Edited by Harvey Vinson. Guitar solo book for guitar. With standard notation (no tablature) and fingerings. Series: World's Favorite Series. 127 pages. Published by Ashley Publications, Inc.

Guitar Solo. By Various Composers. Guitar Collection. Size 9x12 inches. 32 pages. Published by G. Schirmer, Inc.

Edited by Jerry Willard. For guitar. Format: guitar solo book (spiral bound). With standard notation (no tablature) and fingerings. Renaissance, baroque, classical period and romantic period. 240 pages. 9x12 inches. Published by Music Sales.

By Sonia Michelson. For Guitar (Classical). Solos. Classic. Level: Beginning. Book. Size 8.5x11. 48 pages. Published by Mel Bay Publications, Inc.

Malaguena for Easy Guitar arranged by Robert Tarchara. For guitar solo. Solo. Classical. Beginner to Intermediate. Sheet Music. Text Language: English; Standard notation and tablature. 2 pages. Published by Santorella Publications

Guitar Solo. By Enrique Granados. Arranged by David Burden. Guitar. Size 8.5x12 inches. 4 pages. Published by Ricordi.

by Mel Bay. For all guitars. Modern Guitar Method. All styles, solos & duets. Level: Multiple Levels. Book. Method. Size 8.75x11.75. 320 pages. Published by Mel Bay Pub., Inc.

(for Flute and Guitar). By Moritz Moszkowski (1854-1925). Arranged by Garth Baxter. For Guitar & Flute. Ensemble (Mixed). Bill's Music Shelf. Classic. Intermediate. Book + Online Audio & PDF. 24 pages. Published by Mel Bay Publications, Inc

For Guitar. Includes an authoritative, newly engraved music score printed on high-quality ivory paper, and a compact disc containing a complete version with soloist; then a second version in digital stereo of the orchestral accompaniment, minus the soloist. Published by Music Minus One.

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.

by William Bay and Mike Christiansen. For all guitars. Mastering Guitar. All styles, solos and exercises. Level: Beginning-Intermediate. Book/CD Set. Method. Size 8.75x11.75. 144 pages. Published by Mel Bay Pub., Inc.

(for Fingerpicking Guitar). By Various. For Guitar. Guitar Solo. Softcover. Guitar tablature. 408 pages. Published by Hal Leonard

Edited by Aaron Stang. Fretted instrument mixed folio (guitar). Published by Warner Brothers.

Guitar

SKU: HL.49010861

Guitar Solo. Composed by Various. Edited by Dieter Kreidler. Arranged by Dieter Kreidler. This edition: Saddle stitching. Sheet music. Gitarren-Archiv (Guitar Archive). Classical. 6 pages. Schott Music #GA448. Published by Schott Music (HL.49010861).

ISBN 9790001096973. UPC: 073999731262. 9.0x12.0x0.031 inches.

Contents: Spanische Romanze (anon) * Lagrima (Tarrega) * Etude (Tarrega).

Guitar

SKU: HL.50510147

Guitar Solo. Composed by Isaac Albé and niz. Arranged by Enrique Granados. EMB. Book Only. 12 pages. Editio Musica Budapest #Z7020. Published by Editio Musica Budapest (HL.50510147).

UPC: 073999963632. 9.5x6.5x0.074 inches.

Guitar

SKU: VT.VT-50

Composed by Jose Meran. Solo. Van Teeseling #VT 50. Published by Van Teeseling (VT.VT-50).

Collection for solo piano(all C instruments), . 159 pages. Published by Santorella Publications.

El Zapateado by Dennis Alexander. For Piano. Piano Solo; Solo. Piece for the Piano Solo event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. SMP Level 3 (Early Intermediate); NFMC Level: Elementary Class 2. Sheet. 4 pages. Published by Alfred Music Publishing

For flute and piano. Format: set of performance parts (includes separate pull-out flute part). With solo part and piano accompaniment. Baroque, classical period and romantic period. Series: Everybody's Favorite Series #38. 190 pages. 9x12 inches. Published by Music Sales.

Guitar

SKU: HL.50607050

Guitar Solo. Composed by Leo Brouwer. Guitar. Classical, Cuban. Softcover. 12 pages. Editions Max Eschig #DF01682000. Published by Editions Max Eschig (HL.50607050).

UPC: 196288292401. 9.0x12.0x0.073 inches.

Deux Airs populaires cubains (Dos aires populares cubanos) and Deux Thèmes populaires cubains (Dos temas populares cubanos) were written in the 1960s and published by Éditions Max Eschig in 1972 and 1978. These two pieces belong to the genre of arrangements of popular songs for solo instruments that was a widespread presence in the plucked-string repertoire from the sixteenth century on. In these two cycles, Leo Brouwer reworks Cuban popular music with his usual instrumental originality. In the first cycle, Brouwer did not alter any of the melodic or structural elements of the original songs, only embellishing these with introductions, harmony, and some structure. In the second cycle however, the original dance was composed by Brouwer himself, imitating Cuban popular music characterised by both Spanish and African influences. Rather than being based on actual folk repertoire, it draws its inspiration from it and attempts to recreate its sonic ambiance. Zigante interventions, made on the scores published during the 1970s, consist of the correction of a few errors and restoring some of the original repeat signs as conceived by Brouwer. Any fingering indicationswere added by Leo Brouwer himself.

By Catherine Rollin. For Piano. Piano Solo; Solo. Signature Series. Recital. Late Elementary. Sheet. 4 pages

Guitar

SKU: BT.SCHBB4000675

Traditional spanish Dance. Composed by Fernando Sor. Arranged by Siegfried Behrend. Book Only. 3 pages. Bote & Bock #SCHBB4000675. Published by Bote & Bock (BT.SCHBB4000675).

Guitar Solo (also Lute).