Format : Sheet music + CD
Begin your journey to improv mastery and finding your own musical voice!Each étude is based on a standard chord progression and centred on one left-hand position.Everything is carefully crafted to improve playing technique reading and improv chops of the beginning guitarist and to increase awareness on melody harmony and rhythm.The accompanying CD features the author's recorded demos of all 12 études as well as dozens of musical examples.
SKU: MB.20801
ISBN 9780786682102. UPC: 796279110549. 8.5 X 11 inches.
Etudes Electric was composed in response to a need for original electric guitar literature. Selections from this volume may be performed in an applied music jury or recital in a university guitar program. The etudes are motivically intertwined and make a complete composition when performed in order. The pieces can however be performed singly or in any combination. The pieces appear twice in this edition-once unedited in standard notation alone, and then fully edited in standard notation with rhythmic tablature.
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 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 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: AP.1-ADV14786
ISBN 9783892212164. UPC: 805095147865. English.
Intermediate Jazz Conception is another addition to the popular series of etude books created by Jim Snidero, featuring some of the finest jazz musicians in the world. This book/audio set includes 15 etudes based on standards, modal tunes and blues, demonstrated by Joe Cohn on guitar with the incredibly swinging rhythm section of Dave Hazeltine on piano, Peter Washington on Bass and Kenny Washington on Drums. New to Intermediate Jazz Conception is an appendix dedicated to style and improvisation, including a scales syllabus, nomenclature, and over 95 lines and ideas extracted for the study of improvisation! The recording features two separate versions of each etude; one with the soloist and rhythm section and one with the rhythm section only. Hear how the soloist performs the etudes, play with or without the soloist, and learn about both jazz style and improvisation from some of the best. Other series available by Jim Snidero: Easy Jazz Conception and Jazz Conception.A talented musician, musical advocate and educator ... a genuinely significant figure in jazz composition Penguin Guide to JazzA master musician Down Beat Magazine.
SKU: AP.1-ADV14726
ISBN 9783954810314. UPC: 805095147261. English.
Jazz Conception is an exciting way for players at all levels to learn the language of jazz! Each book and CD set features 21 solo etudes based on chord changes to standards and blues. See and hear how a well-known soloist phrases, articulates, and plays along with or without the soloist on the CD. Play along with one of today's finest, swinging New York rhythm sections: Mike LeDonne on piano, Dennis Irwin on bass, and Kenny Washington on drums. Start out fairly easy, then get progressively more difficult. Use the etudes as a bridge to solos of the masters that are usually more complicated and involved. Learn melodies and lines that will give you a solid jazz vocabulary and musicality. Use the book and CD sets for private lessons, for self-study, or in any combination up to a full jazz ensemble, including flute and clarinet. If you are more advanced you may want to use the book to develop your sight reading abilities, for transcribing the etudes off the MP3 CD (then check against the book), or for just having fun playing along with a great jazz rhythm section. Use as an improvisation study, learning how to construct a swinging, logical solo---works especially well in combination with the Study Guide. Titles: Groove Blues * Amen * A Doll * Total Blues * Grease * Rose * Joe's Thing * Proxy * Father Song * Ind Line * Miles * Blue Minor * Autumn * Friends * Great Love * Two Plus Two * Lunar * Tunisia * Bird Blues * Somewhere * Passage.
SKU: AP.1-ADV14766
ISBN 9783892212010. UPC: 805095147667. English.
For jazz phrasing, interpretation and improvisation. A new and exciting way for guitar players to learn and practice basic jazz style. This book/audio set features 15 solo etudes based on blues and standard chord progressions, demonstrated by Joe Cohn on guitar along with a world-class rhythm section: Mike LeDonne, piano; Peter Washington, bass; and Kenny Washington, drums. The recording features two separate versions of each etude: one with the soloist and rhythm section and one with the rhythm section only. See and hear how the soloist phrases, play with or without the soloist and learn basic jazz style first-hand.