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Vous avez sélectionné:
He Said
GUITARE
Partitions à imprimer
27 partitions trouvées
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26
He Said
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Piano, Voix et Guitare
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Mariage/Ballade
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Pop musique
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Dianne Wilkinson
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Pop
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He Said
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Dianne Wilkinson. For piano, voice and guitar (chords only). Love; Pop. Piano/Vocal/Guitar. 4 pages. Published by Hal Leonard - Digital Sheet Music ...
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By Dianne Wilkinson. For piano, voice and guitar (chords only). Love; Pop. Piano/Vocal/Guitar. 4 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
What he Said
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2 Guitares (duo)
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AVANCÉ
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Contemporain
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Benjamin Verdery
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What he Said
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Les Editions Doberman-Yppan
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SheetMusicPlus
Composed by Benjamin Verdery (1955-). Scores (2). 32 pages. Les Editions Doberman- Yppan (digital) #DO 1028. Published by Les Editions Doberman-Yppan (...
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Composed by Benjamin Verdery (1955-). Scores (2). 32 pages. Les Editions Doberman- Yppan (digital) #DO 1028. Published by Les Editions Doberman-Yppan (digital)
$10.95
Both Sides Now
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Guitare notes et tablatures
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INTERMÉDIAIRE/AVANCÉ
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Joni Mitchell
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edited by Dr
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Both Sides Now
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Dr. LeRoy Henry
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.1375701 By Joni Mitchell. By Joni Mitchell. Arranged by edited by Dr. LeRoy Henry. 20th Century,Blues,Contemporary,Jazz,Pop. ...
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Guitar - Level 4 - SKU: A0.1375701 By Joni Mitchell. By Joni Mitchell. Arranged by edited by Dr. LeRoy Henry. 20th Century,Blues,Contemporary,Jazz,Pop. Guitar Tab. 8 pages. Dr. LeRoy Henry #960246. Published by Dr. LeRoy Henry (A0.1375701). As performed by Pat Martino on the Creative Force video Both Sides, Now is a song by Canadian singer-songwriter Joni Mitchell. First recorded by Judy Collins, it appeared on the US singles chart during the fall of 1968. The next year it was included on Mitchell's album Clouds, and became one of her best-known songs. It has since been recorded by dozens of artists, including Dion in 1968, Clannad with Paul Young in 1991, and Mitchell herself who re-recorded the song with an orchestral arrangement on her 2000 album Both Sides Now.Mitchell has said that Both Sides, Now was inspired by a passage in Henderson the Rain King, a 1959 novel by Saul Bellow.I was reading ... Henderson the Rain King on a plane and early in the book Henderson ... is also up in a plane. He's on his way to Africa and he looks down and sees these clouds. I put down the book, looked out the window and saw clouds too, and I immediately started writing the song. I had no idea that the song would become as popular as it did.Pat Martino recorded a short version of the tune on his 1975 album Consciousness. I was talking to him about the tune and said I seemed to have remebered a longer version. He said, yeah, there might be one somewhere. I think he was just messing with me and wanted me to look for it. I found it as one of the solo performances from his VHS, Creative Force. As what definately feels like a gift to me, Pat included all the bits and pieces of this extended composition in his True Fire course. I managed to put the pieces together and here is Both Sides Now/Inside synced to the recording.
$9.99
Never Said A Mumblin' Word (He Never Said A Mumblin' Word)
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Piano, Voix et Guitare
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Gospel Spirituel
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Musique Sacrée
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African-American Spiritual
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Folk
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Never Said A Mumblin' Word
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By African-American Spiritual. For piano, voice and guitar (chords only). Easter; Folk; Spiritual; Traditional. Piano/Vocal/Guitar. 2 pages. Published by Hal Le...
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By African-American Spiritual. For piano, voice and guitar (chords only). Easter; Folk; Spiritual; Traditional. Piano/Vocal/Guitar. 2 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
The Poohratorio (Winnie the Pooh - the Expotition to the North Pole)
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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David Warin Solomons
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The Poohratorio
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David Warin Solomons
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1271090 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Score. 37 pag...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1271090 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Score. 37 pages. David Warin Solomons #863483. Published by David Warin Solomons (A0.1271090). Here is my 1976 Oratorio on Winnie the Pooh (Poohratorio) for alto voice, spoken parts, guitar and various optional other instrumentsGreat fun for young and old. It uses the whole of Chapter 8 of A A Milne's Now we are six -The expotition to the North Pole, which is now in the public domain in the USA.The pdf file is the score based on the alto and guitar parts with spoken voices provided in text on the score.CHAPTER 8 ...IN WHICH CHRISTOPHER ROBIN LEADS AN EXPOTITION TO THE NORTH POLEONE fine day Pooh had stumped to the top of the Forest to see if his friend Christopher Robin was interested in Bears at all. At breakfast that morning (a simple meal of marmalade spread lightly over a honeycomb or two) he had suddenly thought of a new song. It began like this:Sing Ho! For the life of a Bear.When he had got as far as this, he scratched his head, and thought to himself That's a very good start for a song, but what about the second line? He tried singing Ho, two or three times, but it didn't seem to help. Perhaps it would be better, he thought, if I sang Hi for the life of a Bear. So he sang it . . . but it wasn't. Very well, then, he said, I shall sing that first line twice, and perhaps if I sing it very quickly, I shall find myself singing the third and fourth lines before I have time to think of them, and that will be a Good Song. Now then:Sing Ho! for the life of a Bear! Sing Ho! for the life of a Bear! I don't much mind if it rains or snows, 'Cos I've got a lot of honey on my nice new nose! I don't much care if it snows or thaws, 'Cos I've got a lot of honey on my nice clean paws! Sing Ho! for a Bear! Sing Ho! for a Pooh! And I'll have a little something in an hour or two! He was so pleased with this song that he sang it all the way to the top of the Forest, and if I go on singing it much longer, he thought, it will be time for the little something, and then the last line won't be true. So he turned it into a hum instead.  ..... etc.
$27.00
Saddest Key Blues
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Guitare notes et tablatures
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Christopher J
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Christopher J
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Saddest Key Blues
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Christopher J. Malin
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SheetMusicPlus
Solo Guitar - SKU: A0.1364971 By Christopher J. Malin. By Christopher J. Malin. Arranged by Christopher J. Malin. 20th Century,Blues,Contemporary,Jazz,P...
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Solo Guitar - SKU: A0.1364971 By Christopher J. Malin. By Christopher J. Malin. Arranged by Christopher J. Malin. 20th Century,Blues,Contemporary,Jazz,Pop. Individual part. 1 pages. Christopher J. Malin #949269. Published by Christopher J. Malin (A0.1364971). My first original work written out in standard notation and tablature. Originally written in 2017 and played out many times. I had help correcting some of the note value/rest timing. It's correct and meant to be played as written now. Please pay close attension to the rest values. It gives the music a breathing feel if you will.I would call it my personel musical language. The title comes from me asking a pro highly respected local musician, which is the saddest key to play in? He said D minor, hense the name. Of course it could be transposed to any key. Also my tablature is the way it evolved while playing it. I feel particularly, that the turn-around sounds best played in tha 5th fret position. It was written as a solo guitar piece but it could be the head for any minor key blues played with other musicians. I hope you will enjoy it. I certainly do! Thank you!
$1.99
Alfie
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Cher
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John Fries
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Alfie
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John Fries
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1271506 By Cher. By Burt Bacharach and Hal David. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Individua...
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Solo Guitar - Level 4 - SKU: A0.1271506 By Cher. By Burt Bacharach and Hal David. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Individual part. 2 pages. John Fries #863904. Published by John Fries (A0.1271506). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. Alfie is a song written by Burt Bacharach and Hal David to promote the 1966 film Alfie. Cilia Black states that, rather than declining outright to record the song, she decided to set conditions: I said I'd only do it if Burt Bacharach himself did the arrangement, never thinking for one moment that he would. When the reply came back from America that he'd be happy to...I said I would only do it if Burt came over to London for the recording session. 'Yes,' came the reply. Next I said that as well as the arrangements and coming over, he had to play piano on the session. To my astonishment it was agreed that Burt would do all three. So by this time, coward that I was, I really couldn't back out. The song was a major hit for Cilla Black (UK) and Dionne Warwick (US).
$4.99
Prisoner Of Love
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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James Brown
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John Fries
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Prisoner Of Love
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1258037 By James Brown. By Clarence Gaskill, Leo Robin, and Russ Columbo. Arranged by John Fries. 20th Cent...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1258037 By James Brown. By Clarence Gaskill, Leo Robin, and Russ Columbo. Arranged by John Fries. 20th Century,Pop,Standards. Score. 2 pages. John Fries #851275. Published by John Fries (A0.1258037). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. Written in 1931, Leo Robin has related how publisher Con Conrad walked into his hotel room with Russ Columbo and asked him to write words within the hour for a tune he had.  Robin, who was on vacation, at first refused, but Conrad explained that he wanted Columbo to demonstrate it to Flo Ziegfeld who needed a song for Helen Morgan in one of his shows.  Robin then wrote the lyric, which he afterwards said he disliked, and the song was duly performed for Ziegfeld, but he did not accept it.  Russ Columbo, however, sang it on his radio show and recorded it on October 9, 1931, for Victor Records, and it was very popular in 1932.  Columbo also sang it in the 1933 short film That Goes Double.  In 1946, the song became a major hit for Billy Eckstine, Perry Como, and the Ink Spots.
$4.99
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
'Change of scene' from Act III of Wozzeck
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
Excerpt from Lulu Suite
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Guitare
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Contemporain
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
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Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
Over The Rainbow
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Comédie Musicale
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Film/TV
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Judy Garland
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John Fries
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Over The Rainbow
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1199584 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by John Fries. 20th Century,Film/TV...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1199584 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Score. 2 pages. John Fries #798652. Published by John Fries (A0.1199584). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Over the Rainbow is a ballad composed by Harold Arlen with lyrics by Yip Harburg. It was written for the 1939 film The Wizard of Oz and was sung by actress Judy Garland. Arlen would often carry blank pieces of music manuscript in his pockets to jot down short melodic ideas. He described how the inspiration for the melody to Over the Rainbow came to him suddenly while his wife Anya drove: I said to Mrs. Arlen... 'let's go to Grauman's Chinese ... You drive the car, I don't feel too well right now.' I wasn't thinking of work. I wasn't consciously thinking of work, I just wanted to relax. And as we drove by Schwab's Drug Store on Sunset I said, 'Pull over, please.' ... And we stopped and I really don't know why—bless the muses—and I took out my little bit of manuscript and put down what you know now as 'Over the Rainbow.'.
$4.99
Skylark
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Hoagy Carmichael and Johnny Me
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John Fries
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Skylark
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1196768 Composed by Hoagy Carmichael and Johnny Mercer. Arranged by John Fries. 20th Century,Jazz,Standards...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1196768 Composed by Hoagy Carmichael and Johnny Mercer. Arranged by John Fries. 20th Century,Jazz,Standards. Score. 2 pages. John Fries #795930. Published by John Fries (A0.1196768). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Carmichael wrote the melody, based on a Bix Beiderbecke cornet improvisation, as Bix Licks, for a project to turn the novel Young Man With a Horn into a Broadway musical. After that project failed, Carmichael brought in Johnny Mercer to write lyrics for the song. Mercer said that he struggled for a year after he got the music from Carmichael before he could get the lyrics right. This song is considered a jazz standard. Additionally, it is believed to have inspired a long-running Buick car of the same name that was produced from 1953 to 1998.
$4.99
If I Were A Rich Man
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Hines Hines & Dad
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John Fries
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If I Were A Rich Man
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1220894 By Hines Hines & Dad. By Jerry Bock and Sheldon Harnick. Arranged by John Fries. 20th Century,Broad...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1220894 By Hines Hines & Dad. By Jerry Bock and Sheldon Harnick. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Pop,Standards. Score. 2 pages. John Fries #817235. Published by John Fries (A0.1220894). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. If I Were a Rich Man is a show tune from the 1964 musical Fiddler on the Roof.  A Critical and Musical Survey explained that the song contains a greater number of Jewish commonplaces than any other number in the score, and added the song does twofold: it offers such a strong dose of idiom early in the show [which] is good for the overall unity, and the important dramatic function of introducing the central character of Tevye through song.  A repeated phrase throughout the song, all day long I'd bidi-bidi-bum, is often misunderstood to refer to Tevye's desire not to have to work.  However, in an interview with Terry Gross, Sheldon Harnick said he basically made up syllables that he thought would give the effect of Chassidic chanting.
$4.99
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
I Don't Want To Miss A Thing
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Aerosmith
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John Fries
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I Don't Want To Miss A Thing
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1207538 By Aerosmith. By Diane Warren. Arranged by John Fries. 20th Century,Film/TV,Pop,Rock,Standards. Sco...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1207538 By Aerosmith. By Diane Warren. Arranged by John Fries. 20th Century,Film/TV,Pop,Rock,Standards. Score. 3 pages. John Fries #805707. Published by John Fries (A0.1207538). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John.  I Don't Want to Miss a Thing is a song performed by American hard rock band Aerosmith for the 1998 natural disaster film Armageddon, in which lead singer Steven Tyler's daughter Liv Tyler starred. In 1997, Diane Warren was watching Barbara Walters interview James Brolin and Barbra Streisand. Brolin said he missed Streisand when they were asleep, and Warren wrote down the words I don't want to miss a thing, before there was even a song.
$4.99
The Third Man (the Harry Lime Theme)
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Anton Karas
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John Fries
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The Third Man
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1201342 By Anton Karas. By Anton Karas. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Score....
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1201342 By Anton Karas. By Anton Karas. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Score. 3 pages. John Fries #799996. Published by John Fries (A0.1201342). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. The composition that became famous as The Third Man Theme had long been in Karas's repertoire, but he had not played it in 15 years. When you play in a café, nobody stops to listen, Karas said. This tune takes a lot out of your fingers. I prefer playing 'Wien, Wien', the sort of thing one can play all night while eating sausages at the same time..
$4.99
Big Drum
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Richard Hirsch
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Big Drum
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568....
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Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
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