World Music2:38১টি শীট ব্রাউজ করুন
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গানের লাইব্রেরি
Zen Virtual Piano-তে Zequinha De Abreu-এর পিয়ানো শীট দেখুন। Zequinha de Abreu, the artistic name of José Gomes de Abreu, was a composer, instrumentalist and conductor, born on 19 September 1880 in Santa Rita do Passa Quatro, São Paulo, and died on 22 January 1935 in São Paulo. At six he already showed a musical vocation, rehearsing melodies on the flute; he organized a band at the school he attended and, at seventeen, formed an orchestra to play at dances, weddings and cinemas. His music teachers were Padre Rossini of the Colégio São Luiz and later Maestro Mhiaffarelli, and he studied harmony at the seminary with Padre Juvenal Kelly. A boy rehearsing melodies on the flute who organized a school band and then an orchestra at seventeen can be read as a musician taking charge of ensembles early. His compositions “Flor da estrada” and the maxixe “Bafo de onça” date from 1896. Back in Santa Rita do Passa Quatro he resumed his work with scores, creating the Lira Santa Ritense and the Orquestra do Cinema Smart, took a job as a clerk at the tax office and in 1909 became secretary of the municipal council. He entered the Faculty of Medicine, where he spent only two years, the last of his studies. A clerk, a council secretary and a bandleader in the same town can be read as a musician fitting music around everyday work. To compose, he sat at the piano and fingered without express intention of making new melodies, but beautiful phrases came as if by magic and he noted them on paper. In 1917, at a dance in Santa Rita do Passa Quatro, he presented an unfinished little choro without a name, which became one of the most recorded Brazilian songs in all countries of the world. He is the author of the choro “Tico-tico no fubá,” one of the most successful Brazilian pieces. An unfinished tune played at a local dance that went on to be recorded in many countries can be read as a piece with a very large life. In 1919 he moved to São Paulo, where he worked as a demonstrator pianist at the Casa Beethoven and in the Orquestra do Bar Viaduto. He supplemented his budget by playing his own compositions at the piano and selling the scores to wealthy families. Playing his own compositions at the piano and selling the scores can be read as a composer living partly from his own music.
Zen Virtual Piano-তে Zequinha De Abreu-এর পিয়ানো শীট দেখুন।
Zequinha de Abreu, the artistic name of José Gomes de Abreu, was a composer, instrumentalist and conductor, born on 19 September 1880 in Santa Rita do Passa Quatro, São Paulo, and died on 22 January 1935 in São Paulo. At six he already showed a musical vocation, rehearsing melodies on the flute; he organized a band at the school he attended and, at seventeen, formed an orchestra to play at dances, weddings and cinemas. His music teachers were Padre Rossini of the Colégio São Luiz and later Maestro Mhiaffarelli, and he studied harmony at the seminary with Padre Juvenal Kelly. A boy rehearsing melodies on the flute who organized a school band and then an orchestra at seventeen can be read as a musician taking charge of ensembles early.
His compositions “Flor da estrada” and the maxixe “Bafo de onça” date from 1896. Back in Santa Rita do Passa Quatro he resumed his work with scores, creating the Lira Santa Ritense and the Orquestra do Cinema Smart, took a job as a clerk at the tax office and in 1909 became secretary of the municipal council. He entered the Faculty of Medicine, where he spent only two years, the last of his studies. A clerk, a council secretary and a bandleader in the same town can be read as a musician fitting music around everyday work.
To compose, he sat at the piano and fingered without express intention of making new melodies, but beautiful phrases came as if by magic and he noted them on paper. In 1917, at a dance in Santa Rita do Passa Quatro, he presented an unfinished little choro without a name, which became one of the most recorded Brazilian songs in all countries of the world. He is the author of the choro “Tico-tico no fubá,” one of the most successful Brazilian pieces. An unfinished tune played at a local dance that went on to be recorded in many countries can be read as a piece with a very large life.
In 1919 he moved to São Paulo, where he worked as a demonstrator pianist at the Casa Beethoven and in the Orquestra do Bar Viaduto. He supplemented his budget by playing his own compositions at the piano and selling the scores to wealthy families. Playing his own compositions at the piano and selling the scores can be read as a composer living partly from his own music.
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