Танго, милонги, хабанеры - переложение для гитары

Латиноамериканская музыка



Ноты в pdf
для шестиструнной гитары

 

 

 

Скачать ноты

Tangos Milongas Habaneras
Танго, милонги, хабанеры
ноты для гитары
язык - английский
(pdf, 5 Мб)

Содержание:

 

Angel Villoldo-Antonio Sinopoli El Choclo, Tango criollo
Manuel Aroztegui-Antonio Sinopoli. El Apache Argentine
Vicente Greco-Julio S. Sagreras. El Pibe, Tango criollo
Mauricio Montiano-Julio S. Sagreras Langostas, Tango criollo
P. Nicolin-Julio S. Sagreras Tocalo mas fuerte, Tango criollo
S. Resgrasa El Criollo
S. Resgrasa No se permite
S. Resgrasa IComo le va del ojo?
S. Resgrasa LaNegrita
S. Resgrasa Golped que te van a abrir
Domingo Santa Cruz-Mario Rodriguez Arenas Union Civica
Roberto Firpo-Mario Rodriguez Arenas Sentimiento Criollo, Tango Sentimental
Francisco Canaro-Mario Rodriguez Arenas El Chamuyo
Jose Martinez-Mario Rodriguez Arenas El pensamiento
Calderon de la Barca-Mario Rodriguez Arenas Hasta luego Che!
Enrique Maciel-Mario Rodriguez Arenas La Mazorquera de Montserrat
Agustin Bardi-Ulises J. Casinelli El Baquiano
Vicente Greco-Juan Pastor ElMejicano
E. N. de la Cruz-Luisa N. de Roca El Ciruja
Alberto Gomez-Cosme Caballero Que nadie se entere
Julio S. Sagreras Agarrame que me caigo
Julio S. Sagreras Don Carlos
Julio S. Sagreras "El Chand" Tango criollo
Julio S. Sagreras iii'Muy de la quebrada!!!, Tango criollo
Julio S. Sagreras цСапскаИ Tango criollo
Julio S. Sagreras jijChupate esa!!! Guitar II
Julio S. Sagreras HjChupate esa!!! Guitar I or solo
Vicente Caprino Maineri Junto al Farol, Tango criollo
Justo T. Morales De mi epoca
Justo T. Morales Diosma
Justo T. Morales Argentina, Milonga for two guitars, Guitar II
Justo T. Morales Argentina, Milonga for two guitars, Guitar I .
Justo T. Morales Argentina, Milonga for solo guitar
Evaristo Escobio-Nicodemo Casuscelli La Historia de la flor, Milonga
Santo Discepolo-Julio S. Sagreras Rosita, Habanera
Julio S. Sagreras Cadenciosa, Habanera
Julio S. Sagreras La Original, Habanera clasica
Julio S. Sagreras Cha-ca-chd, Tango Milonga
Matanya Ophee Textual Notes

Скачать ноты танго Скачать ноты

Probably the most popular Argentine urban
dance and Song form, the tango appeared in the
slums surrounding Buenos Aires during the second
half of the nineteenth century, although it was only
after i 880 that it acquired a relatively definite musical
configuration. The tango was originally cultivated
in houses of ill-repute, and its practice was
initially clandestine mostly because of its daring
dance movements. During the early years of the
twentieth century it was gradually taken up by the
lower classes and, after its Parisian success in about
i g 1 1, it was also adopted by the then Francophile
Argentine upper classes.
The origins of the tango are unclear and have
been the subject of many heated arguments among
specialists. Opinions have varied as to whether its
antecedents are African, Spanish or criollos, these
possibilities being regarded as mutually exclusive.
Followers of different theories would dig up and
summon an incredible amount of historical facts
and musical evidence to support their views, some
more felicitous than others. As to be expected, current
scholarship tends to be less axiomatic and
more relativistic, and thus considers that even
though some musical features of songs and dances
such as candombe, milonga, habanera and Andalusian
tango can be detected in the Rioplatense' tango, a
mechanical, causal relationship should not be
drawn. According to this view, the tango is far more
than a mere hybrid of nineteenth- and early twentieth-
century popular dances and songs. Accordingly,
reducing its genesis to a genealogical tree
does not help us understand this complex musical,
choreographic, literary and socio-historical phenomenon.
The history of the tango as it dmeloped in Argent
i n i~s u sually divided into three periods: from the
beginnings until 1920 (the Guardia Vieja [Old
Guard] ) , from 1920 to 1955 (the Guardia Numa
[New Guard] ) , and from 1955 to the present da
Early tango ensembles included flute, violin and
harp, guitar or piano. The distinctive ensemble
known as orquesta tzlpica, consisting of guitar, bandoneon,
violin and/or flute, developed from about
i g 1 o. After i g 15 the piano increasingly assumed a
more prominent role together with the bandoneon,
whilst the guitar and the flute were progressively
abandoned.