CHITARRA - GUITAR

ELECTRIC GUITAR CONSTRUCTION. A Guide for the First-Time Builder, Tom Hirst.

LIBRO MANUALE DI LIUTERIA PER COSTRUIRE UN CHITARRA ELETTRICA SOLID BODY.

FOTOGRAFIE A COLORI DI OGNI FASE DI COSTRUZIONE. 

168 pagine.
Electric Guitar Construction A Guide for the First-Time Builder. The definitive work on the design and construction of a solid body electric guitar.

Series: Guitar
Publisher: Centerstream Publications
Format: Softcover
Author: Tom Hirst

Q.: What on earth would make someone want to build an electric guitar from scratch? Can't you just buy one cheaper? A.: Well sure, but with this definitive book on the subject as your guide, you can create your own axe masterpiece, with the precise finish, the exact pickups, and the custom hardware you've always wanted. Plus, you'll have the indescribable satisfaction of knowing you created something cool out of nothing. And that sure beats buying off the rack! Organized logically from start to finish, this helpful guide will assist you every step of the way; from the design and planning stage to the final setup, each step in the process is written about in abundant detail, with hundreds of photographs, and special full-color sections on wood selection and finishing. Also includes a glossary of terms, an index of materials suppliers, and much more!

Inventory #HL 00000311
ISBN: 9781574241259
UPC: 073999648119
Width: 8.5"
Length: 11.0"
168 pages

What on Earth would make someone want to build an electric guitar from scratch? Can't you just buy one cheaper? What happens if it doesn't tum out? These questions and many many, more will be asked of you as you plow along through the excitement and anxity of building your first guitar. It does help if you're a little bit different and it's very true that it would be both faster and cheaper to just go buy one off the rack. But it wouldn't be the same one would it? Its fairly safe to assume that spending some time on this project will not be a problem for you. If you need an axe for a gig this weekend you're in the wrong place. You're going to have an investment of approximately $500 in your instrument and there are lots of $500 guitars out there, but how many will have the exact Seymour Duncan or EMG pickups and cusm tom deigned switching you want, the Schaller hard- ware and custom finish; yours will. Your guitar will also have that intangible, indescribable feeling that comes from creating something out of, well I can't say nothing, but you get the picture. Friends and relatives will say you're nuts and that you're wasting your time and money and then they'll want you to build them one too. I started building guitars almost by accident. I wanted a Fender Telecaster so badly, but I just couldn't come up with the money to buy one. I was hanging around in my favorite guitar store one day just being a nuisance when a guy came in with a box of guitar parts. He had a neck, a plywood Tele style body, and two of almost everything else; two pickguards, sets of pickups, bridges, etc. He had taken an el cheapo copy guitar and tried to upgrade it with new parts but nothing had fit where it was supposed to go and he was trying to trade the whole mess in on a new guitar. When the store told him they wouldn't take any of it in trade he asked them where the dumpster was. I politely showed him to the hatchback of my little station wagon and I had my Tele. All I had to do was re-assemble it and make it work. I did, and it did, and I was hooked. A short time later I was reading an article in Guitar Player on hot-rodding guitars and "kit" guitars.

First connect each pickup directly to the jack. Use temporary connections like alligator clips for this. They'll hum a bit for lack of shielding but will tell you if the parts are working right. Remember this technique is for problems with pickups and switches not working, and not for chasing down hum. After you've determined that each pickup works, you can connect them to the next item in the chain. This could be a volume pot, mini toggle switch or the main pickup selector depending on your design. Test the circuit after each part is added to the chain and sooner or later you will run into the problem again, only now you know exactly where it is and you can deal with it specifically. The wiring is complete and I'm tightening in the Electrosocket jack plate. "good solder joint/ bad solder joint" drawings. These can short out against other components or against the shield and cause the switch not to work as expected. in connecting your hot leads. Check your plan and your connections care- full y. Look for stray strands of wire that may not have gone through the solder terminal cleanly as was shown in the I like to plug the guitar in and give it a test before I secure the output jack and the rear cover plate. I have found, on occasion, that the guitar works fine in the test but not after the remaining parts are fastened in place. This can be the result of a wire or component shorting against the shielded cover of the electronics compartment. Sometimes the output jack won't fit well in the access hole when the plug is inserted. Most times this can be corrected by rotating the jack in the hole but I have had to take a 1/2 round file in there and open up the hole to get a good fit. This can be an extremely time consuming process and is not one to undertake when you're in a hurry or a bad mood. If you get frustrated with trying to solve a particular problem, take a break. Let it sit for awhile and come back when you are rested and in a better frame of mind. Remember, this guitar has taken a long time to get to this point and you didn't get here by rushing through all the previous steps. Take your time, be thorough and methodical and you'll find the guilty part(y). Using a mini chisel to clear away excess lacquer from the control cover "lip". There are times when all these good ideas fail and things still just don't work right. This can be a frus- trating time and lots of folks will simply take every- thing apart and try re-wiring it from scratch. Some- times this works, but more often you fall into the same rut and make the same mistake you did originally. My approach in these cases is to re-wire just as you did the drawing; from the pickup on down the line. Well now you have it wired tested and ready to rock. You can go ahead and put the rear cavity cover in place (if you've used one) and screw it down. From here we move on to the fi- nal set up adjust- ments. Wired, tested and ready for the final set up.

Electric Guitar Construction;

A Guide for the First Time

Table of contents:

Introduction:

1. Design:

D-I The importance of planning

D-2 Wood selection

D-3 Neck design

D-4 Body design

D-5 Color selection and hardware

D-6 Electronics

D-7 Pickguard design

D-8 What to buy and when to buy it..

2. Tools and Templates:

T-I List of tools

T-2 Power and hand tool safety

T-3 About templates

T-4 Headstock template

T-5 Body template

T-6 Pickguard and rear cover templates .

T-7 Optional templates .

T-8 Neck profile gauges

T-9 Fretboard radius gauge

3. Neck:

-1 Neck layout .

-2 Truss rod channel

-3 Mark and cut fretboard to length

N-4 Fretboard inlay

N-5 Assemble neck

N-6 Rough cut neck shape

-7 Tuning machine holes

-8 Side dots and rough sanding

-9 Sand inlay

I -10 Install fretwire

-11 Shape neck

-12 Finish sand neck

4. Body:

B-1 The body blank

B-2 Neck pocket

B-3 Necklbody axis

B-4 Bridge placement

B-5 Pickup placement and routing

B-6 Control cavity layout

B-7 Rough cut shape

B-8 Rear cavity rout

B-9 Sand body edges

B-1O Rout body edges

B-Il Input jack, strap buttons & wiring channels

B-12 Finish sand body

5. Plastics:

P-I Mark centerline and outline

P-2 Rough cut shape

P-3 Final fit rear cover

P-4 Rout edges (straight bit)

P-5 Bevel edges

P-6 Rout pickup openings

P-7 Drill mounting screw & control holes

6. Finishing:

F-l About finishing

F-2 Spray equipment

F-3 Clear finishes

F-4 Grain filler

F-5 Applying color

F-6 Applying clear coats

F-7 Wet-Sanding and Buffing

F-8 Finishing schedules

7. Assembly:

A-I Final fretwork

A-2 Rough shape the nut

A-3 Install the hardware

A-4 Neck to body assembly

8. Wiring:

W-I My method

W-2 Equipment and soldering

W-3 Shielding

W-4 Pickups

W-5 Mini switches

W-6 Pickup selectors

W-7 Pots and capacitors

W-8 The output jack

W-9 The complete diagram

W-IOTroubleshooting

9. Set up:

S-l What is a set up?

S-2 Slotting the nut

S-3 Adjusting the truss rod

S-4 Setting string height..

S-5 Setting intonation

S-6 Final adjustments

10. Cost Analysis for this guitar:

11. Index of Suppliers:

12. Glossary:

13. Index:  

THE BRAZILIAN GUITAR BOOK, Nelson Faria. Contiene 84 esempi di Samba, Choro, Bossa, frevo, Baião. Con fotografie, discografie, ritmi, ecc. ecc. .

LIBRO METODO DI MUSICA BRASILIANA CON CD.

SPARTITI PER CHITARRA CON:

PENTAGRAMMA E GRIGLIA DEGLI ACCORDI.  

IN ITALIANO

DESCRIZIONE GENERALE:
Principalmente uno stile ballabile, la samba emerse all'inizio del secolo scorso a Rio de Janeiro, San Paolo e Bahia. I suo precursori furono Francisco Alves, Henrique Volenger, Araci Cortes e Donga (autore di "Pelo telefone", il primo samba registrato - 1917).
Per 10 pili in metro binario, le melodie e l'accompagnamento samba sono molto sincopati. Il "feel" samba deriva dal contrappunto tra una pulsazione precisa sul battere contro molte parti poliritmiche sincopate. Alcuni strumenti sono molto importanti: - il "surdo" (un tamburo basso suonato con grosse bacchette) che suona in battere (con l'accento sul secondo movimento), e "tamborim", "pandeiro", "cuica" ed "agogo" che suonano le sincopi.

FORME
Samba enredo: Samba con testi descrittivi, creati da compositori associati alle scuole di samba, che vengono suonate alla parata di carnevale. Samba cancao: Samba lenta, con testi sentimentali. Samba de breque: Tipo di samba dove il gruppo ferma l'accompagnamento, lasciando che il cantante improvvisi un parlato per un certo numero di battute. Partido alto: Un tipo di samba urbana, generalmente suonata con l'accompagnamento di chitarra, "cavaquinho", ed una piccola sezione ritmica ("pandeiros" e battito di mani). Batucada: Coltivata dalla gente delle "favelas" (le baraccopoli in collina) a Rio de Janeiro, eessenzialmente un gruppo di persone che suona la samba per strada, principalmente con strumenti percussivi. Samba-funk: La fusione tra samba e funk, di solito suonata da gruppi indirizzati al pop.

CARATTERISTICHE MUSICALI
Di solito il samba ha melodie e armonie semplici, con largo uso di sincopi. Il suo ritmo e2/4 rna a volte10 troviamo scritto in 2/2 anche 4/4. Ci sono anche variazioni nello stile contemporaneo, come ¾ o 7/8. L'accento cade sul secondo quarto (2/4) e generalmente usa una sezione ritmica estesa e potente.

INDICE
Nota biografica .
Ringraziamenti speciali. .
Nota dell'autore .
Elenco degli esempio registrati.. .
Spiegazione del sistema di notazione degli accordi .
Leggere gli esempi. .
Indice .
Crediti. .

PARTE I - Samba
Descriziane generale .
Generi. .
Caratteristiche musicali. .
Pattern base e variaziani per la chitarra ritmica .
Pattern base .
Esempio musicale .
Variaziani .
Variazione 1 .
Esempio musicale .
Variazione 2 .
Esempio musicale .
Variazione 3 .
Esempio musicale 1.. .
Esempio musicale 2 .
Esempio musicale 3 .
Variazione 4 .
Esempio musicale 1.
Esempio musicale 2 .
Variazione 5 .
Esempio musicale .
Variazione 6 .
Esempio musicale .
Variazione 7 .
Esempio musicale 1 .
Esempio musicale 2 .
Esempio musicale 3 .
Esempio musicale 4 .
Variazione 8 .
Esempio musicale 1 .
Esempio musicale 2 .
Variazione 9 .
Esempio musicale .
Variazione 10 .
Esempio musicale .
Variazione 11 .
Esempio musicale .
Variazione 12 .
Esempio musicale .
Variazione 13 .
Esempio musicale .
Variazione 14 .
Esempio musicale .
Variazione 15 .
Esempio musicale .
Variazione 16 .
Esempio musicale .
Variazione 17 .
Esempio musicale .
Esempio di canzone "So' te esperando" .
Esempio di accompagnamento "So' te esperando" .
Esempio di chord melody "Tristeza" .

PARTE II- Bossa Nova
Descrizione generale .
Generi. .
Caratteristiche musicali.. .
Pattern base e variazioni per La chitarra ritmica .
Pattern base .
Esempio musicale .
Variazioni .
Variazione 1 .
Esempio musicale .
Variazione 2 .
Esempio musicale 1.. .
Esempio musicale 2 .
Variazione 3 .
Esempio musicale 1.. .
Esempio musicale 2 .
Esempio musicale 3 .
Variazione 4 .
Esempio musicale 1.. .
Esempio musicale 2 .
Esempio musicale 3 .
Esempio musicale 4 .
Variazione 5 .
Esempio musicale .
Variazione 6 .
Esempio musicale .
Esempio di canzone "Antes Tarde" .
Esempio di accompagnamento "Antes Tarde" .
Esempio di chord melody "Triste" .

PARTE III - Choro
Descrizione generale .
Caratteristiche musicali. ,
Esempi musicali .
Pattern base e variazioni per fa chitarra ritmica .
Pattern base .
Esempio musicale ,
Variazioni. .
Variazione 1 .
Esempio musicale , .
Variazione 2 .
Esempio musicale .
Variazione 3 .
Esempio musicale 1 .
Variazione 4 .
Esempio musicale 1 .
Variazione 5 .
Esempio musicale .
Esempio di canzone "Inflenciado"
Esempio di accompagnamento "Inflenciado" .
Esempio di chord melody "Marceneiro Paulo" .

PARTE IV - Frevo
Descrizione generale , .
Generi. .
Caratteristiche musicali.. .
Esempi musicali. .
Pattern base e variazioni per fa chitarra ritmica .
Pattern base ,
Esempio musicale , .
Variazioni .
Variazione 1 .
Esempio musicale .
Variazione 2 .
Esempio musicale .
Variazione 3 .
Esempio musicale .
Variazione 4 .
Esempio musicale 1.. .
Esempio musicale 2 .
Variazione 5 .
Esempio musicale .
Esempio di canzone "laio" .
Esempio di accompagnamento "laio" .

PARTE V - Baiao
Descrizione generale .
Caratteristiche musicali. .
Esempi musicali.. .
Pattern base e variazioni per la chitarra ritmica .
Pattern base .
Esempio musicale .
Variazioni .
Variazione 1 .
Esempio musicale 1.. .
Esempio musicale 2 .
Variazione 2 .
Esempio musicale .
Variazione 3 .
Esempio musicale .
Variazione 4 .
Esempio musicale .
Variazione 5 .
Esempio musicale .
Variazione 6 .
Esempio musicale .
Variazione 7 .
Esempio musicale .
Esempio di canzone "Baiao por acaso" .
Esempio di accompagnamento "Baiao por acaso" .
Discografia selezionata .
Clossario .
Bibliografia selezionata .
 

This is the only book on the market designed to show guitarists how to play authentic accompaniments in all the main Brazilian styles. On the accompanying CD, Nelson plays each exercise so the student can clearly hear and see what his role in this beautiful music is. There are also fingerboard diagrams for people who are not great readers. Nelson has been singer/songwriter Joao Bosco's accompanist for many years, one of the most prestigious gigs in Brazil. Endorsed by Tonino Horta and Joe Diorio, among others. 139 Pages.

By one of Brazil's best new guitarists. A complete guide to playing guitar accompaniment and chord melodies in various Brazilian styles (Samba, Bossa Nova, Frevo, etc. ) Comes with a CD of Nelson demonstrating each exercise, plus a tune in each style. Many variations of basic comping patterns written out, each with complete chord voicings. Also includes short transcriptions of guitar parts as recorded by Toninho Horta, Joao Bosco, Joao Gilberto, etc. Leny Andrade - "When I think about Brasil, I think about "Violao" (that's what we call the nylon string guitar in our country). The art of playing "Violao" looks simple, but it isn't and this book shows how to assimilate and how to understand this art. This makes me feel happy. With talent and clear information, Nelson will help guitar players all around the world to enjoy all the pleasures of this wonderful instrument. Make good use of this excellent musical book!" Toninho Horta - "Nelson Faria was the right person to write this book, which contains examples and transcriptions of Brazil's greatest guitarists. This talented musician and dedicated music professor has a deep knowledge of Brazilian music and its rhythmic, melodic and harmonic subtleties." Joe Diorio - "Nelson Faria's book is a welcome addition to the guitar literature. I'm sure those who work with this volume will benefit greatly."

Contents:
So te esperando (Song & accompaniment example) 17 samba variations.
Tristez (chord melody example) 17 samba variations.
Antes Tarde (song & accompaniment example) 6 bossa nova variations.
Triste (chord melody example) 6 bossa nova variations.
Influenciado (song & accompaniment example) 5 Choro variations.
Marceneiro Paulo (chord melody example) 5 Choro variations.
Ioio (song & accompaniment example) 5 Frevo variations.
Baiao por acaso (song & accompaniment example) 7 Baiao.

Guitarist, arranger and composer, Nelson Faria was born in Belo Horizonte, MG (1963), and when he was a child he moved to Brasilia, OF, where he began his guitar lessons. In 1983, he moved to L.A. to attend G.I.T (Guitar Institute of Technology), where he studied with Joe Diorio, Joe Pass, Ron Eschete, Howard Roberts, Scott Henderson, Frank Gambale, and many others. While in L.A., he also attended private lessons with the chord melody master Ted Greene. Back in Brazil, Nelson Faria became one of the most important names on call lists for guitar workshops, clinics and seminars all over the country. He released a book on improvisation -"A arte da improvisacao" (Lumiar Editora), an instructional guitar video "Toques de Mestre" (Giannini S/A), and a solo CD - "Ioio" (Perfil musical). He also performed on the instructional video "Secrets of Brazilian Music" and on the book "Brazilian Music Workshop" by Antonio Adolfo. Presently Nelson teaches guitar and improvisation at the ESTACIO DE SA UNIVERSITY, in Rio de Janeiro, Brazil, and has been performing and recording with many fine Brazilian artists, such as: - Milton Nascimento, Edu Lobo, Toninho Horta, Antonio Adolfo, Joao Bosco, Wagner Tiso, Nivaldo Ornelas, Nico Assumpcao, Baby Consuela, Cassia Eller, Luiz Melodia, Carlos Lyra, Emilio Santiago, Tim Maia, among others. Nelson Faria also leads his own group. Nelson's CD "Ioio" (containing complete versions of his original compositions found in this book) is available from Sher Music Co., P.O. Box 445, Petaluma, CA 94953.

TABLE OF CONTENTS:

About the author .

My special thanks to .

Note from the author .

List of recorded examples .

Understanding the chord symbol system .

Reading the examples .

Table of contents .

Credits .

PART I Samba

General outline .

Subdivisions .

Musical characteristics .

Basic pattern and variations for rhythm guitar .

Basic Pattern .

Musical example .

Variations .

Variation #1 .

Musical example .

Variation #2 .

Musical example .

Variation #3 .

Musical example 1 .

Musical example 2 .

Musical example 3 .

Variation #4 .

Musical example 1 .

Musical example 2 .

Variation #5 .

Musical example .

Variation #6 .

Musical example .

Variation #7 .

Musical example 1 .

Musical example 2 .

Musical example 3 .

Musical example 4 .

Variation #8 .

Musical example 1 .

Musical example 2 .

Variation #9 .

Musical example .

Variation #10 .

Musical example .

Variation # 11 .

Musical example .

Variation #12 .

Musical example .

Variation #13 .

Musical example .

Variation #14 .

Musical example .

Variation #15 .

Musical example .

Variation # 16 .

Musical example .

Variation #17 .

Musical example .

Song example "So te esperanda" .

Accompaniment example "So te esperanda" .

Chord melody example "Tristeza" .

PART II Bossa Nova

General outline .

Musical characteristics .

Bossa Nova clave .

Basic pattern and variations for rhythm guitar .

Basic pattern - .

Musical example .

Variations .

Variation #1 .

Musical example .

Variation #2 .

Musical example 1 .

Musical example 2 .

Variation #3 .

Musical example 1 .

Musical example 2 .

Musical example 3 .

Variation #4 .

Musical example 1 .

Musical example 2 .

Musical example 3 .

Musical example 4 .

Variation #5 .

Musical example .

Variation #6 .

Musical example .

Song example "Antes Tarde" .

Accompaniment example "Antes Tarde" .

Chord melody example "Triste"

PART III - Choro

Musical characteristics ,

Musical examples .

Basic pattern and variations for rhythm guitar ,

Basic pattern ,

Musical example .

Variations .

Variation # 1 .

Musical example .

Variation #2 .

Musical example .

Variation #3 .

Musical example .

Variation #4 

Musical example .

Variation #5 

Musical example .

Song example "1nfluenciado" .

Accompaniment example "1nfluenciado" .

Chord melody example "Marceneiro Paulo" ,

PART IV - Frevo

General outline .

Subdivisions .

Musical characteristics .

Musical examples .

Basic pattern and variations for rhythm guitar .

Basic pattern , .

Musical example .

Variations .

Variation # 1 .

Musical example .

Variation #2 .

Musical example .

Variation #3 .

Musical example .

Variation #4 .

Musical example 1 .

Musical example 2 .

Variation #5 .

Musical example .

Song example "loio" .

Accompaniment example "loio" .

PART V Baiao

General outline .

Musical characteristics .

Musical examples .

Basic pattern and variations for rhythm guitar .

Basic pattern .

Musical example .

Variations .

Variation # 1 .

Musical example 1 .

Musical example 2 .

Variation:2 .

Musical example .

Variation #3 .

Musical example .

Variation #4 .

Musical example .

Variation #5 .

Musical example .

Variation #6 .

Musical example .

Variation #7 .

Musical example : .

Song example "Baiao por acaso" .

Accompaniment example "Baiao por acaso" .

Selected discography

Bibliography

Glossary

LIST OF RECORDED EXAMPLES

[track 01] Tuning notes (E, B, G, D, A, E) page

[track 02] Samba basic pattern musical example

[track 03] Samba variation #1 musical example

[track 04] Samba variation #2 musical example

[track 05] Samba variation #3 musical example 1

[track 06] Samba variation #3 musical example 2

[track 07] Samba variation #3 musical example 3 - partial transcription of

the guitar part played by Toninho Horta on the song

"Aquelas Coisas Todas" by Toninho Horta

[track 08] Samba variation #4 musical example 1 - partial transcription of

the guitar part played by Ivan Lins on the song

"Desesperar Jamais" by Ivan Lins / Victor Martins 31

[track 09] Samba variation #4 musical example 2

[track 10] Samba variation #5 musical example

[track 11] Samba variation #6 musical example

[track 12] Samba variation #7 musical example 1

[track 13] Samba variation #7 musical example 2

[track 14] Samba variation #7 musical example 3 - partial transcription of

the guitar part played by Joao Bosco on the song

"Incompatibilidade de Genius" by Joao Bosco / Aldir Blanc

[track 15] Samba variation #7 musical example 4 - partial transcription of the

guitar part played by Joao Bosco on the song "Coisa Feita"

by Joao Bosco / Aldir Blanc / Paulo Emilio

[track 16] Samba variation #8 musical example 1 - partial transcription of the

guitar part played by Joyce on the song "Feminina" by Joyce

[track 17] Samba variation #8 musical example 2

[track 18] Samba variation #9 musical example - partial transcription of the

guitar part played by Luiz Bonfa on the song "Batukada" by Luiz Bonfa

[track 19] Samba variation #10 musical example

[track 20] Samba variation #11 musical example 4

[track 21] Samba variation #12 musical example - partial transcription

of the guitar part played by Milton Nascimento on the

song "Cravo e Canela" by Milton Nascimento 4

[track 22] Samba variation #13 musical example 4

[track 23] Samba variation #14 musical example 4-

[track 24] Samba variation #15 musical example 4

[track 25] Samba variation #16 musical example - partial transcription of the

guitar part played by Toninho Horta on the song "From the Lonely

Afternoon" by Milton Nascimento / Fernando Brant

[track 26] Samba variation #17 musical example

[track 27] Song example: "S6 te esperando" by Nelson Faria

[track 28] Accompaniment example: "So te esperando" by Nelson Faria

[track 29] Chord melody example: "Tristeza" by Haroldo Lobo

[track 30] Bossa Nova basic pattern musical example - partial transcription

of the guitar part played by Joao Gilberto on the song

"Insensatez" by Tom Jobim

[track 31] Bossa Nova variation #1 musical example

[track 32] Bossa Nova variation #2 musical example 1

[track 33] Bossa Nova variation #2 musical example 2

[track 34] Bossa Nova variation #3 musical example 1

[track 35] Bossa Nova variation #3 musical example 2

[track 36] Bossa Nova variation #3 musical example 3 - partial transcription

of the guitar part played by Oscar Castro Neves on the

song "Brigas nunca mais" by Tom Jobim

[track 37] Bossa Nova variation #4 musical example 1

[track 38] Bossa Nova variation #4 musical example 2

[track 39] Bossa Nova variation #4 musical example 3

[track 40] Bossa Nova variation #4 musical example 4 - partial transcription

of the guitar part played by Joao Gilberto on the song

"Esse seu olhar" by Tom Jobim

[track 41] Bossa Nova variation #5 musical example - partial transcription of

the guitar part played by Helio Delmiro on the song

"é com esse que eu vou" by Pedro Caetano

[track 42] Bossa Nova variation #6 musical example - partial transcription

of the guitar part played by Roberto Menescal on the song

"Aquarela do Brasil" by Ary Barroso

[track 43] Song example: "Antes Tarde" by Nelson Faria

[track 44] Accompaniment example: "Antes Tarde" by Nelson Faria

[track 45] Chord melody example: "Triste" by Tom Jobim

[track 46] Choro basic pattern musical example

[track 47] Chorovariation#l musicalexampl.

[track 48] Choro variation #2 musical example - Choros n 1

by Heitor Villa Lobos

[track 49] Choro variation #3 musical example

[track 50] Choro variation #4 musical example

[track 51] Choro variation #5 musical example

[track 52] Song example: "Influenciado" by Nelson Faria

(Lyrics by Zelia Christina)

[track 53] Accompaniment example: "Influenciado" by Nelson Faria

[track 54] Chord melody example: "Marceneiro Paulo" by Helio Delmiro

[track 55] Frevo basic pattern musical example

[track 56] Frevo variation #1 musical example

[track 57] Frevo variation #2 musical example

[track 58] Frevo variation #3 musical example

[track 59] Frevo variation #4 musical example 1

[track 60] Frevo variation #4 musical example 2

[track 61] Frevo variation #5 musical example

[track 62] Song example: "loio" by Nelson Faria .

[track 63] Accompaniment example: "loio" by Nelson Faria .

[track 64] Baiao basic pattern musical example .

[track 65] Baiao variation #1 musical example 1 .

[track 66] Baiao variation # 1 musical example 2

"Vera Cruz" by Milton Nascimento .

[track 67] Baiao variation #2 musical example .

[track 68] Baiao variation #3 musical example .

[track 69] Baiao variation #4 musical example .

[track 70] Baiao variation #5 musical example .

[track 71] Baiao variation #6 musical example .

[track 72] Baiao variation #7 musical example .

[track 73] Song example: "Baiao par acaso"

by N. Faria / H. Stamato / R. Cardoso .

[track 74] Accompaniment example: "Baiao par acaso"

by N. Faria / H. Stamato / R. Cardoso .

[track 75] Tamborim playing a samba pattern

[track 76] Pandeiro playing a samba pattern

[track 77] Ganza playing a bossa nova pattern

[track 78] Clave playing a bossa nova pattern

[track 79] Pandeiro playing a choro pattern

[track 80] Pandeiro playing a frevo pattern

[track8!] Surdo playing a frevo pattern

[track 82] Triangle playing a baiao pattern

[track 83] Cowbell playing a baiao pattern

[track 84] Zabumba playing a baiao pattern

MEXICO MUSIC FOR ACOUSTIC GUITAR VOLUME 3. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA POPOLARE MESSICANA CON CD.

SPARTITI CON ACCORDI, PENTAGRAMMA, TABLATURE.

MB96517BCD

ISBN 10: 0786626666

ISBN 13: 9780786626663

MUSIC OF LATIN AMERICA FOR ACOUSTIC GUITAR. Barreiro. Tico tico e altri 15 titoli. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA SUDAMERICANA, CON CD.

SPARTITI PERR CHITARRA CON: 

pENTAGRAMMA TABLATURE. 

Music from: Cuba, Mexico, Brazil, Ecuador, Venezuela, Peru, Puerto Rico.

This superb collection features 31 solo guitar settings of a colorful spectrum of music from Brazil, Venezuela, Columbia, Mexico, Cuba, Puerto Rico, Bolivia, Chile, Costa Rica, Ecuador, Guatemala, Peru, the Dominican Republic, and Uruguay. The music is derived largely from 19th and 20th century piano literature. While many anonymously composed selections are included here, most of these tunes were written by professional musicians who happened to be pianists, band directors or arrangers. Typical of the period, some orchestral scores appears as piano reductions, which Professor Barreiro has also used as a source for his guitar transcriptions. All of these selections are presented in standard notation and tablature with historical and performance notes. A companion CD is included featuring 16 selections from the book performed by Barreiro. 

LATIN AMERICAN JAZZ FOR FINGERSTYLE GUITAR. John Zaradin. CD TABLATURE

LIBRO DI MUSICA LATINA , CON CD .

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRANMMA, TABLATURE . 

England's John Zaradin is a gifted performer both in jazz and in the field of classic guitar. He is especially knowledgeable in the wide and diverse world of Latin American guitar solo and rhythm styles. This book contains six solos based on the Rumba Rhythm (Mosaico de Rumbas) and six solos in the Bossa-Samba mode (Ambientes Brasileiras). Each solo is scored in both notation and tablature and reflects the vitality, rhythm, and improvisatory nature of this idiom.

Format: Book/CD Set
CD contents:

RUMBA:

Piedra de Toques

Conchicha de Mar

Preciso de Voçe

Arremolinando

Quintumba

Carumba! Como no?

BOSSA / SAMBA

Samba Risoleta

Que Distança

Esperança

Teardrops

Primavera

Solidão