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--INSTRUMENTS--
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ALTO
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I Think Of You
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107
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65
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22
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6
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1
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1
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24
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2
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2
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1
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1
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1
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1
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1
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1
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1
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6
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1
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14
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4
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3
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2
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1
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1
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1
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1
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1
4 Violoncelles
1
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1
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1
2 Violoncelles (duo)
1
Alto, Piano
1
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6
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Orchestre
5
Orchestre d'harmonie
5
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4
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3
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3
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1
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1
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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
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ORGUE
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TROMPETTE
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Crtitères actifs :
I Think Of You
intermédiaire
Guitare
Partitions à imprimer
5 partitions trouvées
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1
I'm Beginning To See The Light
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Guitare
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INTERMÉDIAIRE
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Don George, Duke Ellington, Ha
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Christopher J
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I'm Beginning To See The Light
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Christopher J. Malin
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1397472 Composed by Don George, Duke Ellington, Harry James, and Johnny Hodges. Arranged by Christopher J. Malin. 20th C...
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Solo Guitar - Level 3 - SKU: A0.1397472 Composed by Don George, Duke Ellington, Harry James, and Johnny Hodges. Arranged by Christopher J. Malin. 20th Century,Jazz,Standards. Individual part. 1 pages. Christopher J. Malin #980800. Published by Christopher J. Malin (A0.1397472). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable melody. I think of this one as Duke Ellington's signature piece. This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars. If someone asks you to play a swing jazz tune this is a archetypical piece. This is a jazz classic! Every jazz guitarist should have this in their repitore. I love this tune! Hope you will too.
$4.99
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
Satin Doll
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Guitare
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INTERMÉDIAIRE
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Duke Ellington
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Christopher J
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Satin Doll
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Christopher J. Malin
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1348935 By Duke Ellington. By Billy Strayhorn, Duke Ellington, and Johnny Mercer. Arranged by Christopher J. Malin. 20th...
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Solo Guitar - Level 3 - SKU: A0.1348935 By Duke Ellington. By Billy Strayhorn, Duke Ellington, and Johnny Mercer. Arranged by Christopher J. Malin. 20th Century,Broadway,Jazz,Musical/Show,Standards. Individual part. 2 pages. Christopher J. Malin #933670. Published by Christopher J. Malin (A0.1348935). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable melody. I think of this one as Duke Ellington's signature piece. This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars. This is a jazz classic! When I hear or play this song I think of my parents dancing to Satin Doll at Navy Pier in Chicago with the Duke's orchestra! His intro opening lick on the piano to that generation is like Clapton's Layla riff to my generation!I love this tune! Hope you will too.
$4.99
Edwin Culver: a bridge a-way, exits within (for solo guitar)
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Edwin Culver
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Edwin Culver: a bridge a-way,
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Edwin Culver
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published ...
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Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
Touch The Sky
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Guitare
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INTERMÉDIAIRE
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Julie Fowlis
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Davide Bizzarri
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Touch The Sky
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Davide Bizzarri
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1105814 By Julie Fowlis. By Alexander L. Mandel and Mark Andrews. Arranged by Davide Bizzarri. Celtic,Children,Film/TV,I...
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Solo Guitar - Level 3 - SKU: A0.1105814 By Julie Fowlis. By Alexander L. Mandel and Mark Andrews. Arranged by Davide Bizzarri. Celtic,Children,Film/TV,Irish,Medieval. Individual part. 3 pages. Davide Bizzarri #709042. Published by Davide Bizzarri (A0.1105814). Here you have the guitar part of this piece. This arrangement comes with three part of violin, the third very easy. The key after the introduction has been changed to G major, so it's more suitable for children vocal range, and I think it works very well. You can find Score and other instrumental part of this arrangement.
$4.99
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I Think Of You