CLASSICAL GUITAR SYLLABUS Qualification Specifications for Graded Exams 2020–2023
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Classical Guitar at Sundin Hall in St. Paul!
A Publication of the Minnesota Guitar Society • P.O. Box 14986 • Minneapolis, MN 55414 NOVEMBER/DECEMBER 2008 VOL. 24 NO. 6 Classical Guitar at Sundin Hall in St. Paul! Saturday, Nov 15th, 8 pm Classical guitarist Pable Sainz Villegas from Spain Saturday, Dec 6th, 8 pm The acclaimed Minneapolis Guitar Quartet Local Artists Series concert at Banfill-Locke Center for the Arts Sunday, Nov 9th, 2 pm Classical guitarist Steve Newbrough Also In This Issue Jay Fillmore on Guitar Harmonics review of Sharon Isbin masterclass more News and Notes Minnesota Guitar Society Board of Directors Newsletter EDITOR OFFICERS: BOARD MEMBERS: Paul Hintz PRESIDENT Joe Haus Christopher Becknell PRODUCTION Mark Bussey VICE-PRESIDENT Joanne Backer i draw the line, inc. Steve Kakos ARTISTIC DIRECTOR Joe Hagedorn David’s Print Shop Steven Newbrough DISTRIBUTION TREASURER Jim Campbell Christopher Olson Todd Tipton Mark Bussey MANAGING DIRECTOR Paul Hintz Todd Tipton Web Site Production SECRETARY Alan Norton Brent Weaver Amy Lytton <http://www.mnguitar.org> Minnesota Guitar Society The Minnesota Guitar Society concert season is co-sponsored by Mission Statement Sundin Hall. This activity is made To promote the guitar, in all its stylistic and cultural diversity, possible in part by a grant from the through our newsletter and through our sponsorship of Minnesota State Arts Board, through an appropriation by the Minnesota public forums, concerts, and workshops. State Legislature and a grant from To commission new music and to aid in its the National Endowment for the promotion, publication, and recording. Arts. Matching funds have been To serve as an educational and social link between amateur provided by General Mills, AT&T, and Ameriprise Financial. -
El Torbellino En La Iniciación Musical De Ensambles De Cuerdas (Frotadas-Pulsadas)
EL TORBELLINO EN LA INICIACIÓN MUSICAL DE ENSAMBLES DE CUERDAS (FROTADAS-PULSADAS) LIEDER ESTEBAN CÁRDENAS RIAÑO ASESORA MARIA LUISA OTERO DÍAZ TRABAJO MONOGRÁFICO PRESENTADO COMO REQUISITO PARA OPTAR POR EL TÍTULO DE LICENCIADO EN MÚSICA UNIVERSIDAD PEDAGÓGICA NACIONAL FACULTAD DE BELLAS ARTES DEPARTAMENTO DE EDUCACIÓN MUSICAL LICENCIATURA EN MÚSICA BOGOTÁ OCTUBRE 2018 Dedicatoria Esta monografía va dedicada, a mi padre Victor Hugo Cárdenas, mi madre Ingrid Janette Riaño, mis hermanas Kamala y Karla, mi adorado sobrino Neythan, a mi amada Karen Campos, también a todos los estudiantes que hicieron parte de este proceso, en la escuela de formación de cuerdas frotadas y pulsadas del municipio de Sesquilé, a mi amada familia Cárdenas Melo y mi amada familia Riaño Contreras, mis abuelos Rafa y Memo, mi abuelita Aurita que me acompañan en mi corazón, a mi abuelita Julia quien siempre ha estado muy pendiente de todo mi proceso académico y a todos los que siempre me acompañaron en este largo pero enriquecedor proceso universitario. Agradecimientos Agradezco principalmente a Dios, quien ha permitido que las cosas se den a su debido tiempo, a mi padre y madre, quienes siempre me apoyaron y guiaron para cumplir con todos los objetivos, agradezco también a mi amada Karen, quien en los momentos difíciles me dio su mano, para no desfallecer y siempre luchar por seguir adelante, a mi maestro Oscar Orlando Santafé quien me acompañó en todo mi proceso académico, aportando en lo musical, en lo personal y lo profesional, también, a mi maestra Maria Luisa Otero, quien en las dificultades me guio para salir de estas, también agradezco al alcalde de Sesquilé Nelson Uriel Robayo y al secretario de desarrollo social Alexander Bermúdez, quienes por su confianza y apoyo en la escuela de formación ayudaron a que este proyecto se lograra. -
Pasodoble PSDB
Documentación técnica Pasodoble PSDB l Pasodoble, o Paso Doble, es un baile que se originó en España entre 1533 y E1538. Podría ser considerado, en esen- cia, como el estandarte sonoro que le distingue en todas partes del mundo. Se trata de un ritmo alegre, pleno de brío, castizo, flamenco unas veces, pero siempre reflejo del garbo y más ge- nuino sabor español. Se trata de una variedad musical dentro de la forma «marcha» en com- pás binario de 2/4 o 6/8 y tiempo «allegro mo- derato», frecuentemente compuesto en tono menor, utilizada indistintamente para desfiles militares y para espectáculos taurinos. Aunque no está del todo claro, parece ser que el pasodoble tiene sus orígenes en la tonadilla escénica, –creada por el flautista es- pañol Luis de Misón en 1727– que era una Este tipo de macha ligera fue adoptada composición que en la primera mitad del siglo como paso reglamentario para la infantería es- XVII servía como conclusión de los entreme- pañola, en la que su marcha está regulada en ses y los bailes escénicos y que después, 120 pasos por minuto, con la característica es- desde mediados del mismo siglo, se utilizaba pecial que hace que la tropa pueda llevar el como intermedio musical entre los actos de las paso ordinario. Tras la etapa puramente militar comedias. –siglo XVIII– vendría la fase de incorporación de elementos populares –siglo XIX–, con la El pasodoble siempre ha estado aso- adición de elementos armónicos de la seguidi- ciado a España y podemos decir que es el baile lla, jota, bolero, flamenco.. -
CORRIDO NORTEÑO Y METAL PUNK. ¿Patrimonio Musical Urbano? Su Permanencia En Tijuana Y Sus Transformaciones Durante La Guerra Contra Las Drogas: 2006-2016
CORRIDO NORTEÑO Y METAL PUNK. ¿Patrimonio musical urbano? Su permanencia en Tijuana y sus transformaciones durante la guerra contra las drogas: 2006-2016. Tesis presentada por Pedro Gilberto Pacheco López. Para obtener el grado de MAESTRO EN ESTUDIOS CULTURALES Tijuana, B. C., México 2016 CONSTANCIA DE APROBACIÓN Director de Tesis: Dr. Miguel Olmos Aguilera. Aprobada por el Jurado Examinador: 1. 2. 3. Obviamente a Gilberto y a Roselia: Mi agradecimiento eterno y mayor cariño. A Tania: Porque tú sacrificio lo llevo en mi corazón. Agradecimientos: Al apoyo económico recibido por CONACYT y a El Colef por la preparación recibida. A Adán y Janet por su amistad y por al apoyo desde el inicio y hasta este último momento que cortaron la luz de mi casa. Los vamos a extrañar. A los músicos que me regalaron su tiempo, que me abrieron sus hogares, y confiaron sus recuerdos: Fernando, Rosy, Ángel, Ramón, Beto, Gerardo, Alejandro, Jorge, Alejandro, Taco y Eduardo. Eta tesis no existiría sin ustedes, los recordaré con gran afecto. Resumen. La presente tesis de investigación se inserta dentro de los debates contemporáneos sobre cultura urbana en la frontera norte de México y se resume en tres grandes premisas: la primera es que el corrido y el metal forman parte de dos estructuras musicales de larga duración y cambio lento cuya permanencia es una forma de patrimonio cultural. Para desarrollar esta premisa se elabora una reconstrucción historiográfica desde la irrupción de los géneros musicales en el siglo XIX, pasando a la apropiación por compositores tijuanenses a mediados del siglo XX, hasta llegar al testimonio de primera mano de los músicos contemporáneos. -
Crying Across the Ocean: Considering the Origins of Farruca in Argentina Julie Galle Baggenstoss March 22, 2014 the Flamenco
Crying Across the Ocean: Considering the Origins of Farruca in Argentina Julie Galle Baggenstoss March 22, 2014 The flamenco song form farruca is popularly said to be of Celtic origin, with links to cultural traditions in the northern Spanish regions of Galicia and Asturias. However, a closer look at the song’s traits and its development points to another region of origin: Argentina. The theory is supported by an analysis of the song and its interpreters, as well as Spanish society at the time that the song was invented. Various authors agree that the song’s traditional lyrics, shown in Table 1, exhibit the most obvious evidence of the song’s Celtic origin. While the author of the lyrics is not known, the word choice gives some clues about the person who wrote them. The lyrics include the words farruco and a farruca, commonly used outside of Galicia to refer to a person who is from that region of Spain. The use of the word farruco/a indicates that the author was not in Galicia at the time the song was written. Letra tradicional de farruca Una Farruca en Galicia amargamente lloraba porque a la farruca se le había muerto el Farruco que la gaita le tocaba Table 1: Farruca song lyrics Sources say the poetry likely expresses nostalgia for Galicia more than the perspective of a person in Galicia (Ortiz). A large wave of Spanish immigrants settled in what is now called the Southern Cone of South America, including Argentina and Uruguay, during the late 19th century, when the flamenco song farruca was first documented as a sung form of flamenco. -
“Apoyando” and “Tirando” Related to Its Harmonic Components and Autocorrelation Function
Buenos Aires – 5 to 9 September, 2016 Acoustics for the 21st Century… PROCEEDINGS of the 22nd International Congress on Acoustics Music Perception: Paper ICA2016-227 Subjective preference of classical guitar strokes “apoyando” and “tirando” related to its harmonic components and autocorrelation function Joaquin Garcia(a), Shin-ichi Sato(b), Florent Masson(c) (a)Universidad Nacional de Tres de Febrero, Argentina, [email protected] (b)Universidad Nacional de Tres de Febrero, Argentina, [email protected] (c)Universidad Nacional de Tres de Febrero, Argentina, [email protected] Abstract Tone production of classical guitar performance is an essential part for musicians to transmit their sentimental and interpretative intentions. This work investigates subjective preferences of two common plucking techniques used by guitar players, apoyando (rest) and tirando (free) strokes. Six excerpts of classical guitar music with different tempos and range of frequency were performed using the two techniques and were recorded for the subjective tests. Two groups of subjects, guitar players and people who do not play guitar, were investigated to see if both groups evaluate the guitar timbre in different way or not. AB test was conducted with 50 persons for each group asking which technique is preferred and have more sound quality. Then the harmonic components and autocorrelation function (ACF) of each stroke were analysed to relate with the characteristics of the music program (tempo and frequency range) and subjective preferences. The effective duration of ACF is defined with the taue (τe) parameter. Results of the subjective test showed that harmonic content did not define preferences, but higher taue values of the ACF were correlated with a higher sound guitar quality. -
8631 Hon. Colleen W. Hanabusa Hon. Adam B. Schiff Hon. Howard Coble
June 2, 2011 EXTENSIONS OF REMARKS, Vol. 157, Pt. 6 8631 descent who are making a difference in their known as the Tournament of Rose Parade— the 13th for the Greensboro College men’s communities and throughout our country. with a procession of flower-bedecked horses golf team. For this particular Friday the 13th, f and carriages, which became a tradition that the citizens of the Sixth District of North Caro- in 1898 was formally sponsored by the Tour- lina congratulate the Pride’s golf team for RECOGNIZING THE ACCOMPLISH- nament of Roses Association. In 1891, Throop being crowned the NCAA Division III National MENTS OF FREDDIE AND ER- University was founded, later to become the Champions. NEST TAVARES California Institute of Technology (Caltech), and in the early 1900s many grand hotels On Friday, May 13, 2011, the Greensboro HON. COLLEEN W. HANABUSA were built. Some of the most accomplished ar- College men’s golf team took the course for OF HAWAII chitects settled in Pasadena, which became the final round of the NCAA championships, not on the grounds of Augusta, but those of IN THE HOUSE OF REPRESENTATIVES known for its fine architecture, particularly the the East Course at Grandover Resort, located Thursday, June 2, 2011 Craftsman style, perfected by Greene and Greene—a significant example of which is the in Greensboro, North Carolina, also in our dis- Ms. HANABUSA. Mr. Speaker, I rise today 1908 Gamble House. Continuing to enjoy a trict. The day began with Greensboro College to recognize the tremendous accomplishments reputation as a tourist center and winter resort ahead of the second-place team by three of Hawaiian music legends Frederick until the end of the 1920s, many significant in- strokes. -
Guitar Music
GUITAR NEWS The Official Organ of the INTERNATIONAL CLASSIC GUITAR ASSOCIATION No. 59 Single cop,y price 1/4 (U.S.A. 20c.) M AY/ J UNE, 196 1 Photo : Natasha Bellow IDA PRESTI, ALEXANDRE LAGOYA, ALEXANDER BELLOW 2 GUITAR NEWS MAY- J U NE, 1961 G. RICORDI & co. Publishers - Milano Bru:telles - Buenos Aires - London - LOrrach - Mexico - New York - Paris - Sao Paulo - Sydney - Toronto NEW EDITIONS FOR GUITAR By MIGUEL ABLONIZ TRANSCRIPTIONS 129879 J. S. BACH, Fugue (1st Violin Sonata). 129882 J. S. BACH, Two Gavottes (5th 'cello Suite). 129880 J. S. BACH, Sarabande-Double, Bourree-Double (1st Violin Partita). 129347 J. S. BACH, Two Bourrees ('French overture') and March (A. Magdalena's book). 129652 L. van BEETHOVEN, Theme and Variation ('septet'). 129653 G . F. HANDEL, Aria ('Ottone'). 129654 G. F. HANDEL, Sarabande and Variations (Suite XI). 129655 J. P. RAMEAU, Six Menuets. 129349 Two ancient 'Ariettes' by A. Scarlatti and A. Caldara. 130056 J. HAYDN, Minuet (Op. 2, No. 2). 130057 F. MENDELSSOHN, Venetian Barcarole (Op. 19, No. 6). 129348 Three short ancient pieces: Aria by Purcell, Minuet by Clarke, Invention by Stanley. 130059 R. SCHUMANN, Four "Album Leaves": Valzer Op. 124, No. 10. Larghetto Op. 124, No. 13. Danza Fantastica Op. 124, No. 5. Presto Op. 99, No. 2. 129884 A Guitar Anthology of Twel ve Pieces (Purcell, Bach, Mozart, Chopin, de Visee, Gruber, etc.). TWO GUITARS 129350 J. S. BACH, Prelude No. I (48 Preludes and Fugues). 130055 J. S. BACH, Prelude No. 1 ("Six Little Preludes"). 12935 l A. VIVALDI, Aria del vagante ("Juditha triumphans"). -
Tres Danzas Cubanas by Alejandro García Caturla: a Transcription for Wind Orchestra with Accompanying Biographical Sketch and Transcription Method
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2017 Tres Danzas Cubanas by Alejandro García Caturla: A Transcription for Wind Orchestra with Accompanying Biographical Sketch and Transcription Method Darrell Brown University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Latin American Studies Commons, and the Music Commons Repository Citation Brown, Darrell, "Tres Danzas Cubanas by Alejandro García Caturla: A Transcription for Wind Orchestra with Accompanying Biographical Sketch and Transcription Method" (2017). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2951. http://dx.doi.org/10.34917/10985788 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. TRES DANZAS CUBANAS BY ALEJANDRO GARCÍA CATURLA: A TRANSCRIPTION FOR WIND ORCHESTRA WITH ACCOMPANYING -
A Mini-Guide
A MINI-GUIDE The Story . .2 Meet the Cast . .3 What is zarzuela? . .5 Meet the Creator of Little Red . .6 The Composers . .7 Activity: Make your own castanets! . .10 The Story: Bear Hug/Abrazo de oso! Bear Hug/Abrazo de oso! is a bilingual (in two different languages) youth opera and the cast sings in both English and Spanish. It is set in a zoo. The Zookeeper enters the stage while feeding some of his favorite animals including Marla, the koala bear, and Polly the panda bear. He admits that while he loves his job as zookeeper, he’s nervous about the grizzly exhibit next door. Grizzly bears are known to eat meat and he feels less than confident. Polly the panda greets the audience and mentions her love of reading and learning. She hears singing next to her exhibit and meets Bernardo, a very special Spanish brown bear and newest exhibit to the zoo. In fact, the entire zoo is decorated to welcome the newest bear! Bernardo, who has just arrived to the zoo and doesn’t speak much English, is nervous and feels lost. He misses his family. Polly distracts him from his loneliness by playing games like charades, trying to understand her new friend. They come across a locked gate. Polly has always wondered what was on the other side of the zoo and her adventur - ous personality starts the bears on a search for the key and out of their exhibit. The two meet Marla, the zoo’s koala bear. Koalas are actually marsupials—that means Marla isn’t really a bear at all! Koala bears are generally sleepy and like to eat plants such as eucalyptus. -
Cartagena Y El Pasodoble
REVISTA DE INVESTIGACIÓN SOBRE FLAMENCO La madrugá Nº15, Diciembre 2018, ISSN 1989-6042 Cartagena y el pasodoble Benito Martínez del Baño Universidad Complutense de Madrid Enviado: 13-12-2018 Aceptado: 20-12-2018 Resumen El pasodoble es un tipo de composición musical menor con títulos de excepción, páginas musicales de gran factura melódica, fuerza expresiva y estructura perfecta. Muchas de sus composiciones han logrado inmortalizar el nombre de sus autores y el insuperable atractivo de dotar emoción nuestras fiestas, patronales y bravas. Podemos incluirlo como subgénero dentro de la composición zarzuelística, y encontrarlo de muy distintas maneras, como en tiempo de marchas aceleradas, alegres y bulliciosas pasadas del coro por la escena, breves y brillantes introducciones orquestales, también para bandas de música, y finales de cuadro o de acto, incluso con tintes flamencos. Asimismo títulos imprescindibles han sido compuestos en Cartagena y algunas de las más ilustres voces de esta tierra lo han cantado y otras aun lo incluyen en su repertorio. Palabras clave: pasodoble, Cartagena, flamenco, música popular. Abstract The pasodoble is a type of minor musical composition with exceptional titles, musical pages of great melodic design, expressive force and perfect structure. Many of his compositions have managed to immortalize the name of their authors and the insurmountable attraction of giving emotion to our festivities, patronal and brave. We can include it as a subgenre within the zarzuela composition, and find it in very different ways, such as in time of accelerated marches, happy and boisterous past of the choir for the scene, brief and brilliant orchestral introductions, also for bands, and end of picture or act, even with flamenco overtones. -
Performing Tango on the Double Bass
Performing Tango on the Double Bass: A Performance guide to Andrés Martín’s Tres Tangos para Duo de Contrabajos by Darren Cueva A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2018 by the Graduate Supervisory Committee: Catalin Rotaru, Chair Frank Koonce Rodney Rogers ARIZONA STATE UNIVERSITY May 2018 ! ABSTRACT Tres Tangos para Duo de Contrabajos (Three Tangos for Double Bass Duet) is a three- movement set written by Andrés Martín and commissioned by Darren Cueva specifically for this document and accompanying performance project. This piece blends tango with Western art music in a style often referred to as “nuevo tango” (new tango) which was popularized by Astor Piazzolla. This research paper will serve as a performance aid for those wishing to present tango idioms on the double bass in addition to a more detailed guide to performing Tres Tangos by Martín. To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York. Tres Tangos was modeled after the style of Piazzolla.