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Beautiful Music

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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Music Concerts

Dizzy Gillespie Quintet Jazz on BBC Jazz 625 (1966)

Dizzy’s genius as a composer, bandleader and soloist come shining through in this beautifully-restored high-quality recording.

Trumpet – Dizzy Gillespie Saxaphone/Flute – James Moody Bass – Christopher White

Piano – Kenny Barron

Drums – Rudy Collins John Birks

“Dizzy” Gillespie (October 21, 1917–January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer.

He was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks, and his light-hearted personality provided some of bebop’s most prominent symbols.

In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman.Scott Yanow wrote, “Dizzy Gillespie’s contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis’s emergence in the 1970s that Dizzy’s style was successfully recreated [….] Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time”.Gillespie has been described as the “sound of surprise”.

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The Rough Guide to Jazz describes his musical style: The whole essence of a Gillespie solo was cliff-hanging suspense: the phrases and the angle of the approach were perpetually varied, breakneck runs were followed by pauses, by huge interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he always took listeners by surprise, always shocking them with a new thought. His lightning reflexes and superb ear meant his instrumental execution matched his thoughts in its power and speed. And he was concerned at all times with swing—even taking the most daring liberties with pulse or beat, his phrases never failed to swing. Gillespie’s magnificent sense of time and emotional intensity of his playing came from childhood roots. His parents were Methodists, but as a boy he used to sneak off every Sunday to the uninhibited Sanctified Church. He said later, “The Sanctified Church had deep significance for me musically. I first learned the significance of rhythm there and all about how music can transport people spiritually.”In Gillespie’s obituary, Peter Watrous describes his performance style: In the naturally effervescent Mr. Gillespie, opposites existed.

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His playing—and he performed constantly until nearly the end of his life—was meteoric, full of virtuosic invention and deadly serious. But with his endlessly funny asides, his huge variety of facial expressions and his natural comic gifts, he was as much a pure entertainer as an accomplished artist.Wynton Marsalis summarized Gillespie as a player and teacher: His playing showcases the importance of intelligence. His rhythmic sophistication was unequaled. He was a master of harmony—and fascinated with studying it. He took in all the music of his youth—from Roy Eldridge to Duke Ellington—and developed a unique style built on complex rhythm and harmony balanced by wit. Gillespie was so quick-minded, he could create an endless flow of ideas at unusually fast tempo. Nobody had ever even considered playing a trumpet that way, let alone had actually tried.

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All the musicians respected him because, in addition to outplaying everyone, he knew so much and was so generous with that knowledge…Gillespie’s trademark trumpet featured a bell which bent upward at a 45-degree angle rather than pointing straight ahead as in the conventional design. According to Gillespie’s autobiography, this was originally the result of accidental damage caused by the dancers Stump and Stumpy falling onto the instrument while it was on a trumpet stand on stage at Snookie’s in Manhattan on January 6, 1953, during a birthday party for Gillespie’s wife Lorraine. The constriction caused by the bending altered the tone of the instrument, and Gillespie liked the effect. He had the trumpet straightened out the next day, but he could not forget the tone. Gillespie sent a request to Martin to make him a “bent” trumpet from a sketch produced by Lorraine, and from that time forward played a trumpet with an upturned bell.

In April 1995, Gillespie’s Martin trumpet was auctioned at Christie’s in New York City with instruments used by Coleman Hawkins, Jimi Hendrix, and Elvis Presley. The battered instrument was sold to Manhattan builder Jeffery Brown for $63,000, the proceeds benefiting jazz musicians with cancer.

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Music Concerts

Night of Jazz Guitars Jazzwoche Burghausen (2011)

Tracklist:

  1. Cooking At the Continental
  2. They Loved You More In Paris
  3. Koala
  4. Like Someone in Love
  5. Noites Cariocas
  6. Someday My Prince Will Come
  7. How Insensitive
  8. Homecomings
  9. Nuages
  10. Autumn Leaves
  11. Tadd’s Delight
  12. Blue in Green
  13. Jailbreak
  14. All the Things You Are

Personnel:
LARRY CORYELL – guitar
PHILIP CATHERINE – guitar
PAULO MORELLO – guitar
ANDREAS DOMBERT – guitar
HELMUT KAGERER – guitar

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Beautiful Music

Joe Hisaishi – Cinema Nostalgia

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

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Film Music

Deborah’s Theme (Once Upon a Time in America)—Ennio Morricone

Find this sheet music and many more from Morricone in our Library.

The music of Once Upon a Time in America was composed by Sergio Leone’s long-time collaborator, Ennio Morricone. Due to the film’s unusually long production, Morricone had finished composing most of the soundtrack before many scenes had even been filmed. Some of Morricone’s pieces were actually played on set as filming took place (a technique that Leone had used for Once Upon a Time in the West). “Deborah’s Theme” was in fact originally written for another film in the 1970s but rejected; Morricone presented the piece to Leone, who was initially reluctant, considering it too similar to Morricone’s main title for Once Upon a Time in the West.

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Did you know?

Educación musical y vocal en personas adultas

Mucho se ha hablado de las metodologías para el aprendizaje de la música en niños y la importancia de iniciarlos a temprana edad. En cambio,  las metodologías y criterios que se deben seguir en la educación musical de los adultos no se han tratado con la misma profundidad. 
Son muchas las personas que no habiendo tenido la oportunidad de aprender música en su infancia o juventud se acercan a ella en la edad adulta o bien cuando sus hijos/as comienzan a estudiar música, ellos empiezan. 

También se acercan al estudio personas que se acaban de jubilar, que tienen más tiempo y se animan a participar en un coro o a estudiar un instrumento. 

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Estas personas han tenido oportunidad de asistir a conciertos, de escuchar música y de indentificarse con diferentes estilos. Se puede decir que vienen con un cierto bagaje musical que deberemos tener en cuenta.
He estado trabajando con este tipo de alumnos y me he dado cuenta de que hay que revisar algunos criterios y maneras de afrontar abordar el proceso de enseñanza-aprendizaje.
Lo primero que hay que saber es qué esperan del aprendizaje musical. Obviamente son personas que no tienen pretensiones de hacer una carrera musical ni tienen la intención de formarse como profesores de música. 

En la mayoría de los casos quieren aprender y disfrutar de la música, a su ritmo, de una manera agradable, se trata de un ocio enriquecedor, lúdico pero es su ocio al fin y al cabo.

Por otro lado, el hecho de que su mayor pretensión sea el disfrute y el mero placer por aprender no ha de hacer que el profesor baje la guardia. Se ha de ser riguroso y exigente a la par que flexible y saber secuenciar muy bien los contenidos. 



He tenido alumnos que han estado mal guiados porque al no tener grandes pretensiones el profesor no los ha tomado en serio. Por parte del profesor, el respeto hacia el aprendizaje y hacia el alumno debe estar por encima de todo.
En mi opinión hay tener en cuenta varios aspectos positivos y varios condicionante-

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Como condicionantes diré que:


1. El ritmo de estudio y por tanto de asimilación lo marcan ellos. No lo marcan ni los años naturales ni las horas de estudio. El profesor por tanto no debe pensar que si es el tercer año tiene que tocar o cantar tal o cual obra. Por el contrario debe saber qué contenidos técnicos se tienen que solventar y en qué orden. 

El profesor debe evaluar la progresión musical y técnica antes que la cantidad de obras que se hacen. No importa la cantidad sino la calidad y que el alumno incremente sus competencias, su criterio y su autonomía en el estudio. 
2. Hay que enseñarles a estudiar y a organizarse. Deberán priorizar y ser sistemáticos porque hay que tener en cuenta que algunos tendrán que atender obligaciones personales y profesionales. El profesor ha de abstenerse de culpabilizar por las horas de estudio y enseñar a estudiar eficientemente.

3. El profesor debe atender a los gustos personales del alumno. Mejor empezar por cosas fáciles y que atrapen el interés del alumno. No olvidemos que se trata de personas con un gusto musical formado al que deberemos atender como docentes. 

Me ha ocurrido que he empezado con canciones propias del alumno o afines a sus gustos y hay acabado pidiéndome algo de otros estilos y géneros.
4. Se debe animar al alumno a tocar o cantar delante de otras personas y con otras personas sobre todo en ambientes informales.. Generalmente los alumnos están muy cargados de juicios negativos, de complejos y de miedos.  Ellos piensan que es tarde, que van a hacer el ridículo y cosas por el estilo. Este aspecto se puede trabajar a través de pequeños conciertos de alumnos en los que el objetivo principal sea aprender a actuar y valorar los recursos que se necesitan. 

Un alumno de canto formó un grupo de pop-rock que le ayudó a vencer sus miedos. Siempre argumento que la música es más enriquecedora si se comparte y que al menos hay que tocar o cantar villancicos el día de navidad.

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Como aspectos positivos hay que indicar que:


1. Son personas que tienen una actitud muy positiva hacia el aprendizaje de la música y de los diferentes aspectos que giran entorno a ella. Están interesados en conocer, en escuchar, en analizar, en hablar sobre música. 

Hay que tener en cuenta que son personas con el pensamiento formado y capaces de extrapolar, analizar, comparar, reflexionar… La labor del docente es ayudarles en esa búsqueda y guiarles, razonar y plantearles preguntas enriquecedoras. 
2. Tienen la posibilidad de asistir a conciertos, de consumir música, de buscar. Y por ello es bueno que les recomendemos actividades que luego pueden ser susceptibles en clase de ser analizadas y comentadas.
3. Es su momento de ocio, en el que se olvidan de sus problemas y de sus obligaciones por eso hay que hacer de ese rato algo agradable, fluido, divertido y que les de paz y tranquilidad.  

Los profesores han de abstenerse de emplear un lenguaje discriminatorio, desvalorizante y desmotivador. El alumno tiene derecho a aprender lo que quiera.
4. Quieren crecer y desarrollarse musicalmente. Generalmente hay que recordarles los progresos y los logros porque no son siempre conscientes, no hay que descuidar la auto evaluación y la evaluación o el balance del profesor al menos una vez al trimestre.


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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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Jazz Play Along & Lessons

Jazz Play Along – Lover 3/4 (by Lorenz Hart & Richard Rodgers)

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Jazz Music

Lester Young with the Oscar Peterson Trio

Lester Young The President Plays with the Oscar Peterson Trio (Full Album) with sheet music

Recorded: On November 28, 1952

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01 Ad Lib Blues 0:00 02 I Can’t Get Started 5:54 03 Just You, Just Me 9:35 04 Almost Like Being in Love 17:16 05 Tea for Two 20:51 06 There Will Never Be Another You 28:36 07 (Back Home Again In) Indiana 32:05 08 On the Sunny Side of the Street 39:09 09 Stardust 42:37 10 (I’m) Confessin’ (That I Love You) 46:13 11 I Can’t Give You Anything But Love 49:55 12 These Foolish Things 53:18 13 (It Takes) Two to Tango 56:52 14 I Can’t Get Started 1:03:00

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Lester Willis Young (August 27, 1909 – March 15, 1959), nicknamed “Pres” or “Prez”, was an American jazz tenor saxophonist and occasional clarinetist.

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Coming to prominence while a member of Count Basie‘s orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called “a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike”.

Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music.

Oscar Emmanuel Peterson, (August 15, 1925 – December 23, 2007) was a Canadian jazz pianist, virtuoso and composer.

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He was called the “Maharaja of the keyboard” by Duke Ellington, but simply “O.P.” by his friends. He released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honours.

He is considered one of the greatest jazz pianists,and played thousands of concerts worldwide in a career lasting more than 60 years.

Peterson taught piano and improvisation in Canada, mainly in Toronto. With associates, he started and headed the Advanced School of Contemporary Music in Toronto for five years during the 1960s, but it closed because touring called him and his associates away, and it did not have government funding.Later, he mentored the York University jazz program and was the Chancellor of the university for several years in the early 1990s. He published jazz piano etudes for practice. He asked his students to study the music of Johann Sebastian Bach, especially The Well-Tempered Clavier, the Goldberg Variations, and The Art of Fugue, considering these piano pieces essential for every serious pianist. Among his students were pianists Benny Green and Oliver Jones.