Par GUILLEM PATRICK. / Niveau : Elémentaire / classique / Répertoire / Guitare

Par LITTORIE JOEL / ROUSSE VALERIE. La série Couleurs Caraïbe propose des pièces originales inspirées par les formes de musique des Caraïbes comme le Calypso, la Biguine, mais aussi des formes plus classiques telles que la Valse, le Quadrille, la Mazurka, la Fantaisie. Chaque volume a été écrit pour un instrument différent et les pièces proposées dans chacun des recueils sont différentes. Le niveau des pièces correspond à Préparatoire 1 et 2. / Niveau : Assez Facile / classique / Répertoire / Guitare

Extrait De Notes De Voyages Volume 2 Ailleurs. Par LE GARS MARC. Extrait De Notes De Voyages Vol. 2 Ailleurs/ Répertoire / Guitare

Par MAYRAN DE CHAMISSO OLIVIER. / Niveau : Elémentaire / classique / Répertoire / Guitare

Par RIVIALE VINCENT / ROBILLOT DAMIEN. Dicodakor est un dictionnaire d?accords de guitare, malin et joliment illustré, qui présente les accords de façon accessible et ludique - on y trouve plus de 750 diagrammes pour jouer les accords les plus courants, et quelques conseils ! La théorie musicale est volontairement peu abordée pour ne pas rebuter le musicien débutant. Jouer d?un instrument est un plaisir et apprendre la musique doit l?être aussi. La mise en page et l?esprit de ce livre ont été conçus pour cela. Il conviendra parfaitement aux débutants, enfants ou adultes qui pourront y découvrir les différentes positions des doigts pour former des accords. Ici, on va à l?essentiel, en privilégiant la découverte personnelle et l?écoute, une bonne base pour débuter ! On y trouve aussi des suites d?accords à jouer pour s?entrainer. Sachant que bon nombre de grands succès de la chanson ou du répertoire rock sont souvent basés sur des suites d?accords très simples, vous pourrez aussi vous amuser à trouver par vous-mêmes vos airs préférés en vous inspirant des visuels les accompagnant. Bonnes découvertes !/ Méthode / Guitare

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

Par KOZELUCH LEOPOLD. / Niveau : Elémentaire / classique / Répertoire / Guitare

Langue: English(US)/Deutsch/Français/Nederlands / Méthode / Méthode / Guitare