Brazilian Guitar Solos : Learn & Play. 10 Brazilian Standards arranged for solo guitar

This book contains the chord-melody arrangements of ten classical pieces of Brazilian music, written for fingerstyle guitar. In chord melody the guitar is self-sufficient, carrying out by itself the tasks that are usually divided among a variety of instruments.

Music is essentially composed of three elements: melody, bass line, and harmony, all held together by rhythm, the skeleton without which everything would collapse. In chord-melody arrangements these elements are realized at the same time, keeping some fundamental points in mind:
- the melody is the fundamental ingredient, characterizing and distinguishing every musical piece, and it is therefore to be favoured, it is the element that should never be missing or left in background;
- The bass line is the engine, the foundation of the music; in the case of bossa nova, it is almost always executed on the downbeat, alternating the root (on the 1st and 3rd beat) and the fifth of the chord (on the 2nd and 4th beat). When the root is on the sixth string, it can be kept for the whole measure, avoiding the alternation with the fifth. An exception to this rule is found in the piece Maria Ninguém, where the bass plays a note on the upbeat in the last eight of every measure.
- the harmony (defined as comping) can be achieved in different ways:
a) to fill gaps left by the melody (e.g. Desafinado); in these situations it is better not to use notes in the high range, so as not to "disturb" the singing;
b) to harmonize the notes of the melody, adding one or more of the lower notes of the chord (e.g. A banda)
c) to create an introduction (e.g. Só danço samba) or a coda (e.g. Tristeza)

CONTENIDO:

A banda
Água de beber
Chega de saudade
Desafinado
Manha de carnaval
Maria Ninguém
Mas que nada
O pato
Só danço samba
Tristeza