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Vous avez sélectionné:
The Collected Guitar Studies
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The Collected Guitar Studies
The Collected Guitar Studies
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Methodes Etudes
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Leonard Schulz
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The Collected Guitar Studies
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Chanterelle
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SheetMusicPlus
Guitar - intermediate to advanced - Composed by Leonard Schulz. This edition: Sheet music. Downloadable. Chanterelle #Q47959. Published by Chanterel...
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Guitar - intermediate to advanced - Composed by Leonard Schulz. This edition: Sheet music. Downloadable. Chanterelle #Q47959. Published by Chanterelle
English.
This edition presents all Schulz's known studies, and they demonstrate the composer at his best. Many of the studies are technically demanding, often with focus on specific and sometimes unusual techniques or right-hand fingerings. They also have a rich harmonic language, thus displaying an instrumental and compositional proficiency beyond that of the average guitarist at the time. In quality the Schulz studies may be compared to those by Giulio Regondi.
$21.99 ≈
19.69€
Ernesto GarcÃa de León - 20 Estudios (20 Studies), Op. 50 - Collected Works, Volume 2
Ernesto GarcÃa de León - 20 Estudios (20 Studies), Op. 50 - Collected Works, Volume 2
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Guitare
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Methodes Etudes
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Ernesto Garcia de Leon
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Ernesto GarcÃa de León - 20
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Michael Lorimer Editions
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SheetMusicPlus
Composed by Ernesto Garcia de Leon (1952-). 20th Century, Contemporary Classical, Impressionistic. Score. 36 pages. Published by Michael Lorimer Editi...
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Composed by Ernesto Garcia de Leon (1952-). 20th Century, Contemporary Classical, Impressionistic. Score. 36 pages. Published by Michael Lorimer Editions
Ernesto García de León's 20 Studies, Op. 50 is an ingenious collection thataddresses fundamental questions about how to develop and maintain guitar technique. It is designed toserve guitar teachers and students as well as performers and concert audiences. Since it explores notjust the technique of our instrument, but its musicaland expressive aspects as well, it makes daily technical work enjoyable, not tedious?even for someone only beginning to study the guitar.
For guitar teachers and students, 20 Studies canserve as a basic curriculum or it can complementother methods or other sets of studies. For performers, it provides a complete overview and tune-up ofthe guitar technique in one graded set of daily studies that can be played in less than half an hour. Thiswarm-up then provides the player delicious concertrepertoire?as the complete set, or in smaller groups,or in combinations with other music by ErnestoGarcía de León.
These musical exercises are also useful to rectify,reform or rehabilitate the guitar technique.
The materials out of which the twenty studies aredeveloped are first idiomatic patterns of the guitarand then the variety of musical styles so appealing toand characteristic of Ernesto García de León. For example, classic examples of the music of theCaribbean coastal basin in general and thecomposer's native state Veracruz in particular appearunvarnished in #12 (a rumba veracruzana) and #20(a son). The other studies blend elements of Mexicanmusic in general?songs of the revolution, nativedances, boleros, children's songs, and so forth?withelements of European classical music, Beatles, NewAge music, jazz and other musical styles, in a wayintended to appeal to the player and to the listener.
As the summary on pages 34 and 35 illustrates,the first sixteen studies explore basic formulas for theright hand. At the same time, they also address thefull range of left hand techniques?including balanceand positioning, independence of the fingers, longitudinal and transversal movements, shifts by substitution, by displacement, by jump, and by positions,barring, stretches and contractions, damping, pivoting, crossed movements, and movements with fixedfingers. The last four studies concern the slur.
Though each of the basic right- and left-hand formulas explored in the twenty studies is relativelysimple in itself, each is a building block of a solidtechnique. Mastery of the complete set of twentystudies?less than half an hour of music?integratesall the formulas and develops the technique to a levelat which an enormous range of the guitar repertoirebecomes available.
$16.95 ≈
15.18€
The Collected Guitar Studies
The Collected Guitar Studies
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Leo Schulz
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The Collected Guitar Studies
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Chanterelle
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SheetMusicPlus
Guitar SKU: PR.ECH0432 Composed by Leo Schulz. With Standard notation. 56 pages. Chanterelle #ECH0432. Published by Chanterelle (PR.ECH0432).
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Guitar SKU: PR.ECH0432 Composed by Leo Schulz. With Standard notation. 56 pages. Chanterelle #ECH0432. Published by Chanterelle (PR.ECH0432).
$30.95 ≈
27.72€
Élégie
Élégie
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO...
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Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né àDouala 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 àParis 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 Ã?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. Ã? Paris, le jazz, la musique àla mode àcette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait àde 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 àParis), 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 àconcilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique àl'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 àrencontrer 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 àCaracas.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.
$3.95 ≈
3.54€
Collected Works for Guitar
Collected Works for Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio J
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engraved from manuscripts
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Collected Works for Guitar
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Chanterelle
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SheetMusicPlus
In reprints of first editions & engraved from manuscripts. Composed by Antonio J. Manjón. Downloadable. Chanterelle #Q581818. Published by ...
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In reprints of first editions & engraved from manuscripts. Composed by Antonio J. Manjón. Downloadable. Chanterelle #Q581818. Published by Chanterelle
English.
A contemporary of Albéniz, the highly literate blind guitarist Manjón (1866-1919) apparently started his guitar studies with a pupli of Aguado. He enjoyed a high reputation. A young Miguel Llobet was so impressed after hearing him that he decided to dedicate himself to the guitar and Austín Barrios asked him for lessons. We are proud to present this volume of Manjón's music which combines both Flamenco and Latin-American elements to give an innovative and unique blend of guitar music. Revised edition 2023.
$40.99 ≈
36.71€
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The Collected Guitar Studies
