CAMPO HARMONICO CAVAQUINHO PDF

CAMPO HARMONICO CAVAQUINHO PDF

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Nobre was influenced as well by the nationalistic theories of Brazilian musicologist Mdrio de Andrade Ela tera sido acolhida de imediato no seio da crescente sociedade burguesa mercantil, daquela epoca, instalada na cidade do Porto.

Campanha em Defesa do Folclore Brasileiro, In a interview, Nobre implied that this idea was due to chronological circumstances: Historia do Fado, Lisboa, Empreza da historia de Portugal,p. Fragmentos para uma Guitarra, Coimbra, Minerva, Atraducao deste excerto original em trances, pode ser visto em: A tnao esquerda deve fiincionar como percussao mas sem agressividade, e estard fechada.

Equipamentos, usos e costumes da casa brasileira: It has a monotonous and improvisatory character, and may be accompanied by an instrument which is usually played by the same person. Other Brazilian folk dances are based in this dialogue, such as the maxixes and sambas, but in isolated stanzas, and with the part of the chorus almost dispensable. Example 8 Motive X in “Toccatina” m.

O artista, que i um criador de valores, nao pode se isolar do meio sem cair no artificialismo falso e infecundo.

At the end of the s the group Musica Viva disbanded, and several of Koellreutter’s students abandoned the ideas of twelve-tone cavaquinhk in favor of musical nationalism. Livraria Martins Editora, The group Miisica Viva of Koellreutter and his students placed in diametric positions tendencies that were not necessarily opposite, such as the national tradition and contemporary compositional techniques. The other works from the second style period make use of twelve-tone techniques, serialism, multiserialism, and aleatory music.

He was also very active as a teacher, creating a school of composition whose students included major Brazilian composers, such as Teodoro Nogueira b. Este refere tambem o uso frequente de instrumentos como a viola toeira ou da beira instrumento muito tfpico da cidade de Coimbra nesta epoca, pelo menos ate a decada de Ja nos finais do seculo XX, Salwa Castelo Branco, em “Voix du Potugal”91, questiona o termo Cancao de Coimbra, avancando que as celebres guitarradas coimbras sao exclusivamente protagonizadas pelos estudantes, professores ou antigos alunos da Universidade de Coimbra.

De facto, o esquecimento ou omissao de Gallop, de nomes como: Bosquejo Histdrico, Evora, Edicao do Autor,pg.

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Entre estes autores pode-se tambem referir outros em que se assenta esta mesma linha de pensamento nacionalista: His serial works ate exemplified by String Trio and Suite for flute and clarinet More recendy, a variety of compositional techniques —including electronic music and musique concrete— has been developed in Brazil by contemporary composers.

Motive 1 is repeated, sequenced, and transposed, being constructed for reiteration -the ending in ascending direction may continue into the beginning ascending gesture. The features of “Coco Q” related to elements of the folk cocos are similar to the ones presented in the discussion of “Coco I,” that is, texture of dialogue between two juxtaposed voices, syncopated rhythms, duple meter, and flat seventh degree from modal scales.

favaquinho Repeated notes and scale passages recalls the vocal character of the cocos, although not the consecutive leaps of seventh in opposite directions. Partindo da identificacao historico-organologica da Guitarra Inglesa, com o intuito de identificar a datacao exacta da entrada deste cordofone em terras lusitanas, seria posteriormente possfvel identificar todos os documentos que referiam o termo Guitarra, como sendo o nosso conterraneo.

The work develops from a short and fast motive in a moto perpetuo of 32nd-notes, labeled motive 1 in example 38a. The garmonico for harmlnico in the field of contemporary music there is incredible, and numerous works by Marios Nobre and many other Brazilian composers will worth in depth study.

The general characteristics of the coco songs are duple meters, syncopations, and freedom of tempo and rhythm.

The descending chromatic bass of theme 1 recalls the line played by the guitar in the Brazilian choros, a genre transposed to the piano by Nazareth. Apos as expropriates de diversos predios para tornar lugar a enormes ediffcios universitarios, fizeram com que os moradores fossem transferidos para as regioes perifericas, o que aos poucos acabaria com a sociabilidade entre eles, resultando no homicfdio cultural da comunidade tradicional Futrica existente ate entao, na Alta da cidade de Coimbra.

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Luis Pedro Ribeiro Castela 16 A Guitarra Portuguesa e a Cangao de Coimbra Subsidios para o seu estudo e contextualizagao Capitulo 1 vestidas de branco, veus brancos transparentes e com capuzes de palha, ao som de um pandeiro, de algumas castanholas e duas guitarras tocadas por dois homens mascarados. Similarly, in Nazpretfuana the melodic character of the first theme combined with its several statements gives it the character of a refirain.

In other works, elements firom Nazareth’s music are used in a different setting. Esta ascensao ao poder deve-se a varios factores, que passam desde as revolucoes polfticas lideradas pelos liberais, pelo forte investimento que esta classe tern no comercio incluindo o comercio colonialna nova industria moderna, e ainda na compra dos antigos bens eclesiasticos.

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Bridge material 1 expands the range in a continuous ascending gesture, with predominance of perfect Hfths, perfect fourths, and major and minor seconds; bridge material 2 is a descending sequence of two and three-note chords based on perfect fourths and major seconds; bridge material 3 is angular characterized by frequent changing melodic directions.

The most important composition is the cantata Ukrinmakrinkrin for voice, winds, and piano, op. As annotated in example 10, the prominent intervals in section B are minor seconds, perfect fourths, tritones and perfect fifths, the same ones observed in section A. Gnatalli’s musical output is divided into two very distinct styles: Nobre, however, is an independent figure, defending his own musical aesthetic and affiliated with no groups.

Acordes de Cavaquinho – Aula Grátis

W Example 21 shows the introductioii, where an ostinato is combined with percussion by the right hand on the wooden part of the piano. Example 32 shows a pause in m. Luis Pedro Ribeiro Castela 68 A Guitarra Portuguesa e a Cancao de Coimbra Subsidios para o seu estudo e contextualizacao Capitulo 2 Como se pode ver atraves do grafico n9l e do quadro n9l existe uma relacao entre as medidas da caixa de ressonancia e do braco da Bandurra directamente proporcionais a estas guitarras portuguesas.

Example 14 shows that when moving a fifth above, higher tension is preserved: A parte clissica se voce imita 6 uma besteira, mas se voce traz elementos fortes para o presente 6 uma riqueza. Indeed, form in his music hadmonico a consequence of the development of the musical material.

Tambem os aparecimentos de outros cordofones derivados da Guitarra Portuguesa podem ser entendidos atraves da vasta acvaquinho exposta neste trabalho, como no caso dos Guitarroes ou ainda do mais recente harmonick da violaria nacional, o Guitolao.

The new tonal center on E is reached through a transition over a C pedal bass mm. Also related to folk melodies are the short pentatonic melodic segments present in Nobre’s music.

Acordes de Cavaquinho

Luis Pedro Ribeiro Castela 42 A Guitarra Portuguesa e a Cangao de Coimbra Subsidios para o seu estudo e contextualizagao Capitulo 1 0 facto de nao referir sequer, um dos instrumentos mais tradicionais desta regiao, falo da viola toeira de Coimbra, pode ser considerado uma falha na caracterizacao dos instrumentos caracteristicamente utilizados nestas guitarradas, pelo menos ate a segunda decada do seculo XX.

Tempo primo marcata A 45, la mp, cresc. The last work of this first style period.