Guitar

SKU: BT.MUSAM996996

Arranged by Russ Shipton. The Complete Guitar Player. Pop & Rock. Book with CD. Wise Publications #MUSAM996996. Published by Wise Publications (BT.MUSAM996996).

ISBN 9781849380140. English.

Th e Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists.

N ow these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns!

Over 180 great songs! Perfect for all players and singers!

The bonus CD contains backing tracks to 16 of the songs in the book.

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.

12-String Guitar

SKU: HL.287559

By Various. Guitar Collection. Pop, Standards. Softcover. With guitar tablature. 120 pages. Published by Hal Leonard (HL.287559).

ISBN 9781540043313. UPC: 888680904715. 9.0x12.0x0.299 inches.

This one-of-a-kind collection presents accessible, must-know songs from the Beatles and Bob Dylan to Dave Matthews Band and Tom Petty for those who have been learning 12-string guitar and are eager to put their new skills to work. You'll find a combination of tab, chords and lyrics for 50 great songs, including: California Dreamin' • Carry On • Closer to the Heart • Do You Believe in Magic • Free Fallin' • Give a Little Bit • A Hard Day's Night • Hotel California • Leaving on a Jet Plane • Life by the Drop • Like the Way I Do • Melissa • Mr. Tambourine Man • More Than a Feeling • The One I Love • Over the Hills and Far Away • Solsbury Hill • Space Oddity • Still the Same • Turn! Turn! Turn! (To Everything There Is a Season) • The Waiting • Wish You Were Here • You Wear It Well • and more!

About First 50

You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.

Guitar - Level 3

SKU: LM.27608

Composed by Jean-Felix Lalanne. Michel Leclerc. Pop, jazz. Score. Editions Henry Lemoine #27608. Published by Editions Henry Lemoine (LM.27608).

ISBN 9790230976084.

Alfo nsa y el mar - Bras dessus, bras dessous - Selena's dream - Yohna - Tea time frealing - Shoah des larmes - Suite irlandaise - Medley : Irish dance, Country medieval - Le Diset wedding - Miss - Percusion flamenca - Heretique - Mers et lunes.

For Guitar. The little book with all the BIG songs. Lyric and Chord book. Published by Wise Publications.

Compiled by Russ Shipton. Fake book for voice and guitar. With vocal melody, lyrics, chord names and guitar chord diagrams. 167 pages. Published by Music Sales.

By Barry Galbraith. Published by Jamey Aebersold Jazz. (BG4DS) Play along with Barry! Contains 15 2-part inventions that demonstrate the rich, melodic genius of Bach in his most economical form. Contains position markings, where applicable, to smooth out difficult passages. The recording has Barry playing both parts with total stereo separation so you can turn off either channel and fill in the missing part! Works great as a listening CD too!

Guitar - Intermediate

SKU: MB.31008M

Perfect binding. Blues. Book and online audio. 160 pages. Mel Bay Publications, Inc #31008M. Published by Mel Bay Publications, Inc (MB.31008M).

ISBN 9781513467016. 8.75x11.75 inches.

Blind Lemon Jefferson was a trail blazer, both as a singer and guitarist, but also as a commercial phenomenon, for he was the first blues musician to establish the tremendous appeal that blues, as played and sung by rural African American folk, had for the record-buying public. It is no exaggeration to say that the sales of Lemon’s records paved the way for a host of other solo rural blues musicians to record in his wake and made the record companies more willing to give other musicians a chance, in the hopes of achieving similar success. 

Lemon ’s record sales weren’t what made him a great musician, though - that could only be attributed to his startlingly virtuosic guitar - playing and soulful singing, developed over years of busking, building on his natural gifts with a great deal of practice and work. In the Guitar of Blind Lemon Jefferson author John Miller presents transcriptions, in standard notation and tablature, of 22 of Lemon’s greatest performances, with an additional essay examining Lemon’s senses of time and phrasing and his picking techniques. Also included is a download link to all the original recordings. 

To present a picture of Lemon the man, noted blues researchers Alan Governar and Kip Lornell have contributed an essay focusing on Lemon’s early life, the origins of his music, and his time spent in a musical partnership with Lead Belly. Links are provided to downloadable performances of the songs in the book from which the transcriptions were made, so that you can have Lemon’s sound in your head as you learn to play his songs.

Blind Lemon Jefferson was remarkable, even in a style that abounded in great musicians, and some measure of his influence can be seen in the fact that musicians recorded in the 1960s, more than thirty years after his death, were still covering his songs and stealing guitar licks from him. The Guitar of Blind Lemon Jefferson gives you the resources needed to learn what was so special about Lemon’s music, and to experience his musical excellence from inside the music itself.

Titles include: One Dime Blues, Got The Blues, Dry Southern Blues, Big Night Blues, Rabbit Foot Blues, Shuckin' Sugar Blues, Where Shall I Be, Wartime Blues, Black Horse Blues, Prison Cell Blues, Piney Woods Money Mama, See That My Grave Is Kept Clean, He Arose From The Dead, Beggin' Back, Broke And Hungry, Bad Luck Blues, Matchbox Blues, Lemon's Worried Blues, That Crawlin' Baby Blues, Easy Rider Blues, Stocking Feet Blues and Right of Way Blues

Level 2/3 • 160 pages • Direct download link to audio files. 

Piano/Vocal/Guitar

SKU: HL.275347

By Kenny Chesney. Piano/Vocal/Guitar Artist Songbook. Country. Softcover. 136 pages. Published by Hal Leonard (HL.275347).

ISBN 9781540026040. UPC: 888680743659. 9.0x12.0x0.336 inches.

20 of Chesney's top hits, including: All the Pretty Girls * American Kids * Come Over * The Good Stuff * No Shoes No Shirt (No Problems) * Save It for a Rainy Day * Setting the World on Fire * Somewhere with You * There Goes My Life * You and Tequila * You Had Me from Hello * and more.

Lyrics/Chords Guitar

SKU: HL.242081

By The Beatles. The Little Black Songbook. Pop. 384 pages. Hal Leonard #HL00242081. Published by Hal Leonard (HL.242081).

ISBN 9781785588617. UPC: 888680704407. 4.75x7.75x0.956 inches.

A pocket-sized collection of 195 Beatles hits presented in chord songbook format. Includes complete lyrics, chord names & a handy chord box reference sheet. Including classic hits such as: All You Need Is Love • Can't Buy Me Love • Day Tripper • Do You Want to Know a Secret • Eleanor Rigby • From Me to You • Get Back • Help! • Hey Jude • I Want to Hold Your Hand • Let It Be • Magical Mystery Tour • Ob-La-Di Ob-La-Da • Please Please Me • Ticket to Ride • Twist and Shout • and more.

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

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

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.

Lead Sheets for 200 Jazz Standards. Composed by Various. Guitar Book. Softcover. 382 pages. Published by Hal Leonard

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

SKU: GH.GE-11464

Composed by Benjamin Staern. Duration 15 minutes. Gehrmans Musikforlag #GE 11464. Published by Gehrmans Musikforlag (GH.GE-11464).

ISBN 979-0-070-11464-6. A4 inches.

Work note by the composer:

When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone.
The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work.
Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line.

The work is divided in three parts.
I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other.
The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end.

II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere.

III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible!

Benjamin Staern

Guitar - easy

SKU: BT.BWH7016

Revised edition. Arranged by Peter Bursch. Pop & Rock. Book with CD. Composed 2021. 112 pages. Bosworth & Co. #BWH7016. Published by Bosworth & Co. (BT.BWH7016).

ISBN 9783920127187. German.

Jetzt wieder erhältlich: Beatles für Gitarre“ von Erfolgsautor Peter Bursch!

Die Fortsetzung des Beatles-Gitarrenbuches (Band 1 - BOE4493). Alle Griff- und Spieltechniken erklärt Peter Bursch so einfach wie möglich und mit vielen zusätzlichen Hinweisen. Auf der beiliegenden CD sind alle in dem Buch behandelten Beatles-Songs mit allen Spieltechniken zu hören und laden direkt zum Mitspielen ein.

Die speziellen Gitarren-Riffs, Melodieläufe, Anschlag- und Zupftechniken der Beatles werden ausführlich erklärt, damit jeder die charakteristischen Spieltechniken lernen kann. Dazu gibt es jede Menge Infos und Stories über die Beatles, ihre Musik sowie die Entstehungsgeschichten der Songs.

Peter Bursch gilt als Deutschlands Gitarrenlehrer der Nation und hat im Laufe seine Karriere insgesamt neunzehn Lehrbücher für verschiedene Spielniveaus und Stile veröffentlicht. Sein erstes Gitarrenbuch wird seit seiner Erstveröffentlichung 1975 weiterhin als wichtigstes Lehrwerk für den Einstieg ins Gitarrenspiel betrachtet. Die Gitarrenbaufirma Martin stellte für Peter Bursch ein Sigma-Signaturemodell her. Er ist der erste Deutsche, dem diese Ehre zuteilwurde. https://www.pete r-bursch.de/

By Various. Edited by Trevor de Clercq. Fake Book. Softcover. 224 pages. Published by Hal Leonard

By Various. Easy Guitar (Simplified arrangements for guitar). Softcover. 210 pages. Published by Hal Leonard.

Performed by The Beatles, composed by John Lennon, Paul McCartney, arranged by Larry Beekman. For guitar. Format: Guitar solo book. With introductory text, instructional text and fingerings. Classic rock, britpop and psychedelic rock. 64 pages. 9x12 inches. Published by Hal Leonard

By Various. For Guitar. Guitar Solo. Softcover. 40 pages. Published by Hal Leonard

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

Adult Contemporary, Perfect binding. Jazz. Book and online audio. 92 pages. Mel Bay Publications, Inc #31004M. Published by Mel Bay Publications, Inc

by William Bay. For all guitars. Gospel-old time, strum/sing. Level: Beginning-Intermediate. Book. Solos. Size 8.75x11.75. 112 pages. Published by Mel Bay Pub., Inc.