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Gringa Club

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Guitar Girl Rocks the World with Her Original Songs and Production Skills



Instruments she plays:Guitar (Acoustic, Classical and Electric), Ukulele, Piano, Drums, Bass, VocalsMiu miu has passed the highest grade certification for acoustic guitar in China (Grade 10 Guitar). She has learnt guitar since the age of 3, and since then has racked up over 2000 hours in practice time! She can practice 5 or 6 hours (maximum up to 7 hours) in a single day, especially during the lockdown period where she stays at home.


The Guitar Player represents a new direction in Vermeer's art. Because he developed and perfected compositional balance and harmony during the 1660s, he was able to expand and paint scenes that show imbalance and fluctuation.[4] Vermeer's painting of The Guitar Player rejects compositional balance and harmony, which contradicts his previous paintings.[4] This painting exhibits an unbalanced arrangement that depicts a lack of compositional consistency, but also rejects the past instrument of the lute to focus on the modern guitar.[4][3][5] The rejection of the lute and depiction of the guitar may be linked to Vermeer's compositional organization.[4] Vermeer painted the young guitar player far to the left, covering the right half of the painting in light and shadow. This imbalance gives the viewer a sense of change and movement. The combination of an uneven arrangement conjoined with a gleam of light coming from the right rather than the left, forces the viewer engage with the character and instrument in this painting.[5] The compositional arrangement is reinforced by Vermeer's decision to specifically direct the light onto the guitar player, which helps the viewer feel the impact of her presence.[5] As a result of Vermeer's decision to paint a single personality, a greater importance and focus is placed on the instrument.[6] The inclusion of a pastoral landscape, dark curtains, three books, and a blue tablecloth provide a counterbalance to the overriding composition displayed on the left of this artwork.[3]




guitar girl



The late style of Vermeer utilized a number of painting techniques, most of which suggest an abstract style.[2] His fascination with objects and actions that portray movement and sound are represented by an approach to painting that establishes objects as diffused and illuminated.[2] In his painting, Vermeer integrated the use of abstraction through the strum of the guitar strings and movement of the right hand.[2] Because this painting stayed with him until he died in 1675, we are to assume that this was his own stylistic direction, and not a request of a patron.[2]


In this painting, Vermeer depicts a young girl strumming a guitar. The instrument is placed comfortably on her lap while she plays near a window, sitting in the corner of a room. Her attire is made up of an ermine-bordered yellow jacket, an ivory-colored satin dress, and a pearl necklace.[5][7] Surrounding her is a painted pastoral landscape bordered by an extravagant picture frame, a blank wall, three books, and a guitar.[5][7] Prior to this painting, Vermeer portrayed individuals with obscure expressions.[3] On the contrary, this young girl has an open expression that is joyous and flirtatious. The girl's smile and tipped head, along with the fixed gaze on something just outside the painting suggests that she is playing not for us, but for an unseen individual.[6][7][3] Her dress and hairstyle reflect the relevant fashions of the wealthy Dutch, in that day.[3]


The young girl is portrayed with wholesome features and a free expression, as if she is in the act of speaking or singing. The joyous demeanor established in this painting is conveyed through the young girl's self expression, the peaceful landscape pictured behind her, and the soft tones of light and dark. Due to these factors, Vermeer is able to provoke feelings of calmness and contentment.[7]


The depiction of a satin dress implies a life of luxury. The young girl's gown is presumably starched satin. For the dress to appear heavy and shimmery, the material was stiffened with starch and then ironed. The act of painting fine materials such as satin, took time and talent. To realistically represent luxurious materials, the artist had to be able to depict small details in the folds and patterns of the dress. To complete such a task, the artist often set up a life-sized wooden manikin dressed in the garments.


Vermeer's depiction of a pearl necklace alludes to the young girl's elegant lifestyle.[3][2] In this work he used an abstract technique to portray the pearl necklace, which was replicated his painting, Allegory of Faith.[3][2] To begin, he painted a base layer of dark greenish gray that curved around her neck to depict a shadow.[3][2] Over the shadow, he created a hazy sequence of white spherical highlights.[2][3] He did not define the individual pearls to portray the natural translucence of the gemstone.[3] Compared to his paintings of the mid-1660s, Vermeer simplified and dismissed intense detail for abstracted portrayals.[3][2] This shows an outgrowth of his own style, along with a technique that was not frequented by artists of his time.[2]


Vermeer's depiction of a young girl making music is associated with the nobility found in artistic inspiration, as well as the art of painting in the seventeenth century.[8] The guitar originated in Spain, and was keenly sought after in the Dutch Republic.[9] Compared to the lute, the guitar was cheaper and easier to play.[10] This instrument has been decorated with a combination of ivory, ebony, tortoiseshell, and mother-of-pearl. The soundhole is created with multiple layers of ornately scrolled paper.[9] In the seventeenth century, the guitar was used as both a continuo (harmonic) instrument, and a solo instrument.[3] The music the guitar produces is bolder than that of the lute, and this is due to the design of the cords. The guitars strings reverberate deeper and fuller than that of past instruments.[5] It does not play as loud as the modern flamenco guitar, and the gut strings are played with fingers.[6][3] This painting depicts a five-course guitar, which was standard for most solo musicians.[6]


Vermeer's depiction of a guitar suggests a move into the modern world of music, in which the lute is left behind with its contemplative and conservative traditions.[5][3] The depiction of this guitar was created with immense attention to detail. The sound hole is created with a depiction of a finely tooled gold rose, where Vermeer has created an abstract arrangement of painted strokes. These strokes are highlighted with hazy accents of lead-tin yellow paint.[5] The decorative white and black trim of the guitars border intensifies the painting's cheerful atmosphere.[3] The small detailed sound hole was created with blobs of impasto paint, which portrays the light reflecting across its slick uneven surface. The most influential and well thought out technique Vermeer used in this painting focusses on the guitar's strings.[3] Some of the strings are blurred, this suggests that they have been strummed and are vibrating.[3][4] Because of this, we can assume she is in the midst of playing a song.


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Vermeer's picture-within-a-picture was identified by art historian Gregor Weber.[3] The landscape that is depicted behind the young girls head is identified with Pieter Jansz's, A Wooded Landscape with a Gentleman and Dogs in the Foreground.[3] In Vermeer's version, the mimicked composition is cropped slightly on top, and on the right. The head of the young musician covers the gentleman and dogs.[3] Vermeer's version guides the viewers focus towards the centered tree, as well as incorporating blue skies and greener foliage.[1]


Vermeer's depiction of a whitewashed wall allowed him to set the stage for a scene that illustrates an individual strumming a guitar composed on the left side of the canvas.[3] The painting's composition is balanced due to the large negative space the wall creates. The unobtrusive wall helps establish the mood of the painting, as well as the lighting scheme and spatial depth.[3] Because of the wall's color, Vermeer was able to establish a warm and welcoming temperature from the incoming light. Vermeer's brushwork also implies the lights direction.[3]


Vermeer's decision to depict three books suggests the young girl's sophistication, which is implied through a high level of education. Even though scholars do not know the book titles, it has been argued that the middle book's bulkiness resembles the Bible, and its been stated that the possible representation of the Bible implies biblical advice. If this is true, then the painting could indicate a decision to morally ignore the religious text. The young girl's body language and facial expression turn away from the book to pay attention to the individual on her right. Others argue that the presence of the book implies learning, which is familiar in Dutch paintings of the Middle Ages. According to scholar Elise Goodman, the young musician featured in this painting would be a member of the haute bourgeoisie who could read, write, and speak several languages.[3]


In this lesson, you will learn to play the original guitar chords and strumming patterns of the classic bossa nova song The Girl from Ipanema, written by Antonio Carlos Jobim (music) and Vinicius de Moraes (Portuguese lyrics).


EXCELLENT. Where? can we find more or be able to purchase a sheet music book with the original chords and bossa nova guitar patterns of Antonio Carlos Jobim songs, especially: Wave, Waters of March, Slightly Out of Tune (Desafinado), Meditation, Quiet Nights and Quiet Stars(Corcovado), One Note Samba, Dindi, Summer Samba.


Thanks for that, this sounds great! I always thought the original is in F (starting with Fj7 chord). Here is how I play it: -joe-z/girl-from-ipanema-joe-z-with-johnny-pugh-on-saxThanks .. Joe


By downloading Guitar Girl: Relaxing Music Game on PC with NoxPlayer, people enjoy the music of the guitar girl, give her flowers as a present, and watch her perform on a bigger screen. Make yourself relax and download Guitar Girl: Relaxing Music Game on PC now!


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