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Eugenio

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Everything posted by Eugenio

  1. Fiquei curioso, vou ver se consigo esse livro do André Diniz. Sérgio Cabral conhece tudo mas não é exatamente um escritor.
  2. Interrogando (Jongo) - Ajuda com críticas!

    Oi Guilherme, seja bem-vindo. Eu gostei dos toques pessoais que você deu na sua gravação, muita gente tende a correr nessa peça, o andamento ficou legal. O único ponto que me chamou a atençao foi a dinâmica. As vezes você vai de forte a quase inaudível sem construir uma ponte que cresce ou cai gradualmente. Isso funciona bem em alguns estilos como o flamenco, mas no choro, se usado na quantidade que você usou, quebra um pouco a fluência.
  3. Escorregando - violão solo, ajuda

    Trazendo o tópico de volta pra dizer que o livro de transcrições do Sérgio Assad para peças do Nazareth foi gravado pelo violonista Marc Teicholz. O nome do disco é "Celestial". A abordagem, obviamente é mais pro lado do clássico e as interpretações não são suingadas, mas também estão longe de ser quadradas. Ele tem uma técnica sólida, é bastante expressivo e o disco ficou bonito, vale a pena conferir. Vídeo abaixo.
  4. Edmar Fenicio

    I'm pleasantly surprised to find out that Mr Fenicio recorded so much on video. Thanks for posting and sharing all that material with us.
  5. Sensacional! E o fato dele estar usando um bandolim que foi do próprio Jacob torna tudo ainda mais interessante.
  6. Brejeiro (Ernesto Nazareth)

    Também adorei! Senti um pouquinho de falta de um mais staccato, talvez seja o hábito de ouvir essa peça no violão tocando com staccato e pizzicato.
  7. Roubo de equipamento, incluindo violão

    Parte dos equipamentos foi recuperada, o que é uma boa notícia. http://atarde.uol.com.br/bahia/noticias/1929463-parte-dos-instrumentos-de-caetano-e-recuperado-no-sul-do-estado
  8. Mais uma dessas coisas surreais que acontecem no Brasil, roubaram o caminhão de equipamento pro show de Caetano Veloso. Entre os itens roubados, o violão de Caetano, que é um Tessarin. Os bandidos provavelmente vão vender por um trocado qualquer. https://musica.uol.com.br/noticias/redacao/2018/01/15/violao-de-caetano-esta-entre-itens-roubados-equipamentos-nao-tinham-seguro.htm Veja a lista de itens levados: - Violão acústico Tessarin - Violoncelo - Baixo - Violão Gil - Teclado Fender Rhodes - Case com moving lights modelo Robbie Light (alugados da Cia da Luz) - 4 cadeiras - 1 sistema de in-ears - Cenár...
  9. Roubo de equipamento, incluindo violão

    Pois é, tem gente que rouba simplesmente porque viu algo dando sopa. Muito triste isso. Nesse sentido talvez a vida do solista de piano seja a mais fácil entre todos os músicos, ele não tem que carregar o instrumento pra lugar nenhum.
  10. Edmar Fenicio

    Wonderful, let us know when it gets published!
  11. Edmar Fenicio

    Looks like you're Mr Fenicio's biggest fan ever, thank you very much for posting these videos and bringing them back to everyone's appreciation. He also has a number of works published and available at GSP, a quick search will reveal a lot of sheet music available. http://www.gspguitar.com
  12. Ernesto Nazareth wrote a significant amount of masterpieces for the piano. Guitarists usually love to transcribe his music and Odeon is certainly his most famous piece. As a matter of fact, that one piece was probably recorded more times on the guitar than on the piano. However, the best arrangements ultimately resorted to the original score for the piano. Since Nazareth's music is already in public domain, we are making the original score for the piano available for download. Nazareth_Odeon.pdf And here's Carlos Barbosa-Lima playing his arrangement of Odeon:
  13. Luiz Floriano Bonfá was born in Rio de Janeiro in October 17, 1922 and died in January 12, 2003 in the same city. Bonfá was one of the most iconic musicians of the Bossa Nova movement in 1960's and an accomplished songwriter. His most successful song is Manhã de Carnaval, which was part of the famous movie Black Orpheus and has been recorded hundreds of times. What most people don't know is that Bonfá is also the author of numerous other songs that became famous, like "Almost in Love", which was recorded by Elvis Presley. Luiz Bonfá, unlike the vast majority of his bossa nova fellows, would use the guitar not only for accompaniment, but also as a soloist instrument. Bonfá was musician with very interesting and distinctive ideas on how to play the instrument. He had a smooth, effortless way of playing the guitar that was very seductive. Once in a while he would also hum while playing. Bonfá managed to mix a lot of different musical influences in a melting pot that would make them all sound natural. Here's a rare video of Bonfá playing one of his own compositions, Sambolero. After the short introduction, we can see Bonfá's refined technique and interesting ideas. He uses the noises created by his nails on the basses as part of the music (03:45) and manages to keep an absolutely precise rhythm, clean and sweet melody accompanied by some nice harmonic ideas. Here's one more excerpt of Bonfá playing one more of his compositions: Pernambuco, which is a baião, a rhythm that's very typical of that part of Brazil. Pernambuco (Luiz Bonfá): Now Bonfá again, mixing different ideas. This song is called Bonfabuloso (a pun with "Bonfá" + "Fabulous") and starts like a more traditional waltz and becomes purely jazzistic. Pay special attention on how Bonfá manages to keep the bass and chord lines working almost like two separate instruments. Bonfabuloso (Luiz Bonfá): One more excerpt of another song that was a big hit: Samba de Orfeu (Luiz Bonfá). And last, but not least, Manhã de Carnaval, played by Bonfá himself in a sambolero fashion.
  14. Aníbal Augusto Sardinha, known as Garoto (Portuguese for "Boy"), was born in São Paulo in 1915 and died in Rio de Janeiro in 1955, from a massive heart attack. Despite a short life span of only 40 years, he left a mark that would change the Brazilian music forever. He was a multi-instrumentalist who played banjo, mandolin, cavaquinho, electric and classical guitar, Hawaiian, Portuguese and tenor guitars with equal proficiency and wrote songs and arrangements for all of them. There's even a joke that says that Garoto would be able to play musical instruments stringed with barbed wire. Garoto started learning music at a very early age and quickly became requested in cafes, radio shows and other venues. In the 1940's, he spent a couple of months accompanying Carmen Miranda in her tour in the US and got in touch with a lot of American musicians. Garoto's music is a melting pot of a lot of difference influences. His roots are in the traditional styles of Samba and Choro, where the genius of Pixinguinha is probably his major influence. At the same time, he was always trying different things and in touch with many other musical styles. He was probably the first to introduce the jazz "blue notes" in traditional genres like Choro and Samba. He also showed a strong influence of the French impressionism and Debussy's harmonic ideas. Most of his guitar solo pieces would be lost if it weren't the initiative of Mr. Ronoel Simões, who was friends with Garoto and took him to a studio in São Paulo and had Garoto play most of his pieces. Those recordings proved to be historical and were the basis upon Geraldo Ribeiro and later Paulo Bellinati worked in order to record their CDs and write their transcriptions and arrangements. The influence of Garoto was essential to shape the musical ideas of many other Brazilian guitarists like Laurindo Almeida, Paulinho Nogueira, Luiz Bonfá and Baden Powell, just to name a few. Inspiração - This is a prelude that Garoto dedicated to one of his former teachers, Attilio Bernardini. This recording is being played by Garoto himself. It's a piece with a very classical flavor. Jorge do Fusa - A choro with a very unusual harmony and chord progressions for its time. At the same time, it manages to sound traditional. Here's an arrangement for the 7-string guitar by Marcello Gonçalves, where he goes even further in the use of Fusas (32nd notes). Lamentos do Morro - A samba that's now about 60 years old and sounds fresh, like it was written yesterday by a contemporary Brazilian guitarist. The use of the cross fingering was very unusual at that time. This is a live and rare recording by Raphael Rabello. Naqueles Velhos Tempos - Garoto also wrote marvelous waltzes and this one is especially inspired. It's a one-tempo piece and it has a very nostalgic flavor. Links: http://tinpan.fortunecity.com/sensible/732 http://www.sovacodecobra.com.br/2007/08/o-...neiro-de-garoto
  15. Essa entrevista recente com o grupo atual do Ulisses Rocha mostra o Ivan Vilela, que é titular do curso na USP. O vídeo é recente, dezembro de 2017, em 15:30 o Ivan responde exatamente sobre como anda o curso.
  16. Achei que valia a pena acrescentar que a USP oferece um bacharelado em viola caipira. http://www.saopaulo.sp.gov.br/spnoticias/na-imprensa/bacharelado-em-viola-caipira-na-usp/
  17. Eu não tenho lido muito sobre música, mas andei fuçando afinação justa vs temperada. Esse é um tópico que a tecnologia permite explorar melhor com audio-visual no YouTube. Dois exemplos abaixo pra ilustrar.
  18. Brazilian Guitarists Performance Listings

    Here's a quick compilation of the names you mentioned (most of the time it's all in Portuguese): Yamandu: http://yamandu.com.br/agenda/ Guinga: http://www.guinga.com.br/index.php/agenda João Bosco (you'll have to email his manager to get the info): http://www.joaobosco.com.br/contato-imprensa/ Nelson Faria: http://www.nelsonfaria.com/music/en/www.nelsonfaria.com_music_en/Shows.html Marco Pereira (reach out to the manager): http://www.marcopereira.com.br/contact Alessandro Penezzi (you have to reach out to his manager): http://alessandropenezzi.com.br/producao/ Baden Powell: I wish we could bring him back!!!
  19. Brazilian Guitarists Performance Listings

    Hi dborean, welcome to the forum. I agree that it is a challenge and I can't think of a single website that'll give you all the calendars. The most reliable way is to go to the artist's own website and check their tour dates. Which means, obviously, that you need to know the artist first, so there's not much room for random findings in that sense. Who are your favorite performers? Yamandu, Ulisses Rocha, who? Most performers have their own websites with the most current tour dates.
  20. Remembrance (Sérgio Assad)

    Olá Flávio, seja bem-vindo. Você encontra a partitura no exterior, GSP Guitar. http://www.gspguitar.com/jsp2/detailSearch.jsp?sku=UIT6128 No Brasil eu não sei onde vende.
  21. Como foi seu ano violonistico de 2017?

    Carlos, já que você ficou curioso, o arranjo de Joe Pass (obviamente eu toco mais devagar e com erros). A composiçao de Ulisses Rocha segue logo abaixo.
  22. Aqui vai a participação dele no programa de Nelson Faria no ano passado.
  23. Choro de Natal

    Yamandu inspirado numa manhã de Natal.
  24. CD Entidade

    Vou conferir, que pena que não tem na Amazon!
  25. Excelentes comentários, aprendi muito! O Fabiano trouxe o ponto muito interessante do Brasil ser menos rigoroso do que outros países vizinhos, o que me fez lembrar dos livros de Othon da Rocha com "Caixinha de Fósforo" e similares. A sensação que eu tenho é são peças consideradas simples, não são vistas como coisa "séria", apenas os choros compostos pelos compositores eruditos figuram no repertório mais avançado. Pegando carona no comentário do Carlos, nem sequer Garoto é incluído. A escola sendo clássica, a técnica também é moldada dessa forma, de modo que o músico não aprende coisas que hoje se usam no violão brasileiro, por exemplo, rasgueado a La Baden, alzapúa, slap, etc. Na escola de Jazz, o uso da técnica é muito flexível, pode ser de palheta, de dedo, híbrida, magic touch, etc. Fico no aguardo do trabalho de conclusão do doutorado do Rafael Thomaz, vai ser um prazer ler e aprender mais sobre o assunto.
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