SKU: UT.CH-157
ISBN 9790215320369. 9 x 12 inches.
Vals d'la Masca; Il racconto della Montagna; Sequenze sotterraneeThe Alpinia Suite was commissioned and composed for the festival <> and is dedicated to my friend and colleague Elio Galvagno. It was performed for the first time on August 30, 2011, in the Church of San Giovanni in Saluzzo, by an ensemble of professional and student guitarists from all over Europe. This piece was written to commemorate the first ascent of mount Monviso, by William Mathews, Frederick Jacomb, Jean Baptiste Croz and Michel Croz, exactly 150 years before, on August 30, 1861.The first movement is a small Waltz. I imagined a Masca (a sort of alpine pixie, a teasing sprite), dancing all around the house and playing tricks, mostly harmless and funny. The Masca is a legendary and very important character in the folklore of my valleys, and all rationally inexplicable events of everyday life are ascribed to her - such as objects that cannot be found anymore, holes in flour sacks, salt in sugar bowls...The next two movements are a homage to the Mountains. The Tale is a sort of journal, a bright and peaceful chronicle of a hike uphill, in which the beauty of the place is highlighted by an easy harmony and a sweet melody. After this, Underground sequences evokes that same world in a darker and nocturnal way; the faster pace and the choice of repeated and varying patterns are meant to show the transformation of the former environment into something more complex and tormented. Here mountains are a metaphor of human life, warts and all: their sundrenched slopes and their green pasture grasslands, but also their icy and dangerous northern sides, which demand calm, training and caution.(G. Signorile).
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: BT.RE10310
ISBN 9788876657016. Italian.
SKU: BT.RE10282
ISBN 9788876656828.
SKU: BT.RE10119
ISBN 9788876655722. Italian.
SKU: UT.CH-106
ISBN 9790215315921. 9 x 12 inches.
The first impulse to compose these 3 Little Suites for Guitar came from the desire to offer very young students compositions not framed by the usual features of â??music for childrenâ?? but, rather, meant to introduce into their musical horizon sonorities, rhythms, and expressive modalities not generally experienced in the more â??traditionalâ?? courses of study. As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite â??simpleâ??.I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write â??descriptiveâ?? music, I have tried to handle these pieces like stage scripts, giving each a specific â??characterâ??. For this purpose my long experience as a composer of theatre music has been very helpful.It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.(Carlo de Nonno).
SKU: GH.GE-11547
ISBN 979-0-070-11547-6. A4 inches.
Drawing from the same tradition of Concert etudes as Brouwer, Diego-Pujol and Villa-Lobos - and perhaps even Sor, Bo Hanssons's 5 etudes are a fine example a compositions that blend both musical perfection and technical ambitions. 5 beautiful etudes meant for performances both on and off the concert stage .Voices about 5 EtudesThe five etudes by Bo Hansson are of the same dignity and tradition as the studies by Fernando Sor. As did his predecessor, he successfully achieved these studies to suggest a complete sense of harmony and structure, completely in accordance with contemporary music. The musical and technical aims are clearly presented to the classical guitarist and offer great opportunity to develop ones own ability. I warmly recommend these beautiful pieces to any guitarist.Eric Lammers, MSC, GuitaristBo Hansson's 5 etudes is a welcome contribution to the guitar repertoire. These well-composed etudes are not only technical etudes in a traditional sense - they are beautiful, idiomatic pieces which incorporates many ingenious and exciting exercises. I am confident they will be regularly played - both for practising and in concerts. Warmly recommended!Jan-Olof ErikssonProfessor in Guitar Department of Music and Media Lulea University of Technology, Sweden
SKU: HL.49005329
ISBN 9783795740009. UPC: 073999172874. 4.75x7.25x0.46 inches. German.
Diese Standard-Sammlung von 203 der schonsten und bekanntesten Volks-, Wander-, Trink- und Scherzlieder gehort in jeden Wander-Rucksack und die Hand eines jeden, der Freude am Singen hat. Zu dieser Sammlung ist auch ein Textbuchlein erhaltlich (ISBN 3-7957-3000-7).
SKU: BT.SINF093
ISBN 9788884002211.
Per chitarra Racconto musicale di facile esecuzione strutturato con molteplici effetti strumentali.
SKU: BT.ERBA-9587
ISBN 9789876112123.
SKU: BT.ERBA-9563
ISBN 9789876111034.
SKU: BT.HITPCPTGUIT01
French.
Le Petit Guitarama est un répertoire de morceaux tous styles, connus, pour guitaristes débutants, permettant de jouer aussi bien du classique, des légendes de la pop, des musiques de films, du répertoire francophone, ou des airs traditionnels de différents horizons. Chaque morceau est le fruit d’un travail d’arrangement, précis, adapté l’instrument et au niveau de l’élève. Ce volume, progressif, couvre l’apprentissage de la guitare du tout début, deux ans de pratique .En plus des nombreuses pièces en solo, l’ouvrage propose des duos, trios, et quatuors. La mise en page assure une grande lisibilité, en couleur. Richement illustré, ce recueil s’adresse tous. Et, toujours dansl’esprit de la collection ...RAMA : originalité, qualité des arrangements, progressivité, variété des styles.
SKU: BT.ERBA-10945
ISBN 9789876110020.
SKU: BT.ERBA-12838
ISBN 9789876112406. Spanish.
SKU: MB.31088
ISBN 9781513473413. 8.75X11.75 inches.
Whether you already play old-time music, or you are just getting started, this is the book for you.áDan Levenson�s Master Collection of Old-Time Tunesápresents more than 300 tunes in standard notation with suggested chords for you to explore and enjoy. All but a few are traditional or older tunes and are easily searched online to discover their pedigree as well as several recorded versions of them.Some might call this a complete repertoire in a book in the following sense: It is a large though not encyclopedic collection of old-time fiddle tunes played in today�s sessions.Learning the tunes in this book will give you a solid old-time repertoire that would allow you to join in jams in the many communities playing old-time music today.
SKU: BT.VOLMB476
ISBN 9788863884708. Italian.
SKU: BT.SINFJ132
ISBN 9788884003843. Italian.
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