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PACO DE LUCIA (5 BOOKS) SAVING PACK PACK AHORRO (5 LIBROS) - PACO DE LUCIA
1.- La Fabulosa Guitarra de Paco de Lucía
Score book in notation and tablature. Transcription by Jorge Berges.
Tested and certificated by Paco de Lucía.
Themes:
Barrio la Viña
De Madrugá
Farruca de Lucía
Impetu
Jerezana
Llanto a Cádiz
Punta del faro
Punta Umbría
A4 format
145 Pages
2.- Fantasía Flamenca
Paco de Lucía
Score book in notation and tablature. Transcription by Jorge Berges.
Tested and certificated by Paco de Lucía.
Themes:
Aires de Linares
Mi inspiración
Guagiras de Lucía
Mantilla de feria
El tempu
Panaderos flamencos
Generalife bajo la luna
Fiesta en Moguer
Lamento minero
Celosa
A4 format
154 Pages
3.- Fuente y Caudal
Paco de Lucía
Score book in notation and tablature. Transcription by Jorge Berges.
Tested and certificated by Paco de Lucía.
Themes:
Entre dos aguas (Rumba)
Aires choqueros (Fandangos de Huelva)
Reflejo de luna (Granaína)
Solera (Bulerías por Soleá)
Fuente y caudal (Taranta)
Cepa andaluza (Bulerías)
Los pinares (Tangos)
Plaza de San Juan (Alegrías)
4.- Almoraima
Paco de Lucía
The author of these charts has been the maestro Enrique Vargas, also the director of the collection "The Great Flamenco Guitars of Today Library", who had to face the tremendous difficulty of transcribing accurately every little detail of this historic work of art.
Paco de Lucia implements in "Almoraima" various innovations unprecedented for the times: every one of the eight cuts of the CD has more than one -and some times up to five- guitar tracks; electric bass; percussion; a muted guitar track, and, sometimes, oud and singing. All of these elements made the task of transcribing this work tremendously difficult. In spite of this, maestro Enrique Vargas offers in every piece the solutions based on maximum fidelity to the original.
All of these pieces are perfectly playable by solo guitar and a duo (with the exception of the rumba and sevillanas than are only suitable for a duo). Every piece is preceded by annotations in Spanish and English. The charts are presented in notation and tab. The fingerings for both hands and dynamic and technical characteristics are explained in the smallest detail.
"Almoraima" (Bulerías)
In this piece the most important parts of the second guitar and the bass have been transcribed entirely. Where the second guitar plays generic accompaniment the chord symbols are provided. The oud track recorded by maestro Paco de Lucía has been transcribed entirely. This piece is playable as a solo as well as a duo.
"Cueva del Gato" (rondeña)
The guitar accompaniment played by Ramón de Algeciras has been transcribed entirely, which makes this piece ideal for a duo as well as a solo.
"Cobre" (sevillanas)
This piece is a duo where the main guitar interprets each sevillana in a different key and, sometimes, different tuning. The second guitar maintains the same tuning without a capo. In the third copla of each sevillana maestro Paco de Lucia recorded a second solo guitar track which does a sort of counterpoint with the main guitar. This track is also been transcribed.
"A la Perla de Cadiz" (cantiñas)
In this piece the most important parts of the second guitar have been transcribed. Where the accompaniment is generic chord symbols are supplied. In the final part of this piece maestro Paco de Lucía plays a brilliant improvisation over a sang melody that has been transcribed to be used as a reference or played by some other musical instrument if so desired. Can be played as a solo as well as a duo.
"Ole" (jaleos)
Despite this piece being a duo with both guitars completely transcribed, it's perfectly playable as a solo, too.
"Plaza Alta" (soleá)
In the final part of this piece enters the second guitar whose more important parts have been transcribed entirely. In the generic parts chord symbols are supplied. Can be played as a solo as well as a duo.
"Rio Ancho" (rumba)
This famous rumba is presented as a guitar duo with the accompaniment explained and transcribed in its most important parts. Chords symbols are supplied throughout the whole piece.
"Llanos del Real" (minera)
In the final part of this piece enter the second and third guitars that also have been transcribed.
5.- Siroco
Paco de Lucía
A4, 206 pages
Flamenco-Live and David Leiva present the book of the grand master Paco de Lucia, SIROCO.
Eight sublime creation flamenco pieces with a perfect interpretation assumes, without doubt, a before and after for flamenco guitar and music, reaching unimaginable heights of composition and performance before.
This book is made primarily for guitarists but any performer can read these scores. The eight songs are shown in standard notation and tablature with fingerings for both hands, bumps and dynamics.
The interpretation of Paco de Lucía is as important as its composition, interpretive displays a surprising mastery, highlighting some notes and stroking others with pure finesse, giving these pieces of guitar concert a new dimension never before seen
In the rumba "Caña de azúcar" is also transcribed second guitar and chords.
Each piece is preceded by explanatory tex, harmonic and rhythmic patterns.
La Cañada (Tangos)
Mi Niño Curro (Rondeña)
La Barrosa (Alegrías)
Caña de azúcar (Rumba)
El pañuelo (Bulerías)
Callejón del muro (Minera)
Casilda (Tanguillos)
Gloria al Niño Ricardo (Soleá)
Score book in notation and tablature. Transcription by Jorge Berges.
Tested and certificated by Paco de Lucía.
Themes:
Barrio la Viña
De Madrugá
Farruca de Lucía
Impetu
Jerezana
Llanto a Cádiz
Punta del faro
Punta Umbría
A4 format
145 Pages
2.- Fantasía Flamenca
Paco de Lucía
Score book in notation and tablature. Transcription by Jorge Berges.
Tested and certificated by Paco de Lucía.
Themes:
Aires de Linares
Mi inspiración
Guagiras de Lucía
Mantilla de feria
El tempu
Panaderos flamencos
Generalife bajo la luna
Fiesta en Moguer
Lamento minero
Celosa
A4 format
154 Pages
3.- Fuente y Caudal
Paco de Lucía
Score book in notation and tablature. Transcription by Jorge Berges.
Tested and certificated by Paco de Lucía.
Themes:
Entre dos aguas (Rumba)
Aires choqueros (Fandangos de Huelva)
Reflejo de luna (Granaína)
Solera (Bulerías por Soleá)
Fuente y caudal (Taranta)
Cepa andaluza (Bulerías)
Los pinares (Tangos)
Plaza de San Juan (Alegrías)
4.- Almoraima
Paco de Lucía
The author of these charts has been the maestro Enrique Vargas, also the director of the collection "The Great Flamenco Guitars of Today Library", who had to face the tremendous difficulty of transcribing accurately every little detail of this historic work of art.
Paco de Lucia implements in "Almoraima" various innovations unprecedented for the times: every one of the eight cuts of the CD has more than one -and some times up to five- guitar tracks; electric bass; percussion; a muted guitar track, and, sometimes, oud and singing. All of these elements made the task of transcribing this work tremendously difficult. In spite of this, maestro Enrique Vargas offers in every piece the solutions based on maximum fidelity to the original.
All of these pieces are perfectly playable by solo guitar and a duo (with the exception of the rumba and sevillanas than are only suitable for a duo). Every piece is preceded by annotations in Spanish and English. The charts are presented in notation and tab. The fingerings for both hands and dynamic and technical characteristics are explained in the smallest detail.
"Almoraima" (Bulerías)
In this piece the most important parts of the second guitar and the bass have been transcribed entirely. Where the second guitar plays generic accompaniment the chord symbols are provided. The oud track recorded by maestro Paco de Lucía has been transcribed entirely. This piece is playable as a solo as well as a duo.
"Cueva del Gato" (rondeña)
The guitar accompaniment played by Ramón de Algeciras has been transcribed entirely, which makes this piece ideal for a duo as well as a solo.
"Cobre" (sevillanas)
This piece is a duo where the main guitar interprets each sevillana in a different key and, sometimes, different tuning. The second guitar maintains the same tuning without a capo. In the third copla of each sevillana maestro Paco de Lucia recorded a second solo guitar track which does a sort of counterpoint with the main guitar. This track is also been transcribed.
"A la Perla de Cadiz" (cantiñas)
In this piece the most important parts of the second guitar have been transcribed. Where the accompaniment is generic chord symbols are supplied. In the final part of this piece maestro Paco de Lucía plays a brilliant improvisation over a sang melody that has been transcribed to be used as a reference or played by some other musical instrument if so desired. Can be played as a solo as well as a duo.
"Ole" (jaleos)
Despite this piece being a duo with both guitars completely transcribed, it's perfectly playable as a solo, too.
"Plaza Alta" (soleá)
In the final part of this piece enters the second guitar whose more important parts have been transcribed entirely. In the generic parts chord symbols are supplied. Can be played as a solo as well as a duo.
"Rio Ancho" (rumba)
This famous rumba is presented as a guitar duo with the accompaniment explained and transcribed in its most important parts. Chords symbols are supplied throughout the whole piece.
"Llanos del Real" (minera)
In the final part of this piece enter the second and third guitars that also have been transcribed.
5.- Siroco
Paco de Lucía
A4, 206 pages
Flamenco-Live and David Leiva present the book of the grand master Paco de Lucia, SIROCO.
Eight sublime creation flamenco pieces with a perfect interpretation assumes, without doubt, a before and after for flamenco guitar and music, reaching unimaginable heights of composition and performance before.
This book is made primarily for guitarists but any performer can read these scores. The eight songs are shown in standard notation and tablature with fingerings for both hands, bumps and dynamics.
The interpretation of Paco de Lucía is as important as its composition, interpretive displays a surprising mastery, highlighting some notes and stroking others with pure finesse, giving these pieces of guitar concert a new dimension never before seen
In the rumba "Caña de azúcar" is also transcribed second guitar and chords.
Each piece is preceded by explanatory tex, harmonic and rhythmic patterns.
La Cañada (Tangos)
Mi Niño Curro (Rondeña)
La Barrosa (Alegrías)
Caña de azúcar (Rumba)
El pañuelo (Bulerías)
Callejón del muro (Minera)
Casilda (Tanguillos)
Gloria al Niño Ricardo (Soleá)
1.- La Fabulosa Guitarra de Paco de Lucía
Partitura en nota y cifra transcritas por Jorge Berges.Comprabadas y certificadas por el propio Paco de Lucía.
Temas:
Barrio la Viña
De Madrugá
Farruca de Lucía
Impetu
Jerezana
Llanto a Cádiz
Punta del faro
Punta Umbría
2. - Fantasía Flamenca
Paco de Lucía
Partitura en nota y cifra transcritas por Jorge Berges. Comprabadas y certificadas por el propio Paco de Lucía.
Temas:
Aires de Linares
Mi inspiración
Guagiras de Lucía
Mantilla de feria
El tempu
Panaderos flamencos
Generalife bajo la luna
Fiesta en Moguer
Lamento minero
Celosa
3.- Fuente y Caudal
Paco de Lucía
Partitura en nota y cifra transcritas por Juan Manuel Cañizares.
Temas:
Entre dos aguas (Rumba)
Aires choqueros (Fandangos de Huelva)
Reflejo de luna (Granaína)
Solera (Bulerías por Soleá)
Fuente y caudal (Taranta)
Cepa andaluza (Bulerías)
Los pinares (Tangos)
Plaza de San Juan (Alegrías)
4. -Almoraima
Paco de Lucía
Transcripción por el maestro Enrique Vargas, director de la colección "Biblioteca Grandes Guitarras Flamencas de Hoy", quien ha afrontado la tremenda dificultad de transcribir de forma fiel y pormenorizada una obra de tamaña complejidad e importancia.
Paco de Lucía, emplea en "Almoraima" varias innovaciones sin precedentes hasta la fecha: Cada uno de los ocho temas del disco tienen más de una, y a veces hasta cinco pistas de guitarra; bajo eléctrico; percusión; una pista de guitarra tapá y, de vez en cuando, laúd y cante. Todos estos elementos han dificultado tremendamente la tarea de la transcripción. A pesar de ello, el maestro Enrique Vargas ofrece en cada tema diferentes soluciones siempre con la máxima fidelidad al original.
Todas las piezas son perfectamente ejecutables tanto para un solo como para un dueto (con excepción de la rumba y sevillanas que sólo son aptas para dueto). Cada tema viene además precedido por anotaciones explicativas bilingües castellano/inglés. Las partituras están presentadas en solfeo y en cifrado. Tanto las digitaciones de ambas manos como los matices dinámicos y técnicos se presentan de la forma más pormenorizada posible.
A continuación, una descripción técnica de cada partitura de esta obra.
"Almoraima" (Bulerías)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra y el bajo. Donde la segunda guitarra se limita a tocar acompañamiento genérico se ofrecen símbolos armónicos. La pista de laúd, interpretada por el maestro Paco de Lucía ha sido transcrita íntegramente. Esta pieza es apta para solo y dueto.
"Cueva del Gato" (rondeña)
La parte de la guitarra de acompañamiento interpretada por Ramón de Algeciras está transcrita íntegramente lo que hace la pieza ideal tanto para un dueto como para un solo.
"Cobre" (sevillanas)
Este tema es un dueto donde la guitarra principal interpreta cada sevillana en una tonalidad y, a veces, afinación distinta. La segunda guitarra mantiene la misma afinación sin cejilla, es decir, al aire. En la tercera copla de cada sevillana el maestro Paco de Lucía grabó la segunda pista del solo haciendo una especie de contrapunto con la guitarra principal. Esta segunda pista también ha sido transcrita íntegramente.
"A la Perla de Cádiz" (cantiñas)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra. Donde el acompañamiento es genérico se suministran símbolos armónicos. En la parte final el maestro Paco de Lucía desarrolla una brillante improvisación sobra la salida del cante por cantiñas . La melodía de esta salida ha sido transcrita para que sirva de referencia y también por si se desea interpretarla utilizando voces u otros instrumentos musicales. Apto tanto para solo como para dueto.
"Olé" (jaleos)
A pesar de ser un dueto con las dos guitarras transcritas íntegramente, esta pieza es perfectamente ejecutable como un solo de guitarra.
"Plaza Alta" (soleá)
Al final de este tema entra la segunda guitarra cuyas partes más importantes han sido transcritas íntegramente y en las partes genéricas se ofrecen símbolos armónicos. Puede ser interpretada como solo y como dueto.
"Rio Ancho" (rumba)
Esta conocidísima rumba se presenta en el siguiente formato: la guitarra principal; las partes más importantes de la segunda guitarra y los símbolos armónicos.
"Llanos del Real" (minera)
En la parte final de esta pieza entran la segunda y tercera guitarra que han sido transcritas íntegramente.
5.- Siroco
Paco de Lucía
A4, 206 páginas
Transcripción por David Leiva
La editorial Flamenco-Live y David Leiva presentan el libro del maestro Paco de Lucía,SIROCO.
Obra flamenca de ocho piezas de creación sublime con una interpretación perfecta supone, sin lugar a dudas, un antes y un después para el flamenco, alcanzando unas cotas inimaginables de composición e interpretación hasta entonces.
Este libro está realizado principalmente para guitarristas pero cualquier instrumentista puede leer estas partituras.
Las ocho piezas se muestran en nota y tablatura con digitaciones de ambas manos, golpes y dinámicas.
La interpretación de Paco de Lucía es tan importante como su composición, despliega una maestría interpretativa sorprendente, resaltando unas notas y acariciando otras con pura delicadeza, dando a estas piezas y a la guitarra de concierto una nueva dimensión nunca vista.
En la rumba "Caña de azúcar” también está transcrita la segunda guitarra y el cifrado de acorde.
Cada pieza viene precedida de textos explicativos por el autor y esquemas armónicos y rítmicos.
La Cañada (Tangos)
Mi Niño Curro (Rondeña)
La Barrosa (Alegrías)
Caña de azúcar (Rumba)
El pañuelo (Bulerías)
Callejón del muro (Minera)
Casilda (Tanguillos)
Gloria al Niño Ricardo (Soleá)
