Composed by John W. Duarte (1919-). Edited by Richard Alexander Vaughan. Saddle stitching. Classical. Ut Orpheus #CH 359. Published by Ut Orpheus

Piano/Vocal/Guitar

SKU: HL.275347

By Kenny Chesney. Piano/Vocal/Guitar Artist Songbook. Country. Softcover. 136 pages. Published by Hal Leonard (HL.275347).

ISBN 9781540026040. UPC: 888680743659. 9.0x12.0x0.336 inches.

20 of Chesney's top hits, including: All the Pretty Girls * American Kids * Come Over * The Good Stuff * No Shoes No Shirt (No Problems) * Save It for a Rainy Day * Setting the World on Fire * Somewhere with You * There Goes My Life * You and Tequila * You Had Me from Hello * and more.

Composed by Guillermo Diego. Saddle-stitched. Latin American. Book. Mel Bay Publications, Inc #30826. Published by Mel Bay Publications, Inc

Guitar (Guitar)

SKU: HL.48189409

Leduc. Softcover. Alphonse Leduc #NT11361Z. Published by Alphonse Leduc (HL.48189409).

Anonym Cobo Carnavalito Air Sud Americain 3 Guitars Book.

Saddle-stitched. Folk. Book and online audio. 172 pages. Mel Bay Publications, Inc #31061M. Published by Mel Bay Publications, Inc

Guitar - Intermediate

SKU: DY.DO-1522

Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. Les Editions Doberman-Yppan #DO 1522. Published by Les Editions Doberman-Yppan (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 �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. � 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.

Guitar

SKU: GI.G-6088G

Communion Processional. Arranged by Rob Glover. This edition: Guitar edition. Sacred. Guitar part. With guitar chord names. 4 pages. GIA Publications #6088G. Published by GIA Publications (GI.G-6088G).

English. Text Source: Rob Glover, based on an African American spiritual. Text by Rob Glover.

Based on African American Spiritual.

By Green Day. For Guitar. Guitar Chord Songbook. Softcover. 96 pages. Published by Hal Leonard

by Laurindo Almeida, edited by Ron Purcell. Brazilliance Music Pub. Level: Intermediate-Advanced. Book. Size 9x11.75. 176 pages. Published by Mel Bay Pub., Inc.

Guitar - intermediate

SKU: M7.VOGG-454

Composed by Peter Bursch. Sheet music with CD. 144 pages. Voggenreiter #VOGG 454. Published by Voggenreiter (M7.VOGG-454).

ISBN 9783802404542.

Die Fortsetzung des erfolgreichen Songbuchs! Peter Bursch's zweites Songbuch für Gitarre enthält wieder tolle Songs berühmter Stars wie z. B. 'Dreamer', 'Hey Jude', 'American Pie' u.v.m. Peter Bursch hat in seiner einzigartigen und international bekannten Art jedes Lied für die Gitarre bearbeitet. Ohne Noten! Die Songs sind in 'leicht singbare' Tonarten transponiert und mit allen Griffen und Spieltechniken ausführlich erklärt und dadurch einfach zu spielen und zu singen. Außerdem finden sich alle Songs und Spieltechniken wie immer auf der beiliegenden CD zum Mitspielen. Songliste: Take it easy, Mrs. Robinson, 99 Luftballons, Hey Jude, Hey, Baby, That's all right, Behind blue eyes, As tears go by, Boat on the river, Paradies, American Pie, Summertime blues, The Boxer, Dreamer, Fields of gold, I walk the line, Come together, The sound of silence, Dust in the wind, Venus, Puff the magic dragon, Puff, der Zauberdrache, Four strong winds, Whiskey in the jar, Dream a little dream of me, Im ersten Morgengrauen.

Guitar - advanced

SKU: M7.BBA-4018

Tamboriles. Composed by Abel Carlevaro. Sheet music. 8 pages. MDS (Music Distribution Services) #BBA 4018. Published by MDS (Music Distribution Services) (M7.BBA-4018).

ISBN 9790804700022.

Guitar - Intermediate

SKU: OT.26114

Composed by Ariel Lazarus. A short suite for classical guitar based on themes from the Spanish and Portuguese tradition. Classical. Score. OR-TAV Music Publications #26114. Published by OR-TAV Music Publications (OT.26114).

ISBN 9789655051049. 8.27 x 11.69 inches.

Ariel Lazarus
Guitarra Liturgia
Two pieces based on music from the Spanish and Portuguese tradition.
Contents:
Jerusalem de Sefarad - Suite for Guitar
Contrapunto Sefardi
The composer writes:
For many years I wanted to compose a piece for guitar which would inspire interested students to expand their repertoire in the direction of Jewish music. The most natural thing for me was to write a suite based on themes from the synagogue in which I grew up – the Spanish and Portuguese synagogue of Gibraltar. My beloved grandfather served all his life as hazzan (cantor) of this synagogue, and I always felt as a composer and educator that I had a special obligation to continue his tradition and pass it on to a new generation. In this composition, I let the guitar echo the piyyutim (semi-liturgical poems) that were part of my childhood: Adon Olam, Sh'charchoret, Achot K'tana, Yigdal, Borei ad Ana, all of which are sung in the Spanish and Portuguese tradition from Gibraltar to London, and from New York to Jerusalem. I let myself dream the piyyutim, take them apart and reconstruct them as a short suite for guitar, the results of which you are invited to hear here. As a conceptual idea for the suite, I choose to suggest about the cultural continuation between the Diaspora and the land of Israel by way of referencing the well-known melody of Naomi Shemer, which is also popular among the hazzanim.
Dr. Ariel Lazarus is a unique voice among Israeli composer-performers today. Brought up in a family with Jewish musical roots both in Gibraltar and Westphalia, he began composing and playing the guitar in his teens, and has been committed to developing his own compositional language ever since, always maintaining an open dialogue with his traditions.
Lazarus received his BMus and MMus degrees from Oklahoma City University in classical guitar performance and composition where he studied with American composer Dr. Edward Knight. He earned his PhD from Bar Ilan University, studying composition with Prof. Betty Olivero and Prof. Gideon Lewensohn and conducting research under the supervision of Prof. Edwin Seroussi from the Hebrew University. His symphonic works have been premiered by the Raanana Symphonette Orchestra, and his chamber works have been performed by various ensembles in the United States, Central Europe, Portugal, Gibraltar, Scandinavia and Israel. Lazarus performs regularly as Art Ambassador on behalf of the Israeli Ministry of Diaspora affairs Amiel BaKehila program.
His solo album A Hebrew Capriccio was released by the German boutique label SmoothFactor and was awarded critical acclaim, among others, in Haaretz, and Neue Westfalishe.
Dr. Lazarus is the musical director and co-founder of the Israeli Ladino Orchestra. His work with the orchestra has been recognized by the official Carta de España. He teaches at the Academic College for Education Givat Washington, and the Rimon School of Music. Lazarus’s work has been awarded by the Israeli Pais Art council and ACUM.

Guitar - Intermediate

SKU: MB.31008M

Perfect binding. Blues. Book and online audio. 160 pages. Mel Bay Publications, Inc #31008M. Published by Mel Bay Publications, Inc (MB.31008M).

ISBN 9781513467016. 8.75x11.75 inches.

Blind Lemon Jefferson was a trail blazer, both as a singer and guitarist, but also as a commercial phenomenon, for he was the first blues musician to establish the tremendous appeal that blues, as played and sung by rural African American folk, had for the record-buying public. It is no exaggeration to say that the sales of Lemon’s records paved the way for a host of other solo rural blues musicians to record in his wake and made the record companies more willing to give other musicians a chance, in the hopes of achieving similar success. 

Lemon’s record sales weren’t what made him a great musician, though - that could only be attributed to his startlingly virtuosic guitar - playing and soulful singing, developed over years of busking, building on his natural gifts with a great deal of practice and work. In the Guitar of Blind Lemon Jefferson author John Miller presents transcriptions, in standard notation and tablature, of 22 of Lemon’s greatest performances, with an additional essay examining Lemon’s senses of time and phrasing and his picking techniques. Also included is a download link to all the original recordings. 

To present a picture of Lemon the man, noted blues researchers Alan Governar and Kip Lornell have contributed an essay focusing on Lemon’s early life, the origins of his music, and his time spent in a musical partnership with Lead Belly. Links are provided to downloadable performances of the songs in the book from which the transcriptions were made, so that you can have Lemon’s sound in your head as you learn to play his songs.

Blind Lemon Jefferson was remarkable, even in a style that abounded in great musicians, and some measure of his influence can be seen in the fact that musicians recorded in the 1960s, more than thirty years after his death, were still covering his songs and stealing guitar licks from him. The Guitar of Blind Lemon Jefferson gives you the resources needed to learn what was so special about Lemon’s music, and to experience his musical excellence from inside the music itself.

Titles include: One Dime Blues, Got The Blues, Dry Southern Blues, Big Night Blues, Rabbit Foot Blues, Shuckin' Sugar Blues, Where Shall I Be, Wartime Blues, Black Horse Blues, Prison Cell Blues, Piney Woods Money Mama, See That My Grave Is Kept Clean, He Arose From The Dead, Beggin' Back, Broke And Hungry, Bad Luck Blues, Matchbox Blues, Lemon's Worried Blues, That Crawlin' Baby Blues, Easy Rider Blues, Stocking Feet Blues and Right of Way Blues

Level 2/3 • 160 pages • Direct download link to audio files.