By Jerry Silverman. By Jerry Silverman. For Guitar (Fingerpicking). Methods. Archive Edition. Folk. Level: Beginning. Book. 95 pages. Published by Mel Bay Publications, Inc.

Guitar

SKU: HL.368607

By John Fahey. Guitar Recorded Version. Christmas. Softcover. 64 pages. Published by Hal Leonard (HL.368607).

ISBN 9781705141632. UPC: 840126968866. 9.0x12.0x0.19 inches.

Matching guitar transcriptions to Fahey's iconic 1968 album featuring 14 guitar solo arrangements of Christmas classics: Auld Lang Syne • Bells of St. Mary's • Go I Will Send Thee • God Rest Ye Merry Gentlemen Fantasy • Joy to the World • Lo, How a Rose E're Blooming • Silent Night, Holy Night • and more.

About Hal Leonard Guitar Recorded Versions

G uitar Recorded Versions are note-for-note transcriptions of guitar music taken directly off recordings. This series, one of the most popular in print today, features some of the greatest guitar players and groups from blues, rock, and heavy metal. Guitar Recorded Versions are transcribed by the best transcribers in the business. Every book contains notes and tablature.

(Mastering Jazz Guitar). By Jody Fisher. For Guitar. This edition: Standard Notation Only. Book; CD; Guitar Method or Supplement; Method/Instruction; Technique Musicianship. Complete Method. Jazz. Advanced. 96 pages. Published by Alfred Music

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.

Fran cis 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.
Parallèle ment, 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.
Progressivem ent, 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.

Old Time, Wire bound. Sacred. Book and online audio. 184 pages. Mel Bay Publications, Inc #WBM67M. Published by Mel Bay Publications, Inc

120 Songs for Easy Guitar. By Various. Easy Guitar (Simplified arrangements for guitar). Size 9x12 inches. 111 pages. Published by Hal Leonard.

(A Comprehensive Guide to Guitars, Amps, and Effects for the Dedicated Guitarist). By Tobias Hurwitz. For Guitar. Book; CD; Guitar Reference; Reference Textbooks. The Serious Guitarist. 128 pages. Published by Alfred Music

Revised edition, 2020. Composed by Chen Yi (1953-). Sws. Duration 6:30. Theodore Presser Company #114-42214. Published by Theodore Presser Company

By William Bay and Mike Christiansen. For Guitar (All). Methods. Mastering Guitar. All Styles. Level: Beginning. Book. Size 9x11.75. 144 pages. Published by Mel Bay Publications, Inc.

Guitar solo - Advanced

SKU: DZ.DZ-4244

Composed by Konstantin Bliokh. Score. Les Productions d'OZ #DZ 4244. Published by Les Productions d'OZ (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. � 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.

Sona ta 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.

By Jody Fisher. For Guitar. Guitar Method or Supplement. Jazz. Book. 96 pages. Published by Alfred Publishing.

By Jody Fisher. For Guitar. Guitar Method or Supplement. Jazz. Book & CD. 96 pages. Published by Alfred Publishing.

(Intermediate Jazz Guitar). By Jody Fisher. For Guitar. This edition: Standard Notation Only. Book; CD; Guitar Method or Supplement; Method/Instruction; Technique Musicianship. Complete Method. Jazz. Intermediate. 96 pages. Published by Alfred Music (AP.4

By Ron Manus, Link Harnsberger, and Nathaniel Gunod. For Guitar. Book; CD; Guitar Method or Supplement; Method/Instruction. Children. 96 pages. Published by Alfred Music Publishing

Guitar

SKU: FG.55011-710-5

Composed by Kalevi Aho. Score. Fennica Gehrman #55011-710-5. Published by Fennica Gehrman (FG.55011-710-5).

ISBN 9790550117105.

Kale vi Aho's Concerto for Guitar and Chamber Orchestra (2018) is in seven movements performed without a break and each using the guitar in a different way. The fairly slow introduction-like movement is followed by a virtuosic Allegro molto in which the guitar is also used like a percussion instrument in places as the soloist taps out rhythms on the soundboard. Motifs from the Introduzione reappear in the Interludio, and in the lyrical, singing Andante cantabile that follows. In the Misterioso movement the guitarist plays only flageolet notes. The sixth movement, Presto, is the other virtuoso one in the concerto. The Presto is the concerto's dynamic climax. From then onwards, the music subsides to a slow Epilogue, gradually retreating into silence. Duration: c. 30 minutes. The full score is available for sale (ISMN 9790550117099) and the orchestral material is available for hire from the publisher. The orchestration is 1111-1000-str(43321).

by Anthony Glise. For classic guitar. Anthony Glise Urtext. Classic. Level: Multiple Levels. Book. Reference. Size 8.75x11.75. 282 pages. Published by Mel Bay Pub., Inc.

By Various Composers. Guitar Chord Songbook. Size 6x9 inches. 128 pages. Published by Hal Leonard

Guitar - Advanced

SKU: DY.DO-1551

Composed by Yorgos Nousis. Score. Les Editions Doberman-Yppan #DO 1551. Published by Les Editions Doberman-Yppan (DY.DO-1551).

ISBN 9782897963316.

PULS O DE LA VIDA was composed as part of my dear friend Kostas Tosidis' doctoral thesis with the title Bowing technique on the guitar.
The character of the piece changes from simple and meditative to rhythmic and tension-filled, reflecting different stages of our lives.
Using a C, G, D tuning for the bass strings, the guitar utilizes resonance to create sustained, cello-sounding melodies on the fourth string, complemented by harmonies on the fifth and sixth strings.
The bowing technique is introduced with a continuous tremolo accompanied by an extended form of the first theme.
The more dancelike and rhythmical part of the piece uses a 19/16 measure that allows us to experience a sense of disparity.
Finally, the simplicity combined with a sense of completeness, but also of abandonment of the beautiful gift of life, leaves us in a state of stillness for any kind of introspection.

PUL SO DE LA VIDA a été composé dans le cadre de la recherche doctorale de mon cher ami Kostas Tosidis, sous le titre Bowing technique on the guitar (technique d'archet à la guitare).
Le caractère de la pièce passe de simple et méditatif à rythmique et plein de tension, reflétant les différentes étapes de notre vie.
La guitare, dont les cordes basses sont accordées en do, sol et ré, utilise la résonance pour créer des mélodies soutenues au son du violoncelle sur la quatrième corde, complétées par des harmonies sur les cinquième et sixième cordes.
La technique d'archet est introduite par un trémolo continu accompagné d'une forme étendue du premier thème.
La partie plus dansante et rythmique de la pièce utilise une mesure 19/16 qui nous permet d'éprouver un sentiment de disparité.
Enfin, la simplicité combinée à un sentiment de plénitude, mais aussi d'abandon du magnifique cadeau qu'est la vie, nous laisse dans un état de tranquillité propice à toute forme d'introspection.

Performed by The Beatles. Easy Guitar (Simplified arrangements for guitar). Size 9x12 inches. 176 pages. Published by Hal Leonard.

(Authentic Country Blues Guitar Techniques and Repertoire). DVD. DVD. Published by Hal Leonard

Guitar

SKU: FG.55011-321-3

Composed by Kai Nieminen. Fennica Gehrman #55011-321-3. Published by Fennica Gehrman (FG.55011-321-3).

ISBN 9790550113213.

Kai Nieminen's Northern Spells for solo guitar is a unique combination of Northern mystique, nature and age-old rituals. The mood of the opening Invocation and Spell is shrouded in mystery dotted with moments of brightness, and chant-like rhythmic passages. As its name suggests, the second movement, Atmosfera, is atmospheric and airy, reiterating a melody that creates an image of something ancient and distant. The recurring pentatonic figures in the closing Charm conjure forth a rhythmic and at times even lithe conclusion.

Strong contrasts are one of the hallmarks of Nieminen's music, and this work is no exception. The guitarist must have a consummate ability to extract specific tones and effects from his or her instrument in order to bring out the required nuances and sometimes even ritualistic moods. One special feature of the work is the damped sound made in the bass by gently pressing the string with the left-hand finger near the nut. This produces a muffled, mystic, drum-like sound that has to be rounded, altogether resonant and ear-catching. Throughout all the movements and moods of this work, the player has to choose the timbres very carefully. The performance must be as imposing and multidimensional as the arctic nature that allows Northern spells to reawaken in the present-day world.

Guitar Educational. Method. Softcover with CD. 192 pages. Wise Publications #AM1005202. Published by Wise Publications (HL.141140).