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Solo Guitar - Level 3 - Digital Download

SKU: A0.1292897

Composed by Eric Charles Mokotoff. Arranged by Eric Charles Mokotoff. 19th Century,20th Century,Classical,Instructional,Traditional. Individual part. 32 pages. Eric mokotoff #883493. Published by eric mokotoff (A0.1292897).

Mauro Giuliani's Op. 1 Right Hand 120 Studies is now available in this newly reimagined and harmonically restructured format.
All 120 studies have been rewritten for both Left and Right Hand progressively moving from 1st position to 10th position.
This new course will take you through both Major and Minor Keys traveling through chord structures that will teach you the entirety of the guitars neck and frets.
Each study recreates the RH fingering and retains the original rhythms while offering new chord progressions in more keys.
The original studies focused on two chords to accomplish the Right Hand focus, but both hands are essential in understanding the connection of the strings, frets, and chord structures.
This is an exciting, and compelling project that any serious Classical Guitarist should take advantage of.
Now learn and play all 120 Mauro Giuliani Studies with a whole new Harmonic journey. Each Major key expresses a I IV I vi ii V7 I progression and each minor key expresses a i iv i V7 i progression.
Teachers, professors, and Universities will be excited to introduce students to a whole new reimagined modern look at these essential pedagogic lessons.

Mauro Giuliani Op.1- Studies for the guitar 120 Studies Reimagined and Harmonically Restructured
Guitare

$19.99 17.97 € Guitare PDF SheetMusicPlus

Solo Guitar - Level 2 - Digital Download

SKU: A0.1227037

Composed by Joao Teixeira Guimaraes. Arranged by André Alberto Santos. 20th Century,Early Music,Folk,Latin,Multicultural,World. Individual part. 3 pages. Soul - Musical Creations #823045. Published by Soul - Musical Creations (A0.1227037).

Are you a guitarist looking for new and exciting music to add to your repertoire? Look no further, João Pernambuco's Sons de Carrilhões is an iconic piece and a must-learn for any guitarist.

With our PDF sheet music, you can easily access and study this masterpiece from the comfort of your own home. No need to scour music stores or wait for it to ship, just download and start playing today.

Sons de Carrilhões is not only a joy to listen to, but also a great challenge for guitarists of all skill levels. Its melody and dynamic rhythm will push you to improve your technique and musicianship.

And with our high-quality sheet music, you can be sure you're getting an accurate representation of the original piece. Our PDF is carefully transcribed and edited, so you can play with confidence and accuracy.

Don't miss the opportunity to add Sons de Carrilhões to your guitar repertoire. Download our sheet music in PDF today and start mastering this beautiful Brazilian classic.

Sons De Carrilhoes
Guitare

$4.99 4.49 € Guitare PDF SheetMusicPlus

Guitar - Intermediate - Digital Download

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 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.

Élégie
Guitare

$3.95 3.55 € Guitare PDF SheetMusicPlus

Solo Guitar - Level 2 - Digital Download

SKU: A0.1251016

By Donald B. Miller. By Donald B. Miller. Instructional. Individual part. 96 pages. Donald Miller Music #845311. Published by Donald Miller Music (A0.1251016).

Why is it of paramount importance to approach guitar reading tech- nique by working from the lower strings upward rather than from the top string downward? There are many reasons, but two of the most important ones are that chords are built vertically, from the bottom up, and that the lower notes frequently determine the exact fret( s) for these upper and mid- dle neck areas. Therefore this book is based on the only natural approach to guitar reading: from lower strings upward. And it should be noted that this method has met with 100 percent success, whether with students who are beginning non-readers or those who have studied the instrument but read poorly or not at all.

Guitar Reading and Technique, The New All-Fret Approach
Guitare
Donald B Miller
$20.00 17.98 € Guitare PDF SheetMusicPlus

Solo Guitar - Level 2 - Digital Download

SKU: A0.1009135

Composed by Joao Teixeira Guimaraes. Arranged by Kayo Oliver. Contemporary. Individual part. 2 pages. Kayo Oliver #6360567. Published by Kayo Oliver (A0.1009135).

JOÃO PERNAMBUCO (João Teixeira Guimarães) died in 1947. Brazilian, son of an indigenous mother and Portuguese father, he started playing the country guitar in childhood, due to the influence of local singers and guitarists. He began to compose regionally inspired songs, based on folk songs. This is the case of the hymn Luar do Sertão (Moonlight of the Hinterland), composed in 1911, his greatest success, not credited by the lyricist partner Catulo da Paixão, who remained as the only author. He was also part of the Caxangá Group, which was dressed in typical clothes and was quite successful in the 10's. He also participated in Turunas Pernambucanos and Oito Batutas, alongside Pixinguinha. He composed several instrumental pieces for guitar, among which Sons De Carrilhoes (Chimes Sounds) stands out. Her work is a reference for guitarists who constantly re-record it.

Sons De Carrilhoes
Guitare

$4.99 4.49 € Guitare PDF SheetMusicPlus


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