SKU: HL.48188936

Auteurs Divers Quelques Notes Pour Patricia Cy080 1 & 2 Guitars Book.

SKU: M7.MC-236

ISBN 9790707006146. French.

Le génie de la guitare brésilienne est le complément indispensable aux 'Astuces'. Cet ouvrage présente en 10 morceaux, divers styles brésiliens. Ces pièces relevées sur disques ont été fidèlement retranscrites en solfège et en tablatures.

SKU: DZ.DZ-4299

ISBN 9782898522161.

Le lieutenant-colonel Halit Recep Arman est né à Istanbul en 1902. Il était un chef d'orchestre, compositeur, flûtiste et professeur prolifique. Il était indéniablement une figure marquante de la musique militaire turque, laissant une marque indélébile dans l’histoire de la musique militaire turque. Sa production de marches, d'œuvres orchestrales et d'arrangements couvrant divers genres de musique turque met en valeur son génie et son dévouement à l'art. Les contributions d'Arman s'étendent au-delà de la composition.

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 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.

SKU: DZ.DZ-4307

ISBN 9782898522246.

A piece composed for the Six Fours Guitar Meetings in 2015, Mestiza (Métisse) mixes sounds and rhythms from various sources: Argentine tango, English rock, rhythms from Eastern European countries... The level of the students ranged from 1st to 4th year of cycle 2 of the conservatory (5 to 9 years of study)

Pièce composée pour les Rencontres de guitare à Six Fours de 2015, Mestiza (Métisse) mélange des sonorités et des rythmes de provenances diverses : tango argentin, rock anglais, rythmes de pays de l’est européen… Le niveau des élèves allait de 1ère à 4ème année du cycle 2 du conservatoire (5 à 9 ans d’études).

SKU: BT.DHP-1084494-070

ISBN 9789043129312. 9x12 inches. English-German-French-Dutch.

The De Haske Guitar Series gives a whole variety of music in diverse styles for a wide selection of acoustic guitar ensembles. I Got Plenty o' Nuttin’ is a song from the American opera Porgy and Bess, composed in 1935.Porgy & Bess has become popular only after Gershwin’s death. In 1959 a wonderful film was made; the soundtrack won a Grammy Award.

Wie jazz wil spelen, kan niet om Gershwin heen. JNM van den Langenberg arrangeerde drie van de grote hits uit het repertoire van deze Amerikaanse componist voor gitaarkwartet.

Wer Jazz spielen will, kommt an George Gershwin nicht vorbei! J.N.M. van den Langenberg machte drei der bekanntesten Lieder aus dem Repertoire des amerikanischen Komponisten in mittelschweren Ausgaben dem Gitarrenquartett zugänglich. I Got Plenty o’ Nuttin’ ist einer der bekanntesten Titel aus George Gershwins amerikanischer Oper“ Porgy and Bess, die erst nach dessen Tod durch die Verfilmung 1959 richtig berühmt wurde.

La collection De Haske Guitar Series propose des pièces de styles variés pour ensemble de guitares acoustiques. Les pièces sont écrites quatre ou cinq voix. I Got Plenty o' Nuttin' est extrait de l’opéra Porgy and Bess (1935).

La collana De Haske Guitar Series propone brani in generi musicali diversi per ensemble di chitarre acustiche. I brani sono scritti a quattro o cinque voci. I Got Plenty o' Nuttin' è estratto dall'opera Porgy and Bess del 1935.

SKU: BT.DHP-1084495-070

ISBN 9789043129329. 9x12 inches. English-German-French-Dutch.

The De Haske Guitar Series gives a whole variety of music in diverse styles for a wide selection of acoustic guitar ensembles. The irresistible song I Got Rhythm by George and Ira Gershwin, is taken from his musical comedy Girl Crazy (1930).

Wie jazz wil spelen, kan niet om Gershwin heen. JNM van den Langenberg arrangeerde drie van de grote hits uit het repertoire van deze Amerikaanse componist voor gitaarkwartet.

Wer Jazz spielen will, kommt an George Gershwin nicht vorbei! J.N.M. van den Langenberg machte drei der bekanntesten Lieder aus dem Repertoire des amerikanischen Komponisten in mittelschweren Ausgaben dem Gitarrenquartett zugänglich. Der schwungvolle Titel I Got Rhythm entstand 1930 für das Musical Girl Crazy. Das Akkordschema wurde unter dem Namen Rhythm Changes sehr bekannt und oft verwendet.

La collection De Haske Guitar Series propose des pièces de styles variés pour ensemble de guitares acoustiques. Les pièces sont écrites quatre ou cinq voix. I Got Rhythm est une chanson irrésistible composée par George Gershwin sur des paroles de son frère Ira, pour la comédie musicale Girl Crazy (1930).

La collana De Haske Guitar Series propone brani in generi musicali diversi per ensemble di chitarre acustiche. I brani sono scritti a quattro o cinque voci.I Got Rhythm è una canzone irresistibile composta da George Gerswhin su testi del fratello Ira, per la commedia musicale Girl Crazy del 1930.

SKU: BT.DHP-1084496-070

ISBN 9789043129343. 9x12 inches. English-German-French-Dutch.

The De Haske Guitar Series gives a whole variety of music in diverse styles for a wide selection of acoustic guitar ensembles. Summertime is one of the most popular songs from the historic opera Porgy and Bess (1935).

Wie jazz wil spelen, kan niet om Gershwin heen. JNM van den Langenberg arrangeerde drie van de grote hits uit het repertoire van deze Amerikaanse componist voor gitaarkwartet.

Wer Jazz spielen will, kommt an George Gershwin nicht vorbei! J.N.M. van den Langenberg machte drei der bekanntesten Lieder aus dem Repertoire des amerikanischen Komponisten in mittelschweren Ausgaben dem Gitarrenquartett zugänglich. Summertime ist ein Wiegenlied aus dem ersten Akt der American Folk Opera“ Porgy and Bess von George Gershwin, die 1935 uraufgeführt wurde. Noch berühmter als die Oper wurde das Lied in der Interpretation von Jazzgrößen, wie z. B. Ella Fitzgerald und Louis Armstrong, Billie Holiday, Miles Davis und vielen mehr.

La collection De Haske Guitar Series propose des pièces de styles variés pour ensemble de guitares acoustiques. Les pièces sont écrites quatre ou cinq voix.Summertime est extrait de l’opéra Porgy and Bess (1935).

La collana De Haske Guitar Series propone brani in generi musicali diversi per ensemble di chitarre acustiche. I brani sono scritti a quattro o cinque voci. Summertime è estratto dall'opera Porgy and Bess del 1935.

SKU: DZ.DZ-3762

ISBN 9782897956790.

The Guitar Foundation of America (GFA) is committed to cultivating Inclusion, Diversity, Equity and Access in the international guitar community and in the repertoire published for the instrument. Many factors, including a composer's race, gender, and sexual orientation, have historically created a narrow representation of our community in the classical music canon. For this first volume of the GFA Spotlight Series, the GFA commissioned seven new works by composers of color. The second volume of this series will follow with seven transcriptions of existing pieces by composers of color. These commissioned pieces and transcriptions were premiered by students in the GFA Mentorship Program in 2021.
With this collection, the guitar takes a step towards a more inclusive and representative repertoire that nurtures creativity and inclusion for generations of guitarists to come. Growing the canon enriches the musical experiences of our entire international guitar community through exposure to diverse perspectives and voices, complementing the invaluable lessons we learn from the existing contributions of pieces that form the canon.

SKU: DZ.DZ-3752

ISBN 9782897956691.

The Guitar Foundation of America (GFA) is committed to cultivating Inclusion, Diversity, Equity and Access in the international guitar community and in the repertoire published for the instrument. Many factors, including a composer's race, gender, and sexual orientation, have historically created a narrow representation of our community in the classical music canon. For this first volume of the GFA Spotlight Series, the GFA commissioned seven new works by composers of color. The second volume of this series will follow with seven transcriptions of existing pieces by composers of color. These commissioned pieces and transcriptions were premiered by students in the GFA Mentorship Program in 2021.
With this collection, the guitar takes a step towards a more inclusive and representative repertoire that nurtures creativity and inclusion for generations of guitarists to come. Growing the canon enriches the musical experiences of our entire international guitar community through exposure to diverse perspectives and voices, complementing the invaluable lessons we learn from the existing contributions of pieces that form the canon.

SKU: DZ.DZ-3751

ISBN 9782897956684.

The Guitar Foundation of America (GFA) is committed to cultivating Inclusion, Diversity, Equity and Access in the international guitar community and in the repertoire published for the instrument. Many factors, including a composer's race, gender, and sexual orientation, have historically created a narrow representation of our community in the classical music canon. For this first volume of the GFA Spotlight Series, the GFA commissioned seven new works by composers of color. The second volume of this series will follow with seven transcriptions of existing pieces by composers of color. These commissioned pieces and transcriptions were premiered by students in the GFA Mentorship Program in 2021.
With this collection, the guitar takes a step towards a more inclusive and representative repertoire that nurtures creativity and inclusion for generations of guitarists to come. Growing the canon enriches the musical experiences of our entire international guitar community through exposure to diverse perspectives and voices, complementing the invaluable lessons we learn from the existing contributions of pieces that form the canon.

SKU: DZ.DZ-3756

ISBN 9782897956738.

The Guitar Foundation of America (GFA) is committed to cultivating Inclusion, Diversity, Equity and Access in the international guitar community and in the repertoire published for the instrument. Many factors, including a composer's race, gender, and sexual orientation, have historically created a narrow representation of our community in the classical music canon. For this first volume of the GFA Spotlight Series, the GFA commissioned seven new works by composers of color. The second volume of this series will follow with seven transcriptions of existing pieces by composers of color. These commissioned pieces and transcriptions were premiered by students in the GFA Mentorship Program in 2021.
With this collection, the guitar takes a step towards a more inclusive and representative repertoire that nurtures creativity and inclusion for generations of guitarists to come. Growing the canon enriches the musical experiences of our entire international guitar community through exposure to diverse perspectives and voices, complementing the invaluable lessons we learn from the existing contributions of pieces that form the canon.