Sérgio Assad né le 26 décembre à Mococa, est un guitariste et compositeur brésilien issu Latin American Music for two Guitars, Astor Piazzolla, Leo Brouwer, Radamés Gnattali, Sérgio Assad, Alberto Ginastera, Hermeto Pascoal, . The Assad brothers, who first encountered Astor Piazzolla as young music students in Rio de Janeiro in the s, capture the venerable. Assad on Arranging Classical Guitar. Sérgio Assad on Piazzolla, the Beatles, Ginastera, Transcriptions, and more. Joey Lusterman March
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Latin American Music for Two Guitars.
I think that was a surprising choice. And it was there that the three of us convened late one afternoon, as the sun was setting across San Francisco Bay, for a freewheeling conversation about arranging. So I had to come up with ideas to make the guitar a little stronger. Still you can do fabulous things, it might just have a different color than the original.
After the concert, it was the only thing I could think about. For instance, in the second movement, the prestissimohe plays here [left hand and right hand far apart on the keyboard], really distant, so what did I do?
I think he steps back a little bit more. But arranging guitar at that level is very rare.
I always can tell that a great guitarist with a very strong sense of what makes a guitar sound good is making decisions every second of piwzzolla way.
You are here Home. I also had to do a little bit of scordatura, because it has been my dream to play a seven-string guitar to make the task a little easier, but I never learned and it seemed very hard to jump from six to seven [strings].
Sérgio Assad on Piazzolla, the Beatles, Ginastera, Transcriptions, and more
Nowadays, you can usually find the original notes in published scores. I think those were published by Berben; there were several publishing companies. We fear changing them.
The collaboration with Salerno-Sonnenberg inspired Sergio to write the triple concerto “Originis” for violin, two guitars and chamber orchestra. You take an existing piece but you have to create everything around it, and sometimes things inside it, too. If you know how to use open strings of the instrument, that will help. He has been important and esteemed as an arranger as well, helping bring so many wonderful pieces, spanning centuries from the Baroque to modern pop, into the guitar repertoire.
By the time they were teenagers, their prowess brought them to Rio de Janeiro and study with Monina Tavora, a student of Segovia. He has extended the possibilities of the two-guitar combination through his arrangements of Latin American music by composers such as PiazzollaVilla Lobosand Ginastera as well as Baroque to Modern music by ScarlattiRameauSolerBachMompouRavelDebussyand Gershwin among others. I worked for so many years with just the two guitars that I thought it was impossible to add another instrument.
That was a different approach altogether. If you think about music in Latin America, there is quite a range.
But there was really nothing to change in his music—everything was written there for two guitars and he did a wonderful job. Please try again later. He was still with his quintet and most of the manuscripts were not published. Retrieved November 16, What would I call what I did with the Nazareth? I did another album with him [ Latino Gold] where I really went out of my way to arrange things for real—like I took Mas que nada and did some interesting things with that; and other songs, too.
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Sérgio Assad – Wikipedia
Remember when people would argue about whether it was a good idea awsad arrange Pictures at an Exhibition? This page was last edited on 9 Decemberat Play Rameau, Scarlatti, Couperin, Bach. But translating his quintet to two guitars, or one guitar, was very difficult.
But some of them do, of course. But the thing I hear that goes through all his arrangements is a sense of how the guitar should sound.
He learned Brazilian folk melodies from his father. A pianist played that piece and I was mesmerized by it. So some of that was not followed so closely to the Beatles. Then, when we got the Tango Suite, that [musical figure] was in there! All his clever little tricks came out on just about everything he did. I think of the distance between two notes in order to make it legato, but if the distance is too long.
Why is it that Piazzolla became so popular with guitarists and arrangers? Is there some quality you hear going through his arrangements?
So even playing with just two instruments, I always had about four lines going on, so the polyphonic thing inside has always been very thick in our arrangements and the things I write for two guitars. Because sometimes people confuse what is arranging and what is transcribing. It depends on the repertoire. So the only way of approaching that music was like what they do in the jazz world—copying the solos [from records], listening to the harmonies and all that; you really have to do it by ear.
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