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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
Take That
Non classifié
1 586
Piano & claviers
Piano seul
926
Piano, Voix et Guitare
304
Piano, Voix
304
Piano Facile
166
Instruments en Do
101
Orgue
63
Accompagnement Piano
41
1 Piano, 4 mains
28
Piano Trio: piano, violon, violoncelle
17
2 Pianos, 4 mains
13
Piano (partie séparée)
5
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Piano Quatuor: piano, violon, alto, violoncelle
3
Accordéon
3
Orgue, Trompette (duo)
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano grosses notes
2
Orgue, Piano (duo)
1
Clavier
1
Orgue et Orchestre
1
Clavecin
1
+ 16 instrumentations
Retracter
Guitares
Guitare
95
Guitare notes et tablatures
64
Ligne De Mélodie, (Paroles) et Accords
46
Paroles et Accords
18
Ukulele
16
Basse electrique
13
2 Guitares (duo)
12
Guitare (partie séparée)
9
4 Guitares (Quatuor)
7
Mandoline
6
3 Guitares (trio)
6
Banjo
5
Dulcimer
4
Piano, Guitare (duo)
2
Ensemble de guitares
2
Guitare, Orchestre
1
Orchestre à Plectres
1
+ 12 instrumentations
Retracter
Voix
Chorale Unison
859
Chorale SATB
472
Chorale 3 parties
153
Chorale 2 parties
88
Chorale TTBB
78
Chorale SSAA
57
Voix duo, Piano
28
Voix Soprano, Piano
24
Voix haute
10
Voix Baryton, Piano
6
Voix Alto, Piano
6
Chorale
5
Chorale SSAATTBB
4
Voix duo
3
Soli, choeur mixte et accompagnement
3
Chorale SSATB
2
Voix Soprano
2
Voix seule
2
Voix Tenor
2
Voix Tenor, Piano
2
Pack Instrumental pour Chorale
1
Voix moyenne, Piano
1
Chorale SSAB a cappella
1
Voix Mezzo-Soprano, Piano
1
Voix basse, Piano
1
+ 20 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
158
Quintette de Saxophone: 5 saxophones
138
Quatuor de Saxophones: 4 saxophones
117
Flûte traversière et Piano
95
Flûte, Hautbois, Clarinette, Basson
84
Saxophone
80
Flûte traversière
79
Hautbois, Piano (duo)
73
Ensemble de saxophones
69
Clarinette
65
2 Saxophones (duo)
63
Saxophone Alto et Piano
63
Clarinette et Piano
55
Saxophone Alto
54
Saxophone (partie séparée)
53
Saxophone Tenor et Piano
49
Saxophone Soprano et Piano
46
Saxophone Tenor
45
Ensemble de Clarinettes
40
Saxophone Baryton, Piano
34
Quatuor de Clarinettes: 4 clarinettes
32
2 Clarinettes (duo)
29
Hautbois (partie séparée)
29
2 Flûtes traversières, Piano
26
2 Flûtes traversières (duo)
25
Quatuor de Flûtes : 4 flûtes
23
Ensemble de Flûtes
23
Clarinette (partie séparée)
20
Saxophone Soprano
19
3 Saxophones (trio)
17
Quintette de Flûte : 5 flûtes
17
Saxophone Baryton
12
Hautbois
12
Flute (partie séparée)
11
Clarinette, Basson (duo)
10
2 Hautbois (duo)
10
Hautbois, Clarinette, Basson (trio d'anches)
9
Hautbois, Basson (duo)
9
Flûte, Hautbois, Clarinette (trio)
9
Clarinette Basse, Piano
9
Flûte à bec Soprano
9
Flûte, Clarinette (duo)
9
Quintette de Clarinettes: 5 clarinettes
9
Clarinette, Violoncelle (duo)
9
Flûte à Bec
8
Flûte, Violoncelle
7
Quatuor de Flûtes à bec
7
Flûte et Guitare
6
Flûte, Violon, Piano
6
Trio de Flûtes: 3 flûtes
6
Cor anglais, Piano
6
3 Clarinettes (trio)
6
Clarinette, Violon (duo)
6
Hautbois, Violoncelle
6
Flûte à bec Alto
5
Flûte, Hautbois (duo)
5
5 Flûtes à bec
4
Clarinette, Guitare (duo)
4
Flûte, Alto et Piano
4
Flûte, Violon
3
Hautbois, Clarinette (duo)
3
Flûte, Alto (duo)
3
2 Clarinettes, Piano
2
Harmonica
2
Clarinette, Trompette (duo)
2
Flûte, Clarinette et Basson
2
Flûte, Hautbois, Piano (trio)
2
Ensemble De Flûte à bec
2
Flûte à bec Alto, Piano
2
Flûte, Violoncelle, Guitare
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Saxophone (duo)
1
Flûte, Clarinette, Piano (trio)
1
Saxophone, Clarinette (duo)
1
Flûte, Basson et Piano
1
2 Clarinettes, Basson
1
Hautbois, violon (duo)
1
Saxophone et Guitare
1
Flûte, Violoncelle, Piano (trio)
1
Clarinette et Alto
1
Cor Anglais
1
Flûte, Trompette (duo)
1
Hautbois, Guitare (duo)
1
Flûte, trombone et piano
1
Cor anglais, Guitare (duo)
1
+ 80 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
162
Quatuor de Cuivres : 2 trompettes, trombone, tuba
98
Trompette
67
Trombone et Piano
57
Trompette, Piano
55
Ensemble de Trompettes
49
Cor
45
Quatuor de Cuivres: 2 trompettes, Cor, trombone
45
Cor et Piano
44
Trombone
42
Trombone (partie séparée)
39
Trompette (partie séparée)
38
Tuba
35
Quatuor de Cuivres
32
Ensemble de Trombones
29
Tuba et Piano
27
2 Trombones (duo)
17
Euphonium, Piano (duo)
12
Cor (partie séparée)
12
2 Trompettes (duo)
11
2 Cors (duo)
11
Tuba (partie séparée)
10
Trompette, Trombone (duo)
8
Ensemble de Cors
7
Quatuor de cuivres: 4 trombones
6
Cor anglais, Piano
6
Quatuor de cuivres: 4 cors
5
Trio de Cuivres
4
2 Tubas (duo)
4
Quatuor de cuivres: 4 trompettes
3
3 Trompettes (trio)
3
Trompette, Cor (duo)
3
2 Euphoniums (duo)
2
Cor, Violoncelle (duo)
2
4 Tubas
2
Trombone, Cor (duo)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Trompette, Basson (duo)
2
Trompette, Euphonium (duo)
1
Euphonium
1
Trompette, Violoncelle (duo)
1
Cor et Basson (duo)
1
Trombone basse
1
Trombone, Tuba (duo)
1
Trompette et Guitare
1
Trombone basse et Piano
1
2 Euphoniums et 2 Tubas
1
Bass Clef Instruments
1
Euphonium, Tuba (duo)
1
Cor Anglais
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor anglais, Guitare (duo)
1
Trompette, Saxophone (duo)
1
+ 48 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
257
Violon et Piano
127
Violon
100
Violoncelle, Piano
78
Alto, Piano
75
Violoncelle
66
Trio à Cordes: violon, alto, violoncelle
66
Alto seul
46
Quintette à cordes: 2 violons, alto, violoncelle, basse
44
Violon, Violoncelle (duo)
40
Harpe
27
Violon (partie séparée)
27
Contre Basse
26
Contrebasse, Piano (duo)
26
Alto (partie séparée)
25
2 Violons (duo)
21
2 Violoncelles (duo)
20
Trio à Cordes: 2 violons, violoncelle
18
Contrebasse (partie séparée)
17
Violon, Alto (duo)
17
Ensemble de Violons
12
Ensemble d'Altos
12
2 Altos (duo)
10
Violoncelle (partie séparée)
7
4 Violoncelles
7
Alto, Violoncelle (duo)
6
Violon, Guitare (duo)
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Piano Trio: Violon, Alto, Piano
4
Quatuor à cordes: 4 violons
3
Harpe, Voix
3
Violon, Basson (duo)
3
2 Harpes (duo)
2
Violoncelle , Guitare (duo)
2
Alto et Basson
2
Ensemble de Violoncelles
2
4 Contrebasses
1
Trio à Cordes: 3 violoncelles
1
Harpe, Violon (duo)
1
Harpe, Trombone (duo)
1
Harpe, Flûte (duo)
1
Quatuor à cordes : 4 altos
1
Violoncelle, Contrebasse (duo)
1
Violon, Clarinette, Piano (trio)
1
Harpe et mandoline
1
+ 41 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
565
Orchestre
169
Orchestre à Cordes
134
Ensemble Jazz
130
Ensemble de cuivres
51
Batterie
33
Cloches
30
Jazz combo
26
Orchestre de chambre
23
Fanfare
15
Ensemble de Percussions
12
Percussion (partie séparée)
10
Batterie (partie séparée)
5
Xylophone, Piano
4
Marimba
3
Cajon
2
Xylophone
1
Caisse Claire
1
Vibraphone
1
+ 14 instrumentations
Retracter
Autres
Formation musicale - Solfège
7
Théorie de la musique
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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TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
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SheetMusicPlus
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Vous avez sélectionné:
Take That
Guitare
Partitions à imprimer
95 partitions trouvées
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76
J.K. Mertz - Original Compositions for Classic Guitar
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Guitare
#
FACILE
#
Classique
#
Johann Kaspar Mertz
#
J.K. Mertz - Original Composit
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 40 pages. Published by Mel Bay Publications - Digital Sheet Music ...
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By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 40 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743802. A rare collection of early Romantic Period repertoire from the pen of the Viennese master Johann Kaspar Mertz (1806-1856). This collection includes 34 intermediate-level works for classic guitar available for the first time in modern notation, with critical notes. Included are the complete pieces from Mertz's opus 1, 2, 5, 9, 12 and 33, all taken from the first 19th-century editions. These pieces are highly playable with a wide harmonic palette that make them perfect for study and beginning recitals. Written in standard notation only.
$12.99
They Can't Take That Away From Me
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Guitare
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INTERMÉDIAIRE
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Frank Sinatra
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Bill Swick
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They Can't Take That Away From
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Bill Swick
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1298780 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by Bill Swick. 20th Century,Broadway,Film/TV,Jaz...
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Solo Guitar - Level 3 - SKU: A0.1298780 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by Bill Swick. 20th Century,Broadway,Film/TV,Jazz,Musical/Show,Standards. Individual part. 4 pages. Bill Swick #888648. Published by Bill Swick (A0.1298780). This arrangement of They Can’t Take That Away from Me is written for solo guitar and may be performed on an electric guitar, steel string acoustic, or nylon string guitar.  It is written in both standard notation with chord symbols as well as tablature.
$4.99
Every Breath You Take
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Guitare
#
FACILE
#
Rock
#
The Police
#
Pablo Alcázar
#
every move you make
#
Every Breath You Take
#
Pablo Alcázar
#
SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1264075 By The Police. By Sting. Arranged by Pablo Alcázar. Pop,Rock,Singer/Songwriter. Individual part. 3 pages. Pab...
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Solo Guitar - Level 2 - SKU: A0.1264075 By The Police. By Sting. Arranged by Pablo Alcázar. Pop,Rock,Singer/Songwriter. Individual part. 3 pages. Pablo Alcázar #856983. Published by Pablo Alcázar (A0.1264075). This arrangement of Every Breath you Take (for solo guitar) fits perfectly for Classical (spanish) and acoustic guitars because every chord sounds fully along with the melody and the bass gives a unique feeling of the rhythm. It's made for solo guitar and it's appropiate for begginers that look for a challenge or intermediate guitarist that want something fresh and new to play. Also is a very good arrangement for professional players that need repertoire for wedding events.Every Breath You Take is a song by the English rock band the Police from their album Synchronicity (1983). Written by Sting, the single was the biggest US and Canadian hit of 1983, topping the Billboard Hot 100 singles chart for eight weeks (the band's only No. 1 hit on that chart), and the Canadian RPM Chart for four weeks. Their fifth UK No. 1, it topped the UK Singles Chart for four weeks. The song also reached the Top 10 in numerous other countries.Sting wrote the song in 1982 in the aftermath of his separation from Frances Tomelty and the beginning of his relationship with Trudie Styler. Their split was controversial. As The Independent reported in 2006, The problem was, he was already married – to actress Frances Tomelty, who just happened to be Trudie's best friend. Sting and Frances lived next door to Trudie in Bayswater, West London, for several years before the two of them became lovers. The affair was widely condemned.To escape the public eye, Sting retreated to the Caribbean. He started writing the song at Ian Fleming's writing desk on the Goldeneye estate in Oracabessa, Jamaica. The lyrics are the words of a possessive lover who is watching every breath you take; every move you make. Sting recalled:I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn't realise at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control..
$4.99
All About That Bass
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Guitare
#
DÉBUTANT
#
Pop musique
#
Meghan Trainor
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NYC Guitar School
#
All About That Bass
#
NYC Guitar School
#
SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.992968 By Meghan Trainor. By Kevin Kadish and Meghan Trainor. Arranged by NYC Guitar School. Pop. Individual part. 2 pag...
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Solo Guitar - Level 1 - SKU: A0.992968 By Meghan Trainor. By Kevin Kadish and Meghan Trainor. Arranged by NYC Guitar School. Pop. Individual part. 2 pages. NYC Guitar School #3590123. Published by NYC Guitar School (A0.992968). This awesome 3 chord song can be played with just G, Am, and D. If you take week 5 of NYC Guitar School's Guitar For Absolute Beginners class, you'll know everything you need to play All About That Bass. For free tutorials visit www.guitarlessons.nyc, and to take online classes, video chat lessons or classes in person in NYC visit www.nycguitarschool.com. .
$4.99
Ain't That A Shame
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Guitare
#
DÉBUTANT
#
Soul/R&B
#
Rock
#
Fats Domino
#
NYC Guitar School
#
Ain't That A Shame
#
NYC Guitar School
#
SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.992964 By Fats Domino. By Antoine Domino and Dave Bartholomew. Arranged by NYC Guitar School. R & B,Rock. Individual par...
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Solo Guitar - Level 1 - SKU: A0.992964 By Fats Domino. By Antoine Domino and Dave Bartholomew. Arranged by NYC Guitar School. R & B,Rock. Individual part. 3 pages. NYC Guitar School #3590115. Published by NYC Guitar School (A0.992964). This awesome 3 chord song can be played with just A, D, and E,. If you take week 8 of NYC Guitar School's Guitar For Absolute Beginners class, you'll know everything you need to play Ain't That A Shame. For free tutorials visit www.guitarlessons.nyc, and to take online classes, video chat lessons or classes in person in NYC visit www.nycguitarschool.com. .
$4.99
Hey Man Take Me With You
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Nick Clow
#
Hey Man Take Me With You
#
Nick Clow
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.940535 Composed by Nick Clow. Concert,Contemporary,Instructional,Standards,Wedding. Individual part. 2 pages. Nick Clow ...
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Solo Guitar - Level 4 - SKU: A0.940535 Composed by Nick Clow. Concert,Contemporary,Instructional,Standards,Wedding. Individual part. 2 pages. Nick Clow #3383785. Published by Nick Clow (A0.940535). This is an advanced intermediate piece for solo guitar. It's around Trinity Grade 7. You can find a performance on YouTube.My scores are intentionally devoid of expressive and dynamic markings (even tempo indications). Dynamics and other markings not only seem crude to me, but also imply there is just one interpretation of the piece. There should be significant development of dynamics, tempo and colour within my pieces, but I leave this up to the interpretation of the player.Notwithstanding the above, my fingerings are important. My pieces are 'guitaristic' in that certain notes need to be played at specific places on the fretboard in order to exploit resonances or harmonies only available when playing them there.
$2.99
The Winner Takes It All
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Guitare
#
INTERMÉDIAIRE
#
ABBA
#
Derek Hasted
#
The Winner Takes It All
#
Derek Hasted
#
SheetMusicPlus
Guitar - Level 3 - SKU: A0.1283320 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Derek Hasted. 20th Century,Pop. 28 pages. Derek Hasted #87...
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Guitar - Level 3 - SKU: A0.1283320 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Derek Hasted. 20th Century,Pop. 28 pages. Derek Hasted #874514. Published by Derek Hasted (A0.1283320). THE WINNER TAKES IT ALL - Great concert piece for 4 GUITARS or larger ensemblePrimarily for Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar only.Derek Hasted writes This is a concert crowd-pleaser perfect for intermediate or advanced intermediate guitarists!One reason ABBA songs are so memorable isn’t the strong melody line, it’s all the other clever harmonies and countermelodies that lurk just under the surface to make a crafted masterpiece.My arrangement uses guitar-friendly shapes to capture the whole song and many of the countermelodies that make the original such a great listen.The dynamics on the score tie in with the orchestration, so that the quiet sections are slow-moving and the louder sections are busy, adding yet more notes before the previous ones fade away. I’ve added just a little fingering here and there if there’s really only one place on the neck to play what’s on the page. Elsewhere, please choose the sweet spot that gives you, the player, the best mix of tone, sustain, playability and confidence.I hope you enjoy performing this as much as the audience will enjoy hearing it!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
They Can't Take That Away From Me (arr. Matt Otten)
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Guitare
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Comédie Musicale
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Jazz
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Frank Sinatra
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Matt Otten
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They Can't Take That Away From
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Hal Leonard - Digital
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SheetMusicPlus
Solo Guitar - SKU: HX.504977 By Frank Sinatra. Arranged by Matt Otten. This edition: scorch. Broadway,Jazz,Standards. Individual part. 6 pages. Publishe...
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Solo Guitar - SKU: HX.504977 By Frank Sinatra. Arranged by Matt Otten. This edition: scorch. Broadway,Jazz,Standards. Individual part. 6 pages. Published by Hal Leonard - Digital (HX.504977).
$4.99
Rule The World
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Take That
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Colin Tommis
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Rule The World
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Colin Tommis
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.961487 By Take That. By Gary Barlow, Howard Donald, Jason Orange, and Mark Owen. Arranged by Colin Tommis. Contemporary....
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Solo Guitar - Level 4 - SKU: A0.961487 By Take That. By Gary Barlow, Howard Donald, Jason Orange, and Mark Owen. Arranged by Colin Tommis. Contemporary. Individual part. 3 pages. Colin Tommis #4625367. Published by Colin Tommis (A0.961487). This is just one of a large collection of arrangements of popular tunes for advanced classical or acoustic guitar players - or very good intermediate-standard players. In some cases, ideas from the original are developed so that the piece can sustain interest as an instrumental piece. There is no tablature and no chords, just music notation.
$4.99
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Guitare
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FACILE
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Brian Streckfus
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Guitar Chord Progression Gener
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Brian Streckfus
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #7...
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Solo Guitar - Level 2 - SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670). This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!Objective:Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. What Scales/Modes are being harmonized? C Major (+jazz version) A (natural) minor (+jazz version) A harmonic minor (+jazz version) B Locrian D Dorian E Phyrigian F Lydian G Mixolydian Features: Slowly increases in physical and theoritcal difficulty at the same time. Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. These chord progressions are a great composition aid. Guitar chord diagrams Traditional notation with letter names on the note heads Roman numerals color coded Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. Tips: Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled! Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.
$1.99
Patios de Córdoba
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Guitare
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FACILE
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individu...
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Solo Guitar - Level 2 - SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
Partita II (BWV1004) in d minor transcribed for guitar
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Guitare
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Daniel Clark
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Partita II
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Daniel Clark
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.982523 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 26 pages. Daniel Clark #64...
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Solo Guitar - Level 5 - SKU: A0.982523 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 26 pages. Daniel Clark #6435265. Published by Daniel Clark (A0.982523). This is a full transcription of Bach’s second violin partita for classical guitar, including the Allemanda, Corrente, Sarabanda, Giga, and the Ciaccona. The transcription is authentic to the original has been made strictly to the original violin manuscript. The partita has been arranged in D-tuning to take advantage of the resonance of the guitar, though the lower D on the guitar is never played since it is below the dynamic range of the violin, (taking into account the octave difference). Bach’s Ciaccona, or Chaconne, in d-minor for solo violin from the second partita is well known on the guitar thanks to Segovia’s arrangement. However, Segovia’s version takes a number of liberties in his arrangement that have the effect of blurring the contrapuntal voices through his decision to harmonise the chords into 6-strings wherever possible. This current arrangement takes the contrary position that it is better to clearly retain the different voices. The working dynamic range of the classical guitar and violin are similar, albeit with an octave difference in pitch. The fact that the classical guitar notation is written an octave higher than it is in relation to the notation for other instruments makes transcribing the violin work for guitar relatively straightforward.  Consequently, I have made no changes to the violin version. This transcription is exact, in the sense that the manuscript for the violin has been used as a basis for the transcription. The articulation of the arpeggios is suggested at the beginning of these sections, which are arranged to be idiomatic to the violin. These realisations can also be adopted on the guitar, though I have not written these out and leave it to the performer to interpret these passages.  Â
$8.00
Mauro Giuliani Op.1- Studies for the guitar 120 Studies Reimagined and Harmonically Restructured
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Guitare
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INTERMÉDIAIRE
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Eric Charles Mokotoff
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Eric Charles Mokotoff
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Mauro Giuliani Op.1- Studies f
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eric mokotoff
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1292897 Composed by Eric Charles Mokotoff. Arranged by Eric Charles Mokotoff. 19th Century,20th Century,Classical,Instru...
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Solo Guitar - Level 3 - SKU: A0.1292897 Composed by Eric Charles Mokotoff. Arranged by Eric Charles Mokotoff. 19th Century,20th Century,Classical,Instructional,Traditional. Individual part. 32 pages. Eric mokotoff #883493. Published by eric mokotoff (A0.1292897). Mauro Giuliani's Op. 1 Right Hand 120 Studies is now available in this newly reimagined and harmonically restructured format.All 120 studies have been rewritten for both Left and Right Hand progressively moving from 1st position to 10th position.This new course will take you through both Major and Minor Keys traveling through chord structures that will teach you the entirety of the guitars neck and frets.Each study recreates the RH fingering and retains the original rhythms while offering new chord progressions in more keys.The original studies focused on two chords to accomplish the Right Hand focus, but both hands are essential in understanding the connection of the strings, frets, and chord structures.This is an exciting, and compelling project that any serious Classical Guitarist should take advantage of.Now learn and play all 120 Mauro Giuliani Studies with a whole new Harmonic journey. Each Major key expresses a I IV I vi ii V7 I progression and each minor key expresses a i iv i V7 i progression.Teachers, professors, and Universities will be excited to introduce students to a whole new reimagined modern look at these essential pedagogic lessons.
$19.99
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
Edwin Culver: a bridge a-way, exits within (for solo guitar)
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Edwin Culver
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Edwin Culver: a bridge a-way,
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Edwin Culver
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published ...
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Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
"More... Jazz Licks at Your Fingertips" for Guitar
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Guitare
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AVANCÉ
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the end of the study, you can
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Tony Benade
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"More... Jazz Licks at Yo
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Tony Benade
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.809110 Composed by Tony Benade. Instructional,Jazz,Latin. Individual part. 96 pages. Tony Benade #3573821. Published by ...
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Solo Guitar - Level 5 - SKU: A0.809110 Composed by Tony Benade. Instructional,Jazz,Latin. Individual part. 96 pages. Tony Benade #3573821. Published by Tony Benade (A0.809110). More… Jazz Licks at Your Fingertips is a sequel to Jazz Licks at your Fingertips This study contains over 80 jazz licks/phrases in several different keys. There are progressions on the ii7 - V7 in both major and minor keys. There are also major, minor 6th and 7ths as well as dominant, diminished and augmented chords. As you go on you will find licks on flatted and raised ninths, augmented 11ths and 13th chords. Most important however, are the Application Exercises. There are six jazz etudes which contain chord progressions found in many of the jazz standards. You will have the opportunity to use the licks in measures that deal with the chords that you have dealt with in the previous section. There are parts where you are asked to fill in your own licks in between the written melody. All the material that you have just worked on in the the last section can be used in each etude. By the end of the study, you can improve on the enitre song. It is a unique method that I have developed over the past 50 years. If you follow the method and work on all the exercises as directed, you will take your first steps in the Real way pros play jazz. There is even accompaniment provided for each etude. There are mp4s that are available at no extra cost if you have a device that will play them. There is also accompaniment provided at the end of the book if have musician friends play along with you. The process for obtaining the mp4s is explained at the beginning of the book under Application Exercises.
$29.95
Élégie
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO...
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Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
TIENTO PARA UN PENSADOR for guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Daniel Cueto
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TIENTO PARA UN PENSADOR for gu
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Daniel Cueto
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401....
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Solo Guitar - Level 4 - SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401. Published by Daniel Cueto (A0.876582). To write Tiento para un pensador, I found inspiration in an experience that I had many years ago, when I was a student in Dusseldorf, Germany. I was spending time one night with my friend Rafael Aguirre, a virtuoso classical guitarist, as he was casually playing through some of his repertoire. He asked me if I thought that it was possible to play a Baroque fugue - one of the most complex of musical genres - on the guitar. Before I had time to think about the question, he started playing his own arrangement of a fugue by J.S. Bach, talking me through it as the fugue theme appeared in different registers and the counterpoint got more and more intricate.The effectiveness and beauty of the contrapuntal sounds I experienced that night stayed with me. So in 2020, when I was invited to attend the Twisted Spruce Symposium and had a chance to compose my first piece for the guitar, I quickly decided that I would take up the challenge of writing my own fugue for the instrument. Looking to find a more specific context for the new work, I discovered the early Spanish genre of the tiento, essentially an early Hispanic form of the fugue. I came up with a melody which, I sensed, featured elements of that early style combined with a touch of Andean melancholy. As I composed, I strived to follow this basic affect throughout, letting the lines evolve organically as the piece seemed to engage in a long, continued search for its cultural and temporal identity.Para un pensador means for a thinker in Spanish. It is my homage to the intellectual guitarist, to the reflective and discerning performer of intricate contrapuntal music.I would like to extend special thanks to Nathan Fischer for producing this valuable edition of Tiento para un pensador.
$9.99
Reflections: Ten Solos for Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Michael Reardon
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Reflections: Ten Solos for Gui
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Songburd Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1411011 Composed by Michael Reardon. Classical,Jazz. Individual part. 35 pages. Songburd Music #993382. Published by Son...
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Solo Guitar - Level 4 - SKU: A0.1411011 Composed by Michael Reardon. Classical,Jazz. Individual part. 35 pages. Songburd Music #993382. Published by Songburd Music (A0.1411011). Reflections is a set of ten solo pieces for classical guitar that focuses on connecting compositional ideas and moments expressed in the framework of each piece of this collection.Vesta, Gaia and Lakshmi assume some connection to mythology as these titles take their names from three notable Roman, Greek and Hindu goddesses.  Vesta, Gaia and Lakshmi are classical pieces, but they are not without jazz influence, using the major scale modes to convey a sense of mood and atmosphere that is commonly found in impressionism.  Pulse No. 1 and No. 2 follow the idea of maintaining a steady beat over changing meter to influence the way the music is perceived.  The melody at the end of Pulse No. 1 creates the melodic material of Pulse No. 2, which can be thought of as an extension to No. 1.  Inspired by minimalist and popular music these pieces are not melodically and harmonically complex, and what makes them of interest is how the feeling of the beat is different in each piece.Chiasma Nos. 1, 2 and 3 are pieces that find common ground in “linking,†created by using similar compositional devices such as chord shapes and patterns, which gives the impression of crossing over or exchanging information from one piece to another.Sleeping Muse is a three-movement work inspired by the famous 1910 bronze sculpture of Constantin Brâncuși’s “Sleeping Muse,†with each movement expressing some reflection or meditation on Brâncuși’s work, illustrating the notion of drifting off to sleep, dreaming and waking, while characterizing the impact of our dreams on reality.Synesthesia is a highly chromatic piece with distantly related harmonic progressions that gives the listener the sense of seeing the different colors in the score and/or hearing the colors in the music.The abstract nature of these pieces encourages the performer to reflect and draw their own conclusions of imagery and story within the music.
$19.99
Standard Music Reading for Beginning Guitar
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Guitare
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DÉBUTANT
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Methodes
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Jay Jordan
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Standard Music Reading for Beg
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Pro Creations Music
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SheetMusicPlus
Acoustic Guitar - Level 1 - SKU: A0.1315011 By Jay Jordan. By Jay Jordan. Instructional. Educational Method. 18 pages. Pro Creations Music #903760. Publ...
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Acoustic Guitar - Level 1 - SKU: A0.1315011 By Jay Jordan. By Jay Jordan. Instructional. Educational Method. 18 pages. Pro Creations Music #903760. Published by Pro Creations Music (A0.1315011). Beginning guitar courses at the middle school and high school level can be a popular addition to curricula that so often center around performing groups. Such a course, when offered as a general music course, i.e.,a course that has no prerequisite and no public performance component, can be an attractive way for students to complete an arts requirement without an extra-curricular commitment.  At the same time a class like beginning guitar may serve as the only chance a music educator has to introduce the very idea of music to students as both an art form and a language. In todayâ??s on-line world there are countless avenues for learning guitar, be it YouTube videos, dedicated apps, or TAB sites. While the sharing of user-generated transcriptions of popular songs using tablature may be quick and easy, TAB sites do not employ standard music notation (not to mention being rife with mistakes both practical and theoretical). Standard Music Reading for Beginning Guitar was developed as a sequential, practical method for learning the basics of standard music notation using acoustic guitar as a vehicle. It is not meant to replace other methods e.g., the learning of popular songs or a music theory component, but as a companion so that students can learn about music as a language while, hopefully, continuing to enjoy guitar playing for years to come.
$10.00
Frank Vignola- Building Guitar Finger Strength
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Guitare
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INTERMÉDIAIRE
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Jazz
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Frank Vignola
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Frank Vignola- Building Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (flatpicking) - Intermediate - SKU: M0.99659EB And 26 Different II-5-I Progressions. Composed by Frank Vignola. Style. Jazz. E-book and on...
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Guitar (flatpicking) - Intermediate - SKU: M0.99659EB And 26 Different II-5-I Progressions. Composed by Frank Vignola. Style. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #99659EB. Published by Mel Bay Publications - Digital Sheet Music (M0.99659EB). ISBN 9781619112582. 8.75x11.75 inches.In the Building Finger Strength section of this book, we will cover 12 different finger-strengthening exercises. Practice these exercises slowly and accurately before trying to build speed. On the optional practice-along recording you will find three different tempos for each individual exercise. This is to help you build up your speed and your finger strength one step at a time. Obviously beginners should start with the slow tempo. I also believe that the more advanced students should start with the slow tempo to build accuracy. I found when recording these exercises for the practice-along recording that the slowest tempo was the hardest to execute with no mistakes. Diligent practice will build flexibility and strength!In the latter section of this book (26 ii-V-I Progressions), we will be looking at 26 different ways to play the ii û V û I chord progression. We will be working in the key of C. The ii chord is Dm7, the V chord is G7 and the I chord is C. It is recommended that you transpose these into other keys. These studies can be used for ear training and to facilitate improvisation on standard chord progressions. Includes access to online audio.
$12.99
My Old Kentucky Home
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Guitare
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FACILE
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Stephen Foster
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Brian Streckfus
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My Old Kentucky Home
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyr...
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Guitar - Level 2 - SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. Tips:1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.
$1.99
Soul Jazz Guitar
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Guitare
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INTERMÉDIAIRE
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Jazz
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Randy Johnston
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Soul Jazz Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (all) - Intermediate - SKU: M0.20033BCDEB Composed by Randy Johnston. Solos. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet ...
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Guitar (all) - Intermediate - SKU: M0.20033BCDEB Composed by Randy Johnston. Solos. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #20033BCDEB. Published by Mel Bay Publications - Digital Sheet Music (M0.20033BCDEB). ISBN 9781610651066. 8.75x11.75 inches.Soul Jazz Guitar is a collection of Randy Johnston's tunes and solos specifically designed for the intermediate student. Rather than merely transcribing solos from his CDs, he plays material at a reasonable tempo specifically with the student in mind. There are tunes (Downtime, The Philadelphians, and Rolling at the Summit) that appear on his commercial CDs, but included here are versions that are new and totally unique to this project. There are also some improvisations on some familiar standard progressions to help the student deal with these changes when he or she encounters them at jam sessions etc. Randy has tried to present his take on the Jazz language as clearly and faithfully as possible to make the solos easy to learn. He hopes that this will lead the student not just to imitation but also to develop his or her own approach to these progressions just as he developed his own approach from listening to the playing of his role models over the years. Includes access to online audio.
$19.99
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