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João Gilberto – Joao Gilberto Sings Famous Brazilian Songs

João Gilberto – Joao Gilberto Sings Famous Brazilian Songs with sheet music partitura

João Gilberto Prado Pereira de Oliveira (Juazeiro, 10 de junho de 1931Rio de Janeiro, 6 de julho de 2019) foi um cantor, violonista e compositor brasileiro. Considerado um artista genial por musicólogos e jornalistas especializados, revolucionou a música brasileira ao criar uma nova batida de violão para tocar samba: a “bossa nova“. O seu jeito suave de cantar também influenciou muitos dos cantores da MPB.Para a revista Rolling Stone Brasil, foi um dos 30 maiores ícones brasileiros da guitarra e do violão e também o segundo maior artista brasileiro de todos os tempos, seguindo Tom Jobim (também músico e o compositor e arranjador dos maiores sucessos da carreira de João Gilberto).

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Desde o lançamento do compacto que continha Chega de Saudade e Bim Bom, munido apenas da voz e do violão, começou uma revolução na música mundial. Dono de uma sonoridade original e moderna, João Gilberto levou a música popular brasileira ao mundo, principalmente para os Estados Unidos, Europa e Japão. Tido como um dos músicos mais influentes no jazz americano do século XX, ganhou prêmios importantes nos Estados Unidos e na Europa, como o Grammy, em meio à beatlemania.

Em sua estreia no 78 rpm Chega de Saudade, João Gilberto começou uma revolução na música popular brasileira. Munido apenas de voz, violão e da canção Chega de Saudade, mudou o rumo da música brasileira e fincou seu nome na história cultural do Brasil e do mundo.

Com a introdução do microfone e do amplificador no Brasil, João Gilberto percebeu que a fonte sonora não precisaria emitir o som intensamente, no âmbito da voz e do instrumento, o que favorece as interpretações sutis e interiorizadas. Por outro lado, na época das primeiras gravações da bossa nova, o Brasil ainda não possuía um equipamento de fidelidade suficiente para a reprodução de sonoridades mais complexas. Por esse motivo, João e Tom Jobim, seu primeiro arranjador, elaboraram harmonias complexas, sob influência da música norte-americana, e, ao mesmo tempo, simplificaram a sonoridade geral, por causa da limitação dos equipamentos. Os gestos, tão antagônicos, entretanto, se aliam, para buscar o núcleo vital da canção.

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João inovou na gravação do Chega de Saudade ao pedir dois microfones, um para a voz e outro para o violão. O motivo é óbvio, apesar do choque que causou nos produtores do disco. Até então, gravava-se com apenas um microfone, com destaque para a voz em detrimento do violão. Além disso, é da própria natureza acústica do violão ficar restrito, em termos de volume de som, com qualquer instrumento de orquestra ou com o piano. Com a voz, o violão pode concorrer de igual, se a voz se mantiver numa intensidade natural, pois com qualquer elevação de volume da voz já há um encobrimento do violão. Desse modo, é necessária a emissão da voz num volume próximo à da fala comum. Com João Gilberto, voz e violão se mantém em igual intensidade de volume, com os microfones captando por igual ambas fontes sonoras e, em caso de necessidade, a alteração de volume de ambas seria em igual proporção.

Para Caetano Veloso, João inovou ao sugerir uma linha mestra do desenvolvimento do samba com origem no samba-de-roda do recôncavo baiano e maturação no samba urbano carioca.

O tratamento harmônico da música de João Gilberto foi concebido exclusivamente para o violão. No LP Chega de Saudade, por exemplo, a participação da orquestra aconteceu apenas em termos de pontuações ou fraseados breves, em algumas ocasiões. Nos encadeamentos, ou ligações, harmônicos, João criou as dissonâncias tonais na sua mão esquerda, sobre o braço do violão, na construção dos acordes.

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Em regravações de antigos sucessos, João Gilberto se caracterizou pela completa alteração da harmonia original, refazendo-a.

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Beautiful Music

George Gershwin at the Piano – Impromptu in two keys

George Gershwin at the Piano – Impromptu in two keys (with sheet music in our online Library).

George Gershwin, original name Jacob Gershvin, (born September 26, 1898, Brooklyn, New York, U.S.—died July 11, 1937, Hollywood, California), one of the most significant and popular American composers of all time.

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He wrote primarily for the Broadway musical theatre, but important as well are his orchestral and piano compositions in which he blended, in varying degrees, the techniques and forms of classical music with the stylistic nuances and techniques of popular music and jazz.

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George Gershwin is important for his great talent as a melodist in both popular and classical genres and for his chamber and orchestral works that ingeniously blend the forms and techniques of classical music with elements of popular song and jazz.

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Joe Hisaishi – Cinema Nostalgia

Joe Hisaishi – Cinema Nostalgia. Find his sheet music in our Library.

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Beautiful Music

The Bossa Nova Exciting Jazz Samba Rhythms

The Bossa Nova Exciting Jazz Samba Rhythms Vol 5 -Album Completo/Full Album (with sheet music)

Ano/Year:2005 Selo/Label:Rare Groove Recordings Faixas/Tracks: 1–Dante Varela & His Amigos-Cosa Nueva (Dante Varela)-00:00 2–Manfredo Fest-Triste (Antônio Carlos Jobim)-02:19 3–Amilton Godoy-Tarde Em Itapoã (Toquinho, Vinícius de Moraes)-07:33 4–Zimbo Trio-Samba De Uma Nota Só (A. C. Jobim, Newton Mendonça)-11:22 5–Sexteto De Jazz Moderno-Samba Toff ( Orlann Divo, R. Jorge)-16:14 6–Ely Arcoverde Com Seu Conjunto-Sambão (Agostinho Dos Santos)-21:21 7–Os Catedráticos-Dá-Me Um Martelo (Bardotti, Hays, Seeger)-24:08 8–Véra Brasil-Samba Bom (Véra Brasil)-26:27 9–Os Farroupilhas-Isto É Bossa Nova (Sidney Morais)-28:57 10–Dgard & Seu Conjunto-Amanhã (Walter Santos)-31:15 11–Bob Fleming-Preciso Aprender A Ser Só (M. Valle, P. S. Valle) / Reza (E. Lôbo, R. Guerra)-34:00 12–Eddy Harris/Lalo Schifrin-Samba Para Dos (Lalo Schifrin)-36:50 13–Bossa Rio-Spinning Wheel (David Thomas)-42:23 14–Bert Kaempfert & His Orchestra-Bert’s Bossa Nova (B. Kaempfert)-45:20 15–Marcos Valle-Mentira (Marcos Valle)-47:44 16–Tamba Trio-Borandá (Eduardo Lôbo)-51:27 17–The Singers Inc.-Liebestraum (Freebairn, Smith, Coe)-54:43 18–O Trio-Não Posso Esquecer (A. C. Jobim, Vinícius de Moraes)-57:06 19–Roberto Menescal-Voce (R. Menescal, R. Bôscoli)-59:46 20–Martinho Da Vila-Pra Que Dinheiro (Martinho da Vila)-61:44

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Beautiful Music

Henry Mancini Em Bossa Nova

Henry Mancini Em Bossa Nova – 1967 – Full Album

Henry Nicola Mancini (born Enrico Nicola Mancini; April 16, 1924 – June 14, 1994) was an American composer, conductor, arranger, pianist and flautist. Often cited as one of the greatest composers in the history of film, he won four Academy Awards, a Golden Globe, and twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award in 1995.

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His works include the theme and soundtrack for the Peter Gunn television series as well as the music for The Pink Panther film series (“The Pink Panther Theme“) and “Moon River” from Breakfast at Tiffany’s. The Music from Peter Gunn won the first Grammy Award for Album of the Year. Mancini enjoyed a long collaboration composing film scores for the film director Blake Edwards. Mancini also scored a No. 1 hit single during the rock era on the Hot 100: his arrangement and recording of the “Love Theme from Romeo and Juliet” spent two weeks at the top, starting with the week ending June 28, 1969.

1. Champagne And Quail (00:00) // 2. Charade (02:52) // 3. Days Of Wine And Roses (07:10) // 4. Royal Blue (09:54) // 5. Megeve (12:43) // 6. Moon River (15:06) // 7. Sally’s Tomato (18:06) // 8. Breakfast at Tiffany’s (21:27) // 9. Night Side (25:00) // 10. Latin Snowfall (27:11) // 11. Mr. Lucky (29:46) // 12. Dreamsville (32:12)

Days Of Wine And Roses

Henry Mancini

Days Of Wine And Roses

The days of wine and roses,
Laugh and run away,
Like a child at play,
Through a meadowland,
Toward a closing door,
A door marked never more,
That wasnt there before.

The lonely night discloses,
Just a passing breeze,
Filled with memories,
Of the golden smile,
That introduced me to,
The days of wine and roses,
And you!

The lonely night discloses,
Just a passing breeze,
Filled with memories,
Of the golden smile,
That introduced me to,
The days of wine and roses,
And you!

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Beautiful Music

Savior, Like a Shepherd Lead Us (Hymn)

Savior, Like a Shepherd Lead Us (Hymn) praise and piano worship by Sangah Noona.

Lyrics

Savior, like a shepherd lead us
Much we need Thy tender care
In Thy pleasant pastures feed us
For our use Thy folds prepare
Blessed Jesus, blessed Jesus
Thou hast bought us, Thine we are
Blessed Jesus, blessed Jesus
Thou hast bought us, Thine we are
We are Thine, who Thou befriend us
Be the guardian of our way
Keep Thy flock from sin defend us
Seek us when we go astray
Blessed Jesus, blessed Jesus
Hear Thy children when we pray
Blessed Jesus, oh blessed Jesus
Hear Thy children when we prayEarly let us seek Thy favor
Early let us do Thy will
Blessed Lord and only Savior
With Thy love our bosoms fill
Blessed Jesus, blessed Jesus
Thou hast loved us, love us still
Blessed Jesus, oh blessed Jesus
Thou hast loved us, love us still
Blessed Jesus, oh blessed Jesus
Thou hast loved us, love us still

Author:

Dorothy Ann Thrupp was born in London, June 10, 1779. She contributed some hymns, under the pseudonym of “Iota,” to W. Carus Wilson’s Friendly Visitor and his Children’s Friend. Other hymns by her, signed “D.A.T.,” appeared in Mrs. Herbert Mayo’s Selection of Hymns and Poetry for the Use of Infant Schools and Nurseries, 1838. She was also the editor of Hymns for the Young, c. 1830, in which all the hymns were given anonymously. She died in London on December 15, 1847.

The text of “Savior, Like a Shepherd Lead Us” first appeared in Hymns for the Young, 1840, which was edited by Dorothy Ann Thrupp (1779-1847). Although no author’s name appears with the text, it is thought that Thrupp wrote it, since she often published hymns anonymously, under the pseudonym “Iota,” or simply using her initials.

The tune we sing today was written by William Bradbury expressly for this text and appeared in his Sunday School collection, Oriola, 1859. Bradbury was a protege of the great music educator, Lowell Mason. Bradbury sang in Mason’s Bowdoin Street Church choir and Boston Academy of Music as a youth, and later started similar church and school music programs in New York where he served as organist at First Baptist Church. Beyond his work as an educator and church musician, Bradbury studied composition in Europe, founded the Bradbury Piano Company with his brother, and edited a number of music books. Bradbury is probably most famous for writing the music to “Jesus Loves Me.”

It’s interesting that “Savior, Like a Shepherd Lead Us” was originally intended for children. In fact, many classic hymns like “Morning Has Broken” and “All Things Bright and Beautiful” were originally written for youth. Certainly this proves that educating our children and creating lasting music need not be mutually exclusive goals! –Greg Scheer, 1997

Saviour, like a Shepherd, lead us. The authorship of this hymn is a matter of some doubt. The earliest source to which we have traced it is Miss D. A. Thrupp’s Hymns for the Young, 4th edition 1836, in 4 stanzas of 6 lines, where it is unsigned. We next find it in the Rev. W. Carus Wilson’s Children’s Friend for June, 1838, again in 4 stanzas of 6 lines, and signed “Lyte.” In the January number of the same magazine there is a National Hymn in the metre of “God save the Queen” (“Lord, Thy best blessing shed”), which is signed “H. Lyte,” and dated from “Brixham”.

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“Saviour, like a Shepherd, lead us” appears again in 1838, in Mrs. Herbert Mayo’s Selections of Hymns and Poetry for the use of Infant and Juvenile School, No. 171; and again in the edition of 1846, but without signature. As in that collection several hymns and poems are signed “D. A. T.,” it is clear that Mrs. Mayo did not regard the hymn as Miss Thrupp’s production. The most that we can say is that the evidence is decidedly against Miss Thrupp, and somewhat uncertain with regard to Lyte as the writer of the hymn. Its use is extensive both in G. Britain and America. [William T. Brooke]

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Beautiful Music

Can’t Take My Eyes Off You – by by Bob Crewe and Bob Gaudio (1967) with sheet music

Can’t Take My Eyes Off You – by by Bob Crewe and Bob Gaudio (1967) with sheet music (available in our online Library), performed by 101 Strings Orchestra.

“Can’t Take My Eyes Off You” is a 1967 song written by Bob Crewe and Bob Gaudio. It was recorded as a single by Frankie Valli. The song was among his biggest hits, earning a gold record and reaching No. 2 on the Billboard Hot 100 for a week, stuck behind “Windy” by the Association.

Gaudio was a bandmate of Valli’s in the Four Seasons. It was Valli’s biggest solo hit until he hit No. 1 in 1975 with “My Eyes Adored You”.Bob Gaudio, an original member of the Four Seasons, refers to “Eyes” today as “the one that almost got away” until Windsor, Ontario radio station CKLW (a station also serving the Detroit metro on the American side of the border) intervened. In 1967, the record’s producers urged Paul Drew, program director at the legendary station, to consider the tune for rotation. For much of the ’60s and ’70s, CKLW was credited with launching hit records via its powerful signal, blanketing the Great Lakes region. Drew didn’t warm to the song at first, but accepted an invitation to hear it live at the Roostertail, where Frankie Valli was performing a weeklong stint with the Four Seasons. Drew liked what he heard and added the song to his station’s playlist. “The switchboards lit up, and the rest, as they say, is history,” Gaudio recalls.”Can’t Take My Eyes Off You” has been recorded in many other arrangements, many of which have been on the charts in different countries. The song is a staple of television and film soundtracks, even being featured as part of the plot of some films, such as when the lead characters sing or arrange their own version of the song. The Valli version was also used by NASA as a wake-up song on the STS-126 Space Shuttle mission, to celebrate the anniversary of astronaut Christopher Ferguson, one of the mission’s crew members. The song was written by Bob Crewe and Bob Gaudio. Arrangement was done by Artie Schroeck and Gaudio. The original recording was made at A & R Studio 2 (formerly Columbia Studio A) 799 7th Avenue in New York City, with Bob Crewe producing and Phil Ramone engineering. The song has been recorded by many artists. Among the most notable examples are the following: The Lettermen (#7 in 1967, in a medley with “Goin’ Out of My Head”) A version by Andy Williams made it to #5 on the UK singles chart in 1968.[17] The arranger and producer was Nick DeCaro and the conductor was Eddie Karam. This version is included in the soundtrack of the 2001 film Bridget Jones’s Diary. It is also included in the soundtrack for Black Mirror Season 5 Episode 2; Smithereens. In 2002 he recorded a new version of the song, as a duet with British actress and singer Denise van Outen, which reached #23 in the UK singles charts. Maureen McGovern (#27 on the US Adult Contemporary chart in 1979; #5 Canadian AC in 1980). 1991, Pet Shop Boys used part of the song on their version of U2’s “Where the Streets Have No Name”, which reached #4 in the U.K. and #72 in the U.S.[citation needed] 1992, Dutch singers Gerard Joling and Tatjana Šimić recorded a duet version of the song (including a rap segment by Darrell Bell), which peaked at #5 in the Dutch Top 40 charts. 1993, the song was recorded by a-ha singer Morten Harket for the soundtrack of the movie Coneheads (1993). 1998, Lauryn Hill (#35 on the Hot 100 Airplay chart and #2 on the Rhythmic Top 40 chart in 1998 and #8 on the Australian Singles Charts). This version was also nominated for a Grammy Award for Best Female Pop Vocal Performance in 1999. 2004, Jennifer Peña recorded a Latin version of the song, “No Hay Nadie Igual Como Tú”, which reached #33 on the Latin charts. 2011, Stereophonics frontman Kelly Jones sang an acoustic version of the song in tribute to former Wales national football team manager Gary Speed. The song was adopted as an anthem for Welsh football fans during Speed’s playing career with Wales after being used in a BBC Wales promo for the 1994 World Cup qualifying campaign. In 2013, the vocal harmony group the Overtones covered the song for the official soundtrack of the German film Buddy. In 2014, John Lloyd Young covered the song for the movie Jersey Boys about the band the Four Seasons in which he played Frankie Valli. 101 Strings Orchestra was a brand for a highly successful easy listening symphonic music organization, with a discography exceeding 150 albums and a creative lifetime of around 30 years beginning in 1957. 101 Strings had a trademark sound, focusing on melody with a laid-back ambiance most often featuring strings. Their LPs were individualized by the slogan “The Sound of Magnificence”, a puffy cloud logo and sepia-toned photo of the orchestra. The 101 Strings orchestra included 124 string instruments, and was conducted by Wilhelm Stephan. The orchestra’s famous official photograph was taken in the Musikhalle Hamburg.

Sheet Music Lyrics:

You’re just too good to be true
Can’t take my eyes off of you
You’d be like Heaven to touch
I wanna hold you so much
At long last, love has arrived
And I thank God I’m alive
You’re just too good to be true
Can’t take my eyes off of youPardon the way that I stare
There’s nothin’ else to compare
The sight of you leaves me weak
There are no words left to speak
But if you feel like I feel
Please let me know that it’s real
You’re just too good to be true
Can’t take my eyes off of youI love you, baby
And if it’s quite alright
I need you, baby
To warm the lonely night
I love you, baby
Trust in me when I say
Oh, pretty baby
Don’t bring me down, I pray
Oh, pretty baby
Now that I’ve found you, stay
And let me love you, baby
Let me love youYou’re just too good to be true
Can’t take my eyes off of you
You’d be like Heaven to touch
I wanna hold you so much
At long last, love has arrived
And I thank God I’m alive
You’re just too good to be true
Can’t take my eyes off youI love you, baby
And if it’s quite alright
I need you, baby
To warm the lonely night
I love you, baby
Trust in me when I say
Oh, pretty baby
Don’t bring me down, I pray
Oh, pretty baby
Now that I’ve found you, stay
Oh, pretty baby
Trust in me when I say
Oh, pretty baby

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Beautiful Music

(So Nice) Summer Samba (Marcos Valle)

(So Nice) Summer Samba (Marcos Valle) Vocal and Piano by Sangah Noona w/ Lyrics

Summer Samba” (also known as “So Nice” or its original Portuguese title, “Samba de Verão“) is a 1964 bossa nova song by Brazilian composer Marcos Valle, with English-language lyrics by Norman Gimbel; the original Portuguese lyrics came from Paulo Sérgio Valle, brother to the composer.

The song was first popularized by the Walter Wanderley Trio in 1966 — the album Rain Forest on which it was issued reached platinum status in 1970 — also reaching the U.S. “Easy Listening” chart in versions by Johnny Mathis, Vikki Carr, and Connie Francis during that same year. In fact, at least one source claims that three different versions were on the Billboard charts at the same time in 1966. Allmusic has said of Wanderley’s version, “His recording … is regarded as perhaps a more definitive bossa tune than “Girl From Ipanema.” Wanderley’s version was the biggest seller in the U.S., reaching #26 on the Billboard Hot 100 in 1966, (#3 on the Easy Listening chart) , and is still a favourite on Adult Standards radio stations.

Samba (Portuguese pronunciation: [ˈsɐ̃bɐ] (listen)) is a Brazilian music genre and dance style, with its roots in Africa via the West African slave trade and African religious traditions, particularly of Congo, through the samba de roda genre of the northeastern Brazilian state of Bahia, from which it derived. Although there were various forms of samba in Brazil with popular rhythms originated from African drumming and the African structures of polyrhythm of Beat and Off-Beat, Time-Line-Pattern and the elementary pulse, that are performed by different instruments of the bateria of the samba schools of the famous Samba-Enredo, that has its origins in Rio de Janeiro.

Samba is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, the samba has become an icon of Brazilian national identity.The Bahian Samba de Roda (dance circle), was added to the UNESCO Intangible Cultural Heritage List in 2005. It is the main root of the samba carioca, the samba that is played and danced in Rio de Janeiro.

Samba rhythm.

The modern samba that emerged at the beginning of the 20th century is predominantly in a 2/4 time signature varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets.

In addition to distinct rhythms and meters, samba brings a whole historical culture of food, varied dances (miudinho, coco, samba de roda, and pernada), parties, clothes such as linen shirts, and the Naif painting of established names such as Nelson Sargento, Guilherme de Brito, and Heitor dos Prazeres. Anonymous community artists, including painters, sculptors, designers, and stylists, make the clothes, costumes, carnival floats, and cars, opening the doors of schools of samba. There is also a great tradition of ballroom samba in Brazil, with many styles. Samba de Gafieira is the style more famous in Rio de Janeiro, where common people used to go to the gafieira parties since the 1930s, and where the moves and identity of this dance emerged, getting more and more different from its African, European, and Cuban origins and influences.

The National Samba Day is celebrated on December 2. The date was established at the initiative of Luis Monteiro da Costa, an alderman of Salvador, in honor of Ary Barroso. He composed “Na Baixa do sapateiro” even though he had never been in Bahia. Thus 2 December marked the first visit of Ary Barroso to Salvador. Initially, this day was celebrated only in Salvador, but eventually it turned into a national holiday.

Samba is a local style in Southeastern Brazil and Northeast Brazil, especially in Rio de Janeiro, São Paulo, Salvador and Recife. Its importance as Brazil’s national music transcends region, however; samba schools, samba musicians, and carnival organizations centered on the performance of samba exist in every region of the country, even though other musical styles prevail in various regions (for instance, in Southern Brazil, Center-West Brazil, and all of the Brazilian countryside, música sertaneja, music of the sertão, or Brazilian country music, is the most popular style).

The etymology of samba is uncertain. Possibilities include:

  • The Portuguese verb sambar, to do joiner’s work; and the Portuguese noun sambúco (Latin sambuca), a historic string instrument, a kind of harp or lyre.
  • It is uncertain whether the African semba dance is related to the Brazilian Samba, and whether it is older or newer, beyond the superficial similarity of name and style. In only two Bantu languages does the verb-root “semba” mean “dance”, while in others it denotes unrelated things like “hunger” or “cloth” (but not “belly”).

One of the oldest records of the word samba appeared in Pernambuco magazine’s O carapuceiro, dated February 1838, when Father Miguel Lopes Gama of Sacramento wrote against what he called “the samba d’almocreve” – not referring to the future musical genre, but a kind of merriment (dance drama) popular for black people of that time. According to Hiram Araújo da Costa, over the centuries, the festival of dances of slaves in Bahia were called samba.

In the middle of the 19th century, the word samba defined different types of music made by African slaves when conducted by different types of Batuque, but it assumed its own characteristics in each Brazilian state, not only by the diversity of tribes for slaves, but also the peculiarity of each region in which they were settlers. Some of these popular dances were known as Baião, Bochinche, Candombe (Candomblé), Catêrêtê, Caxambú, Choradinho, Côco-inchádo, Cocumbí, Córta-jáca, Cururú, Furrundú, Jongo, Lundú, Maracatú, Maxíxe, Quimbête, São-Gonçalo, Saramba; not to mention the many varieties of the Portuguese Fandango, and the Indio dance Puracé.

In Argentina, there is a dance called “zamba“, a name which seems to share etymological origins with the samba, but the dance itself is quite different.

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Beautiful Music

坂本 龍一 Ryuichi Sakamoto Full Album 2020 – 坂本 龍一 Ryuichi Sakamoto Best Of

坂本 龍一 Ryuichi Sakamoto Full Album 2020 – 坂本 龍一 Ryuichi Sakamoto Best Of (with sheet music)

坂本 龍一(さかもと りゅういち、Sakamoto Ryūichi、1952年1月17日 – )は、日本ミュージシャン作曲家編曲家作詞家音楽プロデューサー音楽評論家指揮者タレント俳優政治活動家東京都出身。

世界的に活動している日本人ミュージシャンである。その音楽性は幅広く、クラシック音楽が根幹にあるものの、民俗音楽現代音楽(特にテクノポップ)にも造詣が深い。近年は環境や憲法に関する運動にも積極的に参加している。

Ryuichi Sakamoto (坂本 龍一, Sakamoto Ryūichi, born January 17, 1952) is a Japanese composer, singer, songwriter, record producer, activist, and actor who has pursued a diverse range of styles as a solo artist and as a member of Yellow Magic Orchestra (YMO). With his bandmates Haruomi Hosono and Yukihiro Takahashi, Sakamoto influenced and pioneered a number of electronic music genres.

Sakamoto began his career while at university in the 1970s as a session musician, producer, and arranger. His first major success came in 1978 as co-founder of YMO. He concurrently pursued a solo career, releasing the experimental electronic fusion album Thousand Knives in 1978. Two years later, he released the album B-2 Unit. It included the track “Riot in Lagos”, which was significant in the development of electro and hip hop music.[2][3][4] He went on to produce more solo records, and collaborate with many international artists, David Sylvian, Carsten Nicolai, Youssou N’Dour, and Fennesz among them. Sakamoto composed music for the opening ceremony of the 1992 Barcelona Olympics, and his composition “Energy Flow” (1999) was the first instrumental number-one single in Japan’s Oricon charts history.

As a film-score composer, Sakamoto has won an Oscar, a BAFTA, a Grammy, and 2 Golden Globe Awards. Merry Christmas, Mr. Lawrence (1983) marked his debut as both an actor and a film-score composer; its main theme was adapted into the single “Forbidden Colours” which became an international hit. His most successful work as a film composer was The Last Emperor (1987), after which he continued earning accolades composing for films such as The Sheltering Sky (1990), Little Buddha (1993), and The Revenant (2015). On occasion, Sakamoto has also worked as a composer and a scenario writer on anime and video games. In 2009, he was awarded the Ordre des Arts et des Lettres from the Ministry of Culture of France for his contributions to music.

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Beautiful Music

Nocturne – by Secret Garden (piano solo)

Nocturne – by Secret Garden (piano solo) with sheet music available in our online Library

Secret Garden made history by winning the Eurovision Song Contest in 1995 with “Nocturne”, an entry that was more an instrumental piece than a song. In the 4o- year history of this prestigious pan-European television extravaganza, an instrumental piece had never previously won. A piece so stylistically removed from the “European pop format” commonly associated with the song contest, that the press stated: “Secret Garden has redefined the Eurovision Song Contest”. Find the sheet music in our Library.

SECRET GARDEN members are:

Fionnuala Sherry

Fionnuala grew up and went to school in Naas in County Kildare, Ireland – surrounded by a musical family that ignited her passion for music at an early age. She started to play the violin at the age of eight, and at fifteen she moved to Dublin to study music. She graduated with honours from Trinity College in Dublin, and the College of Music, and was later employed by the RTE Concert Orchestra, where she was a member for ten years.

In addition to the classical symphonic and operatic repertoire, Fionnuala possessed a much wider musical interest. This is evident in the eclectic body of artists and projects she has been involved with, including The Chieftains, Sinead O’Connor, Van Morrison, Chris de Burgh, Bono and Wet Wet Wet. With the Irish Film Orchestra she’s also recorded several Hollywood film scores, such as “The River Runs Wild”, “A Room With a View” and “The Mask”.

That same wide interest in music led her to conceive, write and present her own music series for children on Irish national TV – all this leading up to her fated meeting with Rolf Lovland and the founding of Secret Garden in 1994.

Onstage, she enchants audiences throughout the world, through her musical intensity and soulful performances. In Secret Garden’s music, her unique violin virtuosity provides the heartstrings, voice and wings for Lovland’s compositions.

She performs on an English John Edward Betts violin from 1790, with a Hill bow, both on stage and in the studio.

Rolf Løvland – Composer/Arranger/Producer/Keyboardist

Rolf was born in Kristiansand, in southern Norway, in 1955. His first brush with composing came at the early age of nine when he formed his first band. From then on, and throughout his youth, music came to be his constant companion and focus in life. He later studied music at the Music Conservatory in Kristiansand – and continued his Masters Degree studies in music at the Norwegian Institute of Music in Oslo.

By the time he’d unveiled his “Secret Garden” to the world, Rolf had already earned himself a Norwegian Grammy Award and the reputation as Norway’s most successful popular songwriter – topping the national radio charts (Norsktoppen) more than 60 times. For two consecutive years, his songs had won the National radio chart “Song of the Year-award”.

Rolf was also a two-time winner of the international Eurovision Song Contest final – in 1985 with “La det swinge”, and in 1995 with “Nocturne”. He is also a four-time winner of Norway’s national Eurovision Song Contest finals. In 2007 he received the coveted Achievement Award at the Norwegian Grammies where his international achievements were recognized. Among his most successful songs are “You Raise Me Up” recorded by over 1000 artists (among them are Josh Groban and Westlife and Il Divo) and “I’ve Dreamed of You” recorded by Barbra Streisand.

The founding of Secret Garden has given Rolf the freedom to explore (and for us to experience) deeper emotional dimension and wider musical landscape than the earlier phase of his career had allowed. It has also proven the composer, Rolf Lovland, to be a musical force of considerable stature.

Stage Instruments: Acoustic Grand Piano or Yamaha Digital piano GT2 or NS3.