ACCORDI - PENTAGRAMMA - TABLATURE / CHORDS - STANDARD NOTATION - TABLATURE

LIEBERT OTTMAR E LUNA NEGRA, OPIUM HIGHLIGHTS. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA FLAMENCA.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Recorded Version TAB
Artist: Luna Negra
Artist: Ottmar Liebert

This songbook features note-for-note transcriptions with tab for 14 selections from Ottmar Liebert and Luna Negra's 1996 new age/flamenco release Opium. Includes tips on playing Ottmar's music, and pages of great photos.

"Flamenco is a music both romantic and dangerous; it is an attitude as much as it is a musical genre." Ottmar Liebert

135 pages

Ottmar Liebert + Luna Negra - Opium Highlights by Ottmar Liebert. For guitar. Hal Leonard Guitar Recorded Versions. Contemporary Instrumental. Difficulty: medium. Guitar tablature songbook. Guitar tablature, standard guitar notation and chord names. 135 pages. Published by Hal Leonard (HL.690279). ISBN 0793590183. With guitar tablature, standard guitar notation and chord names. Contemporary Instrumental. 6.75x10.5 inches. This songbook features note-for-note transcriptions with tab for 14 selections from Ottmar Liebert and Luna Negra's 1996 new age/flamenco release Opium. Includes tips on playing Ottmar's music, and pages of great photos. "Flamenco is a music both romantic and dangerous; it is an attitude as much as it is a musical genre." - Ottmar Liebert.

Alegria Arabe
The Blink Of An I Contains Eternity
Buleria De Las Golondrinas
Buleria De Rojo
Butterfly + Juniper
Chama 2 Santa Fe
La Acequia Madre
Montana Walking
Nuevo Mexico
Old Man On The Citadel
Tangos De Tesuque
Turkish Night
The Winding Road/La Primavera
Yasmeen

LIEBERT OTTMAR, NOUVEAU FLAMENCO. SHEET MUSIC BOOK with GUITAR TABLATURE .

from the film's soundtrack : " The cyclone "

LIBRO DI MUSICA FLAMENCA.

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE . 

Il tema musicale del film di Leonardo Pieraccioni "il ciclone", 2 the night. 

Artist: Ottmar Liebert
Guitar transcriptions to the album with 13 pieces, 72 pages

Liebert's albums have earned him a top spot on the New Age charts and more than three million listeners have purchased his recordings. He's played around the world to audiences in South America, Australia, New Zealand and Europe. He's done benefit concerts for Concerned Citizens for Nuclear Safety, the Dalai Lama and a group ofTibetan nuns mistreated by the Chinese government. He has opened for Miles Davis and plans a recording with a chamber orchestra and another with guitarist Eric Schermerhorn, who has played with The The and Iggy Pop. "The soul is the antenna, I am the instrument, the guitar is the amplifier," says the slender guitarist, who lives in Santa Fe, New Mexico. "I really feel that when I'm playing, it's an escape for me from my brain. I play from an emotional perspective." Liebert's spirited music is full of passion. Almost all of his songs are originals and without words, and they express universal and deeply personal sorrows and joys. "I'm trying to express something that to me is not easily conveyed by words," he said during a recent interview at Santa Fe's Cross of the Martyrs, a park that overlooks the city and mountainside where the Rockies begin. "Instrumental music to me is so much hipper. Words can be a coarse and fragile way to communicate. If you hear a song, no matter what the music is like, the words become the song. The words always take over. I want to get at this finer sense, where I think songs with words don't get to." It's not that Liebert dislikes the written word. In fact, he's named his band Luna Negra, after the Spanish poet Federico Garcia Lorca. Luna Negra blends layers of sounds with countermelodies, harmonies and intense guitar. It mixes ancient acoustic instruments like the sitar, lute, and drums with modern technology, like the MIDI flamenco guitar, which speaks a musical computer language. Born and raised in Cologne, Germany, by a Hungarian mother and a German-Chinese father, Liebert spent much of his childhood traveling through Europe and Asia with his family. As a youngster, he wanted to be an artist. "I spent a lot of time at the art museum in Cologne, which is a wonderful museum," he said. The work of Pablo Picasso impressed him because of the way the painter constantly changed his style, never sacrificing the quality of his work. But when he picked up the classical guitar at age 12, he unknowingly changed the course of his life. "I asked for a guitar for Christmas, and I got one," he said. "My parents figured I'd never do anything with it, so they gave me a cheap guitar. If I wasn't in school or sleeping, I was playing that guitar." The family didn't have a stereo, telephone or television, so there was plenty of time to work on his music. Eventually, he picked up the electric guitar and at 19, decided he wanted to be a musician. He left Germany to travel by himself through Asia, Russia and Europe, then came to the U.S. In Boston, he joined a band and hung out with musicians. But he grew tired of the East Coast and when a friend asked him to help drive a van cross-country, Liebert jumped at the opportunity. They passed through Santa Fe, and Liebert never left. "Something happened to me when I reached Santa Fe," he said, as the sinking orange sun washed the mountains in brilliant hues of gold, red and purple. "Santa Fe is in many ways responsible for my success." Liebert got a job working in a Santa Fe store and playing classical guitar in the evenings around town. With the help of Frank Howell, a Native American artist and gallery owner in Santa Fe, he made a recording that was sold during Indian Market, an annual Santa Fe event that draws thousands of tourists eagerly seeking pottery, blankets and turquoise jewelry. That recording made its way to several radio disc jockeys on the West Coast, and Liebert was then inundated with phone calls from record companies. "I was surprised," he said. "Some of them even wanted me to change my name and move to LA." Instead, he signed with Higher Octave Music, an independent label in California. The recording he made with Howell became Nouveau Flamenco, which has sold more than two million copies. His third Higher Octave Music CD "Borrasca" also reached #1 on Billboard's New Age Chart, reached Gold Status and was nominated for a Grammy. "Off" time finds him exploring the countryside by mountain bike or on foot. Tooling or hiking along, Liebert tunes in to the ever-fresh and surprising rhythms of Mother Nature. Like Her, his energies are not to be contained, his yearnings beyond the structures of organized religion. "I'm spiritual in an unorganized way," he muses. "I started reading avidly at 12 about religion and philosophy. My thinking has been most influenced by Buddhism and Taoism." "What matters to me is that this is where I am now, and so this is what I should concentrate on. I think that if everybody were to concentrate on this moment - rather than on past and future lives and moments - the world would be a lot better." Liebert's music reflects his philosophy of keeping life lively by not getting stuck in the same old habits, patterns or behaviors. "In one way, I play music so I can learn something from it. If I just did the same thing over and over, it would get boring. You've got to provoke yourself, put yourself in a situation where you do something totally new. If you don't, you will just be stagnant. If you play the same way all the time, you'll bore yourself and your audience. I want to take my listeners on a little journey, a trip of discovery." Liebert's style changes enough to have captured a varied crosssection of society. His fans include rockers, senior citizens, and just about everybody in-between. "It's something strange my music does," he reflected. "All of my music is international, it uses so many different cultures. People normally look at culture as being black or white, and are afraid of mixing cultures. But if people can come away from my concert feeling they've discovered another culture, they may actually like it. Not many people know, for example, that flamenco is a mixture of Gypsy, Indian, Arabic, Jewish and Spanish music." But Liebert never tries to convert his listeners. "I don't want to do any preaching," he said. "This is not a conscious process. I just see myself as being a conductor."

Well, maybe. But to us he's more like a magician who gives his audience a mystical experience of pure, earthly delights.

TiTLes: 
2 THE NIGHT (OTTMAR LIEBERT) - 1990
3 WOMEN WALKING (OTTMAR LIEBERT)
AFTER THE RAIN (OTTMAR LIEBERT)
BARCELONA NIGHTS (OTTMAR LIEBERT)
FLOWERS OF ROMANCE (OTTMAR LIEBERT)
HEART STILL/BEATING (OTTMAR LIEBERT)
MOON OVER TREES (OTTMAR LIEBERT)
PASSING STORM (OTTMAR LIEBERT)
ROAD 2 HER HOME (OTTMAR LIEBERT)
SANTA FE (OTTMAR LIEBERT)
SHADOWS (OTTMAR LIEBERT)
SURRENDER 2 LOVE (OTTMAR LIEBERT)
WAITING 4 STARS 2 FALL (OTTMAR LIEBERT)

LA CHITARRA GITANA E FLAMENCA, Vol.1 a compas "por arriba". Claudio Fano. Testo in italiano. CD TABLATURE

C. Fano [Metodi + CD | Chitarra]

In tre capitoli dedicati a degli stili "por arriba", vale a dire in modo flamenco di MI (rispettivamente: tangos, soleá e rumba), scoprirete in questo metodo: - una descrizione dettagliata delle tecniche principali della mano destra proprie della chitarra flamenca (rasgueados, pulgar, alzapúa, picado, ecc.) e dei consigli per lavorarle efficacemente. - un’analisi degli elementi strutturanti gli assolo: compás, llamadas, falsetas, remates, ecc. - numerosi consigli mostranti come eseguire perfettamente i compás complessi tramite delle tecniche ripetitive della mano destra (controllo ritmico) e delle concatenazioni "istintive" delle posizioni della mano sinistra (controllo melodico-armonico). - analisi di falsetas tradizionali che vi permetteranno di creare e di variare le vostre proprie falsetas. In quanto al CD, esso riprende i numerosi esempi musicali del metodo per facilitarne la comprensione e quindi anche l’assimilazione. Libro + CD

Questa sequenza comporta due nuove note estranee al "modo flamenco" di mi:
al C - Tonalità maggiore e minore derivate del "modo flamenco" di mi sono anche costitutive delle tonalità di Do Maggiore e La minore. I flamenchisti utilizzano spesso
ambiguità. Nello stile tradizionale, ci si accontenta generalmente dei tre accordi principali, ossia:
- per la tonalità di Do Maggiore: CMaj, FMaj e G7.
· per la tonalità di La minore: Amin, Dmin e E7.
D· Tonalità maggiore omonima
interno di una falseta, è possibile modulare, molto brevemente, verso la tonalità omonima maggiore, ossia la tonalità di Mi ggiore. Questa modulazione è generalmente suggerita dal solo accordo di dominante, ossia 87. Ciò implica due nuove note nee al "modo flamenco" di mi, fa# e re#.
E· Ricapitolazione delle note estranee al "modo flamenco" di mi
funzione delle sequenze armoniche, potremo quindi utilizzare, in più delle note di base:
• fa# per gli accordi di D7 e 87
• sol# per l'accordo di EMaj
- si b per l'accordo di C7
- re# per l'accordo di 87.
8: possiamo aggiungere a questa lista la nota mi b, visto che nella cadenza andalusa, gli accordi di settima sono spesso sostituiti agli accordi maggiori per il terzo ed il secondo grado: Amin -> G7 -> F7 (dunque, nota mi b) -> EMaj .
 

FARE BUON USO DEGLI SPARTITI
Il flamenco è storicamente, ed ancora oggi, una musica di trasmissione orale. Ciò significa che i chitarristi memorizzano il repertorio ei loro predecessori osservandoli ed ascoltandoli, e costruiscono poi le proprie falsetas componendo direttamente sullo strumento. Sono le dita che producono un pensiero musicale. Lo spartito interviene eventualmente solo dopo la composizione e non è altro che un utile promemoria. Dovete quindi cercare di capire la costruzione di ogni faiseta e di non esitare poi a modificare ciò che è scritto in funzione dei vostri gusti, della vostra tecnica ... Una buona comprensione della logica musicale (e quindi digitale) di ogni esempio vi permetterà di trasformarlo, pur rispettando le regole del compas e lo spirito dello stile. Tutti i grandi creatori del flamenco hanno proceduto in questo modo: per esempio, lo stile di "Paco de Lucia primo periodo" è derivato da Nino Ricardo (via il fratello maggiore di Paco, Ramon de Algericas) e secondariamente da Sabicas. Potete iniziare con alcuni esercizi abbastanza semplici:
1 • il numero e l'ordine delle falsetas dei due primi capitoli sono stati determinati in funzione di una progressione pedagogica. Una volta ben studiati questi esempi, potrete scegliere le falsetas che vi piacciono di più e provare diversi ordini di successione.
2 • le lIamadas e i remates essendo aleatori, potete estrarli da un esempio per introdurli in un altro.
3 . una volta ben capita la struttura di una falseta, potete creare delle falsetas derivate cambiando la tecnica della mano destra (e quindi il fraseggio ritmico) o l'utilizzazione melodica di una sequenza armonica ... Ne troverete degli esempi nei due capitoli seguenti.
 

INTRODUZIONE

Una parte importante del repertorio flamenco è costituito dagli stili "a compas", cioè basati su dei cicli metrici fissi che comportano uno o più sistemi di accenti ritmici obbligati (la solea, la siguiriya, i tangos, i fandangos de Huelva e i loro derivati). Mettendo da parte gli aspetti puramente tecnici, la difficoltà principale dell'apprendimento della chitarra flamenca risiede nella padronanza di questi "compas". Ascoltando i grandi maestri tradizionali, ci rendiamo conto che questa padronanza è molto facilitata dall'uso combinato dei "cliché" ritmici (mano destra) ed armonici (mano sinistra). Il fine di questo metodo è di aiutarvi a capire come lavorare, e soprattutto utilizzare questi "cliché" per "suonare con l'accento flamenco", e, a termine, creare il vostro proprio stile.
Ringraziamo per la musica dei due primi capitoli i chitarristi Diego del Gastor e Dieguito de Moran (Moran de la Frontera), Melchor de Marchena (Marchena), Juan e Pepe Habichuela (Granada).

l' SIMBOLI

A·Rasgueados
/\ : attacco secco di un accordo, dalle corde basse verso le corde alte (i=indice, m=medio, a=anulare, x=mignolo).
V : attacco di un accordo, dalle corde alte verso le corde basse.
: attacco secco di un accordo, con il pollice, dalle corde basse verso le corde alte.
J : attacco di un accordo con l'unghia del pollice, dalle corde alte verso le corde basse.
[ : come t ' con un "golpe" simultaneo.

B - Melodia, arpeggi e tremolo
p : il pizzicare le corde "tirando" con il pollice.
P : il pizzicare le corde "appoggiando" con il pollice. Si tratta del fondamentale tocco appoggiato del pollice o "pulgar",
i, m, a : il pizzicare le corde "tirando" con indice, medio o anulare.
I, M, A : il pizzicare le corde "appoggiando" con indice, medio o anulare.
 : accordo arpeggiato p i m a.
 : accordo arpeggiato dal pollice.
\.. accordo arpeggiato dall'anulare, dalle corde alte verso le corde basse.

C - Altri simboli
* :"golpe" = percussione ottenuta con il medio o con medio/anulare sulla tavola armonica, sotto le corde, tra la buca e il ponticello.

1\ : attacco secco di un accordo dall'indice, dalle corde basse verso le corde alte, immediatamente preceduto da una percussione
dello stesso dito al di sopra delle corde, sulla tavola armonica.

* * :doppio "golpe", simultaneamente dall'indice, dal medio e dall'anulare sotto le corde, e dal pollice al di sopra delle corde (utilizzato
solamente per la rumba "catalana").

Il : fine del compas (le doppie stanghette della misura non hanno quindi nei nostri spartiti il loro significato abituale).
 

INTRODUZIONE .

I. Simboli .
Il. Lessico .
III. Modo e armonia
IV. Fare buon uso degli spartiti 

CAPITOLO 1: I TANGOS· «FRONTERA» .
I - VI. Introduzione, sequenze da 1 a 6
VII - Xv. Falsetas da 1 a 9 .

CAPITOLO 2: LA SOLEA • «DE MARCHENA AL SACROMONTE» .
I. Compas 1, 2 & 3 .
Il. Compas 4 .
III. Compas 5, 6 & 7 .
IV. Introduzione
V - Xv. Falsetas da 1 a 13 .

CAPITOLO 3: LA RUMBA • «EL DIA 13» . 

GIPSY GUITAR, RUMBAS FLAMENCAS... Rumba Styles of the Flamenco Guitar, Y MAS. GERHARD GRAF-MARTINEZ. CD-ROM WINDOWS TABLATURE

CD-ROM DI MUSICA PER CHITARRA CON TABLATURE

Series: Schott
Publisher: Schott
Medium: CD-ROM
Composer: Gerhard Graf-Martinez

This CD-ROM makes it possible for the first time to learn the technique of the Rumba Flamenca on the guitar by means of a combination of pictures, sounds and animations. Videos focusing on the hands of the player show the precise movements, making it easy to understand exactly the fingering and striking techniques of this music style. The videos can also be played more slowly and repeated endlessly with the help of the loop function, thus making it easier for the student to practice individual striking patterns. CD-ROM - System requirements: PC with Pentium 200 MHz (or compatible) with 8-speed CD-ROM drive, at least 32 MB RAM (NT/2000 at least 64 MB RAM), graphics card with 16-bit (HighColor) color depth, sound card, Windows 98/ME, Windows NT/2000.

GYPSY

For the first time the legendary HOT LICKS classic video titles are available on DVD, making it even easier to learn with top pIayers right in your own home!

These brilliant new DVD transfers make them look better than giving you improved navigation, many extra features and some newly recorded introductions.

Scotty Anderson is a true Master of the Telecaster with an incredible personal style that he demonstrates on this disc. Double and triple stops, unique right-hand techniques, wide-split double stops, chicken pickin', open string banjo- and steel-styles, and Travis style picking are just some wonders he demonstrates and explains during this feast of red hot guitar playing. A dazzling instructional gem!

The CD-ROM Gipsy GUITAR makes it possible
for the first time to learn the technique of the
Rumba Flamenca on the guitar by means of a
combination of pictures, sounds and animations.
Videos focussing on the hands of the player show
the precise movements, making it easy to understand
exactly the fingering and striking techniques
of this music style. The videos can also be played
more slowly and repeated endlessly with the help
of the loop function, thus making it ea<ier for the
student to practise individual striking patterns of
the Rumba Flamenca.

Synchronously with the music played, a cursor
moves through the score; bars on a grey background
refer to the appropriate teaching videos.
Both the solo guitar and the accompanying
guitars can be deactivated independently of
each other. So this CD-ROM is suitable for all
guitar players who want to I~arn and deepen
their knowledge of the art of the Rumba
Flamenca quickly and successfully.

This passionate music is accompanied by pictures
of the landscape and life in Andalusia as well as
videos of flamenco events which round off the
fascinating insight into this music style and its
Spanish origin. Historical background information
explain the intention of the individual pieces
composed by the author himself and the history
of rumba.
 

EASY FLAMENCO SOLOS. Mel Agen. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA FLAMENCA, CON CD.

LIBRO DI SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

This book was written for the student who wants to learn to play flamenco guitar correctly in the shortest time possible. A fanciful historical essay on the origins of the flamenco style begins this modest 32-page volume. Several of the most common techniques are used in the various introductory pieces, including various forms of rasgueos and the 4-note tremolo. Classical guitarists with 1-2 years of experience will enjoy these challenging exercises and pieces. All studies and solos are shown in notation and tablature, and are included on the enclosed CD.
Format: Book/CD

Contents:

In Memory Of Carlos -- Mel Agen
Idioma Musical (Moorish Dance) -- Mel Agen
The Saracens Dance -- Mel Agen
Alegrias In A -- Mel Agen
Cantineros -- Mel Agen
Gypsy Fandango -- Mel Agen
Solo Y Triste -- Mel Agen
In Memory Of Carlos -- Mel Agen
Idioma Musical (Moorish Dance) -- Mel Agen
The Saracens Dance -- Mel Agen
Alegrias In A -- Mel Agen
Cantineros -- Mel Agen
Gypsy Fandango -- Mel Agen
Solo Y Triste -- Mel Agen