Par CHAFFARDON HUGUES. 1’10’’ / Niveau : Elémentaire / Répertoire / Guitare

Par CHAFFARDON HUGUES. 1’00’’ / Niveau : Débutant / Répertoire / Guitare

For Fingerstyle Guitar. Par GROSSMAN STEFAN. As aspiring fingerpicking guitarists started expanding their horizons from folk, blues, and ragtime in the 1970s, it was only logical to look towards early jazz tunes as a vast source for new possibilities. For one thing, they could follow the same evolutionary path from ragtime to jazz that had been taken by pianists such as Jelly Roll Morton and Harlem stride players like James P. Johnson and Fats Waller. These musicians all composed in a variety of styles, but their most ambitious piano solos expanded on the classic ragtime format developed by the likes of Scott Joplin, James Scott, and Joseph Lamb, using several strains that usually changed keys at least once. Morton, the self-proclaimed inventor of jazz, would record versions of tunes like King Porter Stomp and The Original Jelly Roll Blues that are similar to straight ragtime performances, and others where there is lots of room left for embellishment and jazz improvisation. The present collection is a bonanza for guitarists who want to tackle advanced arrangements along the lines of ragtime but featuring jazz age harmonies from the playing of Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, WC Handy, the Original Dixieland Jazz Band and other early jazz legends. The 32 arrangements included are by a wide assortment of guitarists including Ernie Hawkins, Pat Donohue, Lasse Johansson, Duck Baker, Ton Van Bergeyk, Sandy Shalk, Steve McWilliam, and Dorian Henry. / Date parution : 2022-01-14/ Recueil / Guitare

Par CHAFFARDON HUGUES. 1’10’’ / Niveau : Elémentaire / Répertoire / Guitare

Par WEEDON BERT. Play In A Day remians the World's most successful Guitar tutor. It is as much a legend as the stars who've learnt from it - Eric Clapton, Mike Oldfield, Paul McCartney, Steve Hillage, George Harrison, John Lennon, Sting, Brian May, Pete Townshend and dozens more. It's easy to use, inexpensive and can help to turn you into a legendary performer too./ Méthode / Guitare

Par RAMDINE DIDIER. Dix-huit années de travail ont été nécessaires pour condenser la pensée gwo-ka. Il fallait donner l'essence de la percussion, de la danse et du chant à travers l'instrument qui est la guitare. La difficulté majeure a été d'associer la notion simultanée du binaire et du ternaire ainsi que du sentiment sonore. Le sentiment sonore détermine l'ère culturelle dans laquelle nous évoluons. L'ensemble des partitions et des tablatures donne un aperçu des formes rythmiques, mélodiques et harmoniques de cette musique percussive de la Guadeloupe. Vous découvrirez à travers ces partitions, l'immense possibilité qui vous est donnée d'improviser en mélangeant les cellules musicales entre elles. Cet ouvrage donne aussi, l'opportunité d'aborder l'écriture musicale de façon traditionnelle, et d'utiliser ce langage pour augmenter son vocabulaire sonore selon son propre paradigme. Ce livre comporte un code grâce auquel vous pouvez télécharger gratuitement le livre numérique, et accéder ainsi aux vidéos bilngues des cours.(anglais/ français).La pédagogie est simple et accessible à tous ! Je vous souhaite une bonne découverte, et à bientôt pour d'autres volumes sur la musique Afro-Caribéenne !/ Recueil / Guitare

Par . Taking guitarists through the early steps of learning notation and fretboard knowledge, this book is the ideal introduction to learning the guitar for beginners. This volume works equally well for Electric and Acoustic guitarists. Through a series of engaging and contemporary playalong pieces and exercises, each element is progressively introduced, with handy tips and ?Did you know'? boxes to strengthen ideas. Concepts of posture and technique are beautifully illustrated throughout, making this a great preparation for Trinity College London Acoustic Guitar or Rock and Pop Guitar exams. This book is presented in standard and TAB notation. Written by guitarist and Trinity examiner Tom Fleming. / Date parution : 2022-04-26/ Méthode / Guitare

Trinity College London?s Rock and Pop graded song books contain real songs from legendary artists with specially written performance notes for the Rock and Pop exams from 2018. This book contains material intended for Guitar at grade 6.

Celedonio Romero (1913 - 1996) was a classical guitarist and composer. Born in Cuba to Spanish parents he studied music at Malaga and Madrid but never had any formal Guitar lessons. Having became well known within Spain he was refused permission to perform outside the country by Franco’s government. In 1957 he moved to the United States and founded the distinguished Guitar quartet Los Romeros with his three sons. Los Maestros (The Masters) is a collection of three songs for solo Guitar dedicated to 'Three Teachers': Copla - La Rueda - Baile (Couplet - The Wheel - Dance).

Celedonio Romero (1913 - 1996) was a classical guitarist and composer. Born in Cuba to Spanish parents he studied music at Malaga and Madrid but never had any formal Guitar lessons. Having became well known within Spain he was refused permission to perform outside the country by Franco’s government. In 1957 he moved to the United States and founded the distinguished Guitar quartet Los Romeros with his three sons. Romero wrote over 100 compositions for Guitar. His ever-popular Gavota (Gavotte) was first published in 1980 but was probably written much earlier.

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