| Jumbo Easy Guitar Songbook Guitare notes et tablatures Guitare classique [Partition] - Facile Hal Leonard
Performed by Various. Easy Guitar (Simplified arrangements for guitar). With not...(+)
Performed by Various.
Easy Guitar (Simplified
arrangements for guitar).
With notes and tablature.
Size 9x12 inches. 400
pages. Published by Hal
Leonard.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Absolute Beginners: Classical Guitar Guitare notes et tablatures Guitare classique [Partition + CD] - Débutant Amsco Wise Publications
By Gerald Goodwin. For Guitar. Classical. Sheet Music and Audio CD. 48 pages. Pu...(+)
By Gerald Goodwin. For
Guitar. Classical. Sheet
Music and Audio CD. 48
pages. Published by Wise
Publications.
$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonata No. 6 "Kharkiv", Op. 48 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4244 Composed by Konstantin Bliokh. Sco...(+)
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, àla fin du
confinement lié au
COVID-19. Ã? 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
àla ville
frontalière de Kharkiv
et, surtout, àses
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
àvide 2â??3â??4, le
motif ascendant 1
impliquant les notes
Miâ??Fa#â??Laâ??Do#
(àl'origine sur la
première corde), et le
motif descendant 2
utilisant les notes
Miâ??Doâ??Sibâ??La
(àl'origine sur la
corde de basse 6). Ces
éléments se
complètent presque
pour former douze tons
(àl'exception du Fa
manquant), et les motifs
alternent avec des
fragments ostinato où
chaque note de la triade
de sol majeur est
déplacée pas ÃÂ
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 àvide
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 àvide,
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 ÃÂ
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
àKharkiv. 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 làoù
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. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Classical Guitar Solos for All Occasions Guitare notes et tablatures Guitare classique Hal Leonard
Over 50 Favorite Repertoire Pieces Written in Standard Notation and Tablature....(+)
Over 50 Favorite
Repertoire
Pieces Written in
Standard
Notation and Tablature.
Arranged by Jerry
Willard.
Guitar Solo. Classical.
Softcover. With guitar
tablature. 114 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| John Lennon for Classical Guitar Guitare notes et tablatures Guitare classique Hal Leonard
By John Lennon and The Beatles. Arranged by Larry Beekman. For Guitar. Guitar So...(+)
By John Lennon and The
Beatles. Arranged by
Larry Beekman. For
Guitar. Guitar Solo.
Softcover. Guitar
tablature. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Disney Songs for Classical Guitar
Guitare notes et tablatures Guitare classique [Partition] Hal Leonard
(Standard Notation and Tab). By Various. Guitar Solo. Softcover. Guitar tablatur...(+)
(Standard Notation and
Tab). By Various. Guitar
Solo. Softcover. Guitar
tablature. 56 pages.
Published by Hal Leonard
(1)$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Treasury of Classical Guitar Repertoire Guitare notes et tablatures Guitare classique Hal Leonard
Guitar Collection. Size 9x12 inches. 112 pages. Published by Hal Leonard. (notat...(+)
Guitar Collection. Size
9x12 inches. 112 pages.
Published by Hal Leonard.
(notation and tablatures)
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Duke Ellington - Essential Elements Guitar Ensembles Ensemble de guitares Guitare classique Hal Leonard
(Mid-Intermediate Level). By Duke Ellington. For Guitar Ensemble. Essential Elem...(+)
(Mid-Intermediate Level).
By Duke Ellington. For
Guitar Ensemble.
Essential Elements
Guitar. Softcover. 32
pages. Published by Hal
Leonard
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Classic Guitar Collection, Vol. 2 Guitare Guitare classique Music Sales
For guitar. Format: guitar solo book. With standard notation (no tablature) and ...(+)
For guitar. Format:
guitar solo book. With
standard notation (no
tablature) and
fingerings. Renaissance,
baroque, classical period
and 20th century. 126
pages. 9x12 inches.
Published by Music Sales.
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Solo Guitar Playing, Third Edition Book 2 Guitare Guitare classique Music Sales
(An Introduction To Technique And Repertoire For The Intermediate Guitarist) Wri...(+)
(An Introduction To
Technique And Repertoire
For The Intermediate
Guitarist) Written by
Frederick M. Noad.
Instructional book for
guitar. With standard
notation (no tablature),
fingerings, instructional
text and performance
notes. 159 pages.
Published by Music Sales.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Suite No. 1 Guitare Guitare classique [Conducteur] - 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.
FRANCE
SCO BIRAGHI
Au
lendemain d'une
récente
expérience au sein
du jury d'un concours de
guitare, j'ai
constaté avec
grand plaisir que Giorgio
Mirto, avec qui j'avais
partagé le
rôle de
juré, souhaitait
célébrer
l'expérience du
concours - au cours de
laquelle nous avons
découvert que nous
avions eu un grand
affinité de
pensée - avec
quelque chose qui
pourrait perdurer dans le
temps et ne pas
s'évaporer comme
cela arrive souvent lors
de rencontres courtes et
occasionnelles entre
musiciens. Il l'a fait en
véritable
compositeur, ce qu'il
est, et m'a
dédié une
Suite d'une très
belle facture ÃÂÂ
laquelle je me suis
permis de collaborer au
moins formellement, en
suggérant des
titres pour les quatre
mouvements. C'est ainsi
qu'est née la
Suite n.1, une
pièce qui ne
respecte pas strictement
les règles
formelles de
l'époque baroque,
mais les
réinterprèt
e et les réutilise
dans une nouvelle
tonalité.
L'inspiration
évidente du
baroque tardif de
l'œuvre m'a
amené ÃÂÂ
trouver des titres qui
invitaient
l'interprète
àapprofondir
l'inspiration
esthétique de
l'œuvre. J'ai donc
suggéré
àGiorgio de
titrer les quatre
mouvements avec quelque
chose qui reliait leur
contenu àquatre
grands du XVIIIe
siècle.
Maîtres allemands.
Le prélude est
ainsi devenu d'Eisenach
en raison de son
atmosphère parfois
improvisée
àla Bach, le
deuxième
mouvement, vaguement
toccata, parle un langage
d'orgue àla
manière de
Buxtehude (qui vivait
àLübeck),
le mouvement lent a un
Qualité
haendélienne - et
Haendel est né
àHalle - et le
dernier mouvement, loin
d'être une
véritable
Chaconne, a sans doute le
goût de cette
dernière pour la
variation et l'ostinato,
traits typiques de
Telemann qui vivait
àMagdebourg. Les
villes qui apparaissent
dans les titres sont donc
indélébiles
aux auteurs cités.
De plus, il ne faut pas
penser que le style de
l'œuvre soit en
aucune façon
allemand, étant
donné que Giorgio
Mirto s'exprime dans un
langage très
joyeux qui
synthétise la
modalité avec le
minimalisme, le tout
assaisonné d'un
clin d'œil au rock
progressif Floyd de Pink.
ou un Mike Oldfield... Le
résultat de ce
mélange
d'idées,
d'inspirations et de
styles est un ouvrage que
personnellement je ne me
lasse pas de lire et de
relire, pour la
fraîcheur qui s'en
dégage et pour le
climat expressif qui
monte, se nourrissant de
plein efficacité.
On ne peut finalement pas
ignorer que la note B,
celle qui marque de
manière mineure
certaines des
œuvres les plus
expressives du
répertoire de
guitare, depuis
l'étude de Sor qui
a fait tomber amoureux de
la guitare des
générations
d'étudiants,
jusqu'àcelle de
Frank Martin Quatre
Pièces via La
Catedral di Barrios, est
le point d'appui modal de
toute la Suite : il est
vrai que le
Prélude commence
par un accord clair en mi
mineur et s'attarde sur
une fin ouverte en la
mineur, mais il semble
presque que le mi initial
sert de une rampe de
lancement pour une suite
de l'œuvre dans
laquelle la dominante,
c'est-à-dire le B,
est le véritable
Nord musical,
l'étoile polaire
qui nous guide dans les
trois autres mouvements
jusqu'àla fin de
la Chaconne de
Magdebourg. Je souhaite
àGiorgio et
à« notre
» Suite une grande
longévité
et un destin favorable
dans le monde complexe et
complexe de la
composition contemporaine
pour guitare. Et je le
remercie encore,
flatté de son
très aimable
dévouement.
FRANCESCO BIRAGHI. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| L'Encouragement Op.34 2 Guitares (duo) Guitare classique Universal Edition
Composed by Fernando Sor (1778-1839). New Karl Scheit Guitar Edition. Score and ...(+)
Composed by Fernando Sor
(1778-1839). New Karl
Scheit Guitar Edition.
Score and part(s). With
Standard notation. 32
pages. Universal Edition
#UE34491. Published by
Universal Edition
(PR.UE034491).
$23.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Collected Works for Guitar Vol. 1 Guitare Guitare classique Theodore Presser Co.
Chamber Music Guitar SKU: PR.GHE0801 Advanced Studies, Op. 6 & 29....(+)
Chamber Music Guitar
SKU: PR.GHE0801
Advanced Studies, Op.
6 & 29. Composed by
Fernando Sor. Edited by
Erik Stenstadvold.
Collection. Theodore
Presser Company #GHE0801.
Published by Theodore
Presser Company
(PR.GHE0801).
We proudly
present a new critical
edition of the collected
guitar works by Fernando
Sor. Some titles in this
edition may be new to
some readers, eg the
contents of volume 10.
This new edition is the
biggest new publishing
undertaking for the music
of Sor since the
1970s.Our editor Erik
Stenstadvold is a noted
expert on 19th century
guitar music and
publishes regularly in
leading professional
journals such as
‘Soundboard’ and
‘Early Music’. His
life-long preoccupation
with Sor and his music,
both as a performer and
researcher, has resulted
in an unsurpassed edition
in terms of scholarly
accuracy and practical
usefulness.All relevant
early sources have been
consulted, often several
different printed
editions and manuscripts
of a particular work. In
each case the most
dependable source has
been chosen as copy text,
on the basis of
historical evidence and
textual
reliability.Variances and
errors in the original
scores are corrected and
discussed in the
comprehensive critical
commentaries. All volumes
contain detailed
introductory notes that
place the individual
works in their historical
context and discuss
particular notation
problems. Suggestions for
the interpretation of
ornaments are also
provided. In Volume 1 and
2 (Studies), Sor’s
likely purpose of each
individual study is
discussed in relation to
the technique and
fingering principles he
describes in his 1830
Méthode.The music scores
are produced at
‘concert size’ with
clear and accurate music
engraving and
high-quality German
printing. Original
fingering is retained,
but in order to make the
music more accessible to
players in general,
editorial fingering has
been judiciously added in
works with little or no
indications in the
original editions. Added
fingerings are easily
distinguishable from the
original ones by their
different typefaces. $20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Élégie Guitare Guitare classique [Conducteur] - Intermédiaire Doberman
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). ISBN
9782897963026. Fran
cis Bebey est né ÃÂ
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
àl'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 àLa
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 ÃÂ
Paris où il a
commencé des études
d'anglais àla
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. Ã?
Paris, le jazz, la
musique àla mode ÃÂ
cette époque, mais
aussi la rumba et la
salsa l'attiraient. Il
collectionnait les
disques et assistait ÃÂ
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
àjouer de
l'instrument
lui-même. Il a
commencé àcomposer
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 ÃÂ
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
àconcilier avec sa
carrière de
fonctionnaire. En 1974,
même s'il était
devenu le directeur
général chargé
de la musique ÃÂ
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 àtravers le
piano àpouce 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
àla Suède, de
l'Allemagne aux
Caraïbes, ou du Maroc
au Japon... la liste des
pays où il a été
invité àse
produire, àdonner des
conférences ou ÃÂ
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 àfaire
partie du jury d'un
concours de guitare
classique ÃÂ
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 àla 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. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jewish Songs for Classical Guitar Guitare Guitare classique Transcontinental Music
Arranged by Fred Fastow. Transcontinental Music Folios. Size 8.5x11 inches. 27 p...(+)
Arranged by Fred Fastow.
Transcontinental Music
Folios. Size 8.5x11
inches. 27 pages.
Published by
Transcontinental Music
Publications.
$19.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Maestros clasicos de la guitarra flamenca Vol.2 : M. Cano Guitare notes et tablatures Guitare classique [Partition + CD] Lemoine, Henry
By Claude Worms. For flamenco guitar. Classical. Score and CD. 108 pages. Publis...(+)
By Claude Worms. For
flamenco guitar.
Classical. Score and CD.
108 pages. Published by
Editions Henry Lemoine
$69.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Acoustic Classics - Really Easy Guitar Series Guitare notes et tablatures Guitare acoustique Hal Leonard
22 Songs with Chords, Lyrics & Basic Tab. By Various. Really Easy Guitar...(+)
22 Songs with Chords,
Lyrics &
Basic Tab. By Various.
Really
Easy Guitar. Acoustic,
Rock.
Softcover. 48 pages.
Published
by Hal Leonard
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 100 Most Popular Songs for Fingerpicking Guitar Guitare notes et tablatures Hal Leonard
Solo Guitar Arrangements in Standard Notation and Tab. By Various. Guitar Solo...(+)
Solo Guitar Arrangements
in
Standard Notation and
Tab.
By Various. Guitar Solo.
Fingerstyle, Pop.
Softcover.
With guitar tablature.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Peated Waltzes Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4303 Composed by Luciano Lima. Score. L...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4303
Composed by Luciano Lima.
Score. Les Productions
d'OZ #DZ 4303. Published
by Les Productions d'OZ
(DZ.DZ-4303). ISBN
9782898522208. Dedi
cated to world renowned
guitarist David Russell,
Peated Waltzes is a
three-movement piece that
pays homage to the peated
whiskies of Islay, the
southernmost island of
the Inner Hebrides of
Scotland. The opening
movement, Earthy Smoke,
Sea Salt and Iodine,
attempts to portray the
distinctive character of
the single malts of that
region. Based on the
Gaelic folk song The
Praise of Islay (Moladh
na Landaidh), the second
movement’s title
comes from one the
song’s last verses,
O, may long their wild
notes flow. The third
movement’s theme was
extracted from the
letters of Laphroaig, one
of the most iconic Scotch
whiskies, whose
name’s meaning
inspired the title, By
the Broad Bay. In the
second part, the
traditional Celtic
melody, An Islay Pipe
Reel, is quoted. At the
end, themes of the
previous movements are
recalled and intertwined,
as if trying to emulate
the long and lingering
finish of an Islay
dram.
Dédié
au guitariste de
renommée mondiale
David Russell, «
Peated Waltzes » est
une pièce en trois
mouvements qui rend
hommage aux whiskies
tourbés d’Islay,
l’île la plus
méridionale des
Hébrides
intérieures
d’Écosse. Le
mouvement d'ouverture,
« Earthy Smoke, Sea
Salt and Iodine »,
tente de dépeindre le
caractère distinctif
des single malts de cette
région. Basé sur la
chanson folklorique
gaélique «
L'éloge d'Islay »
(Moladh na Landaidh), le
titre du deuxième
mouvement vient de l'un
des derniers couplets de
la chanson, « O, que
leurs notes sauvages
coulent longtemps ».
Le thème du
troisième mouvement
est extrait des lettres
de Laphroaig, l’un
des whiskies écossais
les plus
emblématiques, dont la
signification du nom a
inspiré le titre «
By the Broad Bay ».
Dans la deuxième
partie, la mélodie
celtique traditionnelle
« An Islay Pipe Reel
» est citée. À
la fin, les thèmes des
mouvements
précédents sont
rappelés et
entrelacés, comme pour
tenter d'imiter la finale
longue et persistante
d'un drame d'Islay. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Le chemin de croix / Labyrinthe Guitare Guitare classique [Conducteur] Productions OZ
Guitar solo SKU: DZ.DZ-4280 Composed by Francis Kleynjans. Score. Les Pro...(+)
Guitar solo SKU:
DZ.DZ-4280 Composed
by Francis Kleynjans.
Score. Les Productions
d'OZ #DZ 4280. Published
by Les Productions d'OZ
(DZ.DZ-4280). ISBN
9782898521973. CâÂ
€Â™est un beau voyage aux
travers des tonalités
que je vous propose avec
ces deux
pièces.
La
première Le chemin de
croix expriment les 14
tableaux de la Passion du
Christ par
l’intermédiaire
d’un simple
arpège et de 14
tonalités
différentes. Les 12
tonalités mineures qui
débutent
l’œuvre de
façon parfaitement
naturelle (ré, la, mi,
si, fa#, do#, sol#,
ré#, sib, fa, do, sol)
sont suivi par deux
tonalités majeures
(ré et la) qui
viennent conclurent
l’œuvre comme une
triomphante
délivrance.
La
deuxième pièce
Labyrinthe reprend le
même principe, mais de
façon différente.
Avec un autre arpège
et des tonalités
majeures et mineures qui
s’enchainent en
s’alternant
d’une façon
naturelle par le biais
d’une légère
mutation, nous égarant
dans les méandres des
tonalités, pour enfin
nous retrouver dans le
ton original, nous
délivrant ainsi de ce
grand labyrinthe (do,
lam, ré, sim, mi,
do#m, fa#, ré#m, lab,
fam et
do).
J’espÃÂ
¨re que les
découvreurs de ces
pièces auront le
même plaisir que
j’ai eu àles
composer pour
eux.
Francis
Kleynjans
It’
s a beautiful journey
through the tones that I
offer you with these two
pieces.
The first
The Stations of the Cross
express the 14 scenes of
the Passion of Christ
through a simple arpeggio
and 14 different tones.
The 12 minor keys which
begin the work in a
perfectly natural way (D,
A, E, B, F#, C#, G#, D#,
Bb, F, C, G) are followed
by two major keys (D and
the) who come conclude
the work as a triumphant
deliverance.
The
second piece Labyrinthe
uses the same principle,
but in a different way.
With another arpeggio and
major and minor tones
which follow one another
alternating in a natural
way through a slight
mutation, leading us
astray in the meanders of
the tones, to finally
find ourselves in the
original tone, we thus
delivering from this
great labyrinth (do, lam,
re, sim, mi, do#m, fa#,
re#m, ab, fam and
do).
I hope that
the discoverers of these
pieces will have the same
pleasure that I had in
composing them for
them.
Francis
Kleynjans. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pulso de la vida Guitare Guitare classique [Conducteur] Doberman
Guitar - Advanced SKU: DY.DO-1551 Composed by Yorgos Nousis. Score. Les E...(+)
Guitar - Advanced SKU:
DY.DO-1551 Composed
by Yorgos Nousis. Score.
Les Editions
Doberman-Yppan #DO 1551.
Published by Les Editions
Doberman-Yppan
(DY.DO-1551). ISBN
9782897963316. PULS
O DE LA VIDA was composed
as part of my dear friend
Kostas Tosidis' doctoral
thesis with the title
Bowing technique on the
guitar. The character
of the piece changes from
simple and meditative to
rhythmic and
tension-filled,
reflecting different
stages of our
lives. Using a C, G, D
tuning for the bass
strings, the guitar
utilizes resonance to
create sustained,
cello-sounding melodies
on the fourth string,
complemented by harmonies
on the fifth and sixth
strings. The bowing
technique is introduced
with a continuous tremolo
accompanied by an
extended form of the
first theme. The more
dancelike and rhythmical
part of the piece uses a
19/16 measure that allows
us to experience a sense
of disparity.
Finally, the
simplicity combined with
a sense of completeness,
but also of abandonment
of the beautiful gift of
life, leaves us in a
state of stillness for
any kind of
introspection.
PUL
SO DE LA VIDA a
été
composé dans le
cadre de la recherche
doctorale de mon cher ami
Kostas Tosidis, sous le
titre Bowing technique on
the guitar (technique
d'archet àla
guitare). Le
caractère de la
pièce passe de
simple et
méditatif ÃÂÂ
rythmique et plein de
tension, reflétant
les différentes
étapes de notre
vie. La guitare, dont
les cordes basses sont
accordées en do,
sol et ré, utilise
la résonance pour
créer des
mélodies soutenues
au son du violoncelle sur
la quatrième
corde,
complétées
par des harmonies sur les
cinquième et
sixième
cordes. La technique
d'archet est introduite
par un trémolo
continu accompagné
d'une forme
étendue du premier
thème. La
partie plus dansante et
rythmique de la
pièce utilise une
mesure 19/16 qui nous
permet d'éprouver
un sentiment de
disparité.
Enfin, la
simplicité
combinée ÃÂÂ
un sentiment de
plénitude, mais
aussi d'abandon du
magnifique cadeau qu'est
la vie, nous laisse dans
un état de
tranquillité
propice àtoute
forme
d'introspection. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Alfred's Easy Guitar Songs -- Love and Romance Guitare notes et tablatures Alfred Publishing
50 Classics. Composed by various artists and composers. This edition: Eas...(+)
50 Classics.
Composed by various
artists and composers.
This edition: Easy Hits
Guitar TAB. Book; Guitar
Mixed Folio; Guitar TAB.
Alfred's Easy. Love; Pop;
Standard. 144 pages.
Published by Alfred Music
(AP.45245).
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cuna Guitare Guitare classique [Conducteur] - Intermédiaire Productions OZ
Guitar solo - Intermediate SKU: DZ.DZ-4317 Composed by Bart Aerts. Score....(+)
Guitar solo -
Intermediate SKU:
DZ.DZ-4317 Composed
by Bart Aerts. Score. Les
Productions d'OZ #DZ
4317. Published by Les
Productions d'OZ
(DZ.DZ-4317). ISBN
9782898522345. Cuna
is the Spanish word for
cradle. This work was
inspired by Cuna from F.
Mompou's Suite
Compostelana. The
work is of medium
difficulty and is not
very long. Cuna is
dedicated to one of my
graduate
students.
Cuna est
le mot espagnol pour
berceau. Cette
œuvre a été
inspirée par Cuna de
la Suite Compostelana de
F. Mompou. L'œuvre
est de difficulté
moyenne et n'est pas
très longue. Cuna
est dédié àl'un
de mes étudiants
diplômés. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Boulevard Pey Arnaud Guitare Guitare classique [Conducteur] Productions OZ
Guitar solo SKU: DZ.DZ-4292 Composed by Michel Dalle Ave. Score. Les Prod...(+)
Guitar solo SKU:
DZ.DZ-4292 Composed
by Michel Dalle Ave.
Score. Les Productions
d'OZ #DZ 4292. Published
by Les Productions d'OZ
(DZ.DZ-4292). ISBN
9782898522093. «
Boulevard Pey Arnaud »
est une composition
soliste pour guitare
inspirée par le lieu
où se trouve ma
maison, dans un
environnement
protégé,
entourée de forêts
de pins et traversée
par un petit ruisseau
nommé « l’eau
bourde ». Depuis
quatre décennies, ce
cadre enchanteur a nourri
mon inspiration,
m’offrant un refuge
de sérénité.
Chaque note de cette
courte balade est
imprégnée des
souvenirs heureux de mes
enfants grandissant sur
ce boulevard, leurs rires
et jeux résonnant
parmi les arbres. «
Boulevard Pey Arnaud »
est une ode àla
nature, àla famille
et aux moments de paix
trouvés dans ce
quartier.
Boulevar
d Pey Arnaud is a solo
composition for guitar
inspired by the place
where my house is
located, in a protected
environment, surrounded
by pine forests and
crossed by a small stream
called l’eau bourde.
For four decades, this
enchanting setting has
nourished my inspiration,
offering me a refuge of
serenity. Every note of
this short stroll is
imbued with the happy
memories of my children
growing up on this
boulevard, their laughter
and games echoing among
the trees. Boulevard Pey
Arnaud is an ode to
nature, family and the
moments of peace found in
this neighborhood. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jazz Guitar Etudes by Greg Fishman Guitare [Partition + CD] Greg Fishman Jazz Studios
By Greg Fishman. For Guitar. Play-Along (Book CD). Published by Greg Fishman Jaz...(+)
By Greg Fishman. For
Guitar. Play-Along (Book
CD). Published by Greg
Fishman Jazz Studios
$24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tourbillon d?âmes I et II Guitare Guitare classique [Conducteur] - Intermédiaire Productions OZ
Guitar solo - Intermediate SKU: DZ.DZ-4267 Composed by José-Luis Narva...(+)
Guitar solo -
Intermediate SKU:
DZ.DZ-4267 Composed
by José-Luis Narvaez.
Score. Les Productions
d'OZ #DZ 4267. Published
by Les Productions d'OZ
(DZ.DZ-4267). ISBN
9782898521843. «
Tourbillon d'âmes
I» est un éloge
àla danse, avec ses
notes staccato qui font
penser au
«tourbillon»
mécanique de
l'horloge. Le
Tourbillon II, plus
développé avec son
rythme 6/8, invite ÃÂ
la danse amoureuse, ÃÂ
la fuite du
temps... Ces
Tourbillons d'âmes
sont dédiés àla
personne qui les a
inspirés.
Tourb
illon d'âmes I is a
eulogy to dance, with its
staccato notes which are
reminiscent of the
mechanical whirlwind of
the clock. The
Tourbillon II, more
developed with its 6/8
rhythm, invites you to a
love dance, to escape
time... These Soul
Swirls are dedicated to
the person who inspired
them. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Teach Yourself to Play Guitar Songs: Dust in the Wind & 9 More Fingerpicking Classics Guitare notes et tablatures Guitare acoustique [Partition + Accès audio] Hal Leonard
By Various. Teach Yourself. Softcover Media Online. 72 pages. Published by H...(+)
By Various. Teach
Yourself.
Softcover Media Online.
72
pages. Published by Hal
Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Trois Airs Variés for Violin and Guitar. Urtext Edition and Realisation of the Guitar Part Violon, Guitare (duo) [Conducteur et Parties séparées] Ut Orpheus
Violin, Guitar SKU: UT.CH-335 Composed by Nicolo Paganini. Edited by Ital...(+)
Violin, Guitar SKU:
UT.CH-335 Composed by
Nicolo Paganini. Edited
by Italo Vescovo. Saddle
stitching. Classical.
Score and Parts. Ut
Orpheus #CH 335.
Published by Ut Orpheus
(UT.CH-335). ISBN
9790215326538. 9 x 12
inches. The Trois
airs variés for violin
and piano belong to the
small nucleus of
compositions for this
scoring which, in the
Catalogo tematico,
also includes the
Cantabile in D
major (M.S.109), the only
original manuscript piece
for violin and piano
recently published in a
critical edition, and the
Quattro Notturni a
quartetto (M.S.15).
This
‘triptych’,
whose authorship is
unknown, is familiar
thanks to the
nineteenth-century
editions Ricordi, Pacini
and Hofmeister, the only
evidence of the piece
which is placed in the
Catalogo tematico
at n. 3 of the uncertain
works (Section V, pp.
346-347), that is, those
works whose authorship
remains in doubt due to
the lack of objectively
valid documents. This
placing does not
categorically exclude the
originality of the piece,
at least as regards the
violin part, and that
Gustavo Carulli
‘completed’
them later by adding the
piano part. Given that to
date there is no evidence
to deny Paganini’s
authorship of the piece,
we rely on the editorial
tradition documented by
the three publications
mentioned above and, of
course, on the style of
the composition.
Regarding the
instrumental aspect, the
technical peculiarity is
given by the exclusive
use of the 4th string
which must be transposed
one tone above, in all
three airs, including the
variations. Concerning
the piano part composed
by Gustavo Carulli, it
can only be said that it
is simple and functional,
aimed at highlighting the
violin part, nothing
more. Since the piano
part is not original, the
guitar has been thought
of as the ideal
instrument (as indeed is
proved by
Paganini’s
considerable musical
production for this
scoring) to support the
violin part and which is
better suited to these
small but pleasant
pieces. In the
transposition for guitar,
however, the aim has been
to include Gustavo
Carulli’s musical
lesson, where it is
convincing, in other
cases, however, the
preference has been to
find different solutions,
while trying to remain
within Paganini’s
‘style’ also
as regards writing for
the guitar. The present
edition therefore seeks
to be a plausible
alternative to the
previous editions, also
in order to make these
delightful but forgotten
pieces more usable. $21.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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