Collection: Oliveira, Jovane

The author, Jovane Oliveira, has a degree in Music from Carlos Gomes Conservatory (Campinas-SP) in Music from Universidade São Judas Tadeu and a degree in Law Sciences from Universidade Paulista, both in São Paulo, Brazil. Since 1978, he has been working as a guitar teacher and Brazilian Viola Caipira teacher. He also works in musical theory, teaching harmony, rhythm, counterpoint, aesthetics, and interpretation, preparing several musicians with different instruments and styles. The author also advises actors to apply musical methods for vocal and interpretative development in the dramatic arts. He also works as a musical consultant in CD recording and production. He writes essays about guitar techniques, music, children's literature, and newspaper articles.

BELOW ARE COMMENTS FROM RENOWNED PROFESSORS ABOUT MY WORK

1 – Isabel Rei Samartim (GZ) – Jul, 20, 2023 – Music Conservatory of Santiago de Compostela

"Simple and beautiful

It's not that simple to transcribe piano music to guitar. This transcription by Jovane Oliveira of Satie's Gnosienne maintains the simplicity of the original and takes advantage of the guitar's capacity to generate the poetry that we love in this work. Congratulations!"

2 – Chris Dumigan (UK) – Jun, 30, 2021 – Teacher, Concert performer, Composer, The Musical Director and Arragments.

"J.S. Bach: Transcribed by Jovane E.R. Oliveira (Bergmann Edition)

Of all the editions of this wonderful piece arranged for guitar that I already have in my vast collection, none have been attempted in the original Cello key of G Major, the ones I have being in D Major, and even C Major. This is the first I have seen that is in the original key. Oliveira places the 5th string to G and the 6th to D throughout, but how close to the original does it now become, and does it create any problems for the player by being in this key?

With any new versions of this, and Bach's other iconic solo works , whether for Cello, or Violin , or even some of the other solo works , one has to decide what to put in that wasn't there before, and what to leave out that was. Oliveira, in this edition makes certain choices that some will like and others won't, but that is absolutely fine as long as it makes it as guitaristic as possible and doesn't change the inherent character of the piece. There are some places where he alters certain bass notes, for example bar 6 where both minim bass notes are C# in the original, and in this edition the second is an A found a third below. In bar 7 the opening F# is an octave lower than the original, and yet the original works fine! Furthermore in the next bar he again changes the octave placement of the second bass note, whereas Bach doesn't. I personally am not convinced when people alter the works of Bach when there is no real technical need to do so, although I am prepared to agree that this is a personal decision, and others might entirely disagree.

As regards actually playing the piece in all its six movements in G, it suddenly feels quite different and almost lighter in sound, as a lot of the time you are higher up the fingerboard than you were when performing it in C or D, but that is not a problem, as it does indeed work in G, the huge majority of the time.

It was a very interesting experience playing this is its original key , and as such I can see that many people will have the same reaction as myself, when trying it there, and so (odd bass notes notwithstanding) I can see that this is a worthy edition, and one that many guitarists will be intrigued to try out."

3 – Andrew Williams (UK) – Nov. 15, 2019 – Teacher and Composer

For more than 100 years, serious violinists have had their "Sevcik" - a voluminous set of technical exercises in four volumes published in 1880-1893 by the notorious Otakar Ševčík.

Now, Bergmann Edition brings guitarists of all kinds a similarly comprehensive set of exercises for their instrument. "Slurs" is an important new work by Brazilian author Jovane E R Oliveira. This 350-page book is about a technique essential for the study of the guitar, both classical and electric: the slur (known in classical music as 'legato'). Its scientific approach is an innovation in musical art.

The work consists of three volumes, but only the first volume "Linked Up", is currently ready for publication. It is presented with bilingual text in English and Portuguese.  Bringing a wealth of new material for the first time to the public, it is indispensable reading for musicians: the subject is rarely discussed in guitar literature and is difficult to perfect. 

From an educational perspective, this volume progresses from easy to highly difficult; from meeting the basic needs of beginners to catering for professionals at the highest level. In the words of the author: "my main goal is to help and provide musicians with mastery of this technique, which is not properly valued in the musical context." 

4 - Edson Lopes (Brazil) - Brazilian professor, guitarist, arranger and conductor.
"Congratulations on your publications. A beautiful and rich work. - On November 12, 2024."