Ribeiro/D'Alcantara Samba Jazz

Samba pro Maceio
To de Boa
Froggy
Aguaceiro
23/11
Samba Viscoso
Na Corda Bamba

This project is the result of extensive research and careful
elaboration aiming at offering representative material on the most
varied styles of Brazilian music to professional musicians, students,
teachers and all those who take a general interest in this field of
music.
The focus of this series is on the language of instrumental music
nowadays performed in Brazil, based on elements of modern
improvisation. Each volume contains two CDs with seven pieces of
music, which are presented in the following versions:
1. Complete takes - in other words, the full versions of the pieces
included in the book, which are performed by all the instruments
playing simultaneously;
2. Without melody / solo part - so that the melodic instruments can
play along with the recording, executing their own interpretations and
practicing improvisations;
3. Without harmony - so that the harmonic instruments can practice the
language of accompaniment, especially with regard to the rhythmic
vocabulary of each style.
4. Without bass - so that the bassists can practice their traditional
task of accompaniment while working on the rhythmic but also the
harmonic aspects;
5. Without drums - so that the drummers can practice the rhythms
characteristic of each piece of music but also create their own
variations.
Each book contains the scores in the form of lead sheets in four
different versions: in C, Bb, Eb, and bass clef. Due to the widely
defined concept of this method, it is important to point out that
musicians playing transposing instruments might have to make adaptions
when reading the scores. Wind instrumentalists are at liberty to carry
out adjustments whenever these are called for in order to facilitate
the musical execution.
The Souza Lima playalong method series was not exclusively devised for
musicians to learn and practise how to read scores and accompany the
recordings. Try to be creative and explore each type of music in every
way possible. Transcribing solos, rhythmic comping phrases, bass lines
and drum grooves, for instance, can be an important tool in order to
assimilate the elements of this language. The instrumentalists may
place themselves in a new musical situation in addition to their
traditional roles: the bass can act as a melodic or solo instrument,
the piano can execute bass lines, and so on.
The complete music was recorded live in the studio to preserve as
best as possible the spontaneous character and spirit of working
together - features which have always determined even the most diverse
genres of Brazilian music. The authors and accompanying musicians were
deliberately chosen: The team unites dedicated instrumentalists known
for their vast experience and true mastery of the musical style in
question.
Language: english / spanish