli per suonare il contrabbasso Jazz affrontando di volta in volta le varie difficoltà con gli insegnamenti la cui evoluzione rimane tanto progressiva quanto efficace. L’autore, che è anche accompagnatore di orchestre di jazz, vi rivela le sue conoscenze in modo semplice e comprensibile. Vi inizia all’arte di saper impostare le note sullo strumento nonché alla lettura, alla conoscenza delle scale e dei modi ed all’interpretazione jazz sotto tutte le sue forme (standard, ballata, 3/4, walking, anatole...). Infine il DVD Video riprende ogni esercizio per facilitarne la comprensione, mentre il CD Audio propone numerose basi musicali su cui potrete applicare gli insegnamenti nonché esercitarvi liberamente.

MARTIN JUAN, PLAY SOLO FLAMENCO GUITAR WITH. TABLATURE+CD+DVD

with notation and TAB    PLAY SOLO FLAMENCO GUITAR with

JUAN MARTiN

Guitarra Flamenca

SOLOS FLAMENCOS

42 solos

Progressively graded for absolute beginner to intermediate and more advanced

GRADES 0 - 5

con notacion y CIFRA

Progresivamente graduados para el principiante absoluto hasta intermedio y mas avanzado

CD Contents

Primera  Solea  First Solea

Tientos   Anhelo (Yearning)

Sevillana   Copla tradicional

Verdiales   Malaga, mi tierra

Alegrias en Mi   Alborozo (Jubilation)

Tangos   Festejo (Celebration)

Guajira   Fiesta cubana

Solea La base

Fandango de Huelva

Alegrias en mi con silencio

Bulerias por arriba

Rumba Rumba del dia nueve

Malaguelia Velez

Granadinas Albaicin

Solea para acompaliar

Tientos de Ricardo a Paco

Seguiriyas Sabicas y ritmeo

Alegrias Melocotones de Ronda

Verdiales Coplas malaguenas

Bulerias Diego en menor

Guajiras from Cania raja

Solea Solea gitana

Seguiriyas Falsetas clasicas

Zapateado Taconeos

Rumba Cancion popular, more advanced (mas avanzada)

Solea por Bulerias Raices

Tarantas Aires de La Union

Alegrias Tema inicial (Opening theme)

Sevillana   Mi copla

Solea   Falseta tradicional

Alegrias en la

Tarantos   Toque de las minas

Zorongo

Cantilias   Luz y sombra (Light and shade)

Seguiriya   Lamento

Rumba   Rumba flamenca

Solea Falsetas sencillas (Simple falsetas)

Fandango de Alosno

Rumba Cancion popular

Tangos Impulso

Carcelero

Farruca Ritmo del baile (Rhythm of the dance)

FLAMENCOVISION AND PATRICK CAMPBELL

EXCLUSIVE SALES AGENT: MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. MADE AND PRINTED IN U.S.A.

Designed as a comprehensive multimedia teaching set, this book, CD, and DVD present 42 solos, progressively graded in 6 levels from absolute beginners to more advanced, to suit players of all levels. It contains examples of eighteen different palos (rhythmic forms) of flamenco, with a wealth of melodic falsetas and rhythms. The music for all these is accurately written in notation and flamenco tab (cifra) in the book, and is also recorded on the companion CD. The DVD video contains over 57 minutes of solo music, and also includes introduction by Juan Martín and brief scenes of Andalucia today, which help to place this profoundly exciting and deeply felt music in the landscape of its origins. Juan Martín has succeeded here is showing how even music which is simple and very easy to start with can express the essential sound and emotion of flamenco, to build step by step the skills necessary for the performance of concert solos. Written in English and Spanish.

INTRODUCTION

Welcome to my new video series! It can help you to play flamenco guitar whatever your present level of skill. Many people who would like to play flamenco on the guitar tell me they are discouraged by the apparent difficulty of the techniques required. I want to try to change that, because the marvellous art of flamenco is much more about feeling and rhythm, those essential components of aire and compas, than always about sheer speed or amazing technique. The exciting challenge for me has been to arrange and compose music which includes classic elements with more modern sounds and rhythms that will capture for the student the true essence of flamenco guitar right from the very start, without sounding too simplified or lacking that characteristic flamenco sound.

The solos in this project are in a progressive series of grades, from an initial Grade a up to grade 8. This book, CD and video, the first of two sets, contain the pieces for grades a to 5. The grades are intended to be in line with the levels of musical advancement required for the grade examinations of music colleges for any musical instrument. This is a new kind of challenge for flamenco, but the art is now becoming so international that I believe it is time to see flamenco guitar as an art that can be learned in a progressive way by anybody who has the necessary devotion, understanding and determination. To many devotees of flamenco the idea of a formal graded approach, possibly subject to examination, may seem quite alien and even unwelcome. I want to look to the future, however, and to join with others who now nurture the growing world-wide interest in this precious art and the need for systematic methods of teaching. The essence of flamenco is so strong and distinctive that I do not believe its future is threatened by the increasing numbers of people who find in its soul what they want to express and to enjoy in music, any more than the music of the Mississippi Delta has been impoverished by the world-wide interest in the art of the Blues. There are no formal standards or guidelines in flamenco that are widely established to mark the student's stages of progress. In this project, therefore, I have given much thought to what I believe should be the appropriate levels of skill and musicianship necessary for achievement of the grades which can mark the advancement of technical ability and musical understanding. The book contains more details about the contents and requirements of each grade.

I have been greatly encouraged in this project by my young son Carlos, whose need for interesting music to play from the start of his learning the guitar has given me a valuable purpose and focus in preparing the music, particularly with the earliest grades.

There is bound to be disagreement about whether a piece is right for the grade assigned, or whether it is too easy or too difficult. I think that sort of argument is both unavoidable and not really very helpful. I have tried to present a logical development of musical understanding and of techniques for the right and left hand, but the important thing is not to be too rigid about the sequence of grades. Students and players have to differ in their capacities and needs. The music always matters more than anything else! More advanced players will be able to incorporate the music of the video in their own arrangements, and they should find things worth learning at any grade.

My aim is to give the student music which he or she will enjoy playing and which will reward the effort to practise and learn. This is not primarily a project to explain technique, but I have included some brief notes about the individual pieces. I hope you will share in the enjoyment I have had in undertaking this project with my good friend and former student Patrick Campbell who has again worked hard to communicate my playing through video, the CD and the printed page. I would also like to thank Bill Bay and his team for their invaluable advice and encouragement with what we believe to be a new advance in learning methods for flamenco. Viva el arte - y vamos a tocar!

Contents:

CONTENIDO / CONTENTS
Introduction By Juan Martín
Introducción Por Juan Martín
The Elements of Flamenco Guitar-Playing
Los Elementos del toque de la guitarra flamenca
Symbols and Notation
Símbolos y Notación

GRADE / NIVEL O Notes and Requirements/Notas y requisitos
PRIMERA SOLEÁ First Soleá
TIENTOS Anhelo (Yearning)
SEVILLANA Copla tradicional
VERDIALES Málaga, mi tierra
ALEGRÍAS EN MI Alborozo (Jubilation)
TANGOS Festejo (Celebration)
GUAJIRA Fiesta cubana

GRADE / NIVEL 1
Notes and Requirements/Notas y requisitos
SOLEÁ Falsetas sencillas (Simple falsetas)
FANDANGO DE ALOSNO
RUMBA Canción popular
TANGOS Impulso
CARCELERO
FARRUCA Ritmo del baile (Rhythm of the dance)
SEVILLANA Mi copla

GRADE / NIVEL 2
Notes and Requirements/Notas y requisitos
SOLEÁ Falseta tradicional
ALEGRÍAS EN LA
TARANTOS Toque de las minas
ZORONGO
CANTIÑAS Luz y sombra (Light and shade)
SEGUIRIYA Lamento
RUMBA Rumba flamenca

GRADE / NIVEL 3
Notes and Requirements/Notas y requisitos
SOLEÁ La base
FANDANGO DE HUELVA
ALEGRÍAS EN MI con silencio
BULERÍAS POR ARRIBA
RUMBA Rumba del día nueve
MALAGUEÑA Vélez
GRANADINAS Albaicín

GRADE / NIVEL 4
Notes and Requirements/Notas y requisitos
SOLEÁ Soleá gitana
SEGUIRIYAS Falsetas clásicas
ZAPATEADO Taconeos
RUMBA Canción popular, more advanced (más avanzada)
SOLEÁ POR BULERÍAS Raíces
TARANTAS Aires de La Unión
ALEGRÍAS Tema inicial (Opening theme)

GRADE / NIVEL 5
Notes and Requirements/Notas y requisitos
SOLEÁ PARA ACOMPAÑAR
TIENTOS de Ricardo a Paco
SEGUIRIYAS Sabicas y ritmeo
ALEGRÍAS Melocotones de Ronda
VERDIALES Coplas malagueñas
BULERÍAS Diego en menor
GUAJIRAS from Caña rajá

APPENDIX: PUBLICATIONS BY/PUBLICACIONES DE IUAN MARTÍN

MARTIN JUAN, PLAY SOLO FLAMENCO GUITAR VOL.2. CD DVD TAB.

This second volume, of a two-part series, contains a book, CD and DVD by internationally recognized flamenco guitarist, Juan Martin. Provided are more than 21 solos, progressively graded in the three higher grades, 6 to 8, to suit players at intermediate and more advanced stages, who already have some experience of the instrument and techniques of flamenco. The music for all these is accurately written in notation and flamenco tab (cifra) and (except for the two final solos) is also included on the companion CD. The DVD contains over 60 minutes of music. All text is provided in both English and Spanish.

Contents:

La Cana --
Farruca --
Colombianas --
2 Sevillanas --
Sevillana II --
Bulerias (de Sabicas) --
Granadinas (Lorca's Dream) --
Garrotin (Noche de San Juan) --
Solea --
Seguiriya y Cabales --
Bulerias (de Paco) --
Tarantas --
Milonga (del Recuerdo) --
Tangos --
Zambra Mora --
Solea (de Ricardo) --
3 Sevillanas (Sevillana 1) --
Sevillana 2 --
Sevillana 3 --
Solea por medio (Esencia) --
Rondena --
Rumba (Rumba nostalgica) --
Serranas (de Ricardo) --
Bulerias (con metronomo) --
Solea A (Another falseta Orta falseta) --
Solea B --
Garrotin --
Bulerias (Ritmpo y falsetas) --
Solea (por escrito) --
Harlequin (Arlequin) Rumba

JORGENSON JOHN, INTERMEDIATE GYPSY JAZZ GUITAR. CD DVD 2-hour TAB.

Now that you have laid a foundation by completing the material in Intro to Gypsy Jazz Guitar, the second volume Intermediate Gypsy Jazz Guitar, also presented in the DVD/CD/Book format, continues by presenting you with characteristic Gypsy style licks and techniques that are based on the arpeggios and patterns taught in the first volume. Once again Jorgenson presents a very systematic learning method by first teaching simple licks and techniques and then gradually building to more complex material. In studying the left and right hand techniques and ornamentations presented in the second volume, the student will gain an understanding of how to play the guitar with the Gypsy "accent."

Jorgenson also begins the study of Django Reinhardt's playing here by teaching an improvised chorus that Django played on a recorded version of the song "Undecided." Two other songs, Raul Reynoso's "Waneta's Waltz" and Jorgenson's "Snowflake Waltz" are also studied.
Introduction/Acknowledgements
An Interview with John Jorgenson
Licks 1 Amp; 2
Licks 3, 4 Amp; 5
Lick 6
Licks 7 Amp; 8
Lick 9
Licks 10 Amp; 11
Licks 12, 13 Amp; 14
Licks 15 Amp; 16
Licks 17 Amp; 18
Licks 19, 20 Amp; 21
Lick 22
Licks 23, 24 Amp; 25
Licks 26, 27 Amp; 28
Licks 29 Amp; 30
Lick 31
Licks 32 Amp; 33
Lick 34
Licks 35, 36 Amp; 37
Licks 38, 39 Amp; 40
Licks 41, 42 Amp; 43
Licks 44, 45 Amp; 46
Licks 47 Amp; 48
Undecided Melody
Undecided
Undecided (cont.)
Undecided Chord Forms
Licks 52 Amp; 53
Licks 54 Amp; 55
Licks 56 Amp; 57
Snowflake Waltz Introduction
Snowflake Waltz
Snowflake Waltz (cont.)
Snowflake Waltz (cont.)
Snowflake Waltz Chord Shapes
Snowflake Waltz Chord Shapes (cont.)
D minor voicings Amp; Lick 58
Appendix

DVD Content
Jorgenson in Paris (J'Attendral)
Introduction
Welcome
Lick 1-Lick 48
Undecided
Lick 49-Lick 51
Waneta's Waltz
Lick 52-Lick 57
Snowflake Waltz
Lick 58
Closing

Audio CD Contents
1: G diminished rhythm
2: Am Rhythm
3: Am/Dm Rhythm
4: Am Blues Progression Rhythm
5: Straight Blues Rhythm
6: "Undecided" Rhythm
7: "Waneta's Waltz" Rhythm
8: Alternate C and G Chord Progression
9: "Snowflake Waltz" Rhythm

GIPSY GUITAR: RUMBAS, FLAMENCAS, AND MORE. 2 CD. DVD TABLATURE

Gipsy Guitar Value Pack
Rumba-Styles of the Flamenco Guitar
Series: Guitar
Publisher: Schott
Format: Book & CD & DVD Package
Author: Gerhard Graf-Martinez

RUMBA-STYLES OF THE FLAMENCO GUITAR

Gerhard Graf-Martinez deals specifically with the Hispanic American form of the varied flamenco, the Rumba Flamenca, in this volume. It is with this style of flamenco that groups such as the Gipsy Kings hit the international charts and which has become the epitome of the flamenco to many people. The author leads every interested guitar player safely into the world of the Rumba Flamenca, providing him with solo and accompanying techniques in the form of music, tablature and two brilliant CD recordings, plus a bilingual DVD in German and English.

Inventory #HL 49017548
ISBN: 9783795758929
UPC: 841886011588
Publisher Code: ED8396-01
Width: 9.25"
Length: 12.0"
92 pages

Gerhard Graf-Martinez

After the great success of his two-volume flamenco Guitar method, in this volume Gerhard Graf-Martinez deals specifically with the Hispanic American form of the varied flamenco: the Rumba Flamenca. It is with this style of flamenco that groups such as the Gipsy Kings hit the international charts and which has become the epitome of the flamenco to many people. In 'Gipsy Guitar', the author leads every interested guitar player safely into the world of the Rumba Flamenca, providing him with solo and accompanying techniques in the form of music, tablature and two brilliant CD recordings. Also available now is the bilingual DVD.

DEUTCH- ENGLISH

VORWORT
Der erfreulich groBe Erfolg meiner zweibandigen Flamenco-
Gitarrenschule (SCHOTT ED 8253/8254 - mit CD), hat zu
vielen Zuschriften aus dem In- und Ausland und zu sehr
positiven Kritiken der Fachwelt und Fachpresse gefUhrt. Dabei
wurde oft der Wunsch an mich gerichtet, den hispano-amerikanisch
beeinfluBten Bereich, speziell die Rumba ("Rumba flamenca")
und deren Derivate noch ausfUhrlicher zu behandeln.
Diesem Wunsch komme ich mit dieser Verbffentlichung gerne
nacho
· 'un wird besonders die "Rumba flamenca" sehr kontrovers
behandelt. FUr die einen gehort sie nicht zum Flamenco und
wird als sogenannte U-Musik abgetan. FUrandere, weniger im
Flamenco invo]vierte, ist sie der Inbegriff der Flamenco-
· lu ik. DarUber hinaus ist es Tatsache, daB viele "Flamencos"
auBerhalb Spaniens erst durch die Rumba zur "Hohen Kunst"
de Flamenco gekommen sind. Auch Paco de Lucfa war lange
Zeit nur in Flamencokreisen als Genie bekannt, bevor er
-el~ eite Bekanntheit durch seine legendaren Kompositionen
.Entre Dos Aguas" und "Rio Ancho" (aus dem spater im Duo
mit I di Meola "Mediterrean Sundance" wurde) erlangte.
Au h die Gipsy Kings, deren Rumbas zu internationalen Hits
wurden.lassen es sich nicht nehmen, im Konzert ihr Publikum
mit einem "Fandango Natural" zu konfrontieren. Zehntausende
horen in diesem Moment "echten" Flamenco.
(l>er multikulturelle Interventionen diesel' Art laBt sich zwar
rreiten. aber schlecht kann es fUr den Flamenco keinesfalls
in. E ei denn, man ware bemLiht moglichsL wenige in den
Bereich der Flamenco-Musik eindringen zu lassen, urn so den
ei moglichst elitar zu halten.
EinigeBemerkungen zu den Kompostitionen: Viele Flamencoill
ke und "Falsetas" (Melodiepassagen), die vor Jahrzehnten
. eiert wurden, gehoren heute zum Standard. Oft laBt sich nicht
zUJiick erfolgen, vom wem dies oder jenes ursprLinglich erhaffen
wurde - ganz ahnlich wie bei den "Volksliedern".
-\uch wurde Flamenco-Musik nie notiert und nie nach Noten
gelehrt und gelernt. Doch genau dieser Umstand hat dem
Flamenco bis heute seine Flexibilitat und Spontanitat bewahrt.
Eine ..Falseta·' immer gleich zu spielen mag zwar in der
toung phase normal sein, aber spatestens nach Uberwindung
der technischen HUrde wird sie selten immer wieder gleich
reproduziert. 1m Laufe der Zeit verandern sich Artikulation
und Phrasierung. und irgendwann kann sogar etwas ganz
· 'eue daraus entstehen. Dies war auch ein Problem bei den
ompo itionen dieses Buches. "Falsetas" und Melodien so
e tzulegen und zu arrangieren, daB alles reproduziert werden
-ann. war nicht immer einfach. Vor allem die improvisierten
Teile in den langsamen Versionen so nachzuvollziehen, wie im
Originaltempo. war mit einigem Ubungsaufwand verbunden
und Dicht immer bis ins kleinste Detail moglich - eigentlich
au b nicht beabsichtigt. Mit diesem Buch und den beiliegend
n CD wiinsche ich viel SpaB und hoffe, daB damit auch die
..afi ion" zum Flamenco wachst.

PREFACE
The welcome success of my two volume Flamenco Guitar
Method (SCHOTT ED 8253/8254 - with CD) resulted in many
letters being received from within Germany and abroad and in
positive reviews in the specialist publications and flamenco
circles. Many correspondents expressed the wish that I treat the
Latin American forms, especially the rumba ("Rumba flamenca")
and its derivatives, in greater depth. I welcome the
opportunity of fulfilling this wish in this publication.
However, the "Rumba flamenca" is a very controversial area.
Some do not recognise this music as belonging to Flamenco or
dismiss it as a superficial form, while others less involved with
Flamenco, regard it as the very embodiment of flamenco
music. It should be said that many "flamencos" outside Spain
first came to the "higher forms" of Flamenco through the rumba.
Paco de Lucia had long been recognised as a genius only in
flamenco circles before he achieved world wide popularity
with his legendary compositions "Entre Dos Aguas" and "Rio
Ancho" (which later became "Mediterranean Sundance" in his
duo with Al di Meola).
The Gypsy Kings too, whose rumbas became international
hits, do not shy away from confronting their audience with a
"Fandango Natural" in their concerts. In such moments tens of
thousands are able to hear "real" Flamenco.
It is possible to disagree about this kind of multicultural
intervention, but it cannot be bad for Flamenco. That is unless
one wishes to ensure that as few people as possible gain access
to flamenco music, and thus limit the circle to an elite.
Concerning the compositions - many flamenco pieces or
"falsetas" (solo music passages) which were created decades
ago are today considered standard works. In a similar way to
folk music it is often impossible to determine who originally
composed which piece. Moreover, Flamenco music was never
transcribed and has never been taught and learned through
reading music. It is exactly this situation. however. that has
preserved the great flexibility and spontaneity of Flamenco to
this day. At the practice stage it may be normal to playa
"falseta" in exactly the same way every time, but as soon as the
technical difficulties have been overcome, it is unusual to
reproduce it in the same form time after time. In the course of
time, various aspects such as articulation and phrasing change,
and it may even happen that at some time something completely
new emerges.
This situation, however, proved to be a problem with the
compositions in this book. It was not always easy to pin down
the form of the "falsetas" and melodies and to arrange them so
that they could be reproduced. Above all it required more than
a little practice to play the improvised sections in the slow
versions in the same way as in the original and it was not alway
possible, nor was it really my intention, to reproduce them
down to the finest detail.
I hope you enjoy this book and the accompanying CDs, and
that it will advance the "aficion" for Flamenco.

INHALT
Vorwort 
Der Autor 
Grundbegriffe 
Kompositionen dieses Buches 
La Rumba 
Rhythmus-Muster 1
Rhythmus-Muster 2 

Caballos Blancos 
Tresillos 1 
Golpe mit Mittelfinger 
Rhythmus-Muster 3 

La Habana de ida 
Tresillos II 

La Habana de vuelta 
Rhythmus-Muster 4 

La Morita 
Rhythmus-Muster 5 
Rhythmus-Muster 6 

Sierra Blanca 
CD Inhalt 
Index 

CONTENTS
Preface .
The Author .
Basic Elements .
The Compositions in this Book .
La Rumba .
Rhythm -Pattern 1 .
Rhythm- Pattern 2 .

Caballos Blancos .
Tresillos I .
Golpe with Middle Finger .
Rhythm-Pattern 3 .

La Habana de ida .
Tresillos II .

La Habana de vuelta .
Rhythm-Pattern 4 .

La Morita .
Rhythm- Pattern 5 .
Rhythm-Pattern 6 .

Sierra Blanca .
CD Contents .
Index .