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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.
This is a well written, informative study of the solo and rhythmic guitar styles found in Latin America. Featured is music from Argentina, Brazil, Costa Rica, Paraguay, Peru, and Venezuela. Most of the compositions are in E major or E minor and all are scored in notation and tablature.
An collection of over 50 guitar solos by composers of the genre from the 19th and early 20th Century.
(Guitar Solo). 15 carefully arranged, intermediate-level solos with melody and harmony combined for rich and satisfying performance material. This volume includes: Aquellos Ojos Verdes (Green Eyes) * Call Me * Desafinado (Off Key) * The Girl from Ipanema (Garota De Ipanema) * Little Boat * More (Ti Guardero Nel Cuore) * Quiet Nights of Quiet Stars (Corcovado) * Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps) * So Nice (Summer Samba) * Triste * Watch What Happens * and more.
Mariachi music for most of its 200 or so years has primarily been an aural tradition, passing songs down from generation to generation, ear to ear. This collection puts many popular tunes from the genre in print for any classical guitarist to play. Author Laura Sobrino has been a professional mariachi and is familiar with the stylistic intricacies that truly make this Mexican traditional and popular music unique. Written in standard notation and tablature.
The guitar's entrance into American culture began in the early 1800s, introduced primarily by visiting and immigrant Spanish guitarists. Many of these newly arrived Spaniards exerted great influence on the guitar's development in 19th century America. the works in this book contain the compositions and arrangements of eight noted 19th century Hispanic American guitarist/composers with an emphasis on their works that reflect Latin themes or rhythms. Rounding out this anthology are dance forms such as the Habanera, Jota, Cachucha, Sevillaño, Spanish Mazurka, and other Spanish dance related works along with extended concert pieces such as Theme and Variations, Serenades, Polonaises and a delightful arrangement of the Celebrated Spanish Retreat, a programmatic work with an unusual "C" tuning and novel harmonic effects crafted to imitate the bugles, horns and drums as heard on the battlefield. the book features twenty-one solos and two duets which range in difficulty from easy to advanced. an extensive and well researched text along with photos and a companion recording by acclaimed guitarist/scholar Douglas Back help to make this a landmark book.
The music of the peoples of South and Central America, Mexico, and the Caribbean is treated with unprecedented breadth in this multi-volume work. Taking a sociocultural and human-centered approach, Music in Latin America and the Caribbean gathers the best scholarship from writers all over the world to cover in depth the musical legacies of indigenous peoples, creoles, African descendants, Iberian colonizers, and other immigrant groups that met and mixed in the New World. From these texts, music emerges as the powerful tool that negotiates identities, enacts resistance, performs beliefs, and challenges received aesthetics. More than two decades in the making, this work privileges the perspectives of cultural insiders and emphasizes the role that music plays in human life. Volume 2, Performing the Caribbean Experience, focuses on the reconfiguration of this complex soundscape after the Conquest and on the strategies by which groups from distant worlds reconstructed traditions, assigning new meanings to fragments of memory and welding a fascinating variety of unique Creole cultures. Shaped by an enduring African presence and the experience of slavery and colonization by the Spanish, French, British, and Dutch, peoples of the Caribbean islands and circum-Caribbean territories resorted to the power of music to mirror their history, assert identity, gain freedom, and transcend their experience in lasting musical messages. Essays on pan-Caribbean themes, surveys of traditions, and riveting personal accounts capture the essence of pluralistic and spiritualized brands of creativity through the voices of an unprecedented number of Caribbean authors, including a representative contingent of distinguished Cuban scholars whose work is being published in English translation for the first time in this book. Two CDs with 52 recorded examples illustrate the contributions to this volume.
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.
To date, scholars have paid little attention to the role that music played at political rallies and protests, the political activism of right-wing and left-wing musicians, and the emergence of musical performances as sites of verbal and physical confrontations between Allende supporters and the opposition. This book illuminates a largely unexplored facet of the Cold War era in Latin America by examining linkages among music, politics, and the development of extreme political violence. It traces the development of folk-based popular music against the backdrop of Chile's social and political history, explaining how music played a fundamental role in a national conflict that grew out of deep cultural divisions. Through a combination of textual and musical analysis, archival research, and oral histories, Jedrek Mularski demonstrates that Chilean rightists came to embrace a national identity rooted in Chile's central valley and its huaso ("cowboy") traditions, which groups of well-groomed, singing huasos expressed and propagated through música típica. In contrast, leftists came to embrace an identity that drew on musical traditions from Chile's outlying regions and other Latin American countries, which they expressed and propagated through nueva canción. Conflicts over these notions of Chilenidad ("Chileanness") both reflected and contributed to the political polarization of Chilean society, sparking violent confrontations at musical performances and political events during the late 1960s and early 1970s. Mularski offers a powerful example and multifaceted understanding of the fundamental role that music often plays in shaping the contours of political struggles and conflicts throughout the world.This is an important book for Latin American studies, history, musicology/ethnomusicology, and communication.
First Published in 2000. The Garland Handbook of Latin American Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 2, South America, Mexico, Central America, and the Carribean, (1998). Revised and updated, the essays offer detailed, regional studies of the different musical cultures of Latin America and examine the ways in which music helps to define the identity of this particular area. Part One provides an in-depth introduction to the area of Latin America and describes the history, geography, demography, and cultural settings of the regions that comprise Latin America. It also explores the many ways to research Latin American music, including archaeology, iconography, mythology, history, ethnography, and practice. Part Two focuses on issues and processes, such as history, politics, geography, and immigration, which are responsible for the similarities and the differences of each region's uniqueness and individuality. Part Three focuses on the different regions, countries, and cultures of Caribbean Latin America, Middle Latin America, and South America with selected regional case studies. The second edition has been expanded to cover Haiti, Panama, several more Amerindian musical cultures, and Afro-Peru. Questions for Critical Thinking at the end of each major section guide focus attention on what musical and cultural issues arise when one studies the music of Latin America -- issues that might not occur in the study of other musics of the world. Two audio compact discs offer musical examples of some of the music of Latin America.