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viola, orig. Latin vitulari "be joyful" A medium-sized stringed instrument Viola d'amore: love viola: A tenor viol with no frets Viola da braccio: arm viola: A stringed instrument held in the arm, such as a violin or viola Viola da gamba: leg viola: A stringed instrument held between the legs Violoncello Violoncello was the original name for a ...
Rhythm (e.g. ritmo di # battute meaning a rhythm of # measures) ritornello A recurring passage rolled chord See Arpeggio rondo A musical form in which a certain section returns repeatedly, interspersed with other sections: ABACA is a typical structure or ABACABA roulade (Fr.) A rolling (i.e. a florid vocal phrase) rubato
Guitar tablature is not standardized and different sheet-music publishers adopt different conventions. Songbooks and guitar magazines usually include a legend setting out the convention in use. The most common form of lute tablature uses the same concept but differs in the details (e.g., it uses letters rather than numbers for frets). See above.
From the first to the fifth courses of strings, the tuning is usually: E (Mi), B (Si), G (Sol), D (Re), A (La), like one of the three tunings of the baroque guitar & it's also the same as the 1st 5 strings of a Modern Guitar ( the bottom 2 an Octave Up from Normal) which makes it easy to play the same Chord shapes.
The rhythm is a modified tresillo rhythm with eight beats grouped into a repeating pattern of 3+3+2. [5] Unlike traditional flamenco, rumbas may be played in any key, major, minor and modal . [ 5 ] At approx. 100-120bpm, the tempo of rumba flamenca is slower than other more traditional flamenco styles such as bulerías and fandangos .
Based on Cuban music in rhythm, tempo, bass line, riffs and instrumentation, Salsa represents an amalgamation of musical styles including rock, jazz, and other Latin American musical traditions. Modern salsa (as it became known worldwide) was forged in the pan-Latin melting pot of New York City in the late 1960s and early 1970s.
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The Spanish tinge is an Afro-Latin rhythmic touch that spices up the more conventional 4 4 rhythms commonly used in jazz and pop music. The phrase is a quotation from Jelly Roll Morton. In his Library of Congress recordings, after referencing the influence of his own French Creole culture in his music, he noted the Spanish (read Cuban) presence:
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