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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
ALWAYS
Non classifié
192
Piano & claviers
Piano seul
175
Piano, Voix
49
Piano, Voix et Guitare
19
Instruments en Do
17
Orgue
5
Piano Trio: piano, violon, violoncelle
3
1 Piano, 4 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Facile
1
Accompagnement Piano
1
2 Pianos, 4 mains
1
+ 6 instrumentations
Retracter
Guitares
Guitare
24
Guitare notes et tablatures
7
2 Guitares (duo)
4
Ligne De Mélodie, (Paroles) et Accords
3
Piano, Guitare (duo)
3
Basse electrique
1
Paroles et Accords
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
71
Chorale TTBB
10
Chorale 3 parties
5
Voix Baryton, Piano
3
Voix duo, Piano
3
Voix Tenor
2
Voix Soprano, Piano
2
Chorale
1
Chorale SSAATB
1
Chorale Unison
1
Voix Tenor, Piano
1
+ 6 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
31
2 Saxophones (duo)
25
2 Flûtes traversières, Piano
24
Quatuor de Saxophones: 4 saxophones
18
Saxophone Alto
15
2 Clarinettes (duo)
13
Saxophone Tenor
12
Saxophone Alto et Piano
12
Flûte traversière et Piano
11
Quatuor de Clarinettes: 4 clarinettes
9
Clarinette et Piano
9
3 Saxophones (trio)
8
Flûte traversière
8
Clarinette
7
Saxophone, Clarinette (duo)
6
Ensemble de Clarinettes
6
Flûte, Hautbois, Clarinette, Basson
6
Saxophone Tenor et Piano
6
Quintette de Clarinettes: 5 clarinettes
6
2 Flûtes traversières (duo)
6
Quatuor de Flûtes : 4 flûtes
5
Quintette de Saxophone: 5 saxophones
5
Hautbois, Piano (duo)
4
Flûte, Clarinette (duo)
4
Clarinette, Violon (duo)
4
2 Hautbois (duo)
4
Saxophone (partie séparée)
3
Hautbois, Clarinette (duo)
3
Clarinette, Trompette (duo)
3
Hautbois (partie séparée)
3
Flûte, Clarinette et Basson
3
Flûte, Violon
3
Flûte, Alto (duo)
3
3 Clarinettes (trio)
3
Hautbois, Flûte
3
Hautbois, Basson (duo)
3
Flûte, Trompette (duo)
3
5 Flûtes à bec
2
Ensemble de saxophones
2
Trio de Flûtes: 3 flûtes
2
Clarinette et Alto
2
Flûte, Saxophone (duo)
2
Flûte et Guitare
1
Quintette de Flûte : 5 flûtes
1
Hautbois, violon (duo)
1
Cornemuse
1
Flûte, Violon et Violoncelle
1
Saxophone Soprano et Piano
1
3 Hautbois
1
Flûte, Hautbois, Basson
1
Hautbois, Guitare (duo)
1
Saxophone Soprano
1
Clarinette, Violoncelle (duo)
1
Flûte, Hautbois (duo)
1
Clarinette, Trombone (duo)
1
Flûte, Hautbois, Clarinette (trio)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Clarinette, Basson (duo)
1
+ 53 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
20
Quatuor de Cuivres : 2 trompettes, trombone, tuba
15
Trombone
9
Trompette
8
Trompette, Piano
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Trombone et Piano
5
Trompette, Saxophone (duo)
5
2 Trombones (duo)
5
Cor
4
2 Trompettes (duo)
4
Tuba
4
Trompette, Trombone (duo)
3
Cor et Piano
3
Quatuor de cuivres: 4 cors
2
2 Euphoniums et 2 Tubas
1
Quatuor de Cuivres
1
Quatuor de cuivres: 4 trombones
1
Trompette, Cor (duo)
1
Euphonium
1
3 Trompettes (trio)
1
3 Trombones (trio)
1
Ensemble de Cors
1
2 Cors (duo)
1
+ 19 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
65
Violon et Piano
39
Violon, Violoncelle (duo)
31
Violon
15
Violoncelle, Piano
12
Violoncelle
8
2 Violoncelles (duo)
8
Alto, Piano
7
Alto seul
7
Trio à Cordes: violon, alto, violoncelle
7
2 Violons (duo)
6
Violon, Alto (duo)
5
Trio à Cordes: 2 violons, violoncelle
5
2 Altos (duo)
4
Harpe
3
Alto, Orgue
2
Violoncelle, Orgue
2
Trio à Cordes: 3 violoncelles
2
Contre Basse
2
Alto, Violoncelle (duo)
2
Alto (partie séparée)
2
Trio à cordes: 3 violins
1
Alto et Basson
1
Harpe, Violon (duo)
1
Trio à Cordes: 2 violons, alto
1
Trio à cordes: 3 altos
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Piano Trio: Violon, Alto, Piano
1
Contrebasse, Piano (duo)
1
Violon, Guitare (duo)
1
Violon (partie séparée)
1
+ 26 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
39
Orchestre à Cordes
20
Ensemble Jazz
18
Orchestre
17
Orchestre de chambre
16
Ensemble de cuivres
14
Jazz combo
8
Cloches
7
Ensemble de Percussions
3
Fanfare
2
Vibraphone
1
Batterie
1
+ 7 instrumentations
Retracter
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
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Virtualsheetmusic
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difficulté (tous)
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avec audio
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Vous avez sélectionné:
ALWAYS
avancé
Guitare
Partitions à imprimer
24 partitions trouvées
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1
Billy Joel : She's Always a Woman (niveau intermédiaire/difficile, guitare d'accompagnement)
Guitare
Téléchargez la tablature et la partition Guitare She's Always a Woman (…
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Téléchargez la tablature et la partition Guitare She's Always a Woman (niveau intermédiaire/difficile, guitare d'accompagnement) de Billy Joel. Tab pour Guitare d'accompagnement -- Pop/rock
5.99 €
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Guitare
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Billy Joel
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She's Always a Woman
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Tomplay
Always On My Mind
Guitare
Guitar - Level 4 - Digital Download SKU: A0.1297513 By Willie Nelson. By Johnny Chr…
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Guitar - Level 4 - Digital Download SKU: A0.1297513 By Willie Nelson. By Johnny Christopher, Mark James, and Wayne Thompson. Arranged by Gary Wolk. 20th Century,Country,Pop. 13 pages. Gary Wolk Music #887558. Published by Gary Wolk Music (A0.1297513). An instrumental version of the song recorded by Willie Nelson and Elvis Presley arranged for Guitar Quartet.
$12.99
11.98 €
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Guitare
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Willie Nelson
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Gary Wolk
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Always On My Mind
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Gary Wolk Music
#
SheetMusicPlus
Interrupted Dance (He Who Sings is Not Always Happy)
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1291077 Composed by Rocco Di Pietr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1291077 Composed by Rocco Di Pietro. 21st Century,Chamber,Classical,Contemporary. Individual part. 8 pages. Rocco Di Pietro #881769. Published by Rocco Di Pietro (A0.1291077). “Interrupted Dance†was written for the Guitarist Larry Marotta who I have worked with for many years.I felt comfortable giving Larry the difficult tasks of going back and forth between a simple childhood tunewith variations Mozart would have approved of.I contrasted that with daunting extended techniques from the old Avant -Garde.I did not want to get rid of any technique which would still be useful to me frommy old love of Modernism, but I wanted to use that as part of my current practiceof letting the past in, which has moved away from 1966.The dance was inspired by a little sculpture a friend of mine gave to me, which depicts abooby -trapped playground. It shows a little swing set surrounded by thorns anddaggers. There is a little teddy, who wants to ride the swing but never does,because he sees the bucket of blood.The little swing set is represented by the childhood tune in its various transformations.The work is simply dedicated to that friend. The work contains two endings.The guitarist traveling teddy navigates the playground in triumph in the first endingand individuates and rejects the playground in the second ending.Returning to the practice of life in maturity.RDP.
$12.00
11.06 €
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Guitare
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Rocco Di Pietro
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Interrupted Dance
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Rocco Di Pietro
#
SheetMusicPlus
Larry Williams Compositions- The Guitar Book
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Published by Larry Andrew Williams (A0.1167528). A WORD FROM THE COMPOSER Is anyone interested in new reading material anymore? I know that when I was a kid in nineteen hundred and something, the quest for new musical pieces was always one of the funnest aspects of the whole musical journey. Of course I did learn that it would take a long time to  nd those few that would resonate with me for a lifetime, but it was always fun trying them all out. It still is, in fact. Well, times change and people change, but I’d still like to believe that same factor carries on. You know, the one about trying out all that music to get to the few you keep. And what about the few we do keep? For guitar players, was it always a classic from the usual suspects, like Albeniz, Sor, Tarrega,, Granados, Rodrigo, Brouwer, Barrios, Villa-Lobos, or anything by Bach?Was it something our band director or private instructor, one of our friends, or our parents wrote? Or – Heaven forbid- something that maybe we ourselves wrote? Or some “unknown guy.â€Â Consider this.Just how often did some unknown composer's piece greatly affect us as we waded through a daunting pile of the familiar from the known masters? And since some, if not most of these classics are required reading, how often did we even get around to giving this unknown guy's piece a try?And furthermore, was this unknown guy - shudder...alive? Let’s face it. In the composer arena, we the living, stand no chance against the deceased (God rest their souls) But by saying “they don’t write ‘em like that anymore,†are we denying ourselves new ground to be broken, doors to be opened, frontiers to be discovered? And isn’t that pioneering spirit just plain ol’ curiosity when it comes right down to it? Well I believe the key lies within the carrying out of these notions that curiosity places in us. It’s climbing the mountain simply because it is there. So, for right now, I’m that unknown guy and I would only urge you to break new ground every day. Lots of trends, ideas, and interests will come and go in your life, but always hang on to that curiosity. It’s what makes the world a smaller neighborhood. Larry Williams.
$20.00
18.44 €
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Guitare
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Larry Williams
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Larry Williams Compositions- The Guitar Book
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Larry Andrew Williams
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SheetMusicPlus
Excerpt from the Lyric Suite
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download 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
4.61 €
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Guitare
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Alban Berg
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Rod Whittle
#
4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
#
SheetMusicPlus
'Change of scene' from Act III of Wozzeck
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download 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
4.61 €
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Guitare
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Alban Berg
#
Rod Whittle
#
'Change of scene' from Act III of Wozzeck
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Maggie Creek Music
#
SheetMusicPlus
Beijos da Lua
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1475351 By Miquéias Bandeira. By …
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Solo Guitar - Level 4 - Digital Download SKU: A0.1475351 By Miquéias Bandeira. By Miquéias Bandeira. Arranged by Miquéias Bandeira. 21st Century,Classical,Singer/Songwriter. Individual part. 4 pages. Agógica Edições Musicais #1052894. Published by Agógica Edições Musicais (A0.1475351). Beijos da Lua is an original composition with influences from country guitarists such as Dilermando Reis, Catulo da Paixão Cearense, etc.Seresta is a musical style whose characteristic is to pay homage to the romances and affections of everyday life, always with an intense emotional charge.
$4.99
4.6 €
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Guitare
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Miquéias Bandeira
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Miquéias Bandeira
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Beijos da Lua
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Agógica Edições Musicais
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SheetMusicPlus
EL LIBRO DE ARTEMIDORO, Op.63, for guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1029294 Composed by CÉSAR CANO…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1029294 Composed by CÉSAR CANO. Contemporary,World. Individual part. 35 pages. POLYHYMNIA Ediciones musicales #4799751. Published by POLYHYMNIA Ediciones musicales (A0.1029294). In the second century AD, Artemidoro de Daldis (135-200), a very cultured man who had traveled a lot, contemporary of Emperor Marco Aurelio, wrote in Ephesus his work Symbolism of Dreams (Oneirocritica). In it he tried to create a systematic theory for the interpretation of dreams, based on experience. Artemidoro claimed that he had written his work in five volumes by express order of the god Apollo, who had appeared several times in his dreams. In his fascinating book he distinguishes five kinds of dreams: Dream, Vision, Oracle, Appearance and Fantasy. Artemidoro’s book, Op. 63, is a work for guitar in five movements, which take their titles as the kinds of dreams mentioned above: Dream, Vision, Oracle, Appearance and Fantasy. It is an extensive composition, 19 minutes long, and with a great variety of compositional and instrumental techniques: the performer, who is asked for a lot of versatility and imagination, has to play glissandi, harmonics, pizzicati, bells, loops, metric modulations, ordinary and muted strokes, microtones, distortions, various kinds of bumps in the box, etc. The five movements share a special scordature and the same melodic, harmonic and rhythmic material, which is transformed according to the dreamlike atmosphere of the piece, but always maintaining each of the structural elements a recognizable identity. The multiple presences of these essential identities throughout the work articulate the complex form of the Book. I finished the composition of The Book of Artemidoro on April 24, 2006. The work is dedicated to guitarist José Guerola, who premiered it at the Vivanco Palace in Catarroja (Spain), on May 5, 2006.
$6.99
6.44 €
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Guitare
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CÉSAR CANO
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EL LIBRO DE ARTEMIDORO, Op.63, for guitar
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POLYHYMNIA Ediciones musicales
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SheetMusicPlus
Momentum
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.987606 Composed by Tulio Cremisini…
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Solo Guitar - Level 4 - Digital Download SKU: A0.987606 Composed by Tulio Cremisini. Contemporary,Country,Pop,Standards. Individual part. 4 pages. Tulio Cremisini (TC Note by Note/ASCAP) #6715. Published by Tulio Cremisini (TC Note by Note/ASCAP) (A0.987606). Momentum is the title piece of my new solo album Momentum distributed by CD Baby everywhere online and physical formats. It is an energetic piece of music with an uplifting melodic theme in E major at 120 bpm tempo in 4/4. The piece has an always increasingly happy feel to it. Enjoy!
$8.99
8.29 €
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Guitare
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Tulio Cremisini
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Momentum
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Tulio Cremisini
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SheetMusicPlus
On Green Dolphin Street
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.754663 Composed by Bronislau Kaper…
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Solo Guitar - Level 4 - Digital Download SKU: A0.754663 Composed by Bronislau Kaper and Ned Washington. Arranged by Jamie Bell. Jazz,Standards. Individual part. 2 pages. Jamie Bell #362464. Published by Jamie Bell (A0.754663). This is my DADGAD Fingerstyle Arrangement of 'On Green Dolphin Street'. The video shows the basic arrangement, but then as always, with the improvisation based on the basic arrangement provided.
$5.00
4.61 €
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Guitare
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Bronislau Kaper and Ned Washington
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Jamie Bell
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On Green Dolphin Street
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Jamie Bell
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SheetMusicPlus
PRELUDE [ from BWV 998 by J.S.Bach ] solo guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.941919 Composed by Johann Sebastia…
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Solo Guitar - Level 4 - Digital Download SKU: A0.941919 Composed by Johann Sebastian Bach. Arranged by Cristiano Sousa. Baroque,Instructional,Standards,World. Individual part. 3 pages. Cristiano Sousa #5771565. Published by Cristiano Sousa (A0.941919). J.S Bach composed Prelude, from Prelude, Fugue and Allegro (BWV 998), originally for lute or harpsichord in Eb major key.Transcription: D major key with a drop D tunning in sixth string is required.Level: Advanced guitar skills are required, although Prelude is easier than Fugue and Allegro from the same set. Some devices are listed below:-- embellishments: some of them are indicated;-- Full and half bars (barré or capotasto);-- Jumps;-- Guide fingers;-- Distencions;-- Contractions;-- Slurs (they can be dropped to keep control);-- Memorizing: the whole piece.Fingering: As a classical guitarist, I understand the fingering indication value. Despite I tried to mark clear and confortable fingerings, it is always possible to modify them.You can contact me at cristiano.sousa.santos@gmail.com .
$8.99
8.29 €
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Guitare
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Johann Sebastian Bach
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Cristiano Sousa
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PRELUDE [ from BWV 998 by J.S.Bach ] solo guitar
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Cristiano Sousa
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SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download 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
6.45 €
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Guitare
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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 auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Dialethia
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1028190 Composed by Jeremy Hart. 2…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1028190 Composed by Jeremy Hart. 20th Century,Contemporary. Individual part. 8 pages. Jeremy Graham Hart #6590411. Published by Jeremy Graham Hart (A0.1028190). Dialethia is, at its core, an internal dialogue on style, musical language and authenticity. Through its many, abrupt and questioning diversions it portrays a process of self-interrogation which can become quite confrontational at times. Despite this the music always returns to the simple diatonic melody that forms the principle character of this work, regardless of the metamorphoses of its harmonization. This is of course with the exception of the closing passages, in which the work retains a melodic construction of limited intervallic usage taken from the previous diversion. Though, whether this retention represents an answer or a lingering question is not made clear.
$4.99
4.6 €
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Guitare
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Jeremy Hart
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Dialethia
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Jeremy Graham Hart
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download 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
6.45 €
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Guitare
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Richard Strauss
#
Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Yang
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1267632 Composed by Bah Eilat Omar…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1267632 Composed by Bah Eilat Omar. Arranged by Salomon Abiassi. Classical,Contemporary. Individual part. 3 pages. Salomon Abiassi #860173. Published by Salomon Abiassi (A0.1267632). Yang was composed by Bah Eilat Omar, who is Salomon's childhood friend from school during his time growing up in Togo. After ceasing musical activities for 10 years, while on travel in China, Omar reestablished contact with Salomon, who then reignited his desire to get back into music. In Omar's own words, the message behind “Yang†is as follows: We have within us the power to overcome any adversity. No matter its ferocity, the storm always eventually calms down..
$9.00
8.3 €
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Guitare
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Bah Eilat Omar
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Salomon Abiassi
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Yang
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Salomon Abiassi
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SheetMusicPlus
Prelude No.20
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1088022 By Kulykovska Viktoriia. B…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1088022 By Kulykovska Viktoriia. By Fryderyk Shopin. Arranged by Kulykovska Viktoriia. Classical,Romantic Period. Individual part. 1 pages. Viktoriia Kulykovska #692256. Published by Viktoriia Kulykovska (A0.1088022). Light and pleasant music by Frederic Chopin (1810-1849). This play is always well received by the public. Average level of difficulty in execution.
$3.00
2.77 €
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Guitare
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Kulykovska Viktoriia
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Kulykovska Viktoriia
#
Prelude No.20
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Viktoriia Kulykovska
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SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download 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
6.45 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
ALLEGRO [ from BWV 998 by J.S.Bach ] solo guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.941920 Composed by Johann Sebastia…
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Solo Guitar - Level 4 - Digital Download SKU: A0.941920 Composed by Johann Sebastian Bach. Arranged by Cristiano Sousa. Baroque,Concert,Standards,World. Individual part. 3 pages. Cristiano Sousa #5772399. Published by Cristiano Sousa (A0.941920). J.S Bach composed Allegro, from Prelude, Fugue and Allegro (BWV 998), originally for lute or harpsichord in Eb major key.Transcription: D major key with a drop D tunning in sixth string is required.Level: Advanced guitar skills are required. Some devices are listed below:-- embellishments: some of them are indicated;-- Full and half bars (barré or capotasto);-- Jumps;-- Guide fingers;-- Distencions;-- Contractions;-- Slurs (they can be dropped to keep control);-- Memorizing: the whole piece.Fingering: As a classical guitarist, I understand the fingering indication value. Despite I tried to mark clear and confortable fingerings, it is always possible to modify them.You can contact me at cristiano.sousa.santos@gmail.com
$8.99
8.29 €
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Guitare
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Johann Sebastian Bach
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Cristiano Sousa
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ALLEGRO [ from BWV 998 by J.S.Bach ] solo guitar
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Cristiano Sousa
#
SheetMusicPlus
Prelude No 4 in Em (Fire In The Sky)
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1189647 Composed by Simon James. C…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1189647 Composed by Simon James. Classical,Contemporary,Instructional. Individual part. 5 pages. DML #789280. Published by DML (A0.1189647). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both and I would have to say that I have been influenced by Tarrega’s Preludes which he wrote mostly for his students and so have called them Preludes rather than Studies. I learnt Tarrega’s pieces such as Adelita and Lagrima early in my study of the guitar and always enjoyed their nature as both technical exercises but also performance pieces. I have tried to emulate that with these pieces. This Prelude is based on the use of thirds and sixths on the guitar. These intervals are the easiest to play on guitar and the sweetest sounding though they can still be used dramatically as in this work. The middle section, or B section if you prefer, uses chords with dissonance built into the chord shape and which are also not too difficult to play.
$2.99
2.76 €
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Guitare
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Simon James
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Prelude No 4 in Em
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DML
#
SheetMusicPlus
Prelude No 3 in C (Streams)
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1189167 Composed by Simon James. C…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1189167 Composed by Simon James. Classical,Contemporary,Instructional. Individual part. 6 pages. DML #788788. Published by DML (A0.1189167). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both and I would have to say that I have been influenced by Tarrega’s Preludes which he wrote mostly for his students and so have called them Preludes rather than Studies. I learnt Tarrega’s pieces such as Adelita and Lagrima early in my study of the guitar and always enjoyed their nature as both technical exercises but also performance pieces. I have tried to emulate that with these pieces. The piece makes extensive use of open strings but is essentially a set of variations. The melody keeps returning but with small alterations as does the accompaniment. There is also a B section in E minor before a return to the opening melody. The return to the opening section has, as a variation, a change in bass and harmony. The original C major7 chord becomes E minor by changing the bass and the E minor chord becomes C major7 in the same fashion. The effect is subtle but attractive and is no harder to play.
$2.99
2.76 €
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Guitare
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Simon James
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Prelude No 3 in C
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DML
#
SheetMusicPlus
Laurindo Almeida - Brazilian Reflections
Guitare
By Laurindo Almeida. For Guitar (Classical and Fingerpicking). Brazilian. 40 pages. Publis…
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By Laurindo Almeida. For Guitar (Classical and Fingerpicking). Brazilian. 40 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781610655606. A collection of rich harmonic and contrapuntal vocal/ guitar arrangements by the renowned guitarist and composer, Laurindo Almeida. Born in Sao Paulo Brazil in 1917 and immigrating to the U.S. in 1947, it was Almeida who brought the bossa nova style to the United States long before it was so named. With Brazilian Reflections, the always elegant and tasteful Almeida brings his skills as a supreme guitarist and arranger to bear in these stunning arrangements of traditional and modern songs from Brazil. Written in standard notation with Portuguese lyrics. The companion online audio available for download included with this book features Almeida accompanying his wife, soprano Deltra (Didi) Eamon Almeida, in spirited and soulful renditions which reflect their love of this music and their life-long personal/ professional collaboration.ISBN 9781610655606. A collection of rich harmonic and contrapuntal vocal/ guitar arrangements by the renowned guitarist and composer, Laurindo Almeida. Born in Sao Paulo Brazil in 1917 and immigrating to the U.S. in 1947, it was Almeida who brought the bossa nova style to the United States long before it was so named. With Brazilian Reflections, the always elegant and tasteful Almeida brings his skills as a supreme guitarist and arranger to bear in these stunning arrangements of traditional and modern songs from Brazil. Written in standard notation with Portuguese lyrics. The companion online audio available for download included with this book features Almeida accompanying his wife, soprano Deltra (Didi) Eamon Almeida, in spirited and soulful renditions which reflect their love of this music and their life-long personal/ professional collaboration.
$14.99
13.82 €
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Guitare
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Laurindo Almeida
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Laurindo Almeida - Brazilian Reflections
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Espana: Opus 165 by Albeniz
Guitare
By Isaac Albeniz (1860-1909). For Guitar (Classical and Fingerpicking). Classic. 32 pages.…
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By Isaac Albeniz (1860-1909). For Guitar (Classical and Fingerpicking). Classic. 32 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743208. As one of the leaders in the renaissance of Spanish music at the turn of the twentieth century, Isaac Albeniz was regarded as the founder of the Spanish "national school." Always fascinated with the music of Andalucia, Albeniz composed numerous small but beautifully performed portraits of his native Spain. These brightly colored piano pictures of his native land are sufficient reason for him to be called "the Liszt of Spanish music." Six pieces or "pages from an album" from his opus 165 "Espana" appear in this volume for solo guitar, as they have been transcribed and arranged by John Griggs in notation only.ISBN 9781609743208. As one of the leaders in the renaissance of Spanish music at the turn of the twentieth century, Isaac Albeniz was regarded as the founder of the Spanish "national school." Always fascinated with the music of Andalucia, Albeniz composed numerous small but beautifully performed portraits of his native Spain. These brightly colored piano pictures of his native land are sufficient reason for him to be called "the Liszt of Spanish music." Six pieces or "pages from an album" from his opus 165 "Espana" appear in this volume for solo guitar, as they have been transcribed and arranged by John Griggs in notation only.
$12.99
11.98 €
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Guitare
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Isaac Albeniz
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Espana: Opus 165 by Albeniz
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Fandango de Huelva
Guitare
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditiona…
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Published by Richard Hirsch
A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, Málaga, Almería) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a compás, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the compás falling on the third beat of the first 4/4 measure. The first accented beat in the compás falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms’ Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan González “Triguito” in Madrid in the late 1960’s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mesón de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzapúa, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzapúa and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, Málaga, Almería) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a compás, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the compás falling on the third beat of the first 4/4 measure. The first accented beat in the compás falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms’ Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan González “Triguito” in Madrid in the late 1960’s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mesón de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzapúa, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzapúa and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.
$4.99
4.6 €
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Guitare
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Traditional
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Richard Hirsch
#
Fandango de Huelva
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Richard Hirsch
#
SheetMusicPlus
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