Classic Guitar Solos On The Contradanzas Habaneras of Manuel Saumell


Book Description

Presents the Contradanzas Habaneras of Manuel Saumell (1817-1870), who has been called a "Pioneer of the Cuban danza." Originally written for the piano, this collection of contradanzas is a good example of Saumell's innate sensitivity to the rhythms characteristic of Cuban Music. Written in standard notation and tablature.




Caribbean Currents


Book Description

The classic introduction to the Caribbean's popular music brought up to date.




Classic Guitar Solos on the Contradanzas Habaneras


Book Description

Presents the Contradanzas Habaneras of Manuel Saumell (1817-1870), who has been called a "Pioneer of the Cuban danza." Originally written for the piano, this collection of contradanzas is a good example of Saumell's innate sensitivity to the rhythms characteristic of Cuban Music. Written in standard notation and tablature.










National Union Catalog


Book Description




Cuban Music from A to Z


Book Description

DIVThe definitive guide to the composers, artists, bands, musical instruments, dances, and institutions of Cuban music./div




10 Brazilian Choros Arranged for Classical Guitar Solo


Book Description

Choro is a popular instrumental-music tradition flourishing in Brazil and around the world. It preceded, influenced, and in turn was influenced by samba and bossa nova. Its repertory is vast, including thousands of choros composed by all manner of string, wind, keyboard, and percussion players—in addition to the guitar classics by João Pernambuco and Heitor Villa-Lobos. This landmark publication gives guitarists access to this seemingly endless repertory, empowering its readers to turn a choro written for any instrument into a convincing and idiomatic solo guitar arrangement. This process is taught through examples provided by Dr. Stephen Guerra, a versatile guitarist/composer intimately familiar with both classical and Brazilian guitar (violão brasileiro) as well as the choro idiom. This book is intended for both students of Brazilian guitar and classical guitarists seeking to add choros to their repertory and play them authentically. It includes: • Original solo arrangements plus lead sheets and online recordings of 10 choros for the intermediate to advanced classic guitarist. • Biographical and performance notes regarding the selected composers and compositions. • Insightful suggestions for further reading, listening, and study. • Extensive endnotes explaining arrangement choices, notation practice and influences. Dr. Guerra focuses on classics from the pioneering generation of choro composers culminating in the artistry of João Pernambuco, Pixinguinha, and Heitor Villa-Lobos; among others, these include compositions by choro pianists Chiquinha Gonzaga and Ernesto Nazareth, samba singer-composer Noel Rosa, choro bandleaders Joaquim Calado and Anacleto de Medeiros, and Brazil’s early flute virtuoso, Patápio Silva. Includes access to online audio.




Latinitas for Solo Guitar


Book Description

Some of the best known Latin American rhythms are included in this collection carefully graded from beginner to intermediate level. for this book Mel Bay asked an expert on Latin American music, world celebrated guitarist-composer Alfonso Montes, to put together all his expertise to come up with real Latin sounding pieces keeping the technical demands within reach of beginner and intermediate players. "Latinitas", besides being full of beautiful melodies and captivating rhythms, should act as an introduction for guitarist of all ages to this fascinating music. Standard notation only.•




Creolizing Contradance in the Caribbean


Book Description

The contradance and quadrille, in their diverse forms, were the most popular, widespread, and important genres of creole Caribbean music and dance in the nineteenth century. Throughout the region they constituted sites for interaction of musicians and musical elements of different racial, social, and ethnic origins, and they became crucibles for the evolution of genres like the Cuban danzón and son, the Dominican merengue, and the Haitian mereng. Creolizing Contradance in the Caribbean is the first book to explore this phenomenon in detail and with a pan-regional perspective. Individual chapters by respected area experts discuss the Spanish, French, and English-speaking Caribbean, covering musical and choreographic features, social dynamics, historical development and significance, placed in relation to the broader Caribbean historical context. This groundbreaking text fills a significant gap in studies of Caribbean cultural history and of social dance.