SKU: HL.48186600

UPC: 888680884680. 9.0x12.0x0.06 inches.

Arnaud Dumond: Comme un Hommage a Ravel (Guitar solo).

SKU: HL.48181964

UPC: 888680850043. 9.0x12.25x0.045 inches.

Maurice Ravel: Piece en Forme de Habanera (Guitar solo).

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: YM.GTL01097129

ISBN 9784636971293.

25 Famous melodies for guitar solo. Players are able to listen the model performance on the smartphone through the QR cords attached to each page.
25Shou Ji Ta Du Zou Ming Qu . Yan Zou Zhe Ke Yi Tong Guo Sao Miao Er Wei Ma Shi Yong Zhi Neng Shou Ji Shi Ting Shi Fan Yan Zou .

1. Liszt: Liebestraum; 2. Debussy: La fille aux cheveux de lin; 3. Dvorak: Largo from A New Wrold Symphony; 4. Satie/Ju te veux; 5. Chopin: Prelude Op.28/7; 6. Haydn: Theme from 2nd movement of Kaiser Quartet; 7. Verdi: Triumphal March from Opera Aida; 8. Ravel: Bolero; 9. Massenet: Meditation from Opera Thais; 10. Borodin: Polovtsian Dances from Opera Prince Igor; 11. Moussorgsky: Promnade from Pictures at an Exhibition; 12. Smetana: Melody from Moldau; 13. Schubert: Melody from Trout Quintet; 14. Bach, J. S.: Prelude from Suite for Cello No.1; 15. Liszt: La campanella; 16. Paganini: Caprice No.24; 17. Tarrega: Adelita; 18. Tarrega: Etude No.1; 19. El Noi de la Mare; 20. Sanz: Canarios; 21. Tarrega: La'cryma Christi; 22. Sol: Waltz from 6 pieces; 23. Siciliano; 24. Londonderry Air; 25. Gershwin: Rapsody in Blue.

SKU: MB.WBM58M

ISBN 9781736363058. 8.75x11.75 inches.

A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.

SKU: PR.114423450

ISBN 9781491135365. UPC: 680160687534.

Imagination mixed with local authenticity are among the hallmarks of the legendary Argentinian composer and guitarist Pujol. TRES PIEZAS VIAJERAS is clothed as a travelogue, yet it is also a dance suite bringing together the main musical genres of the Rio de la Plata district of Buenos Aires. The “Bremen” movement (composed in Germany) is a modern tango, “Pesadumbre” is a slow milonga (an older folk dance that gave rise to tango), and the “Ezeiza” movement is an urbanized treatment of the candombe dance, known for its dizzying speed. Each movement may be played separately as well as in the complete setting making this work a versatile and stimulating addition to the repertoire.
TRES PIEZAS VIAJERAS (Three Traveling Pieces) emerged during a trip to Germany in 2021. Its three movements bring together the three musical genres of the Rio de la Plata area: Tango, Milonga, and Candombe. “Bremen” is a characteristic modern tango written on a bass line that “walks” the heaviness of an urban and warm rhythm. “Pesadumbre” (Sorrow) is an air in Milonga Campera style (Milonga from the countryside), in a slow tempo, portraying the lethargy of a melancholy siesta. “Ezeiza” (a town near the international airport in Buenos Aires) is an air in Candombe style: an urban Candombe of great rhythmic vivacity. It presents a rhythm that at times bumps into itself and, at other times, reaches an extremely fast, dizzying, and violent rhythm.Las TRES PIEZAS VIAJERAS surgieron durante un viaje a Alemania en el año 2021. Son tres piezas que reúnen los tres géneros musicales del área del Rio de la Plata: el Tango, la Milonga y el Candombe. “Bremen” es un característico tango de vanguardia escrito sobre una línea del bajo que “camina” la pesadez de un ritmo urbano y caluroso. “Pesadumbre” es un aire de Milonga Campera, de tiempo lento, andante, que nos cuenta el letargo de una melancólica siesta. “Ezeiza” es un aire de Candombe. Un Candombe urbano de gran vivacidad rítmica. Nos propone un ritmo que por momentos se tropieza consigo mismo y, en otros momentos, alcanza un ritmo extremadamente rápido, vertiginoso y violento.