Ways to navigate this site
Introduction
1 – SOLO GUITAR AND GUITAR AND VOICE
1.2 – a guitar that meshes with the song
2 – SEARCHING THE OTHER
2.1 – the lyricist
2.2 – rhythmic matrices
2.3 – harmonic-melodic matrices
3 – SONG: THE INSTRUMENT´S DEGREES OF ACTION IN THE CREATION PROCESS
3.1 – not canção
3.2 – “rose petals spread by the wind”
3.3 – the song without the guitar
3.4 – the question of Tatit
3.5 – it seems easy, but it is impossible
3.6 – the composer, the songwriter and the grays in between
3.7 – the guitar sometimes brings the melody
4 – GUITAR: THE ERUDITE-POPULAR AND THE PLAYING-COMPOSING
4.1 – guitar-piano
4.2 – the idiom of the guitar
4.3 – the room, the bathroom, and the square
4.4 – vigor and subtlety
4.5 – playing together
4.6 – resurgences: the Meira school and the greater height
4.7 – polished sound
5 – MESTIZO BLOOD: FIVE SOLOS
5.1 – “Gagabirô” – with João Bosco
5.2 – a question for Brouwer – with Sérgio Assad
5.3 – is it yours? – with Guinga
5.4 – Brazilian rhymthica – with Marco Pereira
5.5 – “Boi de mamão” – with Paulo César Pinheiro
6 – THE FIXED AND THE FLEXIBLE
6.2 – the “Jongo” of Bellinati and the “Jongo of Tamandaré”
6.3 – an old problem
6.4 – the moment of writing
6.5 – something poetic inside music with swing
7 – INSPIRATION
References
DATA SHEET
MOVIE TRAILER
COLLABORATIVE MATERIALS
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participe@violao-cancao.com
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