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Étude No. 3 (Villa-Lobos)
Heitor Villa-Lobos's Étude No. 3, part of his ''Twelve Études for Guitar'', was first published by Max Eschig, Paris, in 1953. Structure The piece, strongly influenced by the didactic works of earlier composers for the guitar, is in D major and is marked ''Allegro moderato''. Analysis Étude No. 3 is an arpeggio A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord and span one or more octaves. An arpeggio () is a type of broken chord, in which the notes that compose a chord are played ... study, like the two preceding études, but incorporating slurred notes (as in Étude No. 2) and barre chords. References Cited sources * Further reading * ''Villa-Lobos, sua obra''. 1989. Third edition. Rio de Janeiro: MinC-SPHAN/Pró-Memória, Museu Villa-LobosOnline edition, 2009* Wright, Simon. 1992. ''Villa-Lobos''. Oxford Studies of Composers. Oxford and New York: Oxford University Press. (cloth); (pbk). {{ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heitor Villa-Lobos
Heitor Villa-Lobos (March 5, 1887November 17, 1959) was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and stylistic elements from the European classical tradition, as exemplified by his ''Bachianas Brasileiras'' (Brazilian Bachian-pieces) and his Chôros. His Etudes for classical guitar (1929) were dedicated to Andrés Segovia, while his ''5 Preludes'' (1940) were dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha". Both are important works in the classical guitar repertory. Biography Youth and exploration Villa-Lobos was born in Rio de Janeiro. His father, Raúl, was a civil servant, an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
D Major
D major (or the key of D) is a major scale based on D, consisting of the pitches D, E, F, G, A, B, and C. Its key signature has two sharps. Its relative minor is B minor and its parallel minor is D minor. The D major scale is: : Characteristics According to Paolo Pietropaolo, D major is Miss Congeniality: it is persistent, sunny, and energetic. D major is well-suited to violin music because of the structure of the instrument, which is tuned G D A E. The open strings resonate sympathetically with the D string, producing a sound that is especially brilliant. This is also the case with all other orchestral strings. Thus, it is no coincidence that many classical composers throughout the centuries have chosen to write violin concertos in D major, including those by Mozart ( No. 2, 1775, No. 4, 1775); Ludwig van Beethoven (1806); Paganini ( No. 1, 1817); Brahms (1878); Tchaikovsky (1878); Prokofiev ( No. 1, 1917); Stravinsky (1931); and Korngold ( 1945). The k ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arpeggio
A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord and span one or more octaves. An arpeggio () is a type of broken chord, in which the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also span more than one octave. Being an Italian noun, its plural is ''arpeggi''. The word ''arpeggio'' comes from the Italian word ''arpeggiare'', which means ''to play on a harp''. Even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, different music theorists may analyze the same musical excerpt differently. Arpeggios enable composers writing for monophonic instruments that play one note at a time (e.g., flute, saxophone, trumpet), to voice chords and chord progressions in musical pieces. Arpeggios and brok ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Étude No
An étude (; ) or study is an instrumental musical composition, usually short, designed to provide practice material for perfecting a particular musical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano. Of the vast number of études from that era some are still used as teaching material (particularly pieces by Carl Czerny and Muzio Clementi), and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place in today's concert repertory. Études written in the 20th century include those related to traditional ones (György Ligeti) and those that require wholly unorthodox technique (John Cage). 19th century Studies, lessons, and other didactic instrumental pieces composed before the 19th century are extremely varied, without any established genres. Domenico Scarlatti's ''30 Essercizi per gravicembalo'' ("30 Exercises for harpsichord", 1738) do not differ in scope f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barre Chord
In music, a barre chord (also spelled bar chord) is a type of chord on a guitar or other stringed instrument played by using one finger to press down multiple strings across a single fret of the fingerboard (like a bar pressing down the strings). Players often use this chording technique to play a chord that is not restricted by the tones of the guitar's open strings. For instance, if a guitar is tuned to regular concert pitch, with the open strings being E, A, D, G, B, E (from low to high), open chords must be based on one or more of these notes. To play an F chord the guitarist may barre strings so that the chord root is F. Most barre chords are "moveable" chords, as the player can move the whole chord shape up and down the neck. Commonly used in both popular and classical music, barre chords are frequently used in combination with "open" chords, where the guitar's open (unfretted) strings construct the chord. Playing a chord with the barre technique slightly affects tone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turibio Santos
Turibio Soares Santos (born March 7, 1943) is a Brazilian classical guitarist, musicologist, and composer, who established himself as a performer with a wide repertoire of pieces by Heitor Villa-Lobos, Ernesto Nazareth, Francisco Mignone, and by accompanying musicians like Clara Sverner, Paulo Moura and Olivia Byington on many CDs. Life and career Turibio Santos was born in São LuÃs, Maranhão, and at the age of 10 was attracted to the classical guitar. His first teacher was Antonio Rebello , and later he studied with Oscar Cà ceres . He also studied composition with Edino Krieger . In 1962, he gave his first recital in Rio de Janeiro, followed by a series of concerts all over Brazil. In the following year, the Villa-Lobos Museum invited him to play the Brazilian composer's ''Twelve Etudes'' for guitar and the ''Mystic Sextet'', given its first public hearing. 1964 marked the formation of a duo with Oscar Cà ceres and several tours of South America. Turibio Santos decided to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guitar études By Heitor Villa-Lobos
The guitar is a fretted musical instrument that typically has six strings. It is usually held flat against the player's body and played by strumming or plucking the strings with the dominant hand, while simultaneously pressing selected strings against frets with the fingers of the opposite hand. A plectrum or individual finger picks may also be used to strike the strings. The sound of the guitar is projected either acoustically, by means of a resonant chamber on the instrument, or amplified by an electronic pickup and an amplifier. The guitar is classified as a chordophone – meaning the sound is produced by a vibrating string stretched between two fixed points. Historically, a guitar was constructed from wood with its strings made of catgut. Steel guitar strings were introduced near the end of the nineteenth century in the United States; nylon strings came in the 1940s. The guitar's ancestors include the gittern, the vihuela, the four-course Renaissance guitar, and th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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