SKU: HL.50506730
UPC: 073999117172. 9.0x12.0x0.172 inches.
Contents: Allegretto in A * Allegretto in A Minor * Allegretto in C * Andantino in C * Andantino in F Minor * Andantino in G * Marcia in A * Marcia in E * Minuetto * Perigordino - Due Varizioni * Rondoncino in E * Sinfonia * Sonata in C * Sonata in E * Sonatina * Waltz in E * Waltz in C.
SKU: HL.14047620
ISBN 9788850727667.
Edited by Centro Studi Fingerstyle.
SKU: HL.14025094
SKU: AP.42082
ISBN 9781470635077. UPC: 038081521558. English.
The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Now available as Book & CD kit. Titles: Nonesuch * Greensleeves * Packington's Pound * Ghiribizzo (Paganini) * Waltz from Sonata No. 9 (Paganini) * Andantino (Carulli) * Calliope (Lesson 61) (Sagreras) * Etude (Carulli) * Etude (Coste) * Arietta, Theme & Variations (Küffner) * Celeste y Blanco (Ayala).
About Suzuki Method
The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.
SKU: HL.48024601
ISBN 9781540050663. UPC: 888680933807. 9.0x12.0 inches.
Beyond the White Hand: Construction with Guitar Player, was commissioned by the Julian Bream Trust and first performed at St John's Smith Square by Andrey Lebedev in 2014. This substantial addition to the advanced solo guitar repertoire reflects and expands upon an earlier miniature from 2007: Guitar and White Hand, Birtwistle’s first piece for the instrument. Both pieces draw artistic inspiration from the artist Pablo Picasso: the smaller piece written for Forbes Henderson and sharing a title with the 1927 painting of the same name. The larger piece was composed in the centenary year of Picasso's Construction with Guitar Player after which the piece is named and the sculpture Guitar.Picasso made about a dozen 'sculptural' constructions’ during 1912-1914, many of which employ recycled or carved elements. A good number of these were destroyed and only one, Still Life was shown publically during his lifetime. Picasso's own Construction with Guitar Player was an installation of a partially drawn and painted figure to which he added arms made of newspaper that fold away from the wall to embrace a real guitar. In the foreground stands a table with a bottle of wine and this was photographed by Picassoin his studio in 1913. Musically, Birtwistle’s Construction is a large scale, dense work of sixteen minutes’ duration. It does not develop linearly, but presents fragments of detail, interruptions, digressions and loops as a “deconstructed guitar†in sound.
SKU: MB.99931BCDSP
ISBN 9780786683932. 8.75 x 11.75 inches.
Esta introduccion facil de entender, paso a paso a la lectura musical y guitarra solista presenta notas basicas en la primera posicion. Incluye un CD de acompanamiento y una seccion especial de tipos de guitarras, preguntas frecuentes, como encordar la guitarra y terminos guitarristicos y musicales.This very easy to understand, step by step introduction to note reading and guitar solo performance presents basic notes in first position. It features a companion play-along CD and special sections on types of guitars, frequently asked questions, how to string a guitar, musical and guitar terms.This easy-to-understand introduction, step by step to music reading and solo guitar presents basic notes in the first position. Includes a CD of accompaniment and a special section of guitar types, frequently asked questions, such as stringing the guitar and musical and musical terms.This very easy to understand, step by step introduction to note reading and guitar only performance presents basic notes in first position . It features a companion play-along CD and special sections on guitars, frequently asked questions, how to string guitar, musical and guitar terms. Written in Spanish only.
SKU: DY.DO-1522
ISBN 9782897963026.
Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
SKU: YM.GTL01097129
ISBN 9784636971293.
25 Famous melodies for guitar solo. Players are able to listen the model performance on the smartphone through the QR cords attached to each page. 25Shou Ji Ta Du Zou Ming Qu . Yan Zou Zhe Ke Yi Tong Guo Sao Miao Er Wei Ma Shi Yong Zhi Neng Shou Ji Shi Ting Shi Fan Yan Zou . 1. Liszt: Liebestraum; 2. Debussy: La fille aux cheveux de lin; 3. Dvorak: Largo from A New Wrold Symphony; 4. Satie/Ju te veux; 5. Chopin: Prelude Op.28/7; 6. Haydn: Theme from 2nd movement of Kaiser Quartet; 7. Verdi: Triumphal March from Opera Aida; 8. Ravel: Bolero; 9. Massenet: Meditation from Opera Thais; 10. Borodin: Polovtsian Dances from Opera Prince Igor; 11. Moussorgsky: Promnade from Pictures at an Exhibition; 12. Smetana: Melody from Moldau; 13. Schubert: Melody from Trout Quintet; 14. Bach, J. S.: Prelude from Suite for Cello No.1; 15. Liszt: La campanella; 16. Paganini: Caprice No.24; 17. Tarrega: Adelita; 18. Tarrega: Etude No.1; 19. El Noi de la Mare; 20. Sanz: Canarios; 21. Tarrega: La'cryma Christi; 22. Sol: Waltz from 6 pieces; 23. Siciliano; 24. Londonderry Air; 25. Gershwin: Rapsody in Blue.
SKU: HL.44007159
ISBN 9789043127486. UPC: 884088194017. 8.75x11.75 inches. English-German-French-Dutch.
Strings of Colour contains pieces for the somewhat advanced acoustic guitar player, in which, among other things, the frequent use of loose strings in position (campanella effect) provides a rich, colourful sound, as you can hear on the demo CD! Strings of Colour bevat goed speelbare stukken voor de enigszins gevorderde gitarist waarin - onder meer - het veelvuldige gebruik van open snaren in positie (het campanella-effect) zorgt voor een volle, kleurrijke sound, zoalsop de bijgevoegde demo-cd te horenis!Strings of Colour umfasst zwolf Stucke fur den massig fortgeschrittenen Gitarristen, die unter anderem Techniken und Effekte wie z.B. Hammer-on, Pull-off und Flageoletttone enthalten. Das haufige Mitklingen lassen von offenen Saiten im Lagenspiel (der so genannte Campanella-Effekt) verleiht dem Gitarrenspiel Tiefe und einen besonderen Reiz, der auf der beiliegenden Demo-CD gut zur Geltung kommt. Strings of Colour e una raccolta di brani per la chitarra acustica. I pezzi permettono di esercitare varie tecniche della chitarra e l'esecuzione in posizioni aperte (effetto campanella), ideale per dare piu profondita alle vostre dinamiche.
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