Pour 'Le Tombeau de Claude Debussy'. Composed by Manuel de Falla. Edited by Stefano Grondona. Arranged by Miguel Llobet. This edition: Saddle- wire stitching. Sheet music with CD. 48 pages. MDS (Music Distribution Services) #GHE 908-50. Published by MDS (Music Distribution Services)

Urtext Edition. By Manuel Maria Ponce. Guitar. Size 9x12 inches. 64 pages. Published by Schott.

Edited by Edward J. Lozano. Book. Published by Music Sales. (AM948959) Over 750 standard, useful chord forms presented in easy-to-read diagrams and clear, close-up photos. Several chord forms in different positions are given for common chords. Keep this pocket manual handy and you will never again be at a loss for the right chord.

By Miguel Alcazar. By Manuel Ponce (1882-1948). Book Only. Composed 1981. 32 pages. Hal Leonard Europe #TE023. Published by Hal Leonard Europe

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.

Guitar Solo. By Manuel Ponce, Manuel M Ponce, Manuel Maria Ponce. Arranged by Andres Segovia. Schott. Size 9x12 inches. 11 pages. Published by Schott.

Guitar Solo. By Manuel Ponce, Manuel M Ponce, Manuel Maria Ponce. Arranged by Andres Segovia. Schott. Size 9x12 inches. 5 pages. Published by Schott.

Guitar Solo. By Manuel Ponce, Manuel Maria Ponce. Arranged by Andres Segovia. Schott. Size 9x12 inches. 16 pages. Published by Schott.

Guitar Solo. By Manuel Ponce, Manuel Maria Ponce. Arranged by Andres Segovia. Schott. Size 9x12 inches. 4 pages. Published by Schott.

Recorded by Christian Reichert, composed by Manuel Ponce (1882-1948). Instrumental solo book and accompaniment CD for guitar. With performance notes. 23 pages. Published by Music Minus One.

Erstausgabe. Composed by Manuel Maria Ponce. This edition: Saddle stitching. Sheet music. Guitar Archive. Baroque, Classical. Softcover. 8 pages. Duration 3'. Schott Music #GA 576. Published by Schott Music

Guitar Solo. By Nicolo Paganini. Arranged by Manuel Barrueco. Schott. Size 9x12 inches. 8 pages. Published by Schott.

By Manuel de Falla. For 1-2 Guitars. 20th Century. Sheet Music. 24 pages. Published by Chester Music.

(Guitar Solo). By Manuel Ponce (1882-1948). Peermusic Classical. 16 pages. Peermusic #61358-570. Published by Peermusic

Composed by Manuel Ponce (1882-1948). Edited by Stefano Grondona. This edition: Saddle-wire stitching. Sheet music with CD. Critical Edition. 36 pages. MDS (Music Distribution Services) #GHE 702-50. Published by MDS (Music Distribution Services)

The Easiest Guitar Method Ever!. Composed by Ron Manus and L. C. Harnsberger. Book; DVD; Digital Download; Guitar Method or Supplement; Method/Instruction; Software. Kid's Guitar Course. Children. 48 pages. Published by Alfred Music

A Manual for Getting the Best Sounds from Electric Guitars, Amplifiers, Effects Pedals and Processors. Guitar Educational. Guitar Reference, Instruction. Softcover Audio Online. 64 pages. Published by Hal Leonard

Composed by Peter Pickow. Music Sales America. Chords, Spanish Edition. Book Only. With Text language: Spanish. 48 pages. Music Sales #AM981882. Published by Music Sales

Guitar

SKU: BT.MUSMS0334

Composed by Manuel Haya. Tuition. Book, CD and DVD. Composed 2015. 40 pages. Play Music Spain #MUSMS0334. Published by Play Music Spain (BT.MUSMS0334).

Spanish.

Guitar

SKU: HL.14046519

Composed by Manuel Granados. CARISCH - MUSIC SALES. Tuition. General Merchandise. Nueva Carisch Espana #CARML2074. Published by Nueva Carisch Espana (HL.14046519).

ISBN 9788882919030. 9.0x12.0x0.29 inches. French.

Guitar

SKU: HL.14046657

Composed by Manuel Granados. CARISCH - MUSIC SALES. Tuition. General Merchandise. Carisch Edition #CARML2427. Published by Carisch Edition (HL.14046657).

ISBN 9788850706327. Italian.

Guitar

SKU: HL.14046984

Composed by Manuel Zapata. CARISCH - MUSIC SALES. Tuition. General Merchandise. Nueva Carisch Espana #ML2923. Published by Nueva Carisch Espana (HL.14046984).

ISBN 9788438710371. French.

Guitar

SKU: HL.14047072

Composed by Manuel Zapata. CARISCH - MUSIC SALES. Tuition. General Merchandise. Nueva Carisch Espana #ML3035. Published by Nueva Carisch Espana (HL.14047072).

ISBN 9788438710661. Spanish.

Guitar

SKU: UT.CH-388

Composed by Manuel Ponce. Edited by Andrea De Vitis and Riccardo Del Prete. Classical. Score. Ut Orpheus #CH 388. Published by Ut Orpheus (UT.CH-388).

ISBN 9790215328242. 9 x 12 inches.

Main source of the present editions is the manuscript by Manuel M. Ponce, kept in the Manuel M. Ponce Archive, located in the Cuicamatini library of the Facultad de Música de la Universidad Nacional Autónoma de México.
The preludes were composed around 1929 after the invitation of Segovia who, urged by the publishers to write a method, asked Ponce to compose some short pieces to include in this didactic project. In April 1930 Segovia published only 12 preludes with Schott publishing house.
Many of Ponceâ??s manuscripts remained unknown for a long time, until 1977, when the Mexican guitarist and musicologist Miguel Alcázar, thanks to the collaboration of Carlos Vázquez, pupil and heir of Manuel Ponceâ??s manuscripts, began an important recovery of Ponceâ??s guitar music by preparing the first complete edition of the preludes.

Guitar - intermediate to advanced

SKU: M7.GHE-702-96

Composed by Manuel Ponce. Edited by Stefano Grondona. This edition: Saddle-wire stitching. Sheet music with Online material. Critical Edition. MDS (Music Distribution Services) #GHE 702-96. Published by MDS (Music Distribution Services) (M7.GHE-702-96).

ISBN 9783890447056. English.

HIS IS THE FIRST CRITICAL EDITION OF THESE WORKS AND IT OFFERS WE HOPE A STANDARD READING WHICH EXAMINES, WITH SOLUTIONS, MANY UNEXPLAINED DIFFERENCES BETWEEN THE COMPOSER'S MANUSCRIPTS, OUR EDITED MUSIC TEXT, AND PREVIOUS EDITIONS. 70 years after Ponce's death in 1948, we celebrate his life with a new critical-performing edition of his 24 Preludios newly prepared from the original manuscripts by Stefano Grondona. We proudly present a totally new edition with audio files of the 24 Preludios para guitarra. This is the first critical edition of the 24 Preludios para guitarra. The audio files of all 24 Preludios are played by Stefano Grondona and for download with a code printed in the book. This edition is really two editions in one. Not only is it a performing edition meticulously fingered by Stefano Grondona, but as well it is also an Urtext edition of the original manuscripts. Our pragmatic critical apparatus permits the player simply and clearly to see also what was in the original manuscripts, and what was not. With this publication it is now possible to clarify some long-standing issues relevant to our aim of presenting an accurate final music text; it is now possible to see where previous publications of this repertoire have varied with the manuscripts and how we have treated these situations in our edition, and how these were treated differently in previous editions. A comprehensive critical commentary is included together with copious historical and informative notes about the selection of the works and how and why our edition took its present form and content. At last we believe to have an edition which takes the form which the composer intended and new source material is also included, such as the Ramaugé ms for Prelude no. 6.