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

By John Duarte. For Guitar. Classical. Sheet Music. 12 pages. Published by Novello and Co Ltd.

Composed by Various. Guitar Solo. Softcover. 32 pages. Published by Hal Leonard

For Guitar. This edition: Easy Guitar. Guitar Mixed Folio. Rock. Book. 240 pages. Published by Alfred Publishing.

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

For Guitar. This edition: Easy Guitar. Guitar Mixed Folio. Pop/Rock. Book. 112 pages. Published by Alfred Publishing.

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 - 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.
Parallèleme nt, 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.
Progressivemen t, 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

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).

ISBN 9781470635084. UPC: 038081521565. 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: Siciliana (Carcassi) * Allegro (Giuliani) * Lesson (Sor) * Etude (Sor) * Waltz (Meissionnier) * Waltz Allegro (Carcassi) * Lesson for Two Lutes * Bourée (Mozart) * Variations on La Folia (Vidali / arr. Longay).

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.

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.

(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 leadsheet notation and chord names. Jazz and jazz fusion. 448 pages. 9x12 inches. Published by Hal Leonard.

Christmas, Saddle-stitched. Gospel/Sacred. Book and online audio. 92 pages. Mel Bay Publications, Inc #WBM53M. Published by Mel Bay Publications, Inc

Perfect binding. Christmas. Book. 48 pages. Mel Bay Publications, Inc #30954. Published by Mel Bay Publications, Inc

(C Instruments). By Various. Fake Book. Softcover. 432 pages. Published by Hal Leonard