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144
Piano & claviers
Piano seul
98
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24
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22
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11
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4
Accordéon
1
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Guitare notes et tablatures
33
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10
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7
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1
Ukulele
1
+ 6 instrumentations
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Chorale SATB
45
Chorale TTBB
14
Chorale 3 parties
12
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9
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9
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7
Voix seule
3
Voix duo
2
Chorale Unison
2
Voix duo, Piano
1
Voix basse, Piano
1
Voix Soprano, Piano
1
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2 Saxophones (duo)
19
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12
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10
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9
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8
Clarinette, Trompette (duo)
8
Clarinette, Violon (duo)
8
2 Flûtes traversières (duo)
7
2 Clarinettes (duo)
7
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6
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6
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6
Saxophone Soprano et Piano
6
Clarinette et Piano
5
Hautbois, Flûte
5
Clarinette et Alto
5
2 Hautbois (duo)
5
Hautbois, Basson (duo)
5
Hautbois, Clarinette (duo)
5
Flûte, Trompette (duo)
4
Flûte, Alto (duo)
4
Flûte, Violon
4
Saxophone (partie séparée)
3
Flûte, Saxophone (duo)
3
Saxophone Baryton, Piano
3
Clarinette Basse, Piano
3
Saxophone Alto
3
Quintette de Clarinettes: 5 clarinettes
3
Flûte et Guitare
3
Flûte, Clarinette (duo)
3
Flûte traversière
3
Flûte, Hautbois, Clarinette, Basson
3
Saxophone Tenor
3
Quatuor de Clarinettes: 4 clarinettes
3
Ensemble de Clarinettes
2
Flûte, Clarinette, Piano (trio)
2
Ensemble de saxophones
2
Trio de Flûtes: 3 flûtes
2
Flûte à bec Soprano
1
Clarinette (partie séparée)
1
Quatuor de Flûtes : 4 flûtes
1
Ensemble de Flûtes
1
5 Flûtes à bec
1
Quintette de Flûte : 5 flûtes
1
Flute (partie séparée)
1
Cor anglais, Piano
1
3 Clarinettes (trio)
1
Ensemble à vent
1
Flûte, Violon et Violoncelle
1
Flûte, Hautbois, Clarinette (trio)
1
+ 46 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
20
Trompette, Saxophone (duo)
9
Cor et Piano
6
Trompette, Piano
5
Trombone et Piano
5
Trompette
4
Euphonium, Piano (duo)
3
2 Trompettes (duo)
2
Trompette (partie séparée)
2
Tuba et Piano
2
2 Trombones (duo)
2
Trompette, Trombone (duo)
2
Ensemble de Tubas
1
Ensemble de Cors
1
Cor (partie séparée)
1
Ensemble de Trompettes
1
Cor anglais, Piano
1
Quatuor de cuivres: 4 cors
1
+ 13 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
28
Violon, Violoncelle (duo)
13
Violon
11
Violon et Piano
10
Alto, Piano
7
Violoncelle, Piano
7
Trio à Cordes: 2 violons, violoncelle
6
Violoncelle
4
2 Violoncelles (duo)
4
2 Altos (duo)
4
Trio à Cordes: violon, alto, violoncelle
3
Violon, Alto (duo)
3
2 Violons (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Contre Basse
1
Violoncelle , Guitare (duo)
1
Contrebasse, Piano (duo)
1
Alto seul
1
+ 13 instrumentations
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Orchestre & Percussions
Fanfare
38
Orchestre d'harmonie
36
Ensemble Jazz
12
Orchestre
12
Jazz combo
7
Orchestre à Cordes
7
Ensemble de cuivres
6
Batterie (partie séparée)
2
Batterie
2
Ensemble de Percussions
1
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--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
BANJO
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BASSON
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BOUZOUKI
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Guitare
Partitions à imprimer
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Can't Help Falling In Love
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1496357 By Elvis Presley. By Georg…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1496357 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Seamus McDaniel. 20th Century,Pop. Individual part. 4 pages. Seamus McDaniel #1072929. Published by Seamus McDaniel (A0.1496357). This is my arrangement/transcription of Can't Help Falling in Love by Elvis! I've included the chord names and really aimed for note-by-note accuracy with the melody in this one. There is standard notation as well as tabature in the PDF.If you have any questions or suggestions regarding my tabs, feel free to reach out to me at my website!
$5.99
5.51 €
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Guitare
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Elvis Presley
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Seamus McDaniel
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Can't Help Falling In Love
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Seamus McDaniel
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SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download 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
11.03 €
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Guitare
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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SheetMusicPlus
PRELUDE 7
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1018745 Composed by Gilbert Piger.…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1018745 Composed by Gilbert Piger. Contemporary,World. Individual part. 1 pages. GJP Productions #1986471. Published by GJP Productions (A0.1018745). Written in the style of Tarrega. And if you don't know who he is then this is out of your reach.
$6.45
5.94 €
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Guitare
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Gilbert Piger
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PRELUDE 7
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GJP Productions
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SheetMusicPlus
What A Wonderful World
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1155054 By Louis Armstrong. By Bob…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Century,Multicultural,Pop,Standards,World. Individual part. 8 pages. Richard Hirsch #755336. Published by Richard Hirsch (A0.1155054). Taking inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement in polyrhythmic 4/4 time of What a Wonderful World for solo acoustic guitar. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The tune is really happy and up-lifting. If there are any little folks (kids two to four years old) around listening, they will have a hard time sitting still. My grandson (two and a half) really got going when I played it for him. I can hardly resist the urge to dance to the tune while playing myself! The arrangement is in the spirit of the Canarios by Gaspar Sanz for classical guitar and is meant to have the nature of a dance. The repetitive alternating thumb and index and middle finger cycle going through the broken chords with the melody woven in works to give the arrangement an almost hypnotic character. The fingering for the right hand is given in first section and is basically the same throughout the piece. The fingering for the left hand can, I believe, be easily figured out from the tablature. The arrangement is within the reach of intermediate students of the acoustic guitar; anyone who has mastered the basics of fingerstyle fingerpicking guitar, and can be played on both nylon and steel string acoustic guitars. The short and long glissandos and the arpeggios of natural harmonics resembling the kalimba (thumb harp) together with the drone effects of the enharmonic tones in the chords give an added dash of African spice to the piece.
$4.99
4.59 €
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Guitare
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Louis Armstrong
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Richard Hirsch
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and 3&
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What A Wonderful World
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Richard Hirsch
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download 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
6.44 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
CLASSICAL GUITAR TUNES - ENGLISH FOLK SONGS
Guitare
Guitar - Intermediate - Digital Download Classical. E-book. 49 pages. Mel Bay Publica…
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Guitar - Intermediate - Digital Download Classical. E-book. 49 pages. Mel Bay Publications - Digital Sheet Music #30947EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459844. 8.75x11.75 inches.<br> <br> This book presents 42 English folk songs arranged for the intermediate classic guitarist in standard notation with phrase and dynamic markings plus light fingering. The collection includes popular melodies like Sprig of Thyme, Seventeen Come Sunday, and Blow the Wind Southerly, but also lesser known but no less beautiful tunes like Cupid the Pretty Ploughboy, Dabbling in the Dew and Saucy Sailor. All the arrangements present the basic tune faithfully and simply before offering more elaborate and sophisticated variations suitable for concert performance. Without compromising their sophistication, these polyphonic arrangements are elegant and idiomatic to the guitar, all but devoid of excessive physical demands; even barre chords are kept to a minimum so the player can relax and focus on tone and interpretation. The primary objective of this collection is to draw attention to these deserving melodies, some of which are now rarely heard. Longtime fans of the genre will recognize a few songs once performed by folk-rock groups like Steeleye Span and The Fairport Convention, here presented anew for the solo classic guitar. Its an excellent collection - good to play for pleasure, good for learning and consolidating rhythm, good for sight-reading. Just marvelous. It should meet a lot of needs. Gilbert Biberian These are very accessible arrangements of 42 English folk tunes, some of which are familiar and many others which deserve to be better known. They are all tuneful and have interesting harmonies and rhythms in arrangements which will be well within the reach of intermediate guitarists. These fine settings would be useful pieces for a teacher looking for supplementary material and also for the performer looking for unhackneyed repertoire. They are thoughtfully presented with good fingering and phrasing, with idiomatic guitar writing and interesting harmonies. Congratulations to Peter Worley for presenting this compendium of gems from a lesser known tradition. Gerald Garcia.ISBN 9781513459844. 8.75x11.75 inches.<br> <br> This book presents 42 English folk songs arranged for the intermediate classic guitarist in standard notation with phrase and dynamic markings plus light fingering. The collection includes popular melodies like Sprig of Thyme, Seventeen Come Sunday, and Blow the Wind Southerly, but also lesser known but no less beautiful tunes like Cupid the Pretty Ploughboy, Dabbling in the Dew and Saucy Sailor. All the arrangements present the basic tune faithfully and simply before offering more elaborate and sophisticated variations suitable for concert performance. Without compromising their sophistication, these polyphonic arrangements are elegant and idiomatic to the guitar, all but devoid of excessive physical demands; even barre chords are kept to a minimum so the player can relax and focus on tone and interpretation. The primary objective of this collection is to draw attention to these deserving melodies, some of which are now rarely heard. Longtime fans of the genre will recognize a few songs once performed by folk-rock groups like Steeleye Span and The Fairport Convention, here presented anew for the solo classic guitar. Its an excellent collection - good to play for pleasure, good for learning and consolidating rhythm, good for sight-reading. Just marvelous. It should meet a lot of needs. Gilbert Biberian These are very accessible arrangements of 42 English folk tunes, some of which are familiar and many others which deserve to be better known. They are all tuneful and have interesting harmonies and rhythms in arrangements which will be well within the reach of intermediate guitarists. These fine settings would be useful pieces for a teacher looking for supplementary material and also for the performer looking for unhackneyed repertoire. They are thoughtfully presented with good fingering and phrasing, with idiomatic guitar writing and interesting harmonies. Congratulations to Peter Worley for presenting this compendium of gems from a lesser known tradition. Gerald Garcia.
$12.99
11.95 €
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Guitare
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CLASSICAL GUITAR TUNES - ENGLISH FOLK SONGS
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Wonderwall
Guitare
Guitar - Intermediate - Digital Download By Oasis. Arranged by David Jaggs. Solo Part…
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Guitar - Intermediate - Digital Download By Oasis. Arranged by David Jaggs. Solo Part. 4 pages. Published by David Jaggs
A Superb arrangement of the 1995 Oasis hit, "Wonderwall". Surely the most detailed out there. Some very interesting textures, including rasgueado, tambora and playing four parts at once at the end of the arrangement. Certainly not a beginners piece, but within the reach of the intermediate player, very impressive when mastered. This version of the arrangement does not include tablature. There is a second version with tablature for those who prefer.A Superb arrangement of the 1995 Oasis hit, "Wonderwall". Surely the most detailed out there. Some very interesting textures, including rasgueado, tambora and playing four parts at once at the end of the arrangement. Certainly not a beginners piece, but within the reach of the intermediate player, very impressive when mastered. This version of the arrangement does not include tablature. There is a second version with tablature for those who prefer.
$7.99
7.35 €
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Guitare
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Oasis
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David Jaggs
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Wonderwall
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David Jaggs
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SheetMusicPlus
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