Brazilian Guitar/ Бразильская гитара
Автор: Ahmed El-Salamouny
Инструментальная принадлежность: Гитара
Жанр/Тематика/Направление: Аудио-школа
Редакция: Peter Finger
Год выпуска: 2005
Издательство: Acoustic Music Books / AMB 3015
ISBN:: 3-931453-41-3
Язык: Английский/немецкий
Формат: PDF
Качество: Отсканированные страницы
Количество страниц: 99
Источник сканов: Собственный скан
Аудиокодек: mp3
Битрейт аудио: 320 kbps
Описание
В этой школе обобщен опыт последних лет.
Школа предлагает обзор самых важных ритмов бразильской музыки. Упражнения по ритму и небольшие прогрессии аккордов облегчают освоение бразильских ритмов.
Книга не перегружена теорией, но предлагает практические упражнения и разъясняет наиболее важные понятия гармонии, которые необходимы для творческой игры бразильской музыки.
Некоторые пояснения предполагают определенные базовые знания гармонии.
Книга вполне подходит для самостоятельного изучения, хотя контроль со стороны преподавателя желателен.
The experience gathered over the last years from numerous workshops with many
different concepts, arrangements, rhythms and patterns is included in this manual.
A summary of the most important rhythms of Brazilian music is presented. The
most significant historical and musical facts are described in clearly arranged paragraphs.
Rhythm exercises, patterns and small chord sequences give an easy access to the
often seemingly Complicated rhythms. The enjoyment of this new knowledge is
enhanced by simple solo and duo pieces. The book is not overload with theory, but offers short lessons with practical examples, explaining the most important definitions of harmony, which one needs for creative playing of Brazilian music. Some of the explanations demand a certain basic knowledge of harmony, however, you should refer to books specialised on this. I have tried to avoid clichés, that means the various forms of the American Pop Bossa Nova, which very often are missing the typical swing, however, I am presenting the original forms of the Brazilian music. The cooperation with many Brazilian
musicians, especially the advice from my long term co-musicians, Gilson de Assis and Claudio Menandro from Rio de Janeiro, have helped me to achieve this. Listening to the duo pieces on the CD, turn the balance to the left or the right to have only one voice of the piece. The manual is certainly suitable for self-instruction, however, Supervision by a teacher is advisable.
Ahmed El-Salamouny
Содержание
Inhaltsverzeichnis / Content
l. Chôro
Geschichtliches: Chôro- .............................................5
Chôro Patterns ...................................................... 8
Akkordlehre/Chord theory . . . . . . . . . . . . . . . 9
Basslinien/Bass lines . . . . . . . . . . . . . . . .. 11
Chôro No. 1 . . . . . . . . . . . . . . . . . . . . . 12
Patterns Zusammenfassung/Summary . . . . . . . . . I3
Artikulation/Articulation ........................................ .. 15
Chôro No. 2 . . . . . . . . . . . . . . . . . . . ..18
Akkorderweiterungen/Chord extensions ...................... 20
Zwischendomianten/Substitute-Relative dominant/substitutes . ..22
Chôro No. 3 .......................................................... 24
Harmonisierung/Arrangement . . . . . . . . . . . . . ..26
Chôro No. 4 . . . . . . . . . . . . . . . . . . . .. 28
Chôro No. 5 .............................................................31
Corta Iaca Pattern .................................................... 33
Chôro No. 6 ........................................................ . .34
Sons de Garilhöesz zweite Stimme/Second voice . . . 37
2. SAMBA, BOSSA NOVA
Geschichtliches : Samba; Bossa Nova .......................... 39
Rhythmische Grundlagen/Rhythm basics .......................... 43
Percussion exercise 1 . . . . . . . . . . . . . . . . . ...46
Pattern 1 . . . . . . . . . . . . . . . . . . . . . . . . 47
Pattern 2 . . . . . . . . . . . . . . . . . . . . . . . . . 50
Pattern 3 . . . . . . . . . . . . . . . . . . . . . . . . . .52
Tarde na rede . . . . . . . . . . . . . . . . . . . . . ... 54
Pattern 4 .............................................................. .. 55
Pattern 5 . . . . . . . . . . . . . . . . . . . . . . . . . .56
Pattern 6 . . . . . . . . . . . . . . . . . . . . . . . 57
Pattern 7 . . . . . . . . . . . . . . . . . . . . . . . . . 59
Avenida do mar .............................................. . 60
Patterns 8 + 9 . . . . . . . . . . . . . . . . . . . . . .. 63
Pattern 10 . . . . . . . . . . . . . . . . . . . . . . . . .. 65
Patterns Zusammenfassung/Summary .................................... 66
Akkordlehre/Chord theory ....................................................... 68
Partido Alto Pattems . . . . . . . . . . . . . . . . . . . . ... 72
Improvisation - Patterns . . . . . . . . . . . . . . . . . . . 75
Kreatives Spiel /Creative playing . . . . . . . . . . . . . . . 76
3. AIROBRASILIANISCHE RHYTHMEN - Afro-Brazilian Rhythms
Geschichtliches: Rhythmen aus dem Nordosten ................ . . .. 78
Samba da Bahia, Ijexa-Pattern ............................................... 81
Samba de Roda, Maculelê, Berimbau . . . . . . . . . . . . . . 82
Maracatu, Frevo-Pattern . . . . . . . . . . . . . . . . . . . . .83
Xote, Xaxado-Pattern . . . . . . . . . . . . . . . . . . . . . . 84
Baiäo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Naima . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . 87
Literatur /Literature . . . . . . . . . . . . . . . . . . . . . . . 89
A brief history of Brazilian music. Info about BGP in English . .. 91
Примеры страниц (скриншоты)
