SKU: BT.MI0482

Italian.

SKU: BT.BOE8051

ISBN 9783954563296. German.

SKU: DY.DO-1522

ISBN 9782897963026.

Francis 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.
Parallèlement, 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.
Progressivement, 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 didn�??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.

SKU: DZ.DZ-4263

ISBN 9782898521805.

SKU: DZ.DZ-4264

ISBN 9782898521812.

SKU: DZ.DZ-4268

ISBN 9782898521850.

Murmures de classe (Classroom wispers), est un paysage sonore de nos classes de musique. Dans un premier temps, les jeunes guitaristes s�??installent au son d�??un ostinato à la guitare 4. Le son de la cloche, sur le thème du Big Ben, annonce le début des cours. Ce projet est issu d�??une demande de Mme Amélie Grenier. L�??aspect théâtral de cette pièce a pour objectif de stimuler le travail collectif dans leur milieu scolaire.

Suggestion lors d�??une prestation publique:

Les guitares s�??installent et commencent à jouer. Tous les autres guitaristes entrent en parlant, s�??accordant, en jouant et au signal du chef à la mesure 5 la pièce débute.

Bon spectacle

Classroom wispers, is a soundscape of our music classes. First, the young guitarists settle in to the sound of an ostinato on guitar 4. The sound of the bell, on the theme of Big Ben, announces the start of lessons. This project came from a request from Ms. Amélie Grenier. The theatrical aspect of this play aims to stimulate collective work in their school environment.

Suggestion during a public performance:

The guitars settle in and start playing. All the other guitarists enter talking, tuning, playing and at the signal of the conductor in measure 5 the piece begins.

Good show.

SKU: DZ.DZ-4269

ISBN 9782898521867.

SKU: BT.DV-22164

SKU: BT.MUSAM968044B

English.

SKU: HL.399603

ISBN 9781705159637. UPC: 196288056188. 9.0x12.0x0.13 inches.

Yes, even if you're a beginner, you CAN play your favorite songs by AC/DC, KISS, Black Sabbath, Poison, and Rush! Hal Leonard's Really Easy Guitar series presents �??paint-by-number,�?� easy-to-follow chord charts, tablature, and lyrics will get you playing right away. Songs include: Ain't Talkin' 'Bout Love �?� Back in Black �?� Barracuda �?� Crazy Train �?� Detroit Rock City �?� Dr. Feelgood �?� 18 and Life �?� Hells Bells �?� Helter Skelter �?� Living After Midnight �?� Livin' on a Prayer �?� Paranoid �?� Photograph �?� Rebel Yell �?� Rock You like a Hurricane �?� School's Out �?� Smoke on the Water �?� Sweet Child O' Mine �?� Talk Dirty to Me �?� Walk This Way �?� Working Man �?� You Give Love a Bad Name.

SKU: DZ.DZ-4267

ISBN 9782898521843.

«Tourbillon d'âmes I» est un éloge à la 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 à la danse amoureuse, à la fuite du temps...
Ces Tourbillons d'âmes sont dédiés à la personne qui les a inspirés.

Tourbillon 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.

SKU: M7.DUX-927

ISBN 9783868494037.

In six volumes, each containing 20 worldwide hits edited for guitar. All the songs are arranged for guitar solo in standard notation as well as tablature. In addition, there is the usual brief description, suggestions for strumming and picking, as well as the complete lyrics with chord tabs. With audio download. All pieces in this book were recorded by Michael Langer and can be downloaded via the included link or listened to on all popular streaming platforms (e.g. Spotify).

SKU: MB.31076M

ISBN 9781513477695. 8.75x11.75 inches.

Following the model established by Bach and Chopin, George Gershwin (1898 �?? 1937) originally planned to write 24 modern preludes for piano, one in each major and relative minor key. The collection was to be called The Melting Pot as it combined cross-cultural elements of classical, popular, jazz, and blues styles. Already established as a composer of popular songs, Broadway musicals, and masterpieces like Rhapsody in Blue and Concerto in F, Gershwin�??s frenetic musical activities and an early death intervened, and for various reasons�??only three of the completed 5-7 preludes were published in 1927. By omission and circumstance, these three compositions have endured the test of time as Gershwin�??s Three Preludes.
 
This book presents idiomatic flute/guitar arrangements of Gershwin�??s iconic Three Preludes. The original keys of the preludes were altered to accommodate drop-D guitar tuning and highlight the strengths and tessituras of the two instruments. The music is written in standard notation only and presented in guitar and flute scores, guitar accompaniment with extensive suggested fingering, and a pull-out flute solo part with guitar cues. Includes access to an outstanding online audio recording by The Cypress Duo, featuring flutist Amanda Hoke and author/guitarist Justin Hoke.
 
Audiences are going to love hearing these preludes rendered by the flute and guitar, particularly �??Prelude II�?�, in Gershwin�??s words, �??a sort of blues lullaby�?� that is familiar to many musicians and listeners alike.

SKU: DZ.DZ-4256

ISBN 9782898521737.

SKU: BT.MF0516

French.