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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
It
Non classifié
3 080
Piano & claviers
Piano seul
2 859
Piano, Voix
614
Piano, Voix et Guitare
529
Instruments en Do
326
Orgue
143
1 Piano, 4 mains
65
Piano Trio: piano, violon, violoncelle
42
2 Pianos, 4 mains
35
Piano Facile
28
Orgue, Piano (duo)
15
Piano Quatuor: piano, violon, alto, violoncelle
14
Accompagnement Piano
13
Piano Quintette: piano, 2 violons, alto, violoncelle
13
Accordéon
9
Orgue, Trompette (duo)
8
Clavecin
4
2 Pianos, 8 mains
2
2 Accordéons
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 14 instrumentations
Retracter
Guitares
Guitare
270
Guitare notes et tablatures
197
Ligne De Mélodie, (Paroles) et Accords
56
Basse electrique
42
Dulcimer
36
4 Guitares (Quatuor)
24
2 Guitares (duo)
22
Ukulele
14
Piano, Guitare (duo)
7
Ensemble de guitares
6
Mandoline
4
Paroles et Accords
4
Banjo
3
2 Dulcimers (duo)
2
Basse électrique (partie séparée)
2
3 Guitares (trio)
1
Guitare, Orchestre
1
Mandoline, Guitare (duo)
1
+ 13 instrumentations
Retracter
Voix
Chorale SATB
1 101
Chorale TTBB
229
Chorale 3 parties
181
Chorale SSAA
134
Voix Soprano, Piano
60
Chorale Unison
39
Voix haute
36
Voix Alto, Piano
29
Voix duo, Piano
28
Chorale 2 parties
24
Voix duo
23
Voix seule
19
Voix Baryton, Piano
14
Voix moyenne, Piano
11
Voix Tenor, Piano
11
Chorale
7
Voix Tenor
6
Voix basse, Piano
6
Voix basse
4
Voix Soprano
3
Chorale SSATTB
2
Chorale SATBB
1
+ 17 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
387
Quatuor de Saxophones: 4 saxophones
303
Quatuor de Clarinettes: 4 clarinettes
200
Flûte traversière et Piano
172
Flûte, Hautbois, Clarinette, Basson
156
Clarinette et Piano
132
Ensemble de Clarinettes
127
Flûte traversière
119
Quintette de Saxophone: 5 saxophones
118
Ensemble de saxophones
117
Saxophone Alto et Piano
111
Hautbois, Piano (duo)
93
Quatuor de Flûtes : 4 flûtes
92
Saxophone Alto
87
Clarinette
87
Quintette de Clarinettes: 5 clarinettes
75
Saxophone Tenor et Piano
73
2 Flûtes traversières (duo)
66
2 Saxophones (duo)
66
Ensemble de Flûtes
65
Saxophone Tenor
58
2 Clarinettes (duo)
48
Saxophone Soprano et Piano
45
Saxophone (partie séparée)
36
Trio de Flûtes: 3 flûtes
35
Hautbois (partie séparée)
30
3 Clarinettes (trio)
30
2 Flûtes traversières, Piano
27
Flûte, Clarinette (duo)
27
Saxophone, Clarinette (duo)
25
Quintette de Flûte : 5 flûtes
25
3 Saxophones (trio)
23
Clarinette, Guitare (duo)
21
Flûte et Guitare
21
Saxophone Baryton, Piano
16
Clarinette, Violon (duo)
15
Hautbois, Basson (duo)
13
Flûte, Clarinette et Basson
13
Saxophone
12
Clarinette, Trompette (duo)
12
2 Hautbois (duo)
12
Clarinette Basse, Piano
12
Flûte, Violon
11
Clarinette, Basson (duo)
10
Flûte, Violon, Piano
9
Quatuor de Flûtes à bec
9
Cor anglais, Piano
9
Hautbois, Flûte
8
Flûte, Alto (duo)
8
Clarinette et Alto
8
Flûte, Saxophone (duo)
7
Hautbois, Clarinette (duo)
7
Flûte à Bec
6
Flûte, Violoncelle
6
Flûte à bec Soprano
6
Flûte, Hautbois, Basson
6
Flûte, Trompette (duo)
6
Flûte, Violoncelle, Piano (trio)
5
Hautbois
5
Flûte, Clarinette, Piano (trio)
5
5 Flûtes à bec
5
Flûte, Hautbois, Clarinette (trio)
5
Hautbois, Clarinette, Basson (trio d'anches)
5
Flute (partie séparée)
4
Clarinette, Violoncelle (duo)
3
Saxophone Soprano
3
Ensemble De Flûte à bec
3
2 Flûte à bec (duo)
3
Flûte, Violon et Violoncelle
3
Flûte, Basson et Piano
3
4 Hautbois
3
Saxophone Baryton
2
Clarinette, Violoncelle, Piano (trio)
2
Flûte à bec Tenor
2
Cornemuse
2
2 Saxophones, Piano
2
2 Clarinettes, Piano
2
Flûte à bec Alto
2
Piccolo, Piano
2
Hautbois, Guitare (duo)
2
Flûte irlandaise
2
Clarinette, Trombone (duo)
2
Saxophone, Tuba (duo)
1
Flûte, Hautbois, Piano (trio)
1
3 Hautbois
1
Flûte, Trombone (duo)
1
Clarinette, Harpe (duo)
1
Flûte à bec Alto, Piano
1
Cor Anglais
1
Flûte, Harpe et Violoncelle
1
Hautbois, Violon, Piano
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Piccolo
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Clarinette, Violon (trio)
1
Flûte traversière, Orgue (duo)
1
Saxophone et Orgue
1
Flute, harpe et violon
1
Flûte à bec Alto, Basse continue
1
Saxophone et Harpe
1
Clarinette, Orgue
1
Clarinette (partie séparée)
1
Flûte, alto et harpe
1
2 Clarinettes, Basson
1
+ 99 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
425
Quatuor de Cuivres : 2 trompettes, trombone, tuba
241
Trompette
96
Trompette, Piano
94
Trombone et Piano
89
Quatuor de Cuivres: 2 trompettes, Cor, trombone
77
Trombone
66
Quatuor de cuivres: 4 trombones
64
Cor et Piano
60
Ensemble de Trombones
49
2 Euphoniums et 2 Tubas
46
Tuba et Piano
44
Trompette (partie séparée)
34
Ensemble de Trompettes
33
Quatuor de Cuivres
33
Quatuor de cuivres: 4 cors
31
Cor
25
2 Trompettes (duo)
24
Euphonium, Piano (duo)
20
Trombone (partie séparée)
15
Trompette, Saxophone (duo)
15
Trompette, Trombone (duo)
13
Trio de Cuivres
12
Tuba
12
2 Trombones (duo)
11
Euphonium
10
Cor anglais, Piano
9
Ensemble de Cors
8
4 Tubas
7
2 Cors (duo)
5
Quatuor de cuivres: 4 trompettes
3
3 Trombones (trio)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Trombone basse
3
Cor et Harpe
2
Trombone basse et Piano
2
Trompette, Tuba (duo)
2
Trompette, Cor (duo)
2
Euphonium, Tuba (duo)
2
Trombone, Orgue
2
Cor et Orgue
2
Tuba (partie séparée)
1
Bass Clef Instruments
1
3 Euphoniums
1
Tuba et Orgue
1
Clarinette, Cor (duo)
1
Cor Anglais
1
Trombone, Violon (duo)
1
2 Tubas (duo)
1
3 Cors (trio)
1
2 Euphoniums (duo)
1
Trompette, Harpe
1
3 Trompettes (trio)
1
Trompette, Orchestre
1
Trombone et orchestre
1
+ 50 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
892
Violon et Piano
247
Violon, Violoncelle (duo)
200
Violoncelle, Piano
176
Violon
137
Trio à Cordes: violon, alto, violoncelle
136
Alto, Piano
116
Harpe
116
Violoncelle
104
2 Violons (duo)
59
Violon, Alto (duo)
44
Trio à Cordes: 2 violons, violoncelle
43
2 Violoncelles (duo)
42
Alto seul
36
2 Harpes (duo)
33
Contrebasse, Piano (duo)
23
4 Violoncelles
19
Contre Basse
19
Alto (partie séparée)
16
2 Altos (duo)
15
Quintette à cordes: 2 violons, alto, violoncelle, basse
14
Alto, Violoncelle (duo)
13
Ensemble de Violons
13
Ensemble d'Altos
13
Trio à Cordes: 2 violons, alto
12
Trio à Cordes: 3 violoncelles
12
Trio à cordes: 3 violins
11
Violon, Guitare (duo)
9
Piano Trio: Violon, Alto, Piano
8
Violoncelle , Guitare (duo)
7
Harpe, Flûte (duo)
7
Alto, Guitare (duo)
6
Violon (partie séparée)
5
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Quatuor à cordes: 4 violons
5
Ensemble de Violoncelles
5
Alto et Harpe
4
Harpe, Voix
4
Trio à cordes: 3 altos
4
Violoncelle, Orgue
4
4 Contrebasses
3
Violoncelle, Contrebasse (duo)
3
Harpe, Violon (duo)
3
Harpe, Violoncelle (duo)
2
Violoncelle (partie séparée)
2
Harpe et mandoline
2
Quatuor à cordes : 4 altos
2
Violon, Clarinette, Piano (trio)
1
Alto et Basson
1
Trio à cordes
1
Harpe et Piano
1
Violoncelle, Orchestre
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
2 Contrebasses (duo)
1
Harpe, Trombone (duo)
1
Violon, Tuba (duo)
1
+ 51 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
545
Orchestre
428
Ensemble Jazz
407
Orchestre à Cordes
323
Ensemble de cuivres
307
Orchestre de chambre
161
Jazz combo
109
Cloches
85
Fanfare
83
Batterie
45
Ensemble de Percussions
37
Marimba
11
Vibraphone
9
Batterie (partie séparée)
5
Percussion (partie séparée)
3
Xylophone, Piano
2
Orchestre, Violon
2
2 Xylophones
1
Xylophone
1
Piano et Orchestre
1
+ 15 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
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
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Guitare
Partitions à imprimer
270 partitions trouvées
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51
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251
Sting : Lethal Weapon 3 - It's Probably Me (niveau intermédiaire/difficile, guitare d'accompagnement)
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Film/TV
#
Sting
#
Lethal Weapon 3
#
Tomplay
Telechargez la tablature et la partition Guitare Lethal Weapon 3 - It's Probably Me (niveau intermediaire/difficile) de Sting. Tab pour Guitare d'acco...
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Telechargez la tablature et la partition Guitare Lethal Weapon 3 - It's Probably Me (niveau intermediaire/difficile) de Sting. Tab pour Guitare d'accompagnement -- Musique de film
5.99€
Eric Clapton,Sting : It's Probably Me (niveau intermédiaire/difficile, guitare d'accompagnement)
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Rock
#
Pop musique
#
Eric Clapton,Sting
#
It's Probably Me
#
Tomplay
Telechargez la tablature et la partition Guitare It's Probably Me (niveau intermediaire/difficile, guitare d'accompagnement) de Eric Clapton. Tab pour...
(+)
Telechargez la tablature et la partition Guitare It's Probably Me (niveau intermediaire/difficile, guitare d'accompagnement) de Eric Clapton. Tab pour Guitare d'accompagnement -- Pop/rock
5.99€
Mika : Relax, Take It Easy (niveau intermédiaire/difficile, guitare d'accompagnement)
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Rock
#
Pop musique
#
Mika
#
Relax, Take It Easy
#
Tomplay
Telechargez la tablature et la partition Guitare Relax, Take It Easy (niveau intermediaire/difficile, guitare d'accompagnement) de Mika. Tab pour Guitare d...
(+)
Telechargez la tablature et la partition Guitare Relax, Take It Easy (niveau intermediaire/difficile, guitare d'accompagnement) de Mika. Tab pour Guitare d'accompagnement -- Pop/rock
5.99€
Wouldn't It Be Nice
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Rock
#
The Beach Boys
#
Gabriel Deutsch
#
Wouldn't It Be Nice
#
Gabriel Solo Guitar
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1263418 By The Beach Boys. By Brian Wilson, Mike Love, and Tony Asher. Arranged by Gabriel Deutsch. Pop,Rock. Individual...
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Solo Guitar - Level 4 - SKU: A0.1263418 By The Beach Boys. By Brian Wilson, Mike Love, and Tony Asher. Arranged by Gabriel Deutsch. Pop,Rock. Individual part. 5 pages. Gabriel Solo Guitar #856378. Published by Gabriel Solo Guitar (A0.1263418). Wouldn't it be nice for fingerstyle guitar.
$5.00
It's About Time, guitar.
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
George Arvola, Virginia Mathew
#
It's About Time, guitar.
#
George Arvola and Virginia Mathews
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.947501 Composed by George Arvola, Virginia Mathews. Blues,Instructional,Pop,Standards,Wedding. Individual part. 8 pages....
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Solo Guitar - Level 4 - SKU: A0.947501 Composed by George Arvola, Virginia Mathews. Blues,Instructional,Pop,Standards,Wedding. Individual part. 8 pages. George Arvola and Virginia Mathews #504833. Published by George Arvola and Virginia Mathews (A0.947501). New release,2015, filling the need for INSPIRING arpeggio studies. Piano accompaniment and bass parts included. arpeggioartistry.com hosts the full recordings and complete list of fun arpeggio studies from our book, Delicious Licorice. Arrangements for other instruments are available. It's About Time is a slow, sophisticated arpeggio study in the style of a pop blues ballad. This beautiful melody would be suitable for a wedding prelude or a recital.
$5.99
And So It Goes
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Billy Joel
#
Nick Mordal
#
And So It Goes
#
Nick Mordal
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.946418 By Billy Joel. By Billy Joel. Arranged by Nick Mordal. Classical,Folk,Pop,Rock,Singer/Songwriter. Individual part...
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Solo Guitar - Level 4 - SKU: A0.946418 By Billy Joel. By Billy Joel. Arranged by Nick Mordal. Classical,Folk,Pop,Rock,Singer/Songwriter. Individual part. 1 pages. Nick Mordal #6294925. Published by Nick Mordal (A0.946418). Transposed from C to D. Billy's piano chord voicings and counterpoint are preserved in this guitar arrangement. Techniques include a precise right hand for string selection of the thick chord voicings, barre and bringing out melodies amidst the chords. It works as accompaniment with a singer or by itself as a solo performance.
$15.00
It Ain't Necessarily So
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Dorothy Heyward, Du Bose Heywa
#
Viktoriia Kulykovska
#
It Ain't Necessarily So
#
Viktoriia Kulykovska
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1148988 Composed by Dorothy Heyward, Du Bose Heyward, George Gershwin, and Ira Gershwin. Arranged by Viktoriia Kulykovsk...
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Solo Guitar - Level 4 - SKU: A0.1148988 Composed by Dorothy Heyward, Du Bose Heyward, George Gershwin, and Ira Gershwin. Arranged by Viktoriia Kulykovska. 20th Century,Blues,Jazz,Opera,Spiritual. Individual part. 2 pages. Viktoriia Kulykovska #749111. Published by Viktoriia Kulykovska (A0.1148988). The famous theme It Ain't Necessarily So arranged for solo guitar by Viktoriia Kulykovska. Medium level of difficulty. 2 pages.
$5.00
If It's Magic
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Stevie Wonder
#
Alexander Elliott Miller
#
If It's Magic
#
Alexander Elliott Miller
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1356930 Composed by Stevie Wonder. Arranged by Alexander Elliott Miller. 20th Century,Contemporary,R & B,Singer/Songwrit...
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Solo Guitar - Level 4 - SKU: A0.1356930 Composed by Stevie Wonder. Arranged by Alexander Elliott Miller. 20th Century,Contemporary,R & B,Singer/Songwriter,Soul. Individual part. 6 pages. Alexander Elliott Miller #941567. Published by Alexander Elliott Miller (A0.1356930). This arrangements aims to capture Stevie Wonder's If It's Magic on a solo guitar as a chord melody arrangement representing both Stevie Wonder's vocal melody and the original harp accompaniment.
$4.99
It Is Well
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Bliss, Philip
#
Nick Lacanski
#
It Is Well
#
theupperstaff
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.647594 Composed by Bliss, Philip. Arranged by Nick Lacanski. Praise and Worship,Sacred. Individual part. 3 pages. Theupp...
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Solo Guitar - Level 4 - SKU: A0.647594 Composed by Bliss, Philip. Arranged by Nick Lacanski. Praise and Worship,Sacred. Individual part. 3 pages. Theupperstaff #2076165. Published by theupperstaff (A0.647594). One of the all-time favorite hymns is arranged for solo guitar. This needs to be in your upcoming service as a special, an offertory or an invitational.
$3.99
It's All Coming Back To Me Now
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Celine Dion
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Ken Foo
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TAB
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It's All Coming Back To Me Now
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Ken Foo
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1244512 By Celine Dion. By Jim Steinman. Arranged by Ken Foo. Contemporary,Hip-Hop,Pop,R & B,Wedding. Individual part. 4...
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Solo Guitar - Level 4 - SKU: A0.1244512 By Celine Dion. By Jim Steinman. Arranged by Ken Foo. Contemporary,Hip-Hop,Pop,R & B,Wedding. Individual part. 4 pages. Ken Foo #839456. Published by Ken Foo (A0.1244512). Beautiful love song by the one and only Celine Dion.Intermediate Advanced with standard notation & TAB.Check out my score, MP3 sample and YouTube video.
$5.99
Nobody Does It Better from THE SPY WHO LOVED ME
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Carly Simon
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Jan Angermüller
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Nobody Does It Better from THE
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Elbsound.studio
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.857026 By Carly Simon. By Marvin Hamlisch. Arranged by Jan Angermüller. Contemporary. Individual part. 2 pages. Elbso...
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Solo Guitar - Level 4 - SKU: A0.857026 By Carly Simon. By Marvin Hamlisch. Arranged by Jan Angermüller. Contemporary. Individual part. 2 pages. Elbsound.studio #3509265. Published by Elbsound.studio (A0.857026).
$4.99
How Sweet It Is (to Be Loved By You)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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James Taylor
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Steven Joseph
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How Sweet It Is
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Steven Joseph
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.546097 By James Taylor. By Brian Holland, Edward Holland, and Lamont Dozier. Arranged by Steven Joseph. 20th Century,Hip...
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Solo Guitar - Level 4 - SKU: A0.546097 By James Taylor. By Brian Holland, Edward Holland, and Lamont Dozier. Arranged by Steven Joseph. 20th Century,Hip-Hop,Pop,R & B,Standards,Wedding. Individual part. 3 pages. Steven Joseph #156205. Published by Steven Joseph (A0.546097). Upbeat and jazzy arrangement for solo guitar. Includes notation and TAB. Inspired by the classic recordings by Marvin Gaye and James Taylor, this arrangement works well at both slow and up-tempo speeds and is a sure-fire crowd pleaser.
$5.00
Larry Williams Compositions- The Guitar Book
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Larry Williams
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Larry Williams Compositions- T
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Larry Andrew Williams
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Pu...
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Solo Guitar - Level 4 - 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
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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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 a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - 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
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - 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
'Change of scene' from Act III of Wozzeck
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - 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
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
#
for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - 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
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - 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
Waltz For Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Frank Zappa
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Andrew Pattinson
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Waltz For Guitar
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Andrew Pattinson
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1042421 Composed by Frank Zappa. Arranged by Andrew Pattinson. Classical,Contemporary. Individual part. 1 pages. Andrew ...
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Solo Guitar - Level 4 - SKU: A0.1042421 Composed by Frank Zappa. Arranged by Andrew Pattinson. Classical,Contemporary. Individual part. 1 pages. Andrew Pattinson #647206. Published by Andrew Pattinson (A0.1042421). Zappa Quote: This is a 12-tone crab canon written when I was 18. There's actually another version for two guitars, so it's a double crab canon. I don't know where it is though. I'd been doing 12-tone music for quite some time before I did this, but it was the first time I'd tried to write something for the guitar. I couldn't play it, and I never got to hear it until I got the Synclavier. And because it's printed on the Synclavier, that also means I got to push the button and listen to it..
$4.99
Romance Anonimo (tremolo) for Classical Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Anon
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Keith Terrett
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Romance Anonimo
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Keith Terrett
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1441944 Composed by Anon. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural...
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Solo Guitar - Level 4 - SKU: A0.1441944 Composed by Anon. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 7 pages. Keith Terrett #1021937. Published by Keith Terrett (A0.1441944). Romance Anonimo for Guitar.This beautiful piece, known as Romance d'Amour, Anonymous Romance, Spanish Romance, Romance de Amor, Romanza among other names are a very well know piece. The composer is unknown.Romance Anónimo (Anonymous Romance) is a piece for guitar, also known as Estudio en Mi de Rubira (Study in E by Rubira), Spanish Romance, Romance de España, Romance de Amor, Romance of the Guitar, Romanza and Romance d'Amour among other names. It is composed in the style of parlour music of the late 19th century in Spain or South America,History:The style of the piece is that of the parlour music of the late 19th century in Spain or South America. It has a closed three-part form, the first in the minor key and the second being in the major key, with the third part being a restatement of the first.The origins and authorship of the piece are unknown, hence 'anonimo'. It is thought to have been originally a solo instrumental guitar work from the 19th century, and has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Francisco Vicaria l Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes. It has been suggested that doubts about its authorship may have been encouraged by a wish to avoid paying copyright fees and the desire of publishing companies to claim the lucrative copyright.Early recordings:The earliest recording of Romance is found on a cylinder from the Viuda de Aramburo label[3][4][5][6] featuring guitarists Luis and Simon Ramírez, which was made in Madrid sometime between 1897 and 1901. The work is titled Sort-Estudio para Guitarra por S. Ramirez. The name Sort, as it occurs on the cylinder's title, probably refers to Fernando Sor, as his surname is sometimes spelled Sort or Sorts. The recording may be heard on the Doremi CD release Tarrega, His Disciples, and Their Students (DHR-7996) and online at the UCSB Cylinder Audio Archive.Possible origins:An early publication of the work, known as Estudio para Guitarra de Rovira and attributed to Spanish guitarist Antonio Rubira,[13] was published by J.A. Medina e Hijo in Argentina before 1925 (probably in 1913, when the publisher ceased activities).Guitarist and composer Isaías Sávio (Montevideo, 1900 — São Paulo, 1977) published the work in 1959 with the title Romance de Amor (Estudo em Mi) Música de Antonio Rovira (Segunda metade do século XIX) He published information which cited Antonio Rubira as the author. (See Violào e Mestres Junio, 1966 / São Paulo, Brasil.Sávio gives information that Juan Pargas, who knew Rubira, gave the Estudio de Rovira to the guitarist Juan Valles in 1876 or 1878. Sávio mentions that the work became popular in Buenos Aires and began to be published by, among others, Spaniard Pedro Maza; and that the work appeared in the method of Pedro Mascaró y Reissig, published in Montevideo in 1919, with the title Conocido por Estudio de Rovira.Publishing company Ricordi of Argentina currently publishes the piece, and attributes authorship to Antonio Rubira.
$1.99
Rumores de la Caleta
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Isaac Albeniz
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Nick Mordal
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Rumores de la Caleta
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Nick Mordal
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1329558 By Isaac Albeniz. By Isaac Albeniz. Arranged by Nick Mordal. 20th Century,Classical,Latin,Multicultural,Romantic...
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Solo Guitar - Level 4 - SKU: A0.1329558 By Isaac Albeniz. By Isaac Albeniz. Arranged by Nick Mordal. 20th Century,Classical,Latin,Multicultural,Romantic Period,World. Individual part. 3 pages. Nick Mordal #917541. Published by Nick Mordal (A0.1329558). This brilliantly rhythmic piano piece by Albéniz has been transposed up a fifth for guitar. Albéniz wrote this music with the percussion of a guitar in mind. Like another famous Albéniz guitar transcription, Asturias (Leyenda), it fits very nicely on the classical guitar. It is fairly difficult with some quick position shifts and is worth putting time into. Its' sound is a mix between classical and flamenco guitar. This piece has been done by several classical guitarists like Christopher Parkening, and this is my take on it. It features two contrasting sections. The A section is harsh, percussive and very Spanish. The B section is a melodically driven change of pace, before it finishes in a repeat of the A section.
$5.00
Passacaglia
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Eric J Roth
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Passacaglia
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.914738 Composed by Eric J Roth. 20th Century,Contemporary. Individual part. 7 pages. Eric J Roth #4756827. Published by ...
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Solo Guitar - Level 4 - SKU: A0.914738 Composed by Eric J Roth. 20th Century,Contemporary. Individual part. 7 pages. Eric J Roth #4756827. Published by Eric J Roth (A0.914738). (7 pages. 3 pages of music)This Passacaglia is the first of a four-movement sonata composed in 2018. Publication of the entire sonata is forthcoming, but the Passacaglia is offered here as a single, standalone work. I have performed the Passacaglia in my own concert programs both on its own and as part of the larger sonata. I believe that it works equally well both ways. The Passacaglia form originated in 17th-century Spain. It started as a series of strummed chords that served as an interlude between dances. The term itself translates as street song. Over time, it evolved to become a series of variations set over an ostinato or ground bass, usually in triple meter. It is often indistinguishable from a Chaconne. In character, the Passacaglia is often serious, or even grave. The Passacaglia offered here adheres to this tradition in most ways, except that it is in 5/4 instead of triple meter. The ostinato phrase is five measures long and set in quarter notes. Variations usually occur in pairs and are distinguished by texture. Beginning simply, the variations build in complexity throughout the piece. The main theme, introduced in the second pair of variations, recurs later in a fuller texture. One final statement of the ostinato in bare octaves ends the piece. The tonality stems from an E harmonic minor scale, although an added B flat serves to blur any sense of strict tonality.Please note that there are some minor differences between the score and the YouTube video of a live performance from 2018.
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J. S. Bach - Chorale Prelude BWV 639, arr. for guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Aleksander Wilgos
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J. S. Bach - Chorale Prelude B
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Aleksander Wilgos
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.905205 Composed by Johann Sebastian Bach. Arranged by Aleksander Wilgos. Baroque. Individual part. 2 pages. Aleksander W...
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Solo Guitar - Level 4 - SKU: A0.905205 Composed by Johann Sebastian Bach. Arranged by Aleksander Wilgos. Baroque. Individual part. 2 pages. Aleksander Wilgos #5792131. Published by Aleksander Wilgos (A0.905205). Here is my transcription of Bach's Chorale Prelude BWV 639. The title Ich ruf zu Dir, Herr Jesu Christ means: I call to You, Lord Jesus Christ and is famous for it's simplicity and profoundness. Prelude is composed for organ and it's original tonality in F minor. I transposed it to more guitar friendly tonality D minor.I loved the way Paweł Pawlikowski used the piece in the last scene of his Oscar winning movie Ida, so I took the liberty to transcribe it. It is quite demanding but totally worth an effort. The music is beautiful! Enjoy!Listen my recording of the piece: htpps://www.youtube.com/watch?v=Ep-TqzUGwmACheck out my other transcriptions: htpps://www.youtube.com/user/aleksanderwilgosMore about me: htpps://www.facebook.com/wilgos.guitar/
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