Educator and performer Carlos Arana captures Brazil's rich musical heritage with impeccable stylistic, historic, and technical analyses. The first section of this book covers the fundamental rhythmic and harmonic characteristics of samba, bossa nova, and choro styles followed by practical applications on the guitar. The practical applications break each of the styles down to their historic and regional roots combined with examples that capture the essence of each style. The next section takes you to the northeast of Brazil with the rhythm figures of baio, toada, xote, afox, frevo, Marcha, and Marcha Rancho. Over 60 examples, written in standard notation and tablature, are demonstrated on the included CD.

Number ten in the Mel Bay/Alfred collaboration contains a collection of beginning to intermediate arrangements for Brazilian Guitar. All tunes included in standard notation and tablature are: 'One Note Samba', 'Meditation', 'Quiet Nights of Quiet Stars', 'Chega de Saudade', 'How Insensitive', 'The Girl from Ipanema', 'A Day in the Life of a Fool', 'The Island', 'So Nice', 'Desafinado', 'A Felicidade', 'Sabia' and 'Gentle Rain'. Tunes arranged by John Zaradin and Mike Christiansen. All tunesincluded on companion online audio in solo and rhythm styles. Includes access to online audio.

Renowned guitarist Billy Newman guides you through distinctive rhythms such as tango, samba and bossa nova, as he clearly explains the corresponding chord sequences and techniques found in each style. Included is a CD demonstrating all examples covered throughout the book, which are written in both standard notation and TAB to make learning easy and fun.

At the second International Song Festival in 1967, Milton Nascimento had three songs accepted for competition. He had no intention of performing them--he hated the idea of intense competition. In fact, Nascimento might never have appeared at all if Eumir Deodato hadn't threatened not to write the arrangements for his songs if he didn't perform at least two of them. Nascimento went on to win the festival's best performer award, all three of his songs were included soon afterward on his first album, and the rest is history. This is only one anecdote from The Brazilian Sound, an encyclopedic survey of Brazilian popular music that ranges over samba, bossa nova, MPB, jazz and instrumental music and tropical rock, as well as the music of the Northeast. The authors have interviewed a wide variety of performers like Nascimento, Gilberto Gil, Carlinhos Brown, and Airto Moreira, U.S. fans, like Lyle Mays, George Duke, and Paul Winter, executive André Midani; and music historian Zuza Homem de Mello, just to name a few. First published in 1991, The Brazilian Sound received enthusiastic attention both in the United States and abroad. For this new edition, the authors have expanded their examination of the historical roots of Brazilian music, added new photographs, amplified their discussion of social issues like racism, updated the maps, and added a new final chapter highlighting the most recent trends in Brazilian music. The authors have expanded their coverage of the axé music movement and included profiles of significant emerging artists like Marisa Monte, Chico Cesar, and Daniela Mercury. Clearly written and lavishly illustrated with 167 photographs, The Brazilian Sound is packed with facts, explanations, and fascinating stories. For the Latin music aficionado or the novice who wants to learn more, the book also provides a glossary, a bibliography, and an extensive discography containing 1,000 entries. Author note: Chris McGowan was a contributing writer and columnist for Billboard from 1984 to 1996 and pioneered that publication's coverage of Brazilian and world music in the mid-1980s. He has written about the arts and other subjects for Musician, The Beat, the Hollywood Reporter, the Los Angeles Times, L. A Weekly, and the Los Angeles Reader. He is the author of Entertainment in the Cyber Zone: Exploring the Interactive Universe of Multimedia (1995) and was a contributor to The Encyclopedia of Latin American History and Culture (1996). Ricardo Pessanha has worked as a teacher, writer, editor, and management executive for CCAA, one of Brazil's leading institutes of English-language education. He has served as a consultant to foreign journalists and scholars on numerous cultural projects relating to Brazil. He has contributed articles about Brazilian music to The Beat and other publications.

* A complete guide to playing guitar accompaniment and chord melodies in various Brazilian styles -- Samba, Bossa Nova, Frevo, etc. * Comes with a CD of Nelson demonstrating each exercise, plus a tune in each style * Many variations of basic comping patterns written out, each with complete chord voicings. * Also includes short transcriptions of guitar parts as recorded by Toninho Horta, Joao Bosco, Joao Gilberto, etc.

As one can easily imagine, it would be very hard for a guitar student to start reading the scores of the traditional choro repertoire, most of them with large number of technical difficulties. It would be much better if they could start with some easier pieces – of intermediate level – in order to be presented to the choro language in a more gradual and appropriate manner. That is the main goal of this book. It has 13 studies (in the 13 more commonly used keys for the choro guitar) written in a reduced form and in the principal stylistic choro variants: besides real choros, there are polkas, maxixes, Brazilian tangos and xotis. the more used and characteristic rhythmical figurations are present in each of the studies as the principal. Also aiming at the simplification of execution, all studies were composed with only two voices (melody and bass) and with no chords (although harmonies are quite evident due to the choro melodic particularities). A CD with all 13 studies is included.

Brazilian classical/jazz guitar virtuoso Carlos Barbosa-Lima and John Griggs have collaborated in writing these five extended, original solo compositions. These pieces explore a wide variety of Brazilian jazz rhythms, harmonies, and tone colors. the enclosed compact disc features Barbosa-Lima's performance of each solo. Thoughtfully written in separate standard notation and tablature editions, these pieces would best be played on a nylon-string guitar by the intermediate to advanced guitarist.

(Music Sales America). A collection of popular Brazilian music edited and arranged by John Zaradin for solo guitar. Suitable for intermediate guitarists and arranged in standard and guitar tab notation with chord symbols.