Sher Music

THE LATIN BASS BOOK A Practical Guide by Oscar Stagnaro 3 CD LIBRO METODO BASSO LATINO

THE LATIN BASS BOOK: A Practical Guide, by Oscar Stagnaro. SHEET MUSIC BOOK WITH 3 CD

LIBRO METODO DI MUSICA LATINA, CON 3 CD.

SPARTITI PER BASSO CON : 

ACCORDI E PENTAGRAMMA. 

267 PAGINE IN ITALIANO 


by Oscar Stagnaro (Bassist with Paquito D'Rivera, Professor at Berklee College) and
Chuck Sher (author of "The Improviser's Bass Method")

The only comprehensive book ever published on how to play bass in authentic Afro-Cuban, Brazilian, Caribbean, Latin Jazz & South American styles.
Over 250 pages of transcriptions of Oscar Stagnaro playing each exercise. Learn from the best!

Includes: 3 Play-Along CDs to accompany each exercise, featuring world-class rhythm sections:

Oscar Stagnaro - bass
Rebeca Mauleón - piano
Orestes Vilató - percussion
Dario Eskenazi - piano
Mark Walker - drums and others

Notes About the Enclosed Play-Along CDs
The accompanying CDs to "The Latin Bass Book" were designed to provide:
a) audio illustrations of how each exercise should be played, and also
b) years of professional~level play~along accompaniment.

How To Best Utilize These CDs ..Please read!
1) Go through each exercise and listen to how the bass part fits in with the rest of the rhythm section
while you watch the transcription go by.
2) Then try playing what is written yourself until you sound pretty much like the bass on the CD.
3) You can then turn off the bass channel and play along with the rhythm track yourself, improvising
your own lines based on the material presented in that exercise-especially any rhythms written out at the
end of the transcription of Oscar's bass line.
4) After you1ve gone through the whole book in this way, you can then use the CDs to practice
anything you want, not just the initial rhythms suggested for that track.
We hope you will find these CDs invaluable in giving you professional Latin rhythm sections to play
along with. Enjoy!

PERSONNEL:
Afro,Cuban Exercises
CD One, All tracks; CD Two, Tracks 1,15; CD Three' Tracks 8 & 18
Oscar Stagnaro ~bass
Rebeca Maule6n ~keyboards, vocals
Orestes Vilat6 ~percussion, vocals
Edgardo Camb6n ~percussion, vocals
Carlos Caro ~percussion, vocals
Recorded and mixed by Oscar Autie at 0 Studios, El Cerrito, CA
Brazilian and Caribbean Exercises
CD Two, Tracks 16,23; CD Three, Tracks 1,7
Oscar Stagnaro ~bass
Dario Eskenazi ~keyboards
Attila Nagy' keyboards (Track 7 only)
Mark Walker ~drums
Pernell Sarturnino ' percussion
Recorded at Alleycat Studio by John Lee, South Orange, NJ.
Mixed at Art Drums Studio by Alberto Netto, Arlington, MA
South American Exercises
CD Three' Tracks 9,17
Oscar Stagnaro ~bass
Aquiles Baez ~Venezuelan cuatro (Tracks 9~13) and guitar (Tracks 16~17)
Omar Ledezma ~congas and percussion (Tracks 9~13)
Franco Pinna - drums (Tracks 14,15)
Julio Santillan ~guitar (Tracks 14~15)
Martin Zarzar ~cajon (Tracks 16,17)
Jorge Perez Albela ~hand claps (Tracks 6-17)
DPelot - quijada, guiro & bells (Tracks 16-17)
Recorded and Mixed at ArtDrums Studio by Alberto Netto, Arlington, MA
All CDs mastered by "The Master", Fred Catero, at Catero Productions, San Carlos, CA 

Editor's Foreword
The role of the bass in Latin music is primarily to hold down the rhythmic and harmonic foundation of the tune. To the casual listener there is certainly a lot of repetition in most Latin bass lines. But if you listen closel you'll usually find a myriad of subtle variations that give the music an extra kick without destroying the underling groove. This book will show you how that is done. “The Latin Bass Book" contains the most comprehensive study ever published of the main Afro-Cuban and Brazilian styles of bass playing, as well as shorter sections on other Caribbean and Latin American styles and al 0 Latin jazz bass playing. If you go through the book and faithfully follow the written instructions, you will be in possession of all the information you need to fulfill your function in a Latin or Latin jazz rhythm section. This is a practical guide for the motivated student to learn how to play in various Latin idioms, not an historical accounting of how these idioms developed. For that, please see Sher Music CO.IS "The True Cuban Bass" by Carlos Del Puerto and Silvio Vergara, an invaluable document. Much thanks goes to Attila Nagy for designing the cover, as well as his informative contribution to the reggae section of the book; Michelle White for the beautiful cover art work; Larry Dunlap and Rebeca Mauleon for their world-class transcriptions; all the wonderful rhythm section players on the CDs; Dave Belove for contributing Chapter Four, on the bassi relation to clave; Chuck Gee for the easy-to-read music manuscript; Fred Catero for a masterful mastering job; the talented photographers who contributed to this book; Andy Gonzalez and Pedro Perez who allowed us to include transcriptions of some of their recorded bass lines; and lastly Oscar Stagnaro, who makes this book come alive with such grace and soul. As the world gets closer together, having a working knowledge of Latin bass playing will increasingly be a prerequisite for any professional, improvising bassist. This book is designed to help you learn to play this passionate and beautiful music. Enjoy the ride! - Chuck Sher

About Oscar Stagnaro
Bassist Oscar Stagnaro, originally from Peru, studied at the Conservatory of Music in Lima, Peru and worked extensively doing studio work and live performances with many international artists and local bands before moving to the USA in 1979. Since then he has been a very active performer and one of the most yersatile bass players on the East Coast. His mastery of different styles including jazz, fusion, Latin jazz, Brazilian jazz and South American music has helped him to travel the world performing with the very best Latin jazz artits. Mr. Stagnaro has been an Associate Professor at Berklee College of Music since 1988, where he teaches private lessons, workshops and ensembles, and has represented Berklee at the IAJE Conventions since 1997. He i an active clinician and has given clinics on bass playing in Peru, Puerto Rico, Cos a Rica, Venezuela, Germany, Spain and the USA. Mr. Stagnaro has recorded with Paquito URivera, the United Nations Orchestra, Dave Valentin, Charlie Sepulveda, The Caribbean Jazz Project and many others (see Discography on page 262.) He has also played with Chucho Valdes, Michel Camilo, Dave Liebman, Ray Barretto, Mark Murphy, Tom Harrell, Leny Andrade, Claudio Roditi, Danilo Perez, Tiger Okashi, Bob Moses, Bob Mintzer, Steve Kuhn, Nestor Torres and many others. His first CD under his own name, "Mariellals Dream", is on the Songosaurus label and features Paquito D'Rivera, Dave Samuels, Ed Simon, Alex Acuna and Ramon Stagnaro. Mr. Stagnaro endorses Etifani speakers, Fender strings and Guild and Warwick basses.

A Note From Oscar
This work is dedicated to my Father, Rogelio, for his love and dedication; my wife Teresa for her love, comprehension, inspiration and huge patience; my children Paulo and Mariella who help me to find the meaning of life; to my brother Ramon, my first bass teacher; and to my best friend Pocho Purizaga. Thanks also to Paquito D'Rivera, Danilo Perez, the Pelots, my Boss at Berklee, Rich Appleman, Pedro Aiscorbe, Carlos Hayre, Aquiles Baez, Los Changos, Sal Cuevas, Alon Yavnai, Dave Valentin, Brenda Feliciano, Alberto Netto, Alain Malett, Lincoln Goines, Milton Cardona, Andy Narell, Dave Samuels, Victor Mendoza, Coc Salazar, Pancho aenz and all my friends and collegues whom I have learned from and share the universal language of music.

SECTION ONE
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5

SECTION TWO
Chapter 6
Chapter 7
Chapter 8

SECTION THREE
Chapter 9
Chapter 10

SECTION FOUR
Chapter 11
Chapter 12

SECTION FIVE
Chapter 13
APPENDIX I
APPENDIX II
Table of Contents
The Thmbao Bass Line
The Basic Tumbao and its Main Variations .
Combinations .
Other Simple Tumbao Variations .
The Bass In Relation To Clave .
Advanced Tumbao Variations .
Other Afro-Cuban Styles
Cha-Cha-Cha and its Variations .
Afro Lines in Six .
Contemporary Cuban-Style Bass Lines .
Brazilian Bass Lines
Samba Bass Lines .
Partido Alto, BaHio and Other Brazilian Styles .
Caribbean & South American Styles
Merengue, Reggae and Other Caribbean Styles .
South American Styles .
Latin Jazz Bass Lines
Latin Jazz Bass Lines .
Transcriptions of Recorded Bass Lines ,
Pedro Perez' bass line on "La Rumba Esta Buena"
Andy Gonzalez' bass line on "Little Sunflower"
Oscar Stagnaro's bass line on "Sin Saber Porque"
Andy Gonzalez' bass line on "Rainsville"
Andy Gonzalez' bass line on "Water Babies"
Oscar Stagnaro Discography .

Prezzo: €36,99
€36,99

THE BRAZILIAN GUITAR BOOK Samba Bossa nova Brazilian Styles NELSON FARIA CD CHITARRA

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

 
IL LIBRO DI CHITARRA BRASILIANA
Un libro che rappresenta un chiaro ed efficace compendio dei principali stili brasiliani, scritto da un musicista di chiara fama, così definito da Toninho Horta: «Nelson Faria era la persona giusta per scrivere questo libro, che contiene esempi e trascrizioni dei più grandi chitarristi brasiliani. Questo musicista di talento e appassionato insegnante di musica ha una profonda conoscenza della musica brasiliana e delle sue sottigliezze ritmiche, melodiche ed armoniche.» «Con l'allegato CD di Faria che esegue accuratamente ciascun esempio e chiare spiegazioni dei vari ritmi sincopati che rendono la musica brasiliana così eccitante, il libro di Faria è una rivelazione, per non dire un affarone» così il Guitar Player Magazine.
 
ELENCO DEGLI ESEMPI REGISTRATI
[Track 01] Note di riferimento per l’accordatura (Mi, Si, Sol, Re, La , Mi)                                 Pagina
[Track 02] Samba pattern base esempio musicale..........................................................................................25
[Track 03] Samba variazione 1 esempio musicale...........................................................................................27
[Track 04] Samba variazione 2 esempio musicale...........................................................................................28
[Track 05] Samba variazione 3 esempio musicale 1.......................................................................................29
[Track 06] Samba variazione 3 esempio musicale 2.......................................................................................29
[Track 07] Samba variazione 3 esempio musicale 3 - Trascrizione parziale della parte di chitarra suonata da 
Toninho Horta sulla canzone “Aquelas Coisas Todas” di Toninho Horta....................................................30
[Track 08] Samba variazione 4 esempio musicale 1 - Trascrizione parziale della parte di chitarra suonata da 
Ivan Lins sulla canzone “Desesperar Jamais” di Ivan Lins / Victor Martins..................................................31
[Track 09] Samba variazione 4 esempio musicale 2.......................................................................................32
[Track 10] Samba variazione 5 esempio musicale...........................................................................................32
[Track 11] Samba variazione 6 esempio musicale...........................................................................................33
[Track 12] Samba variazione 7 esempio musicale 1.......................................................................................34
[Track 13] Samba variazione 7 esempio musicale 2.......................................................................................34
[Track 14] Samba variazione 7 esempio musicale 3 - Trascrizione parziale della parte di chitarra suonata da 
João Bosco sulla canzone ”Incompatibilidade de Genius” di João Bosco / Aldir Blanc...................................34
[Track 15] Samba variazione 7 esempio musicale 4 - Trascrizione parziale della parte di chitarra suonata da 
João Bosco sulla canzone ”Coisa Feita” di João Bosco / Aldir Blanc / Paulo Emilio....................................35
[Track 16] Samba variazione 8 esempio musicale 1 - Trascrizione parziale della parte di chitarra suonata da 
Joyce sulla canzone ”Feminina” di Joyce.........................................................................................................37
[Track 17] Samba variazione 8 esempio musicale 2.......................................................................................38
[Track 18] Samba variazione 9 esempio musicale - Trascrizione parziale della parte di chitarra suonata da 
Luiz Bonfá sulla canzone ”Batukada” di Luiz Bonfá.......................................................................................39
[Track 19] Samba variazione 10 esempio musicale........................................................................................40
[Track 20] Samba variazione 11 esempio musicale.........................................................................................41
[Track 21] Samba variazione 12 esempio musicale - Trascrizione parziale della parte di chitarra suonata da 
Milton Nascimento sulla canzone “Cravo e Canela” di Milton Nascimento................................................42
[Track 22] Samba variazione 13 esempio musicale.........................................................................................43
[Track 23] Samba variazione 14 esempio musicale.........................................................................................44
[Track 24] Samba variazione 15 esempio musicale.........................................................................................45
[Track 25] Samba variazione 16 esempio musicale - Trascrizione parziale della parte di chitarra suonata da 
Toninho Horta sulla canzone ”From The Lonely Afternoon” di Milton Nascimento / Fernando Brant..........46
[Track 26] Samba variazione 17 esempio musicale.........................................................................................47
[Track 27] Esempio di canzone: “Só te Esperando” di Nelson Faria...............................................................48
[Track 28] Esempio di accompagnamento: “Só te Esperando” di Nelson Faria..............................................50
[Track 29] Esempio di chord melody: “Tristeza” di Haroldo Lobo................................................................54
[Track 30] Bossa nova pattern base esempio musicale - Trascrizione parziale della parte di chitarra suonata 
da João Gilberto sulla canzone ”Insensatez” di Tom Jobim......................................................................63
[Track 31] Bossa nova variazione 1 esempio musicale...................................................................................64
[Track 32] Bossa nova variazione 2 esempio musicale 1................................................................................64
[Track 33] Bossa nova variazione 2 esempio musicale 2................................................................................65
[Track 34] Bossa nova variazione 3 esempio musicale 1................................................................................66
[Track 35] Bossa nova variazione 3 esempio musicale 2................................................................................66
[Track 36] Bossa nova variazione 3 esempio musicale 3 - Trascrizione parziale della parte di chitarra suonata 
da Oscar Castro Neves sulla canzone “Brigas nunca Mais” di Tom Jobim.......................................... . . . ......67
[Track 37] Bossa nova variazione 4 esempio musicale 1................................................................................69
[Track 38] Bossa nova variazione 4 esempio musicale 2................................................................................69
[Track 39] Bossa nova variazione 4 esempio musicale 3................................................................................70
[Track 40] Bossa nova variazione 4 esempio musicale 4 - Trascrizione parziale della parte di chitarra suonata 
da João Gilberto sulla canzone “Esse seu olhar” di Tom Jobim.....................................................................71
[Track 41] Bossa nova variazione 5 esempio musicale - Trascrizione parziale della parte di chitarra suonata da 
Helio Delmiro sulla canzone “È com esse que eu vou” di Pedro Caetano......................................................72
[Track 42] Bossa nova variazione 6 esempio musicale - Trascrizione parziale della parte di chitarra suonata 
da Roberto Menescal sulla canzone “Aquarela do Brasil” di Ary Barroso......................................................72
[Track 43] Esempio di canzone: “Antes Tarde” di Nelson Faria....................................................................74
[Track 44] Esempio di accompagnamento: “Antes Tarde” di Nelson Faria...................................................76
[Track 45] Esempio di chord melody: “Triste” di Tom Jobim.......................................................................80
[Track 46] Choro pattern base esempio musicale...........................................................................................88
[Track 47] Choro variazione 1 esempio musicale...........................................................................................88
[Track 48] Choro variazione 2 esempio musicale – Choros n°1 di Heitor Villa Lobos...............................90
[Track 49] Choro variazione 3 esempio musicale...........................................................................................91
[Track 50] Choro variazione 4 esempio musicale...........................................................................................92
[Track 51] Choro variazione 5 esempio musicale...........................................................................................93
[Track 52] Esempio di canzone: “Influenciado” di Nelson Faria (testo di Zélia Christina)...........................94
[Track 53] Esempio di accompagnamento: “Influenciado” di Nelson Faria...................................................96
[Track 54] Esempio di chord melody: “Marceneiro Paulo” di Helio Delmiro................................................98
[Track 55] Frevo pattern base esempio musicale..........................................................................................104
[Track 56] Frevo variazione 1 esempio musicale..........................................................................................105
[Track 57] Frevo variazione 2 esempio musicale..........................................................................................106
[Track 58] Frevo variazione 3 esempio musicale..........................................................................................107
[Track 59] Frevo variazione 4 esempio musicale..........................................................................................108
[Track 60] Frevo variazione 4 esempio musicale 2.......................................................................................109
[Track 61] Frevo variazione 5 esempio musicale..........................................................................................1109
[Track 62] Esempio di canzone: “Ioiô” di Nelson Faria................................................................................112
[Track 63] Esempio di accompagnamento: “Ioiô” di Nelson Faria..............................................................114
[Track 64] Baião pattern base esempio musicale..........................................................................................121
[Track 65] Baião variazione 1 esempio musicale 1.......................................................................................122
[Track 66] Baião variazione 1 esempio musicale 2 “Vera Cruz” di Milton Nascimento............................121
[Track 67] Baião variazione 2 esempio musicale..........................................................................................124
[Track 68] Baião variazione 3 esempio musicale..........................................................................................124
[Track 69] Baião variazione 4 esempio musicale..........................................................................................125
[Track 70] Baião variazione 5 esempio musicale..........................................................................................126
[Track 71] Baião variazione 6 esempio musicale..........................................................................................127
[Track 72] Baião variazione 7 esempio musicale..........................................................................................128
[Track 73] Esempio di canzone: “Baião por acaso” di N.Faria/H.Stamato/R.Cardoso.................................130
[Track 74] Esempio di accompagnamento: “Baião por acaso” di N.Faria/H.Stamato/R.Cardoso................132
[Track 75] Tamborim che suona un pattern samba
[Track 76] Pandeiro che suona un pattern samba
[Track 77] Ganzá che suona un pattern bossa nova
[Track 78] Clave che suona un pattern bossa nova
[Track 79] Pandeiro che suona un pattern choro
[Track 80] Pandeiro che suona un pattern frevo
[Track 81] Surdo che suona un pattern frevo
[Track 82] Triangolo che suona un pattern baião
[Track 83] Campanaccio che suona un pattern baião
[Track 84] Zabumba che suona un pattern baião

 

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

Prezzo: €27,49
€27,49

YELLOWJACKETS SONGBOOK Sher music BAND PARTITURA SPARTITI DI OGNI STRUMENTO LIBRO

The YELLOWJACKETS, SONGBOOK. BAND.

Separate Books for Each Player


Endorsed by Russ Ferrante, leader of the Yellowjackets, this book contains 6 separate books for piano, bass, drums, saxophone, synthesizer and melody lines, all in a large binder. Each book includes 20 of the Yellowjackets greatest songs, including: Greenhouse o Imperial Strut o and Storytellers. Separate books makes these complex songs playable by keeping page turns to a minimum. 364 pages.

The Yellowjackets Songbook by The Yellowjackets. For Piano/partial score , C melody lead sheet , Synthesizer/miscellaneous parts, Bb & Eb Horn melody part , Bass, Drums. Contains 20 great tunes from their entire career. Contemporary Jazz. 6 Books. 400 pages. Published by Sher Music Company (SR.YJ).

Complete package contains six separate spiral-bound books, one each for:

Piano/partial score, 86 PAGES.

C melody lead sheet, 62 PAGES.

Synthesizer/miscellaneous parts, 70 PAGES.

Bb & Eb Horn melody part , 52 PAGES. 

Bass, 52 PAGES. 

Drums. 42 PAGES.

Charts exactly as recorded. Approved by the Yellowjackets with world famous Sher Music Company's accuracy and legibilit

 

Seven Stars - Russell Ferrante, Jimmy Halslip, William Kennedy

Storytellers  - Russell Ferrante

Imperial Strut - Russell Ferrante - Miscellaneous parts: synth, percussion, guitar

Greenhouse - Russell Ferrante, Jimmy Halslip

Indian Summer - Russell Ferrante

The Hornet - Russell Ferrante, Jimmy Halslip - Miscellaneous parts: synth, guitar, flute

Sightseeing - Russell Ferrante, Jimmy Halslip

Postcards - Russell Ferrante, Jimmy Halslip

Indigo - Russell Ferrante

Spirits - Bob Mintzer

Evening Dance - Russell Ferrante

Prayer For El Salvador - Russell Ferrante

Galileo (for Jaco) - Jimmy Halslip

Wisdom -  - Russell Ferrante, Jimmy Halslip

Invisible People - Russell Ferrante, Jimmy Halslip, William Kennedy

Sandstone - Russell Ferrante, Jimmy Halslip, William Kennedy

Whistle While You Walk - Russell Ferrante

The Spin - Russell Ferrante, Jimmy Halslip, William Kennedy, Marc Russo

River Waltz - Russell Ferrante, Jimmy Halslip, William Kennedy

Foreign Correspondent - Russell Ferrante, Jimmy Haslip. Marc Russo, William Kennedy

Prezzo: €159,99
€159,99
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