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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Well, a lot of people think arrangement is just taking the melody of the song and playing the harmony behind it.

Latin American Music for Two Guitars. It can be frustrating to play, however. His music has more elements to it than just a single beautiful melody, which is what Zssad is all about—a beautiful melody with a nice harmony under it. On your early albums you were doing a lot of Scarlatti and Couperin and composers like that.

Assad has taught master classes in conservatories, universities, and music schools in the US, Europe, Latin America, Japan, and Australia. Well, there was also a piano version Gershwin did immediately after the orchestral one.

The problem is, on piano with the pedal open you have this fantastic sound—how can you do that with a guitar? Guitaristcomposerarrangerteacher.

Sérgio Assad on Piazzolla, the Beatles, Ginastera, Transcriptions, and more – Classical Guitar

He is currently on faculty at the San Francisco Conservatory of Music. Do you consider that transcribing? So I had to come up with ideas to make the guitar a little stronger. And, of course, he also knows how it feels physically to play it. Astor Piazzolla composed Tango Suite especially for the Assads. Then, when we got the Assac Suite, that [musical figure] was in there! From Wikipedia, the free encyclopedia. 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 piazxolla did some interesting things with that; and other songs, too.


This page plazzolla last edited on 9 Decemberat But I think you have to do something—embellish, add something of your own. Is there some quality you hear going through his arrangements?

Sérgio Assad on Piazzolla, the Beatles, Ginastera, Transcriptions, and more

Tuesday, July 17, – We fear changing them. After the concert, it was the only thing I could think about. San Francisco Conservatory Of Music”.

The end of the first movement is exactly what I did. By age 14, he was arranging and writing original compositions for the guitar duo he had formed with his brother, Odair.

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 the way. He was not very known back then—a little bit in Europe, more so in Brazil—but his music was so advanced and so rich. So you make choices.

He piaazolla still with his quintet and most of the manuscripts were not published.

piazzolla Archives – Clarice Assad

Why is it that Piazzolla became so popular with guitarists and arrangers? How do you choose the repertoire you arrange? After all, even though we published an interview with him just a few issues ago, that was solely about composing. Play Rameau, Scarlatti, Couperin, Bach. When you arrange a well-known piece, do your ideas about it change over time as you hear it played? But I managed to bring things into the guitar world.


Sérgio Assad

Their younger sister Badi Assadis also a guitarist. They have been Nonesuch recording artists since But the thing I hear that goes through all his arrangements is a sense of how the guitar should sound.

I used a lot of different things there—more percussion, different colors. 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. To do the Impressionists well, you really need more than one guitar. If you know how to use open strings of the instrument, that will help.

Nowadays, you can usually find the original notes in published scores. So I had to do all piszzolla scordatura, like getting down to B, which is a tricky thing to do because the string starts to be too loose, and to do that in a concert is risky.