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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
Love Don
Non classifié
145
Piano & claviers
Piano, Voix
120
Piano seul
110
Piano, Voix et Guitare
50
Instruments en Do
7
Orgue
4
2 Pianos, 4 mains
3
1 Piano, 4 mains
3
Accompagnement Piano
1
+ 3 instrumentations
Retracter
Guitares
Guitare
9
Basse electrique
7
Guitare notes et tablatures
6
Ukulele
1
Piano, Guitare (duo)
1
Voix
Chorale SATB
74
Chorale TTBB
27
Voix seule
10
Chorale SSAA
8
Chorale 3 parties
8
Voix Soprano, Piano
7
Chorale 2 parties
3
Chorale Unison
1
Voix basse, Piano
1
+ 4 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
10
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
8
2 Saxophones (duo)
7
Saxophone Tenor et Piano
7
Quatuor de Clarinettes: 4 clarinettes
5
Flûte, Hautbois, Clarinette, Basson
5
2 Flûtes traversières (duo)
4
Ensemble de Clarinettes
4
Flûte traversière et Piano
4
Saxophone
3
Clarinette et Piano
3
Saxophone Alto et Piano
3
Quintette de Clarinettes: 5 clarinettes
3
3 Clarinettes (trio)
2
Saxophone Alto
2
Saxophone, Clarinette (duo)
2
2 Clarinettes (duo)
2
Flûte traversière
2
Flûte, Alto (duo)
2
Clarinette, Violon (duo)
2
Flûte, Clarinette (duo)
2
Ensemble de saxophones
2
Quatuor de Flûtes : 4 flûtes
2
Clarinette et Alto
1
Saxophone Tenor
1
2 Hautbois (duo)
1
2 Flûte à bec (duo)
1
Clarinette, Violoncelle (duo)
1
Clarinette
1
Quintette de Saxophone: 5 saxophones
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Clarinette, Trompette (duo)
1
Trio de Flûtes: 3 flûtes
1
Flûte, Violon
1
Ensemble de Flûtes
1
Flûte, Saxophone (duo)
1
Hautbois, Piano (duo)
1
Hautbois
1
Clarinette, Basson (duo)
1
Flute, harpe et violon
1
Clarinette, Trombone (duo)
1
Hautbois, Basson (duo)
1
Saxophone Soprano et Piano
1
Flûte, Trompette (duo)
1
Hautbois, Clarinette (duo)
1
+ 40 instrumentations
Retracter
Cuivres
Quatuor de cuivres: 4 trombones
16
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
12
Trombone et Piano
9
Ensemble de Trombones
8
Trompette
5
Trompette, Saxophone (duo)
3
Euphonium, Piano (duo)
3
2 Trombones (duo)
3
2 Trompettes (duo)
3
2 Euphoniums et 2 Tubas
2
Tuba et Piano
2
Trombone
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Quatuor de cuivres: 4 cors
1
Trompette, Piano
1
Cornet et orchestre
1
Cor et Piano
1
Trompette, Trombone (duo)
1
4 Tubas
1
3 Euphoniums
1
+ 15 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
53
Violon, Violoncelle (duo)
11
Violon et Piano
10
Trio à Cordes: violon, alto, violoncelle
10
Harpe
7
Violon
4
2 Violons (duo)
4
2 Violoncelles (duo)
3
Violoncelle, Piano
2
Violoncelle
2
Harpe, Voix
2
Violon, Alto (duo)
2
Alto, Piano
1
Alto et Basson
1
Alto, Violoncelle (duo)
1
Violon, Guitare (duo)
1
Violon (partie séparée)
1
4 Contrebasses
1
Alto (partie séparée)
1
Violoncelle (partie séparée)
1
+ 15 instrumentations
Retracter
Orchestre & Percussions
Orchestre
17
Orchestre d'harmonie
17
Orchestre à Cordes
14
Ensemble de cuivres
12
Ensemble Jazz
9
Orchestre de chambre
5
Cloches
4
Fanfare
4
Jazz combo
1
+ 4 instrumentations
Retracter
Autres
Instruments
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CLARINETTE
CLAVECIN
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COR
COR ANGLAIS
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DOBRO - GUI…
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EUPHONIUM
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FLUTE A BEC
FLUTE A DIX…
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FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
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PIANO
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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
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JAZZ MANOUCHE - SWIN…
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KLEZMER - JUIVE
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METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
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OLD TIME - EARLY ROC…
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Vous avez sélectionné:
Love Don
avancé
Guitare
Partitions à imprimer
9 partitions trouvées
<
1
Somebody loves me
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
B
#
Bettina Schipp
#
Somebody loves me
#
songbooks.info
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1315243 Composed by B. Macdonald, B. G. DeSylva & G. Gershwin. Arranged by Bettina Schipp. 20th Century,Broadway,Musical...
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Solo Guitar - Level 4 - SKU: A0.1315243 Composed by B. Macdonald, B. G. DeSylva & G. Gershwin. Arranged by Bettina Schipp. 20th Century,Broadway,Musical/Show. Individual part. 3 pages. Songbooks.info #903989. Published by songbooks.info (A0.1315243). These Evergreens come from composers from all over the world and were arranged for fingerpicking on the Guitar - written down in the well-known tablature for string instruments and in the classical notation. The songs were recorded at a slow tempo and with a metronome in the background. Have fun making music...!
$2.49
My Jesus, I Love Thee
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Gospel Spirituel
#
Musique Sacrée
#
William R
#
Bruce J
#
My Jesus, I Love Thee
#
In His Name Music/SESAC
#
SheetMusicPlus
Composed by William R. Feathersron - Music: Adoniram J. Gordon. Arranged by Bruce J. Patterson. For Guitar. Christian,Contemporary Christian,Gospel,Jewish,Sacre...
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Composed by William R. Feathersron - Music: Adoniram J. Gordon. Arranged by Bruce J. Patterson. For Guitar. Christian,Contemporary Christian,Gospel,Jewish,Sacred. Advanced Intermediate. Individual Part. Published by In His Name Music/SESAC
$3.99
The Shadow Of Your Smile
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Latin/Musique du monde
#
Jazz
#
Johnny Mandel and Paul Francis
#
John Fries
#
The Shadow Of Your Smile
#
John Fries
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1271573 Composed by Johnny Mandel and Paul Francis Webster. Arranged by John Fries. 20th Century,Film/TV,Jazz,Latin,Stan...
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Solo Guitar - Level 4 - SKU: A0.1271573 Composed by Johnny Mandel and Paul Francis Webster. Arranged by John Fries. 20th Century,Film/TV,Jazz,Latin,Standards. Individual part. 2 pages. John Fries #863974. Published by John Fries (A0.1271573). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. The Shadow of Your Smile, also known as Love Theme from The Sandpiper, is a popular song.  The song was introduced in the 1965 film The Sandpiper, with a trumpet solo by Jack Sheldon and later became a minor hit for Tony Bennett (Johnny Mandel arranged and conducted his version as well). It won the Grammy Award for Song of the Year and the Academy Award for Best Original Song. In 2004 the song finished at number 77 in AFI's 100 Years.
$4.99
David W. Solomons, Oxford Days for solo guitar
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
David Warin Solomons
#
II. Lamento (Gethsemane)
#
David W. Solomons, Oxford Days
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.533472 Composed by David Warin Solomons. 20th Century,Contemporary,Standards. Individual part. 21 pages. Musik Fabrik Mu...
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Solo Guitar - Level 4 - SKU: A0.533472 Composed by David Warin Solomons. 20th Century,Contemporary,Standards. Individual part. 21 pages. Musik Fabrik Music Publishing #2994073. Published by Musik Fabrik Music Publishing (A0.533472). Eight pieces for solo guitar : I. Innocence Asleep; II. Lamento (Gethsemane); III. Hyde Park Rag; IV. Fantasia from the other bank; V. Prelude in Dorian mode (Dorian Serendipity); VI. The Princess's Tune; VII. Quelques minutes espagnoles; VIII. Sketch in BlueA series of guitar solos illustrating some of the moods and discoveries of the composer when he was young and fancy free ... at college.Christianity:- Innocence Asleep - a gentle tune depicting the baby Jesus- Lamento (Gethsemane) - part of a long lost Easter Suite, reflecting the sorrow in the GardenHolidays- Hyde Park Rag - a quasi ragtime composed on the composer's first outing from Oxford to London.Sexuality- Fantasia from the other bank - the downward sweep of the strangely augmented chord represents the composer's initial feeling of surprise when he realises he is from the other bank (vom anderen Ufer is German slang for gay)Musical discoveries- Prelude in Dorian mode (Dorian Serendipity) - the beginning of a long love affair with this mode, in which the major 6th and minor third give a special flavour.- The Princess's Tune - a curiously atonal piece based on a short theme given to the composer by a very shy fellow student known as the Princess.- Quelques minutes espagnoles - first venture into the Spanish flavours of guitar music- Sketch in Blue - an early experiment making use of blues harmonies
$19.95
Chorus and Aria from Ariadne auf Naxos
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
#
Maggie Creek Music
#
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
'A golden time ...' from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
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 ...
(+)
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
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
#
Maggie Creek Music
#
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 ...
(+)
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
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Love Don
