troubleclef
Youre a Mean One, Mr. Grinch
updated
Of course based on the Elis Regina version (César Camargo Mariano arrangement?)
An all time favorite of mine:
youtube.com/watch?v=Hgh0_acaBcw
OLD video. Finished but never posted.
Please fill in heavy breathing as needed.
It is one of my memory helper, self-teaching videos
Posted as Work in Progress that never made it. Meant to inspire someone else to complete it maybe.
You Only Live Twice
Music by John Barry; Lyrics Leslie Bricusse
Music Bruno Canfora, Words Antonio Amurri
This was a take of a version of this song that I never posted and not sure why. Think it kind of works pretty well. Just never got round to it.
youtube.com/watch?v=5XVFCcwr8Co
This song by Mina has the distinction of being at the top of the listen count in my Itunes library. Actually it's tied with Gabriela Montero's recording of Scriabin Prelude Opus 16 #4 at 22 listens each.
After that the list goes:
Theme from "Walkabout" by John Barry (18 listens)
Première rencontre by Francoise Hardy (14 listens)
Wondering Again by Jethro Tull (14 listens)
Clube da Esquina by Lo Borges (14 listens)
and so on.
This was a different take of my arrangement/transcription without the weird audio thing i did on the originally posted video. Note there's a couple of false starts and mucking around at the start.
This OLD video is one of my self-teaching, memory helper videos for arrangements that never got finished. I have several others if people seem to like them or get anything out of them. Maybe you can finish what I started.
Audio is generally terrible on these kind of videos which I just recorded straight to the mac without using garageband or Imovie or anything. I apologize for the quality.
I've been seriously into Arthur's music for the last couple of weeks. Perfect this time of year sound, to my mind.
youtube.com/watch?v=X83kZr2av_o
Debra did a fabulous job. Enjoy.
"Delius" by Kate Bush
A sort of gloss on this song by Kate. Not really a true arrangement of this rather abstract song. Hope you like it. Played on my old Huss and Dulton guitar that I no longer own.
OLD VIDEO. Not new.
Debra took another of my old clips and added a lovely vocal to the 2nd chorus. Enjoy
Music: Richard Rodgers, Lyrics: Oscar Hammerstein II
I worked on Bach's "Ich Ruf Zu" for a while and somehow got further with the 2nd half and even filmed it. Sounds like it worked pretty well. I remember having too many problems with the opening music (stretches or octave displacements aplenty) so I abandoned it.
My sources were a score in piano reduction, and learning by ear from Philip Hii's guitar recording and Leif Ove Andsnes piano recording.
Teas by Donovan Leitch
One of my favorite Dono songs. tried to capture in multiple attempts. This is as good as it got.
Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Another vocal from the lovely Debra Skeen.
Love this song and I think my arrangement of it was one of the better I did.
cheers.
Debra has a beautiful voice. Hope you enjoy this as much as I did.
Debra's channel:
youtube.com/channel/UCEEVT-r8ZicvibbAFhtuVNA
"Never Never Land"
Words and Music by Jule Styne, Betty Comden & Adolph Green
Music by Elton John
Let's put old man 2014 to rest. Happy 2015 everybody.
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Words and Music by Jule Styne, Betty Comden & Adolph Green
Always loved the version that Todd did of this on AWATS, but this is learned from the soundtrack to "Peter Pan Live" that was on TV a couple weeks ago. The A major key much easier and natural on the guitar than the Todd version.
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
My gloss on Rahsaan Roland Kirk's classic reading of the old carol written by John Henry Hopkins, Jr. from Kirks' 1961 album of the same name. Happy free king holidays everyone.
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Drop D tuning
D'addario Pro Arte normal tension nylon strings
Music and Words by Thom Bell and Linda Creed
The Stylistics
If you know one thing about me, you know I love me the slow jams and the sweet Philly soul. (Or is that two things?)
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
This one, whom I dubbed "King Herod", was quite bold and in no uncertain terms let me know whose fishing spot this was. He had much better luck than I did that day, for sure.
This spot is *directly* across the river from the proposed Wynn casino which will essentially block all that lovely sunlight from hitting the opposite shore in the morning and will almost certainly foul up King Herod's fishing grounds.
Fellow Massachusetts voters: Vote "Yes" on Question 3! Repeal Casino gambling!
Words and Music by Freddie Mercury
I didn't have album "A Day At The Races" when it came out, so I didn't really know this song until recently. Not sure how I could have overlooked such a gem. Here's my version. Hope you like it.
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Words and Music by John Lennon and Paul McCartney
The Beatles
The Beatles were a fairly well-known big beat combo of loveable mop tops from the industrial Northwest of bonny olde England.
When this song was new, I had a crush on a girl in my Sunday school named Rita. I'm not sure I knew what a "meter maid" was. I was six or seven.
Hope you like this.
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Drop D tuning
D'addario Pro Arte normal tension nylon strings
Music by Ivan Lins, words by Vitor Martins
A brilliant early song from Ivan. He's re-done it a couple times but the earliest version (I believe) is the best on his album "Somos Todos Iguais Nesta Noite". Listen to that one.
youtube.com/watch?v=1CmlQ0pfnNk
Hard to imagine that this many chords can still be contained in something that's ostensibly a pop song. And not just the number of chords, but also some real dense, rich and strange chords as well.
This is pitched a whole step lower than Ivan's version and is mostly just chords only. Occasional bits of melody. But the chords are so rich that they work pretty well just by themselves.
The words are quite beautiful too. I believe they wrote it for Nana Caymmi, whose version is on my hands-down favorite album of hers called "Renascer". Listen to that one!
youtu.be/Injg6UafcuA
Oh man, that version just kills me dead.
Then go buy the song on itunes or amazon or something. Buy that whole album!
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Drop-d tuning
D'addario Pro Arte normal tension nylon strings
Music by Baden Powell, words by Vinícius de Moraes
Arranged by Paulo Bellinati
One of the great "afro-sambas" of Baden and Vinícius, "Canto de Xangô" is inspired by the African deity Xangô, the god of the lightening bolt and of justice.
If you're familiar with the song but not this version, you may not recognize the tune here except at certain moments. This is the guitar part only of an arrangement by Paulo Bellinati for voice and guitar and the tune is mainly carried by the voice with the guitar only occasionally echoing and combining with the well-known melody.
Hear the whole thing by listening to and then buying the Mônica Salmaso/Paulo Bellinati album "Afro-Sambas", one of the greatest albums of voice and guitar in the whole catalog in my not entirely humble opinion. ;)
My version here isn't perfect by far, but it's about as good as I can do a whole run through without edits of such a hard arrangement. Hope you like it.
Peace!
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Kurt Weill; Lyrics by Maurice Magre (but don't pay any attention to them. You know it's not true...:D)
Originally written for the chanteuse française, Lys Gauty and recorded by her in 1934. I first heard the song on Teresa Strata's recording "The Unknown Kurt Weill" but I worked on this mostly by listening to a video here on youtube by a charming group called the Atar Trio. Look them up. Then I did some comparative listening to Anne Sofie von Otter singing it as well.
Some interesting and unusual harmonies which I try to bring out.
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Jerome Kern, Dorothy Fields
Not a proper arrangement, just sort of screwing around with this old chestnut. Came out pretty well, I think.
Got the key from a nice live version on youtube by the spectacular Sara Bareilles. But Barbara Cook's version is also in C, so that helped me larn it, too.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Shaun Davey
Words by a lesser-known English poet and playwright. William something.
Sung by Ben Kingsley in Trevor Nunn's entertaining film production of "Twelfth Night" from several years back.
The chords in this song have always intrigued me. Working them out was a treat. Basically there are a lot of sus 4's in there. Tune your E string down to D, put a capo on 4 so B major plays like G major.
Taylor NS54-ce, hybrid classical
Drop-D tuning, capo on 4
D'addario Pro Arte normal tension nylon strings
Music and Words by Burt Bacharach and Hal David
Written for the film "Casino Royale" which is a favorite of mine.
My arrangement.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music and Words by Milton Nascimento and Fernando Brant
I've been working on this for years. Still working on it! Qualquer dia, amigo, eu vou tocar essa música sem oopsies.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music and Words by Edu Lobo and Chico Buarque
Arranged by Paulo Bellinati.
This appears on Bellinati's album "A Felicidade"
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Jule Styne, Words by Sammy Cahn
A torchy old chestnut. My original inspiration for doing this was the great Frank Sinatra/Nelson Riddle version which is on Frank's album "Only the Lonely" and features a similar solo acoustic guitar opening (Al Viola I think), but I like Dexter Gordon's version just as much and incorporated a little of that as well (Mainly the middle. Frank and Nelson's middle 8 is all airy-fairy and weepy-sleepy. Dex's and also the version by Diana Krall have more of a bluesy swing to them that works better on a solo guitar, metinks)
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by David Bowie
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Drop D tuning
D'addario Pro Arte normal tension nylon strings
Music by Thelonius Monk, Cootie Williams & Bernie Hanighen
Arranged by Joe Pass
From Joe's all-acoustic album "Unforgettable". Not the same arrangement as the version for electric guitar on the famous "Virtuoso" album.
Proudly learned by ear and hand-picked for you.
I have nothing written down. No Tabs, No Coke, No Pepsi
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Richard Rodgers, Lorenz Hart
Arranged by Joe Pass
Please note an audio/video splice at 2:48. First time I've done that with a youtube post of mine. Sure takes the pressure off trying to do a perfect single take, let me tell ya. Actually now that I know I can do it, there's LOTS of other moments in the two takes here where I should like to play cleaner and better...but hey it might end up looking all patched together if I do it too much.
My two favorite Joe Pass albums are "Unforgettable" and "Songs for Ellen". Naturally, that's because they are the two all acoustic all solo albums. This arrangement comes from the "Songs for Ellen" album. I'm now working on his arrangement of "'Round Midnight" from "Unforgettable". Anyhow, two great albums if you prefer the acoustic guitar. But you can't go wrong with anything the great Joe Pass did.
Happy New Year, Everybody!!
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Walter Gross, Lyrics by Jack Lawrence
Arranged by Luiz Bonfá
I don't think that's how Bonfá played that type of tremolo that he used on several tracks. The description I read of it is that he somehow used his third finger to achieve the effect. It's tricky anyhow.
This thing was a bitch to get half right. That guy was a genius.
Now, don't go saying I played it "tenderly". Uggh. C'mon, you can do better than that. :D
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Hoagy Carmichael; Lyrics by Mitchell Parish
My attempt at an exact transcription of the version by Laurindo Almeida. Recorded on his album "Concierto de Aranjuez"
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Alessandro Sisca and Salvatore Cardillo
One of the most famous of the Neapolitan songs recorded by scads of the greatest tenors.
It was written in 1911 for Enrico Caruso (according to wikipedia). I took my version from a live recording here on youtube of Giuseppe di Stefano with piano.
My favorite recording of this is on Franco Corelli's album named simply enough "Franco Corelli sings Neapolitan Songs". The orchestrations on that album, by Franco Ferraris, are spectacular.
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Drop-D tuning
D'addario Pro Arte normal tension nylon strings
Music by Raoul Moretti Lyrics by René Nazelles
From the 1930 film of the same name directed by René Clair and starring Albert Préjean and Pola Illéry. Also made popular by Maurice Chevalier.
The familiar song actually is the 2nd half of this clip. The first part I guess one could call the "main title" music from the film that plays under the opening credits. Don't know what it's actually called or who wrote it. I assume it is Moretti as well. But it could possibly be André Gailhard according to listener "zardozfrance" in a comment below.
I've wrangled with the arrangement for over 6 months. Still not quite quite what i want it to be. But I was inspired this evening listening to Laurindo Almeida playing his arrangement of "Stardust" and it helped me to fashion the lazy slow non-rhythmic intro music here the best I could.
"Sous les toits de Paris" is a great film, but I can't say it's my favorite of Clair's. That honor would have to go to "À Nous la Liberté" which is genius. But all his films I've seen have been either brilliant or pretty near. I recommend the two already mentioned as well as "The Italian Straw Hat", "It Happened Tomorrow" & "Le Million".
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Words and Music by Billy Strayhorn
The Billy Strayhorn masterpiece done for you here in my version after the recording of Sarah Vaughn.
For people who may not be up on American slang, "Lush" doesn't mean 'luxurious' here. It means "drunk". Just sayin.
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Arranged by Xuefei Yang
Learned by ear. I have no score or tablature.
Commonly known as the "Air on the G String" I have re-dubbed it the "Air on the Six String". Bach never referred to it by it's commonly-used nickname. According to wikipedia "The title comes from violinist August Wilhelmj's late 19th century arrangement of the piece for violin and piano. By transposing the key of the piece from its original D major to C major and transposing the melody down an octave, Wilhelmj was able to play the piece on only one string of his violin, the G string."
This was arranged by guitarist Xuefei Yang for 7-string guitar and recorded on her stellar recent release of Bach works on EMI called simply "Bach Concertos". Pick it up.
I had the pleasure of seeing Xuefei in concert recently and she played this as an encore. If she comes to your town, go see her. Fabulous.
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
tuning: C#ADGBE
D'addario Pro Arte normal tension nylon strings
Music by Jules Massenet
Arranged by Laurindo Almeida (available from Mel Bay in "The Laurindo Almeida Anthology of Guitar Solos")
One of the most covered, transcribed and arranged pieces in all classical music judging from the sheer number of recordings I found on Itunes.
This is mostly as Almeida arranged it. I've changed a couple things here and there, mostly in the bass. His arrangement takes more into account the fact that a solo guitar doesn't have a fraction of the sustain of a violin and orchestra. So in many places he adds bass notes that I don't think are necessary. And for some reason he eliminated altogether the descending bass line that begins at 3:23.
Concerning the chord at 4:41. This is commonly written as a straight B-minor in solo transcriptions, but I hear a g in there so I made it a g-chord in 1st inversion. I checked the full score and indeed Violin II is scored as playing a g on this chord. So there it is.
I don't know what's up with my camera. It's gone into some kind of "action" mode where it jerks around nearly as much as I do. I apologize for that. I'll figure it out and set it back to stationary mode.
Taylor NS54-ce, hybrid classical
Drop-D tuning
D'addario Pro Arte normal tension nylon strings
My two guitar version of Gluck's famous melody from the opera "Orfeo ed Euridice".
Based on Jascha Heifitz's transcription for violin and piano. Learned by ear.
Overdub Alert: No, your eyes aren't playing tricks. You see me only playing the accompaniment part. The melody line is overdubbed.
Happy New Year, everybody!
I have nothing written down.
Taylor NS54-ce, hybrid classical
Drop-D tuning
D'addario Pro Arte normal tension nylon strings
"Olha Maria"
Music by Antonio Carlos Jobim
Words by Vinícius de Moraes and Chico Buarque.
The original instrumental version of this song as Jobim composed it was called "Amparo".
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Drop D tuning
D'addario Pro Arte normal tension nylon strings
Music by Johann Sebastian Bach
From Cantata 208 popularly known as the "Hunt Cantata" the full real title of which is "Was mir behagt, ist nur die muntre Jagd" (The lively hunt is all my heart's desire).
One of the so-called secular cantatas, which surprised me when i found it out recently. I'd always thought that the context was very Christian, y'know the sheep and the shepherd and all that. Turns out the words that are sung while all this is going on make a much more political point, I think:
Sheep may safely graze
where a good shepherd watches.
Where rulers govern well
we may feel peace and rest
and what makes countries happy
With one piece of music, Bach invented the "pastoral" style. You close your eyes and you see a bright and sunny day, the fields, the sheep. You smell the hay. What is it about a bunch of notes that can do that?
The first time I heard the piece was on organist Virgil Fox's greatest hits, an LP record I owned back in the day.
I never thought I'd ever get through Rick Foster's notoriously difficult arrangement made for Christopher Parkening but with a few emendations that I've made here it's really possible for those of us with merely ordinary size hands. Any arrangement of such a complex piece will necessarily involve compromises. Here and there I shorten a half note where trying to hold it would make for an extraordinarily difficult fingering and transition. In several places I've also filled in eighth note chords. I took as my inspiration for this the beautiful recording of Leon Fleisher on his album "Two Hands" where he plays the piano arrangement of Egon Petri which does just that. I think it makes it sound less, shall we say, "Lutheran". :D It certainly does when Leon plays it any how. If you don't have that record, go get it.
You should be able to find this arrangement in the book "Parkening Plays Bach" which I believe is still in print.
TUNING is CGDGBE
Taylor NS54-ce, hybrid classical
D'addario Pro Arte normal tension nylon strings
Music by Richard Rodgers
Words by Oscar Hammerstein II
From the musical "Oklahoma!"
It's impossible to be unhappy when you listen to songs from this show. I hope you enjoy this as much as I enjoy playing it.
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Drop D tuning
D'addario Pro Arte normal tension nylon strings
amazon.com/Tuesday-Afternoon-Tony-R-Clef/dp/B005GL89LA/ref=sr_1_1?ie=UTF8&qid=1364869200&sr=8-1&keywords=tony+r+clef
Click on '"1 Collectible" from $20.00'. That will take you into my Amazon seller profile "SomerCD". Buy it from me, and I'll autograph a copy and send it right out.
"She's Leaving Home"
Lennon and McCartney
The Beatles
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Words and Music by Paul McCartney
Here's the link to my album on Amazon:
amazon.com/Tuesday-Afternoon-Tony-R-Clef/dp/B005GL89LA/ref=sr_1_1?ie=UTF8&qid=1364869200&sr=8-1&keywords=tony+r+clef
Click on '"1 Collectible" from $20.00'. That will take you into my Amazon seller profile "SomerCD". Buy it from me, and I'll autograph a copy and send it right out.
My arrangement. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Pat Metheny and Lyle Mays
From their great album "As Falls Wichita So Falls Wichita Falls"
Always one of my favorite Metheny numbers, I got the inspiration for doing this from seeing Jake Reichbart's recent Pat Metheny post (jreichbart) of a different song ("Follow Me") and by coming across a version of the latter half of this piece done by Giampietro Urso (ursogiampietro62). Check out their posts.
My transcription. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Antonio Carlos Jobim
Arranged by Paulo Bellinati
from the Mel Bay book "Antonio Carlos Jobim for classical guitar arranged by Paulo Bellinati" (10 amazing pieces and arrangements; 1 low price. Buy it. :D)
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Words and Music by Steve Hackett
One of my favorite Steve Hackett songs from certainly my favorite of his solo albums "Voyage of the Acolyte". I bought the original vinyl record album at the Harvard Coop on a class field trip to Cambridge, MA at the start of my junior year of High School (German class; Fall 1976). All the other kids got one look at that album cover and said "Oh, brother, you're weird."
The album was the soundtrack to my first unrequited grande amor. It probably wasn't a good idea for my future romantic prospects that I was listening to this beautiful and sad music at such a tender age.
Ah, hell, I got over it. :D :D
NOTE: Audio Trickery Disclaimer - I haven't had time to really hammer out the little groovy harmonized thirds thing towards the end, so I did a separate recording of it and dropped it into the audio you "see". The video gets a little out of sync after that. Didn't want to try to pull the wool over anyone's ears. Particularly hard to pull that off at the end of such a long song. You'd have to BE Steve Hackett! :P
The rest is all done in that one take. I also do a little truncate in a middle section that just doesn't work without some Taurus bass pedals.
My transcription. Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings
Music by Sueli Costa
Words by Paulo Cesar Pinheiro
This is a near exact transcription of just the guitar part as played (and most likely arranged) by the great guitarist Hélio Delmiro on Fátima Guedes' 1994 album "Pra Bom Entendedor...". (Really beautiful, amazing album. One of my favorites. Still available on Amazon and Itunes).
I worked on a version adding as much of the melody into the guitar part as i could but wanted to get this down and filmed so I wouldn't have to keep re-learning it from scratch without the visual aid.
The song is a love song to the guitar itself. (In Brazilian Portuguese, "violão" is the name of the nylon string, classical guitar. The word "guitarra" is more reserved for the steel string and electric varieties)
The lyric (see below) is by the Brazilian poet Paulo Cesar Pinheiro. My free translation follows.
Um dia eu vi numa estrada
Um arvoredo caído
Não era um tronco qualquer.
Era madeira de pinho
E um artesão esculpia
O corpo de uma mulher
Depois eu vi
Pela noite
O artesão nos caminhos
Colhendo raios de lua
Fazia cordas de prata
Que, se esticadas, vibravam
O corpo da mulher nua
E o artesão, finalmente,
Nesta mulher de madeira,
Botou o seu coração
E lhe apertou contra o peito
E deu-lhe nome bonito
E assim nasceu o violão.
One day in the street I saw a fallen tree
There was no trunk to be seen.
It was pine wood
And with it an artesan was sculpting
The body of a woman
Later I saw
That night
The artesan going about his way
Collecting the moon's rays
With them he made silver strings
That, once attached, vibrated
The nude body of the woman
And, finally
Into this woman of wood
The artesan poured out his whole heart
And held her against his breast
And gave her a beautiful name
And thus was born the "Violão".
Learned by ear. I have nothing written down.
Taylor NS54-ce, hybrid classical
Standard tuning
D'addario Pro Arte normal tension nylon strings


