CHITARRA - GUITAR

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)

GUITARRA FLAMENCA PASO A PASO TECNICA BASICA I: FLAMENCO GUITAR STEP BY STEP VOL. 1. DVD. TABLATURE

Oscar Herrero, después de tocar la Bulería "De Colores", desvela los siguientes temas: Postura de sentarse y formas de sujetar la guitarra, posición de la mano derecha, técnica de los dedos pulgar y pulgar-índice, rasgueos con percusiones simples, golpe, rasgueos con golpe, rasgueos sin pulgar, Tangos flamencos, picado, falseta de picados por Tangos y compás de Soleá. Incluye libreto con partituras y cifrado. Multisystem: Pal y NTSC. En Español, Inglés, Francés y Japonés. Duración: 68 minutos.
booklet 25 pages.

Product Description:
For the first time, here is a flamenco guitar dvd instruction series produced entirely in the heart of Spain. Intended for those who already have a command of basic classic guitar technique and want to learn the flamenco style, this series of instructional videos explains each technique methodically and thoroughly. In this first volume, Oscar Herrero offers insights on sitting and hand positions and reveals the secrets of thumb/index technique-the "picado", the "picado falseta", and the "golpe". He also demonstrates various "rasgueos" executed with and without the thumb and presents the "tango" and "soleas" rhythms. Booklet included with English and Spanish text and music in notation and tablature. The dvd offers tracks in four languages: Spanish, English, French, and Japanese. The DVD is formatted for NTSC on one side of the DVD and PAL on the other.

Format: DVD
Date Published: 4/28/2003

Contents:

DVD
"De colores" (Buleria)
Introduction
Sitting Position
Tuning Up
Hands position
Thumb technique
Thumb index
Rasgueos
Golpe
Rasgueos with golpe
Rasgueos without thumb
Tangos
Picado
Soleá
Closing

Booklet
Introduction
Ex. 1-4 Thumb
Ex. 5-9 Thumb-index
Exercises A-M Rasgueos
Ex. 10-15 Tangos
Ex. 16-23 Picado
Ex. 24-30 Soleá
Flamenco Glossary

GUITARRA FLAMENCA PASO A PASO TECNICA BASICA III: FLAMENCO GUITAR STEP BY STEP VOL. 3. DVD TABLATURE

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

DESCRIPCIÓN: Oscar Herrero desarrolla los siguientes temas: Trabajos para la obtención de una buena técnica en la mano izquierda con ejercicios de extensiones, ligados, dedo meñique, cambios de acorde... En cuento a la mano derecha se estudian ejercicios para el dedo anular y también se indica cómo hacer arpegios. Incluye libreto con partituras y cifrados. Multisystem: Pal y NTSC. En Español, Inglés, Francés y Japonés. Duración: 84 minutos.
booklet 30 pages.

Product Description:
For the first time, here is a flamenco guitar dvd instruction series produced entirely in the heart of Spain. In this third volume, after playing a Sevillana, Oscar Herrero presents exercises to develop excellent right- and left-hand techniques. These techniques are accompanied by extensions, legatos, chord changes, little finger exercises and arpeggios. This volume offers a summary of the elements presented in the 3 volume series. Flamenco Guitar Step by Step offers the key to the enchanting world of flamenco-a world of duende or "magic" in which you can learn to participate. Intended for those who are already familiar with guitar basics who want to learn the flamenco style. A comprehensive notation/tab booklet is included. The video offers tracks in four languages: Spanish, English, French, and Japanese. The DVD is formatted for NTSC on one side of the DVD and PAL on the other.

Date Published: 4/28/2003

DVD
"El Rastrillo" (Sevillanas)
Introduction
Tuning up
Left hand extensions
Stretching fingers 2 and 3
Transversal extension
Walking on the fingerboard
The little finger
Legatos
Chord changes
The ring finger
Arpeggios
"Vaivén"
Interview
Closing
Credits

Booklet
Introduction
Exerc. 1-3 Extensions
Exerc. 1-4 The little finger
Exerc. 5-6 Legatos
Exerc. 7-11 Chord Changes
Exerc. 12-16 The ring finger
Exerc. 17 Arpeggios
Vaivén (Bulería)

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. GERHARD GRAF-MARTINEZ. 2 CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON 2 CD E TABLATURE. 

Series: Schott
Publisher: Schott
Medium: BOOK W/CD
Guitar
Composer: Gerhard Graf-Martinez

Flamenco is once again incredibly popular and modern Flamenco groups like the Gipsy Kings are topping the charts with international hits like "Rumba flamenca." In Gipsy Guitar the author shows guitarists how to enter the world of the rumba flamenca, and demonstrates the techniques necessary for solo playing and accompaniment. The publication contains printed music (staves and tablature) and two excellent companion CDs. German/English text. 92 pages.

Flamenco is once again incredibly popular and modern Flamenco groups like the ‘Gipsy Kings’ are topping the charts with international hits like ‘Rumba flamenca’. In ‘Gipsy Guitar’ the author shows interested guitarists how to enter the world of the RUMBA FLAMENCA, and demonstrates the techniques necessary for solo playing and accompaniment. The publication contains printed music (staves and tablature) and two excellent companion CDs.

Contiene

  - Vorwort
  - Der Autor
  - Grundbegriffe
  - Kompositionen dieses Buches
  - La Rumba
  - Rhythmus-Muster 1
  - Rhythmus-Muster 2
  - Caballos Blancos
  - Tresillos I
  - 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