Guitar SKU: BT.MUSAM1008040 By Toby Knowles. The Complete Guitar Player. ...(+)
Guitar
SKU:
BT.MUSAM1008040
By
Toby Knowles. The
Complete Guitar Player.
Pop & Rock. Book Only.
Composed 2015. 160 pages.
Wise Publications
#MUSAM1008040. Published
by Wise Publications
(BT.MUSAM1008040).
ISBN 9781783058228.
English.
The
Complete Guitar Player
Rock Songbook features a
massive collection of 50
hard-rocking hits from
the best of classic and
contemporary rock music
for Guitar. Each song
includes full lyrics and
Guitar chords as well as
strumming and picking
patterns, making this
songbook great for the
aspiring rock rhythm or
lead Guitarist. Each and
every tune included in
this Guitar songbook is a
true rock classic,
perfect for cranking the
amp up to 10, or should
that be 11?. Old
favourites like All Day
And All Of The Night by
The Kinks and Hey Joe by
Jimi Hendrix are matched
by modern classics such
as Radiohead's Creep
and Use Somebody
by Kings Of Leon.
The rock songbook
presents the best in
music to plug in and rock
out to. It's designed to
be accessible and
enjoyable, showcasing the
best songs by the best
rock bands and
songwriters like The
Clash, AC/DC, Eric
Clapton and David Bowie.
Past and present tunes
are included, ensuring
there's something for
everyone in this complete
rock songbook. Each song
has been carefully
arranged for Guitar and
Voice, including the
melody in standard
notation,lyrics and
Guitar chord shapes. Not
only this, but there are
also suggested strumming
and picking patterns to
help you dial up the
volume and nail the exact
sound of the song
straight away. This rock
Guitar songbook is ideal
for beginners and
intermediate Guitarists
looking to expand their
repertoire with powerful
songs new and old,
whereas absolute
beginners new to the
Guitar will find that the
four books of the famous
Complete Guitar Player
series by Russ Shipton
will help them out with
the basics. With
these 50 rock Guitar
songs, you'll be singing,
strumming your power
chords, and soloing your
way through the best rock
songs of the past
half-century in no time
at all. The Complete
Guitar Player Rock
Songbook would make a
sterling addition to any
guitarist's bookshelf,
and each of these superb
songs is guaranteed to
make everyone stop and
listen.
Guitar SKU: HL.381135 A Step-by-Step and Song-by-Song Guide for Absolu...(+)
Guitar
SKU:
HL.381135
A
Step-by-Step and
Song-by-Song Guide for
Absolute Beginners.
Guitar Educational.
Instruction, Method.
Softcover. 112 pages.
Published by Hal Leonard
(HL.381135).
ISBN
9781705152447. UPC:
196288019466.
9.0x12.0x0.277
inches.
Learn how
to play guitar with this
effective guitar method
successfully used by
thousands of busy New
Yorkers in their classes
at New York City Guitar
School. You'll learn the
fundamentals of guitar
with this motivating
step-by-step
comprehensive course for
beginners which covers
all the basics of guitar
playing, and includes
detailed practice session
plans, motivating stories
and great song examples.
Topics covered include:
The fundamental habits of
great guitar players; The
rest stroke; How to read
chord diagrams; The D and
G chords; How to tune
your guitar; How to
practice; The A7 Chord;
How to play with a pick;
The secret to memorizing
songs; How to read tab
and play cool licks;
Pivot changes; G Major; E
Minor; D 7th; The concept
of chord progressions;
The small barre--gateway
to future guitar
greatness; and much more.
You'll get to play great
songs while learning,
too! Songs include: Chain
of Fools • DJ Got
Us Fallin' in Love
• The First Cut Is
the Deepest • I
Fought the Law •
Mirrorball •
Mustang Sally • Old
Town Road (I Got the
Horses in the Back)
• Pumped up Kicks
• Rebel, Rebel
• Sons &
Daughters • Truth
Hurts • Up on the
Roof • and more.
This book is ideal for
use with a teacher or in
a class, and has also
been used successfully
around the world as a
self-study course.
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
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).
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.
Suite No. 1 Guitare Guitare classique - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4308
Composed by Giorgio
Mirto. Score. Les
Productions d'OZ #DZ
4308. Published by Les
Productions d'OZ
(DZ.DZ-4308).
ISBN
9782898522253.
Foll
owing a recent experience
on the jury of a guitar
competition, I noted with
great pleasure that
Giorgio Mirto, with whom
I had shared the role of
juror, wanted to
celebrate the experience
of the competition -
during from which we
discovered that we had
had a great affinity of
thought - with something
which could endure over
time and not evaporate as
often happens in short
and occasional meetings
between musicians. He did
it as a true composer,
which he is, and
dedicated to me a very
beautifully crafted Suite
to which I allowed myself
to collaborate at least
formally, by suggesting
titles for the four
movements. This is how
Suite n.1 was born, a
piece that does not
strictly respect the
formal rules of the
Baroque era, but
reinterprets and reuses
them in a new key. The
work's obvious late
Baroque inspiration led
me to find titles that
invited the performer to
delve deeper into the
work's aesthetic
inspiration. So I
suggested to Giorgio that
he title the four
movements with something
that linked their content
to four greats of the
18th century. German
masters. The prelude has
thus become from Eisenach
because of its sometimes
improvised Bach-like
atmosphere, the second
movement, vaguely
toccata, speaks an organ
language in the manner of
Buxtehude (who lived in
Lübeck), the slow
movement has a Handelian
quality - and Handel was
born in Halle - and the
last movement, far from
being a true Chaconne,
undoubtedly has the
latter's taste for
variation and ostinato,
typical traits of
Telemann who lived in
Magdeburg. The cities
that appear in the titles
are therefore indelible
to the authors cited.
Furthermore, one should
not think that the style
of the work is in any way
German, given that
Giorgio Mirto expresses
himself in a very joyful
language that synthesizes
modality with minimalism,
all seasoned with a a nod
to Pink's progressive
rock Floyd. or a Mike
Oldfield... The result of
this mixture of ideas,
inspirations and styles
is a work that personally
I never tire of reading
and rereading, for the
freshness that emanates
from it and for the
climate expressive which
rises, nourishing itself
with full efficiency. We
ultimately cannot ignore
that the note B, the one
which marks in a minor
way some of the most
expressive works of the
guitar repertoire, from
the study of Sor which
made generations of
students fall in love
with the guitar, until to
that of Frank Martin's
Four Pieces via La
Catedral di Barrios, is
the modal fulcrum of the
entire Suite: it is true
that the Prelude begins
with a clear chord in E
minor and lingers on an
open ending in A minor ,
but it almost seems that
the initial E serves as a
launching pad for a
continuation of the work
in which the dominant,
that is to say the B, is
the true musical North,
the pole star which
guides us in the other
three movements until the
end of the Chaconne de
Magdebourg. I wish
Giorgio and our Suite
great longevity and a
favorable destiny in the
complex and complex world
of contemporary guitar
composition. And I thank
him again, flattered by
his very kind
dedication.
(Essential Tools for Jazz Improvisation) Written by Dan Greenblatt. Instructiona...(+)
(Essential Tools for Jazz
Improvisation) Written by
Dan Greenblatt.
Instructional book and
examples/accompaniment CD
for guitar. With
instructional text and
musical examples. 88
pages. Published by Sher
Music Company.
Performed by Pat Metheny. For guitar (no tablature). Format: fake book. With lea...(+)
Performed by Pat Metheny.
For guitar (no
tablature). Format: fake
book. With leadsheet
notation and chord names.
Jazz and jazz fusion. 448
pages. 9x12 inches.
Published by Hal Leonard.
Guitar SKU: AP.42161 Volume 4. Guitar Part. By Andrew LaFre...(+)
Guitar
SKU:
AP.42161
Volume
4. Guitar
Part. By Andrew
LaFreniere and Seth
Himmelhoch. This edition:
International. Guitar
(Suzuki);
Method/Instruction;
Suzuki. Suzuki Guitar
School. Book and CD. 20
pages. Alfred Music
#00-42161. Published by
Alfred Music (AP.42161).
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
Guitar SKU: AP.42082 Volume 3. Guitar Part. By Andrew LaFre...(+)
Guitar
SKU:
AP.42082
Volume
3. Guitar
Part. By Andrew
LaFreniere and Seth
Himmelhoch. This edition:
International. Guitar
(Suzuki);
Method/Instruction;
Suzuki. Suzuki Guitar
School. Book and CD. 20
pages. Alfred Music
#00-42082. Published by
Alfred Music (AP.42082).
ISBN 9781470635077.
UPC: 038081521558.
English.
The Suzuki
Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Suzuki, a
world-renowned violinist
and teacher, the greatest
joy an adult can know
comes from developing a
child's potential so
he/she can express all
that is harmonious and
best in human beings.
Students are taught using
the mother-tongue
approach. Now available
as Book & CD kit. Titles:
Nonesuch * Greensleeves *
Packington's Pound *
Ghiribizzo (Paganini) *
Waltz from Sonata No. 9
(Paganini) * Andantino
(Carulli) * Calliope
(Lesson 61) (Sagreras) *
Etude (Carulli) * Etude
(Coste) * Arietta, Theme
& Variations (Küffner)
* Celeste y Blanco
(Ayala).
About Suzuki
Method
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.