SKU: MB.99870M
ISBN 9780786687176. 8.75 x 11.75 inches.
Saxophonist John Coltrane was one of the most innovative, creative, and influential jazz artists of the 20th Century. Both stylistically and harmonically, he opened doors for others to follow. This book will focus on the first period of Coltranes career, when he was with Miles Davis, and the jazz vocabulary he used. First, to help the student better understand Coltranes bebop style of improvising, the authors discuss the use of guide tones, bebop scales, three to flat nine, targeting, and other techniques. Then the text presents numerous one-, two-, and three-measure jazz lines in Coltranes style in notation and tablature grouped by the harmony over which they can be used. The accompanying play-along online audio provides the rhythm parts for each section, including a track for each section that modulates through the cycle of fourths, helping you master the phrases in all keys. By combining various lines, musicians will be able to mix and match numerous combinations of these lines to play over ii-V-I progressions, turnarounds, and other harmonic situations. Incorporate these essential jazz lines into your vocabulary and you will be able to create your own lines in the style of John Coltrane. Includes access to online audio.
SKU: AP.44446
ISBN 9781470623814. UPC: 038081501901. English.
Belwin's 21st Century Guitar Method is a complete course that puts lessons in the context of popular styles and classic tunes. It introduces new topics at a progressive speed and uses both music notation and tablature (TAB). Correlating supplemental books integrate more advanced concepts and techniques, while keeping the learning process fun. Audio recordings include full instruction---a great resource for students and teachers alike---with demonstration and play-along tracks that will help students optimize their practice time. Detailed video lessons and fun play-along software are also available. Book 1 Features * Online access to play-along and lesson audio included * Covers rock, pop, folk, blues, and classical styles * Features unique Rock Workshop units that teach improvisation and rock rhythm and lead guitar * Uses standard music notation and tablature to aid with learning new material * Optional teacher accompaniment parts * Duets to play with a teacher or with the included audio recording * Complete lesson videos and fun play-along software available.
About 21st Century Guitar Course
This hugely popular basic guitar method series includes numerous supplements (theory workbook, ensembles, song books and a supplemental rock method). The available CD includes full instruction plus full demonstration and play-along tracks. Level 1 lays a foundation with note reading and chords and includes teacher duet parts to encourage the student and teacher to perform together. TAB is used to make learning chords, accompaniments, riffs and other stylistic guitar parts easy and fun, standard music notation is used for melodic playing. Level two goes deeper into common guitar genres such and rock and blues and also introduces applied music theory, chord and scale construction and fretboard understanding. Recommended for 8 years old and up.
SKU: SP.TS71612
ISBN 9781585606924. UPC: 728941716124.
Teach Yourself Guitar published by Santorella Publications is the first in a series including CD that was initially created as an impulse product for a typical independent Guitar & Amp shop. In a market flooded with similar products, we swiftly learned that our edition was more than just a quick fix for the beginner. Although titled, Teach Yourself Guitar, it contains much more than basic instruction. Accordingly, Teach Yourself Guitar has become the standard for countless educators as a private lesson study guide.There are numerous products on the market that falsely proclaim incomprehensible results in just minutes. Unfortunately, none of these products cultivate permanent advancement. Becoming a better musician is only possible through hard work, discipline and dedication.Our challenge was to create an approach to guitar that was easy to understand and followed a logical step by step progression. To truly master the guitar, one must have their eyes set on short-term goals in order to achieve long-term results. We are proud to say that we have met this challenge by providing a proven curriculum to learning the many facets of playing the guitar in this one of a kind guide.Topics covered include:
SKU: AD.ADG174
ISBN 9781934163686. UPC: 663389117426. 9 x 12 inches.
Andrew D. Gordon, world renowned music educator, author of over 60 music educational products, has previously written numerous books on guitar styles such as: “100 Ultimate Blues Riffs for Guitar, “100 Ultimate Jazz Riffs for Guitar, “The Blues Scale for Guitar which have all been well received by students, teachers and musicians all over the world.As playing funk styles is a passion of Andrew’s, he has written this instructional book “100 Ultimate Soul, Funk and R&B Grooves for Guitar based on the influences of the great Funk, Soul and R&B artists such as: James Brown, Herbie Hancock, The Crusaders, Average White Band, Marvin Gaye, Miles Davis, Stevie Wonder, Parliament, Ramsey Lewis, Booker T and The MG’s, MFSB, Billy Preston etc. Besides the afore-mentioned styles Andrew has also added a few grooves that are Afro-Caribbean such as: Latin, Reggae and Calypso.Each of the 100 grooves have been recorded with the guitar part playing along with a rhythm section of guitar, bass, drums, keyboards and in many of the grooves, percussion. There is also a three minute Play-A-Long track for each of the 100 grooves minus the guitar part so that you can practice along with the rhythm tracks adding up to over 5 hours of Play-A-Long tracks.
SKU: HL.50487147
ISBN 9790080123782. 9.0x12.0x0.15 inches. Hungarian, English, German. Dionisio Aguado; Zoltan Tokos.
Dionisio Aguado (1784-1849) was one of the most prominent Spanish guitar-players and composers of guitar works of his time. He lived and worked mainly in his native country. He enriched the classical guitar literature then emerging by numerous instructive works, among others by his Metodo de guitarra (published in Madrid 1825) in which he outlined and established the modern technique of the guitar. The present two-volume edition ( Vol. 1: Z. 12377, Vol. 2.: Z. 12378) contains the studies of Aguado's guitar method.
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: DZ.DZ-4244
ISBN 9782898521614.
La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
SKU: HL.49047190
UPC: 196288152231.
Crystal-clear rhythms and technique – these are needed to play fat riffs. “Rhythm on Guitar†therefore is all about the right hand. Starting with basic patterns through to virtuoso semiquaver combinations, Frank Doll (“Griffbrett-Theorieâ€) presents the work on rhythms. Strumming, tapping, legato techniques and more are explained and practised in numerous examples which eventually leads toimproving your solo play as well!
SKU: HL.50489495
ISBN 9790080084182. Bach (23 x 30,2 cm) inches. Hungarian, English, German.
This publication is a completely revised edition of our five-volume guitar tutor. In the decades since the first edition, the musical interests of our students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor. We have increased the number of recital pieces at all levels of difficulty, so that our students can spend longer on a varied repertoire at their respective level. We have first of all selected works from the Viennese classics for this purpose but have also enriched the repertoire of the tutor with numerous pieces from the Renaissance and Baroque periods. In volumes I and II of the tutor we have given Hungarian folk songs and children's songs a significant amount of space. In the course of revision, we have expanded the material of these two volumes with simple arrangements of folk songs, nursery rhymes and flower songs, and we have provided very easy, but valuable material for instrumental study in particular for children aged between 6 and 10. We have also expanded the chamber music material to be found at the end of the volumes, because we believe that playing music together is the best way to make instrumental study a lasting experience for our students. The parts are relatively simple, sothe works provide a musical experience almost immediately.
SKU: SU.32020040
An intense, 9 and a half minute guitar solo featuring numerous extended techniques, exploring cancer and loss.Guitar Composed: 2004 Published by: Distributed Composer.
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