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Now I Have Everything
Guitare
Partitions à imprimer
2 partitions trouvées
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My Old Kentucky Home
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Guitare
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FACILE
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Stephen Foster
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Brian Streckfus
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My Old Kentucky Home
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyr...
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Guitar - Level 2 - SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. Tips:1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.
$1.99
The Guitar Études
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Guitare
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Methodes Etudes
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Apostolos Paraskevas
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The Guitar Études
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Silver Sickle Publications
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SheetMusicPlus
Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and Exercises, Repertoire, World. Score. 37 pages. Published by Silve...
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Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and Exercises, Repertoire, World. Score. 37 pages. Published by Silver Sickle Publications
Études for Solo Guitar
The subject of creating an educational aid for guitar students of an intermediate level that will serve also as a similar aid for theory and composition students fascinates me and motivates my compositional thought for quite a while. The objective was to create miniature complete works for the guitar, as J. S. Bach did with his fifteen inventions, in the ?manner? of an Étude that deals with specific aspects of guitar techniques and musicianship in general.
These Études are gradually graded based on their difficulty and style. They cover all the positions of the guitar and explore known and some unfamiliar techniques for the contemporary guitarist.
I used a compositional language more familiar for the level of the intermediate guitarist but without sacrificing my original compositional voice so these pieces could be used as concert works by the advanced musicians as well. My intention is to educate students in a multilevel study environment and to be able to promote the music of our time. During my teaching years I found that students become better musicians when they have been taught to adapt certain performance difficulties and compositional techniques at an earlier level of their training.
Titles:
1 with false optimism
2 with moderate sadness
3 with just the two of you
4 with a touch of impatience
5 with a touch of grandeur
6 with a counterpoint attitude
7 with a touch of shame
8 with a touch of boredom
9 going and never coming back
10 with a peaceful anger
11 without the heavy ones
12 without hope
13 without sense of humor
14 with a masculine attitude
15 with two little bears in mind
16 without hesitation
17 with shameless vibrato
18 with a touch of distress
19 without fear of failure
20 with this and that
21 with a kind motion
22 with a rondo attitude
23 with suspense
24 with everything you may have
$22.00
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