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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
Still The One
Non classifié
163
Piano & claviers
Piano seul
71
Piano, Voix et Guitare
15
Piano, Voix
14
Instruments en Do
9
1 Piano, 4 mains
5
Orgue
3
2 Pianos, 4 mains
1
Piano Trio: piano, violon, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Accompagnement Piano
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 6 instrumentations
Retracter
Guitares
Guitare notes et tablatures
7
Guitare
6
Ligne De Mélodie, (Paroles) et Accords
1
Basse electrique
1
Voix
Chorale SATB
61
Chorale 3 parties
7
Chorale TTBB
7
Voix Soprano, Piano
3
Chorale SSAA
3
Voix moyenne, Piano
3
Voix Baryton, Piano
3
Voix seule
2
Chorale Unison
1
Voix Tenor
1
+ 5 instrumentations
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Vents
Saxophone Alto
13
Quatuor de Saxophones: 4 saxophones
11
Saxophone Alto et Piano
11
Quintette de Saxophone: 5 saxophones
10
Saxophone Tenor
10
Flûte, Hautbois, Clarinette, Basson
7
2 Flûtes traversières (duo)
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
2 Saxophones (duo)
5
Flûte traversière et Piano
5
Saxophone Tenor et Piano
5
Saxophone (partie séparée)
4
Clarinette
4
Flûte traversière
4
Ensemble de saxophones
4
Ensemble de Clarinettes
3
Saxophone, Clarinette (duo)
3
Clarinette, Trompette (duo)
2
Clarinette, Violon (duo)
2
Quintette de Flûte : 5 flûtes
2
Ensemble de Flûtes
2
Saxophone Soprano et Piano
2
Quintette de Clarinettes: 5 clarinettes
2
Hautbois, Piano (duo)
1
Hautbois, Clarinette (duo)
1
Flûte, Alto (duo)
1
2 Hautbois (duo)
1
Flûte, Violon
1
Quatuor de Clarinettes: 4 clarinettes
1
Hautbois, Basson (duo)
1
Clarinette et Piano
1
Flûte, Trompette (duo)
1
Clarinette et Alto
1
Flûte, Saxophone (duo)
1
Hautbois, Flûte
1
Ensemble De Flûte à bec
1
2 Clarinettes (duo)
1
Saxophone
1
Flûte, Clarinette (duo)
1
Saxophone Baryton, Piano
1
Flûte et Guitare
1
+ 36 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
35
Quatuor de cuivres: 4 trombones
20
Quatuor de Cuivres : 2 trompettes, trombone, tuba
19
Trombone
13
Ensemble de Trombones
11
Ensemble de Trompettes
11
Trombone et Piano
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Quatuor de Cuivres
4
Ensemble de Cors
3
Trompette
3
Trombone (partie séparée)
3
Trio de Cuivres
3
2 Trompettes (duo)
2
Trompette, Piano
2
Trompette, Saxophone (duo)
2
2 Trombones (duo)
2
3 Trombones (trio)
1
Quatuor de cuivres: 4 cors
1
Euphonium, Piano (duo)
1
Trompette, Trombone (duo)
1
+ 16 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
29
Violon, Violoncelle (duo)
10
Trio à Cordes: violon, alto, violoncelle
7
Violon et Piano
5
Trio à Cordes: 2 violons, violoncelle
4
Violon
4
2 Violons (duo)
3
Harpe
3
Harpe, Voix
2
Trio à Cordes: 3 violoncelles
2
Violoncelle
2
Ensemble de Violons
2
Ensemble d'Altos
2
Alto, Piano
2
2 Altos (duo)
1
Alto seul
1
Harpe, Trombone (duo)
1
Violon, Alto (duo)
1
Violoncelle, Piano
1
+ 14 instrumentations
Retracter
Orchestre & Percussions
Orchestre
21
Orchestre d'harmonie
20
Ensemble Jazz
15
Ensemble de cuivres
12
Orchestre à Cordes
11
Jazz combo
7
Orchestre de chambre
4
Ensemble de Percussions
3
Vibraphone
1
Batterie
1
Fanfare
1
+ 6 instrumentations
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AUTRES INST…
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BASSE
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CITHARE
CLAIRON
CLARINETTE
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COR
COR ANGLAIS
CORNEMUSE
CORNET
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EUPHONIUM
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FLUTE A BEC
FLUTE A DIX…
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FORMATION M…
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GUITARE PED…
HARMONICA
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HAUTBOIS
LIVRES
LUTH, THEOR…
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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
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
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Still The One
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Larry Williams Compositions- The Guitar Book
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Published by Larry Andrew Williams (A0.1167528). A WORD FROM THE COMPOSER Is anyone interested in new reading material anymore? I know that when I was a kid in nineteen hundred and something, the quest for new musical pieces was always one of the funnest aspects of the whole musical journey. Of course I did learn that it would take a long time to  nd those few that would resonate with me for a lifetime, but it was always fun trying them all out. It still is, in fact. Well, times change and people change, but I’d still like to believe that same factor carries on. You know, the one about trying out all that music to get to the few you keep. And what about the few we do keep? For guitar players, was it always a classic from the usual suspects, like Albeniz, Sor, Tarrega,, Granados, Rodrigo, Brouwer, Barrios, Villa-Lobos, or anything by Bach?Was it something our band director or private instructor, one of our friends, or our parents wrote? Or – Heaven forbid- something that maybe we ourselves wrote? Or some “unknown guy.â€Â Consider this.Just how often did some unknown composer's piece greatly affect us as we waded through a daunting pile of the familiar from the known masters? And since some, if not most of these classics are required reading, how often did we even get around to giving this unknown guy's piece a try?And furthermore, was this unknown guy - shudder...alive? Let’s face it. In the composer arena, we the living, stand no chance against the deceased (God rest their souls) But by saying “they don’t write ‘em like that anymore,†are we denying ourselves new ground to be broken, doors to be opened, frontiers to be discovered? And isn’t that pioneering spirit just plain ol’ curiosity when it comes right down to it? Well I believe the key lies within the carrying out of these notions that curiosity places in us. It’s climbing the mountain simply because it is there. So, for right now, I’m that unknown guy and I would only urge you to break new ground every day. Lots of trends, ideas, and interests will come and go in your life, but always hang on to that curiosity. It’s what makes the world a smaller neighborhood. Larry Williams.
$20.00
18.44 €
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Guitare
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Larry Williams
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Larry Williams Compositions- The Guitar Book
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Larry Andrew Williams
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SheetMusicPlus
Excerpt from the Lyric Suite
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.61 €
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Guitare
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Alban Berg
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Rod Whittle
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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
Over The Rainbow
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1165227 By Judy Garland. By E.Y. Y…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99
4.6 €
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Guitare
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Judy Garland
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Richard Hirsch
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and 3&
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Over The Rainbow
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Richard Hirsch
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SheetMusicPlus
'Change of scene' from Act III of Wozzeck
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arr…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.61 €
#
Guitare
#
Alban Berg
#
Rod Whittle
#
'Change of scene' from Act III of Wozzeck
#
Maggie Creek Music
#
SheetMusicPlus
Auguste Franchomme - Three Cello Pieces Arranged for Guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.914746 Composed by Auguste Francho…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.914746 Composed by Auguste Franchomme (1808-1884). Arranged by Eric J Roth. Romantic Period. Individual part. 10 pages. Eric J Roth #5178787. Published by Eric J Roth (A0.914746). Auguste Franchomme was one of the most well-known and respected cellists in 19th century France. He was born in 1808 in Lille and went on to have a long, celebrated career in Paris as a performer, teacher and composer. Of the three pieces arranged here for guitar, one is drawn from the Twelve Caprices, Op. 7 and two are from the Twelve Etudes, Op. 35. The Caprice, No. 9, Larghetto con dolore, retains its original key of B minor. Etudes, No. 5, Allegretto, and No. 6, Andante con moto, have been transposed to new keys. All transfer well to the guitar, offering novel textures while still seeming idiomatic to the instrument. .
$5.99
5.52 €
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Guitare
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Auguste Franchomme
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Eric J Roth
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Auguste Franchomme - Three Cello Pieces Arranged for Guitar
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Eric J Roth
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SheetMusicPlus
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Still The One
