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--INSTRUMENTS--
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CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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DEEJAY
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Love Story
Non classifié
65
Piano & claviers
Piano seul
52
Piano, Voix
15
Instruments en Do
7
Piano Trio: piano, violon, violoncelle
4
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3
1 Piano, 4 mains
3
2 Pianos, 4 mains
2
Orgue
2
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 4 instrumentations
Retracter
Guitares
Guitare
8
Guitare notes et tablatures
2
Piano, Guitare (duo)
1
Mandoline
1
Ensemble de guitares
1
Ukulele
1
Dulcimer
1
Basse electrique
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
21
Chorale Unison
4
Chorale TTBB
3
Voix duo, Piano
2
Chorale 3 parties
1
Voix Soprano
1
Voix Soprano, Piano
1
Voix Tenor, Piano
1
Chorale SSAA
1
Voix haute
1
Voix Alto, Piano
1
Chorale 2 parties
1
+ 7 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
21
Quatuor de Clarinettes: 4 clarinettes
6
Clarinette et Piano
5
Flûte, Hautbois, Clarinette, Basson
3
Flûte traversière
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Flûte traversière et Piano
3
Clarinette
3
Hautbois, Piano (duo)
2
Saxophone Alto
2
Quatuor de Flûtes : 4 flûtes
2
Saxophone Tenor
2
2 Flûtes traversières (duo)
1
Saxophone Tenor et Piano
1
Saxophone Alto et Piano
1
Ensemble de Flûtes
1
Quintette de Saxophone: 5 saxophones
1
Flûte, Violoncelle
1
+ 13 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Quatuor de cuivres: 4 trombones
2
Trombone et Piano
2
Ensemble de Trombones
2
Trombone
2
Quatuor de Cuivres
1
Trompette, Piano
1
Ensemble de Cors
1
Trompette (partie séparée)
1
Trompette
1
+ 6 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
36
Violon et Piano
10
Harpe
6
Violoncelle
5
2 Violoncelles (duo)
3
Alto, Piano
3
Harpe, Voix
3
Trio à Cordes: violon, alto, violoncelle
3
Violoncelle, Piano
2
Violon, Violoncelle (duo)
2
Violon
2
4 Violoncelles
1
Trio à Cordes: 2 violons, violoncelle
1
+ 8 instrumentations
Retracter
Orchestre & Percussions
Orchestre
14
Orchestre à Cordes
11
Orchestre d'harmonie
6
Ensemble de cuivres
4
Orchestre de chambre
3
Cloches
1
+ 1 instrumentations
Retracter
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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…
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
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HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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ORGUE
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Vous avez sélectionné:
Love Story
avancé
Guitare
Partitions à imprimer
8 partitions trouvées
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1
Love Story
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Pop musique
#
Taylor Swift
#
Tyler Adams
#
Love Story
#
Adams Arrangements
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1163098 By Taylor Swift. By Taylor Swift. Arranged by Tyler Adams. Pop,Singer/Songwriter. Individual part. 4 pages. Adam...
(+)
Solo Guitar - Level 4 - SKU: A0.1163098 By Taylor Swift. By Taylor Swift. Arranged by Tyler Adams. Pop,Singer/Songwriter. Individual part. 4 pages. Adams Arrangements #763453. Published by Adams Arrangements (A0.1163098). Love Story by Taylor Swift arrangement for solo guitar. This arrangement is perfect for Taylor Swift fans looking to play both the melody and the chords at the same time for guitar, enjoy!Love Story Tabs, sheet music, and chords.
$4.99
Love Story
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Frances Lai
#
Ivan Paschoito
#
Love Story
#
Ivan Paschoito
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.900119 Composed by Frances Lai. Arranged by Ivan Paschoito. Contemporary. Individual part. 4 pages. Ivan Paschoito #4301...
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Solo Guitar - Level 4 - SKU: A0.900119 Composed by Frances Lai. Arranged by Ivan Paschoito. Contemporary. Individual part. 4 pages. Ivan Paschoito #4301977. Published by Ivan Paschoito (A0.900119). Main theme from the famous Love Story movie, arranged for classical guitar.
$4.99
When She Loved Me
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Film/TV
#
Sarah McLachlan
#
Tyler Adams
#
When She Loved Me
#
Adams Arrangements
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1155174 By Sarah McLachlan. By Randy Newman. Arranged by Tyler Adams. Film/TV. Individual part. 2 pages. Adams Arrangeme...
(+)
Solo Guitar - Level 4 - SKU: A0.1155174 By Sarah McLachlan. By Randy Newman. Arranged by Tyler Adams. Film/TV. Individual part. 2 pages. Adams Arrangements #755456. Published by Adams Arrangements (A0.1155174). Toy Story guitar sheet music and tabs. Tabs and sheet music for When She Loved Me from Toy Story 2. Enjoy!
$4.99
A Time For Us (love Theme)
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Nino Rota
#
Ivan Paschoito
#
A Time For Us
#
Ivan Paschoito
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.900117 By Nino Rota. By Nino Rota. Arranged by Ivan Paschoito. 20th Century,Film/TV. Individual part. 4 pages. Ivan Pasc...
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Solo Guitar - Level 4 - SKU: A0.900117 By Nino Rota. By Nino Rota. Arranged by Ivan Paschoito. 20th Century,Film/TV. Individual part. 4 pages. Ivan Paschoito #4277949. Published by Ivan Paschoito (A0.900117). Even after half a century, this song remains as one of the most inspired love songs in film history. His romantic and melodic nature fits perfectly into the style of classical guitar.
$4.99
Have You Ever Really Loved A Woman?
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Rock
#
Bryan Adams
#
Tondi Rangkuti a
#
Have You Ever Really Loved A W
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ToRa Swarna Diva
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1274042 By Bryan Adams. By Bryan Adams, Michael Kamen, and Robert John Mutt Lange. Arranged by Tondi Rangkuti a.k.a Tond...
(+)
Solo Guitar - Level 4 - SKU: A0.1274042 By Bryan Adams. By Bryan Adams, Michael Kamen, and Robert John Mutt Lange. Arranged by Tondi Rangkuti a.k.a Tondi. FR. 20th Century,21st Century,Classical,Standards,Traditional. Individual part. 9 pages. ToRa Swarna Diva #866177. Published by ToRa Swarna Diva (A0.1274042). Tondi Rangkuti A.K A Tondi. FR arranged 'Have You Ever Really Loved a Woman' by Bryan Adams for solo guitar. The original song featured Paco Delucia, a Maestro Flamenco in history. This arrangement manages to capture Rumba Flamenco very well. And we know that the arragement of guitar solo for this song is very rare. And very few are able to transcribe well into guitar instrumental.
$17.90
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 ...
(+)
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
<
1
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Love Story
