Uploaded March 2015 | Updated September 2026, 23 hours ago
Zombie Cover - Amazing Performance - Plays Francesca Biloni & Francesco Tesei - New Fan Page facebook.com/Teseoguitar - SUBSCRIBE! youtube.com/user/teseoguitar?sub_confirmation=1
Zombie Cover - Amazing Performance - Plays Francesca Biloni & Francesco Tesei - New Fan Page facebook.com/Teseoguitar - SUBSCRIBE! youtube.com/user/teseoguitar?sub_confirmation=1

![TESEO - Por Una Cabeza - On Double Bass
#CarlosGardel#PorUnaCabeza#TESEO#DoubleBass
Francesco Tesei Plays Por Una Cabeza
Carlos Gardel, born Charles Romuald Gardès (Toulouse, 11 December 1890 [1] - Medellín, 24 June 1935), was a French singer, actor and composer, a leading figure in the history of music and tango.
Born in 1887 in Toulouse, France, according to other sources in Tacuarembó [2]. This controversy arose because of a false document that Gardel presented at the outbreak of the First World War, to avoid going to the front, where he established his birthplace in Tacuarembo, Uruguay. The son of an adulterous relationship between Paul Lasserre and Berthe Gardes, Carlos (or Charles Romuald) arrived in Argentina at the age of two, after his mother had to leave her country for Buenos Aires. [3]
Gardel spent his youth in Buenos Aires near the market in the Abasto neighborhood (it was there that he was given the nickname El morocho del Abasto, the brunette of Abasto), El Francesito (The French). He willingly joined the local pandillas, the youth street gangs (and for small facts he was even stopped by the police), from which he acquired the characteristic porteňo accent of the Lunfardo dialect.
The young Carlos abandoned his studies in 1906, because he has a beautiful baritone voice and his passion is singing; he frequents the scenes of theaters, he also works as a theatrical engineer, perhaps he knows the important singer and musician Arturo de Nava who would have taught him the techniques of singing and guitar. In 1911 with the singer José Razzano, he forms a duo that becomes a trio in 1912 with the guitarist Francisco Martino; they participate in singing shows and Gardel records his first records of Argentine folk songs, estilos, zambas, cifras, tonadas, milongas, chacareras for the Casa Taggini.
In 1913 with the contribution of the singer Saúl Salinas the trio becomes a quartet that also performs in the province of Buenos Aires, but soon Salinas leaves the group which thus takes the name of Terceto Nacional: with the separation of Martino, at the end of 1913 , the Duo Nacional Gardel-Razzano performs in the prestigious Armenonville cabaret in Buenos Aires, from which, it is said, at the end of the show they are carried in triumph through the streets. On January 8, 1914 Gardel and Razzano made their debut at the Teatro Nacional in Buenos Aires and gradually in the various theaters of the capital and of the major Argentine cities. In 1915 they made their debut at the Royal Theater of Montevideo and went on tour in Brazil during which they met the famous Italian tenor Enrico Caruso. In a fight at the end of 1915, Gardel is hit by a stray bullet that will remain in his left lung for life. Having recovered, in 1916 he performed with Razzano in Mar del Plata.
In 1917, for the first time, he put on a tango repertoire, singing at the Empire Theater in Buenos Aires, Mi noche triste, by Samuel Castriota and Pascual Contursi, versified in lunfardo, the slang of the slums of Buenos Aires; since then he will record more than 900 tangos. On 9 April he records records for the Glucksmann House and is the protagonist of the film Flor de durazno (Peach blossom): it is the first film of Argentine cinema. Gardel then weighs 120 kilos: it will take months in the gym and a lot of good will to keep his weight in the form of 75 kilos for his 171 centimeters in height. At the same time he met Isabel del Valle, a fourteen-year-old who becomes his official girlfriend, but whom he will never marry. From 1921 the guitarists José Ricardo and Guillermo Barbieri joined the duo; in 1923 the duo, with the Rivera - De Rosas Company, exhibited their repertoire of tangos in Argentina and moved to Europe, Spain, debuting at the Teatro Apolo in Madrid.
In 1924 in Buenos Aires he sang for the Radio LOW Gran Splendid, recorded with the orchestra of Francisco Canaro and the following year with that of Osvaldo Fresedo. After separating from Razzano, who has problems with his throat but continues to administer Gardels assets, on 5 November 1925 he is at the Goya Theater in Barcelona, where he records discs with the modern electrical system. He is still on tour in Spain in 1927. Back in Buenos Aires in 1928, he joins the guitarist José María Aguilar, with whom he performs at the Fémina theater in Paris on September 30, 1928, together with Joséphine Baker, and at the Florida cabaret in October. In January 1929 he was briefly in Italy and on February 5 he returned to France, where he sang at the Paris Opera and on the Cote dAzur, then moving on to Barcelona and Madrid. TESEO - Por Una Cabeza - On Double Bass](https://i.ytimg.com/vi/PJwL917am6I/mqdefault.jpg)



![Halleluja - Double Bass Solo
#Halleluja#LeonardCohen#TESEO#Doublebass
Hallelujah is a song written and performed by Canadian singer-songwriter Leonard Cohen for the album Various Positions, released in 1984. The song was released as a single, along with side B The Law, but initially had no commercial success. Despite this, many reinterpretations of Hallelujah followed one another over the years, by both Cohen himself, who repeatedly modified the text, and many other artists.
The first cover of the song dates back to 1991 and was recorded by John Cale. Since then, over 180 reinterpretations of the song have been recorded, and many more are the artists who have repeatedly performed the song live during their concerts. The song was also the subject of a 2008 documentary that aired on BBC Radio 2, is part of countless film and TV soundtracks and has often been used in television singing competitions such as The X Factor and Idol.
The most successful reinterpretation still remains that of Jeff Buckley, released in 1994 as part of his only album Grace. In 2008 the song was brought back into the spotlight by the interpretation of the British singer Alexandra Burke, who released it as a debut single right after winning the fifth edition of the British talent show The X Factor.
In 2009, director Zack Snyder used the song by inserting it into the soundtrack of his adaptation of Watchmen; Snyder also chose to reuse the song for the trailer for his Justice League directors cut.
The text of the piece contains numerous biblical references and has been the subject of different interpretations, also as a result of the continuous changes in the verses that constitute it and the multiple styles adopted in its execution by the artists who have sung it over the years. One of the most recent interpretations is presented by G.A.M., an emerging singing group that prefers to perform a cappella.
The piece is the result of a long and complex compositional process. Bob Dylan stated in an interview that, backstage at a concert, Leonard Cohen had confided to him that it took him about two years to complete the writing of Hallelujah. Cohen himself confirmed the episode, but added that he had lied, because he was ashamed to reveal that in reality it had taken an even longer time than stated. Cohen added that he had written over 80 stanzas for the song, among which he then chose the six that fit into the initial version of the song, recorded for the 1984 album Various Positions. Cohen described the difficulties in composition by citing one episode in particular:
I had filled out two notepads and I remember sitting at the Royalton Hotel [in New York] sitting on the carpet in my underwear, banging my head on the floor and saying I cant finish this song.
The song was then recorded in the Metropole studio in Manhattan, in the city of New York, together with producer John Lissauer, who collaborated on the entire album from which the single is based, also taking care of the arrangements.
In 2009, during an interview with the Guardian, Cohen stated that the release of the song, as well as that of the entire Various Positions album, was also quite complex, as the record company Sony Music believed that the material was not good enough. Cohen thus added that he considers the popularity achieved by Hallelujah through his many performers as a sort of small revenge against the initial distrust shown by the record company.
Hallelujah, nella sua versione originale, è in 6/8, che evoca sia valzer che tempo gospel. È stato scritto nella tonalità di do maggiore, i versi della canzone fanno riferimento alla funzione armonica degli accordi su cui sono stati scritti: goes like this, the fourth, the fifth, the minor fall, and the major lift: il IV grado (nel caso di Do maggiore, il Fa maggiore), il V grado (Sol maggiore), la ricaduta minore (ovvero il VI grado, La minore) e la spinta maggiore (indicata dal passaggio dal VI grado al IV grado, armonicamente imparentati).
The initial version of the passage contains many references to the biblical texts of the Old Testament. A second version of the song was recorded live in 1988 and later released on the 1994 Cohen Live album. The verses used on this occasion were deprived of most of the references to the sacred text, thus giving rise to a version with a very darker than the previous one.
Trying to explain the meaning of the passage, Cohen stated that:
“This world is full of conflict and full of things that cannot be joined but there are times when we can transcend the dualistic system and come together and embrace all the disorder, thats what I mean by hallelujah. The song explains that different types of hallelujahs exist, and all perfect and broken hallelujahs have the same value. It is a desire for life affirmation, not in some formal religious meaning, but with enthusiasm, with emotion. I know there is an eye that is watching us all. There is a judgment that evaluates everything we do. Halleluja - Double Bass Solo](https://i.ytimg.com/vi/QNNH1V3meio/mqdefault.jpg)




