Composed by William Bay. Flatpicking, Lute, Baroque, Contemporary, Technique, Theory and Reference, Solos. Achieving Guitar Artistry. Book. 76 pages. Published by Mel Bay Publications, Inc

By William Bay; performed by Ben Bolt. For Guitar (Classical). method. You Can Teach Yourself. Classic. Level: Beginning. Book CD DVD. Size 8.75x11.75. 112 pages. Published by Mel Bay Publications, Inc.

By William Bay; performed by Ben Bolt. For Guitar (Classic). method. You Can Teach Yourself. Classic. Level: Beginning. Book DVD. Size 8.75x11.75. 112 pages. Published by Mel Bay Publications, Inc.

by William Bay and Mike Christiansen. For all guitars. Mastering Guitar. All styles, assorted music styles. Level: Beginning-Intermediate. Book/CD Set. Method. Size 8.75x11.75. 184 pages. Published by Mel Bay Pub., Inc.

Guitar Solo. By William Bolcom. Marks. Size 9x12 inches. 20 pages. Published by E.B. Marks Music.

For Guitar. Composed by William Bolcom. E.B. Marks. Softcover. Published by Edward B. Marks Music (HL.137668).

By Mel Bay and William Bay. For Guitar (All). method. Non-Series. All Styles. Level: Beginning. Book CD DVD. Size 8.75x11.75. 88 pages. Published by Mel Bay Publications, Inc.

Guitar

SKU: BT.9781408115008

Abracadabra. Book with CD. 72 pages. Collins Music Publishing #9781408115008. Published by Collins Music Publishing (BT.9781408115008).

ISBN 9781408115008.

A bracadabra Singalong Guitar makes learning the Guitar simple and fun. Bursting with songs from pop classics to traditional campfire favourites, the book includes full teaching notes, chord diagrams, lyrics and twoeasy-to-follow CDs.

It is the perfect resource for use during classroom singing, at small Guitar groups, in assemblies or for individual learners.

By William Bay. For Guitar (All). Chord book. Qwik Guide Series. All Styles. Level: Beginning. Book. Size 5.5x8. 64 pages. Published by Mel Bay Publications, Inc.

Guitar - intermediate

SKU: HL.49011010

Two Guitars. Composed by Johann Rosenmü and ller. Edited by Len Williams. Arranged by Len Williams. This edition: Folding. Sheet music. Gitarren-Archiv (Guitar Archive). Classical. 2 pages. Schott Music #GA95. Published by Schott Music (HL.49011010).

ISBN 9790220116339. UPC: 073999222371. 8.75x11.5x0.026 inches.

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: DZ.DZ-4272

Composed by Mark Anthony Cruz. Score. Les Productions d'OZ #DZ 4272. Published by Les Productions d'OZ (DZ.DZ-4272).

ISBN 9782898521898.

En septembre 2018, le guitariste Toby McWilliams a commandé à Cruz l’écriture d’une pièce solo en trois mouvements après avoir entendu ses Five Pieces in C dans l’émission de radio internationale Classical Guitar Alive. McWilliams a demandé que le premier mouvement soit en forme sonate-allegro, suivi de deux autres pièces reflétant les choix de tempo d’une sonatine en trois mouvements typique. Comme c’est le cas pour la plupart des œuvres de Cruz, cette Sonatine a été achevée en tant que musique pure, sans programme sous-jacent. Cependant, dans sa quête de trouver des titres autres que des indications de tempo, Cruz a extrait trois mots de la correspondance entre lui-même et McWilliams qui, ensemble, ajoutent une touche personnelle à la collection tout en suggérant une progression des événements d’une journée imaginaire.

Un point d’intérêt dans le premier mouvement, le thème A : Cruz commence sur l’accord IV et évite intentionnellement d’utiliser un accord I tout au long de la pièce. Bien que la section B commence dans la tonalité de dominante, elle se dirige rapidement vers un centre tonal de ré majeur.

Festival (3ème mouvement) utilise un thème d’ouverture bitonal : mi majeur dans la voix supérieure tandis que la ligne de basse utilise mi mineur.

In September of 2018, guitarist, Toby McWilliams commissioned Cruz to write a three-movement guitar solo after hearing his Five Pieces in C on the internationally syndicated radio show, Classical Guitar Alive. McWilliams requested the first movement to be in sonata-allegro form followed by two other pieces that reflect the tempo choices of a typical three-movement sonatina. As is the case with most of Cruz’s music, this Sonatina was completed as music written for music’s sake. However, in his quest to find titles other than tempo markings, Cruz plucked three words from the correspondence between himself and McWilliams that together, add a personal touch to the collection while suggesting a progression of an imaginary day’s events.

A point of interest in the first movement, A theme: Cruz begins on the IV chord and intentionally avoids using a proper I chord throughout. While the B section does begin in the dominant key, it moves quickly towards a D major tonal center.

Festival (3rd movement) uses a bitonal opening theme: E major in the top voice while the bass line uses E minor.

Book/Online Audio Guitar

SKU: HL.1447614

Composed by Various. Arranged by David V. Montoya. Guitar. Classical. Softcover Audio Online. 128 pages. Duration 165 seconds. Published by Centerstream Publications (HL.1447614).

ISBN 9781574244212. UPC: 196288207351. 8.5x11.0x0.341 inches.

Get ready to develop your performance skills and musicianship, and take your playing to the next level with Solos and Duets for Classical Guitar! This book has a little something for every guitarist, but mainly, it is an opportunity for creative musicians to take their guitar skills to the next level. If you are new to classical guitar, you will find manageable, memorable classics as well as new arrangements of modern masters. If you are an experienced guitarist, you will find many works to challenge your technical performance and reading abilities. If you need additional help of tablature and/or audio recordings, these are available to you for every piece. On these pages, you will find music by master educators and musicians, including J.S. Bach, Béla Bartok, Domenico Cimarosa, Hamza El Din, George Heussenstamm, William Allaudin Mathieu, Nelson Montalvo, W.A. Mozart, Alessandro Scarlatti, and Robert Schumann. Many of the included selections are transcriptions from works for toher new instruments and some are original guitar works that now appear in print for the very first time! You will find many beautiful solos and duets, and even some guitar quartet exercises to lead you into ensemble playing.