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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
How Can I Be Sure
Non classifié
95
Piano & claviers
Piano seul
56
2 Pianos, 4 mains
21
Instruments en Do
16
Piano, Voix et Guitare
13
Piano, Voix
10
Piano Facile
7
Piano grosses notes
2
Piano Trio: piano, violon, violoncelle
1
+ 3 instrumentations
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Guitare notes et tablatures
9
Guitare
8
Ligne De Mélodie, (Paroles) et Accords
7
Ukulele
4
Basse electrique
3
Ensemble de guitares
1
Dulcimer
1
Piano, Guitare (duo)
1
+ 3 instrumentations
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Voix
Chorale SATB
17
Chorale 3 parties
8
Chorale 2 parties
3
Chorale Unison
3
Chorale SSATTB
1
Voix Soprano, Piano
1
Chorale SSAA
1
Voix Tenor
1
Voix Baryton, Piano
1
+ 4 instrumentations
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Vents
2 Flûtes traversières (duo)
14
Quatuor de Saxophones: 4 saxophones
9
Hautbois (partie séparée)
9
Clarinette
8
Hautbois, Piano (duo)
4
Flûte traversière et Piano
4
Clarinette et Piano
4
Flûte à bec Soprano
3
Saxophone Tenor et Piano
3
Quatuor de Clarinettes: 4 clarinettes
3
Saxophone Alto et Piano
3
Flûte à bec Alto, Piano
2
Saxophone Tenor
2
Saxophone Alto
2
3 Clarinettes (trio)
1
Flûte à bec Alto
1
Quintette de Saxophone: 5 saxophones
1
2 Clarinettes (duo)
1
Flûte traversière
1
Ocarina
1
Quintette de Flûte : 5 flûtes
1
Ensemble de Flûtes
1
2 Flûtes traversières, Piano
1
Flûte, Hautbois, Clarinette, Basson
1
Clarinette, Basson (duo)
1
2 Clarinettes, Piano
1
Quatuor de Flûtes à bec
1
Saxophone et Orgue
1
Quintette de Clarinettes: 5 clarinettes
1
Flûte à Bec
1
+ 25 instrumentations
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Cuivres
Trompette
5
Trombone
4
Trombone et Piano
3
Trompette, Piano
2
Trompette, Tuba (duo)
1
Trompette, Trombone (duo)
1
Cor
1
Cor et Piano
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Trompette (partie séparée)
1
Tuba
1
Tuba et Piano
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Quatuor de Cuivres
1
+ 9 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
33
Violon, Violoncelle (duo)
15
Violon
8
2 Violons (duo)
7
Trio à Cordes: 2 violons, violoncelle
7
Violon et Piano
7
Violoncelle
6
Trio à Cordes: violon, alto, violoncelle
6
Harpe
3
Alto, Piano
3
Violoncelle, Piano
3
2 Violoncelles (duo)
2
Violon, Alto (duo)
2
Alto seul
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Harpe, Voix
1
+ 11 instrumentations
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Orchestre & Percussions
Batterie
24
Ensemble Jazz
11
Orchestre d'harmonie
9
Cloches
6
Orchestre
4
Orchestre à Cordes
4
Orchestre de chambre
3
Ensemble de cuivres
3
Jazz combo
2
Fanfare
1
Instrumentation Flexible
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
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XYLOPHONE
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Vous avez sélectionné:
How Can I Be Sure
Guitare notes et tablatures
Partitions à imprimer
9 partitions trouvées
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How Can I Be Sure
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Pop musique
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Gloria Estefan, The Young Ras
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Flip Peters
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How Can I Be Sure
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SheetMusicPlus
Guitar Tab - Intermediate - By Gloria Estefan, The Young Rascals. Arranged by Flip Peters. Tablature. 5 pages. Published by Published by Flip Peters...
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Guitar Tab - Intermediate - By Gloria Estefan, The Young Rascals. Arranged by Flip Peters. Tablature. 5 pages. Published by Published by Flip Peters
Acoustic guitar arrangement of a classic 1967 hit song by The Young Rascals. One of the greatest songs of any era, written by Felix Cavaliere and Eddie Brigati. Arranged in the original keys of D minor and D major, standard turning. Intermediate level. Lots of open strings and guitar-friendly chord voicings. Incorporates some nice jazz chords.
$4.99
How Can I Be Sure
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Guitare notes et tablatures
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Pop musique
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The Young Rascals and Gloria
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Steven King
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How Can I Be Sure
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STEVEN KING
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SheetMusicPlus
By The Young Rascals and Gloria Estefan. By Edward Brigati, Jr. and Felix Cavaliere. Arranged by Steven King. 20th Century, Jazz, Pop. Individual part...
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By The Young Rascals and Gloria Estefan. By Edward Brigati, Jr. and Felix Cavaliere. Arranged by Steven King. 20th Century, Jazz, Pop. Individual part. 12 pages. Published by STEVEN KING
$4.99
What Was I Made For?
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Pop musique
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Film/TV
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Billie Eilish
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Daniel Roberts
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What Was I Made For?
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Daniel P Roberts
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1374764 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Daniel Roberts. 21st Century,Fil...
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Solo Guitar - Level 3 - SKU: A0.1374764 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Daniel Roberts. 21st Century,Film/TV,Pop,Singer/Songwriter. Individual part. 5 pages. Daniel P Roberts #959294. Published by Daniel P Roberts (A0.1374764). What Was I Made For? from the movie Barbie.Arranged for 6-string guitar with TABI used to float, now I just fall downI used to know but I'm not sure nowWhat I was made forWhat was I made for?Takin' a drive, I was an idealLooked so alive, turns out I'm not realJust something you paid forWhat was I made for?'Cause I, II don't know how to feelBut I wanna tryI don't know how to feelBut someday, I mightSomeday, I mightWhen did it end? All the enjoymentI'm sad again, don't tell my boyfriendIt's not what he's made forWhat was I made for?'Cause I, 'cause II don't know how to feelBut I wanna tryI don't know how to feelBut someday I mightSomeday I mightThink I forgot how to be happySomething I'm not, but something I can beSomething I wait forSomething I'm made forSomething I'm made for.
$4.99
Silent Night: From Austria to Africa
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Guitare notes et tablatures
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Franz Xaver Gruber
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Richard Hirsch
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Silent Night: From Austria to
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1153109 Composed by Franz Xaver Gruber. Arranged by Richard Hirsch. Christmas,Multicultural,Religious,Standards,Traditio...
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Solo Guitar - Level 4 - SKU: A0.1153109 Composed by Franz Xaver Gruber. Arranged by Richard Hirsch. Christmas,Multicultural,Religious,Standards,Traditional,World. Individual part. 8 pages. Richard Hirsch #753352. Published by Richard Hirsch (A0.1153109). An arrangement for solo guitar of the all-time favourite Christmas carol composed by Franz Gruber. The arrangement starts with an introduction of the melody in arpeggios of natural harmonics and moves into broken chords mixed with arpeggios for the first rendering of the song in 6/8 time. In the second part, at the shift to 4/4 time, the melody is rendered in an African inspired version with natural harmonics reminiscent of tunes played on an African kalimba (thumb harp) woven into the broken chords and arpeggios. As the speed increases, and the volume decreases, the arrangement moves steadily toward a total kalimba version. I like to think of the first part of the arrangement as symbolising a night in the little Austrian village where Gruber lived and composed the song. The natural harmonics and base notes and treble notes on open strings denoting the village chapel bells ringing on Christmas Eve. The second part tries to give a feel for how the melody can stand as a symbol of our common human origins in Africa, celebrating the birth and unity of humanity. The arrangement is within reach of intermediate to advanced students of guitar and is a good introduction to natural harmonics on the twelfth, seventh, and fifth frets. The African inspired polyrhythm fingerpicking in the second part consists basically of the thumb alternating with the index and middle fingers in a repetitive cycle. The second part is notated in 4/4 time, but can perhaps be more easily be read and played as 8/8 time, as practically everything, especially towards the end of the arrangement consists of eight notes. The polyrhythmic second part should have an accent on the downbeat of the first beat of the measure followed by an accent at 3and (an upbeat), just before the fourth and final beat of the measure. Reading the four part harmony of the score may at first present a challenge but if played basically as eight notes followed by eight notes everything should come out right in the end. Refer to the mp3 version provided with the score if in doubt. I do not mark the natural harmonics explicitly in the tablature, there are simply too many of them. The diamond shaped notes in the notation denoting harmonics are found directly above the corresponding fingerings in the tablature. It has been a real joy to work with this arrangement of the song and I hope it brings joy to others in playing it, giving new life to the traditional melody.
$4.99
Triad Chord Worksheet
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Guitare notes et tablatures
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DÉBUTANT
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Methodes
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Brian Streckfus
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Triad Chord Worksheet
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 1 - SKU: A0.1175289 Composed by Brian Streckfus. Instructional. Guitar Tab. 5 pages. Brian Streckfus #774500. Published by Brian Streckfu...
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Guitar - Level 1 - SKU: A0.1175289 Composed by Brian Streckfus. Instructional. Guitar Tab. 5 pages. Brian Streckfus #774500. Published by Brian Streckfus (A0.1175289). Pages: 5 (84 chords to name)Objective:Instead of learning chords one by one, you instead learn how to build chords yourself. Also, this mindset helps in composing, because instead of seeing things as wrong chord versus correct chord, you simply see it as every harmony as a name. Like many things in life, theoritcal concepts can allow you to formulate thousands of outcomes in a single day. Tips:1. You start counting from 0 for this exercise if that makes any sense. Avoid the common fence post error by overcounting by 1. Other times you start counting from 1 in music is when talking about scale degrees. What is the distance from C to E? C(0) C#(1) D(2) D#(3) E(4).2. Use the chromatic scale at the top to help in counting.3. E# = F...Fb = E...B# = C...Cb = B...In otherwords, don't let strange enharmonics confuse you. Picture the black key sometimes missing between white keys on a piano in your mind if it helps. 4. Even though enharmonics like E# can seem confusing, they can actually add clarity sometimes because they cause the chord to stack perfectly in the sheet music and letter names. A# C# E#...versus...A# C# F...Sure, F is easier to understand in a part, but it actually makes the harmony harder to understand because not it looks like it isn't 3rds, even though it is.5. I included tab just to make this worksheet a little bit more interesting; however, the guitar chords that result are NOT practical. Voicings of common guitar chords are much more spread out, and often contain more duplicate letter names. Practical guitar chords is sort of a different conversation. I sort of did this intentionally to prove that perfectly stacked voicings do not work well on guitar. C E G Bb perfectly in order in harmony, sounds like it would be easy on guitar, but it is not.6. To make this more practical on guitar, I recommend building the chords yourself by simply knowing letter names well on guitar. The next time something asks for G major, don't just play a common voicing, actually find G B D randomly on the guitar neck. 7. Often the fifth of a chord is removed since it is the least important to invoking the flavor of the chord. This is especially true on guitar because we quickly run out of fingers and strings.8. The nature of the piano lends pianists to constantly seeing these distances on a linear plane. Conversely, guitar is a very murky instrument since the real distances of pitches is counterintuitive to arbitrary (usually) fret numbers! That is why many guitarists would benefit from thinking this way, instead of thinking of chords simply as shapes (which is also important for different reasons). In other words, try to build a chord on one string on guitar. It is impractical, but the half step distances required for chords will make much more sense.To Do:1. Slight differences in how the sheet look need to be made similiar.2. Remove green line.
$1.99
Waltz Op 69 No 2 (Arranged for Guitar)
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Classique
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Frederic Chopin
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Brian Streckfus
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Waltz Op 69 No 2
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Inst...
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Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.
$1.99
Gnossienne No. 3 (Tablature +)
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Guitare notes et tablatures
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FACILE
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Classique
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Contemporain
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Erik Satie
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Brian Streckfus
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Gnossienne No. 3
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1156458 Composed by Erik Satie. Arranged by Brian Streckfus. 20th Century,Classical,Romantic Period. Guitar Tab. 7 pages. Bri...
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Guitar - Level 2 - SKU: A0.1156458 Composed by Erik Satie. Arranged by Brian Streckfus. 20th Century,Classical,Romantic Period. Guitar Tab. 7 pages. Brian Streckfus #756776. Published by Brian Streckfus (A0.1156458). IMPORTANT NOTE: You get both tablature version and sheet music version in one 7 page PDF! Hopefully this makes these arrangements all-inclusive for different purposes and skill levels. Also the tab version is meant for Drop D tuning and the sheet music is for standard tuning! Just be careful with your printer settings if you don't want two versions!1. Impressionism French minimalist piece arranged for guitar in Drop D Tuning.2. The composer indications in text are not my recommendations, but the original composer's. 2. Guitar tablature added with circles for half notes and whole notes.3. Measures and time signatures removed to reflect the ethos of the original composer. 4. Engraved to fit on four pages. Many of the lines themselves represent a musical phrase, making my arrangement that much easier to perform musically.  5. Courtesy accidentals added but they just look like regular accidentals. I did this especially because the piece is one gigantic measure and accidental etiquette is hard to follow under those circumstances. 6. Some overly contrived ties removed.This one is a real challenge to engrave because the original composer didn't have bar lines or time signatures. Cool idea but that can cause even the best sheet music programs to glitch out a bit when you have 16/4 hidden time signatures! This especially causes problems with accidentals, and it also causes rhythm problems when multiple voices are happening. As always, I like to try to have notes with upward stems represent the main voice, and downward stems to represent background voices, even though this leads to a bit of messiness with stem collisions. Normally the sheet music shows the rhythm the best, but dare I say the tab actually keeps track of time pretty well since all the voices are condensed into one rhythm line.
$1.99
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How Can I Be Sure
