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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
A Descriptive Piece
Non classifié
133
Piano & claviers
Piano seul
159
Piano, Voix
28
Piano Facile
22
Orgue
10
1 Piano, 4 mains
3
Piano, Voix et Guitare
3
2 Pianos, 4 mains
2
Instruments en Do
2
Accompagnement Piano
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano Trio: piano, violon, violoncelle
1
+ 7 instrumentations
Retracter
Guitares
Guitare
12
Mandoline
2
Ukulele
2
Basse electrique
1
Guitare notes et tablatures
1
2 Guitares (duo)
1
Paroles et Accords
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
23
Chorale 3 parties
5
Chorale 2 parties
4
Voix Soprano, Piano
1
Voix Baryton, Piano
1
Chorale SSAA
1
Chorale Unison
1
+ 2 instrumentations
Retracter
Vents
2 Flûtes traversières (duo)
91
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
25
Clarinette et Piano
19
Flûte traversière
14
Quintette de Saxophone: 5 saxophones
13
Flûte traversière et Piano
12
Quatuor de Saxophones: 4 saxophones
11
Flûte, Hautbois, Clarinette, Basson
11
Saxophone Alto et Piano
9
Hautbois, Piano (duo)
8
Saxophone Soprano et Piano
7
3 Saxophones (trio)
6
Clarinette
6
Saxophone Tenor et Piano
6
Saxophone Alto
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Clarinette, Violoncelle (duo)
4
Saxophone Baryton
4
Flûte, Hautbois, Clarinette (trio)
4
Hautbois
4
Saxophone Tenor
4
Saxophone Baryton, Piano
4
Saxophone Soprano
3
Ensemble de Flûtes
3
Ensemble de Clarinettes
3
2 Saxophones (duo)
3
Cor anglais, Piano
2
Quintette de Flûte : 5 flûtes
2
Quintette de Clarinettes: 5 clarinettes
2
Quatuor de Flûtes : 4 flûtes
2
Hautbois (partie séparée)
1
3 Clarinettes (trio)
1
2 Clarinettes (duo)
1
Flûte, Violoncelle
1
Flûte à bec Alto, Piano
1
Piccolo, Piano
1
Flûte, Alto (duo)
1
Clarinette, Basson (duo)
1
Clarinette, Trombone (duo)
1
Trio de Flûtes: 3 flûtes
1
Flûte, Clarinette, Piano (trio)
1
Ensemble de Hautbois
1
Flûte, Clarinette (duo)
1
Ensemble de saxophones
1
+ 39 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
20
Trombone et Piano
20
Trompette, Piano
11
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Trompette
8
Tuba
7
Cor et Piano
7
Cor
5
Trombone
5
Tuba et Piano
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Cor anglais, Piano
2
Quatuor de cuivres: 4 cors
2
Ensemble de Trompettes
1
Euphonium, Piano (duo)
1
Trompette, Trombone (duo)
1
3 Trombones (trio)
1
2 Trompettes (duo)
1
Trompette, Saxophone (duo)
1
+ 14 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
20
Violon
12
Violon et Piano
11
Violoncelle, Piano
10
Alto, Piano
9
Violoncelle
9
Alto seul
6
Contre Basse
5
Trio à Cordes: violon, alto, violoncelle
5
Contrebasse, Piano (duo)
5
Harpe
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
2 Violons (duo)
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Alto, Violoncelle (duo)
2
Violon, Violoncelle (duo)
2
Contrebasse (partie séparée)
1
Alto (partie séparée)
1
2 Violoncelles (duo)
1
Harpe, Flûte (duo)
1
Violon (partie séparée)
1
Alto et Basson
1
2 Altos (duo)
1
Trio à Cordes: 3 violoncelles
1
Harpe, Violoncelle (duo)
1
Violon, Guitare (duo)
1
+ 22 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
27
Orchestre à Cordes
19
Orchestre
16
Cloches
5
Orchestre de chambre
3
Ensemble de Percussions
3
Ensemble de cuivres
3
Fanfare
3
Marimba
1
Ensemble Jazz
1
Xylophone, Piano
1
2 Percussions
1
Jazz combo
1
+ 8 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…
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
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TROMPETTE
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Vous avez sélectionné:
A Descriptive Piece
Guitare
Partitions à imprimer
12 partitions trouvées
<
1
Home: 7 Pieces For The Guitar
#
Guitare
#
FACILE
#
Jackie Faraoui
#
Jackie Faraoui
#
Home: 7 Pieces For The Guitar
#
Reachsound
#
SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1032495 Composed by Jackie Faraoui. Arranged by Jackie Faraoui. 20th Century,Instructional. Individual part. 16 pages. R...
(+)
Solo Guitar - Level 2 - SKU: A0.1032495 Composed by Jackie Faraoui. Arranged by Jackie Faraoui. 20th Century,Instructional. Individual part. 16 pages. Reachsound #4848937. Published by Reachsound (A0.1032495). 7 original guitar pieces accompanied with a descriptive text for each piece. The goal of this book is to learn to play with emotion while feeling every bit of the music. The descriptions are there to help you understand the feel of the piece and assist you in learning to visually see the music you're playing within your mind.
$12.99
Descriptive Pieces for Guitar Solo
#
Guitare
#
INTERMÉDIAIRE
#
Contemporain
#
Scott A
#
- SN 2019
#
Descriptive Pieces for Guitar
#
Ponticello Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1028890 Composed by Scott A. Niebauer. 20th Century,Contemporary. Individual part. 9 pages. Ponticello Music #4601489. P...
(+)
Solo Guitar - Level 3 - SKU: A0.1028890 Composed by Scott A. Niebauer. 20th Century,Contemporary. Individual part. 9 pages. Ponticello Music #4601489. Published by Ponticello Music (A0.1028890). Descriptive Pieces for guitar solo are snippets of ongoing efforts to create new guitar music. It is a representation of a search for sounds - things the guitar can do that I love and enjoy. These pieces are representative of attempts to create interesting sounding music compositions that are effective in evoking certain feelings or moods. These are older pieces recently reformulated and edited, and still sound fresh and new to my ears, so I like them and I hope you will too. I have tried to include all fingerings and indications to make them clearer for the performer. Ideally, there should not be anything too challenging in these pieces as it is all attempting to be idiomatic for the guitar - that is the goal, anyway! - SN 2019
$4.99
'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
"Waiting for the Sun" for solo classical fingerstyle guitar
#
Guitare
#
INTERMÉDIAIRE
#
New Age
#
Keith Gehle
#
"Waiting for the Sun" for solo
#
Keith Gehle
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1369434 By Keith Gehle. By Keith W. Gehle. New Age. Individual part. 3 pages. Keith Gehle #953794. Published by Keith Ge...
(+)
Solo Guitar - Level 3 - SKU: A0.1369434 By Keith Gehle. By Keith W. Gehle. New Age. Individual part. 3 pages. Keith Gehle #953794. Published by Keith Gehle (A0.1369434). â??Waiting for the Sunâ? is the opening track of Keithâ??s 2016 recording entitled Space and Time. The pensive music and descriptive title were inspired by a photo his late brother Ken took in Death Valley, CA of the early morning sunrise on the mountains. While the recorded version of this piece features additional instruments including pads, cello and piano, the music also works well as a guitar solo. This PDF includes detailed fingerings in standard notation. Thereâ??s also a version available with TAB on this site.Â
$2.99
Chorus and Aria from Ariadne auf Naxos
#
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
Excerpt from the Last Part of Ariadne Auf Naxos
#
Guitare
#
INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard 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 soprano voices, som.
$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 ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
Big Drum
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Richard Hirsch
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Big Drum
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568....
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Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
Hotel California
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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The Eagles
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Ron Calabrese
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Hotel California
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Ron Calabrese
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.1302452 By The Eagles. By Don Felder, Don Henley, and Glenn Frey. Arranged by Ron Calabrese. Classical,Country,Pop,Rock. 39 p...
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Guitar - Level 4 - SKU: A0.1302452 By The Eagles. By Don Felder, Don Henley, and Glenn Frey. Arranged by Ron Calabrese. Classical,Country,Pop,Rock. 39 pages. Ron Calabrese #892072. Published by Ron Calabrese (A0.1302452). Arrangement by Ron Calabrese: Score, 5 Guitar Parts, Guitar Tablature: 39 pages. Introduction: Hotel California is a guitar arrangement created for beginners as well as intermediate and advanced players.  The guitar harmonies or the piece brings a special blending that is enjoyable to play and perform for any occasion.  The iconic guitar solo includes smooth harmonies across multiple guitar parts.   Part Descriptions: Guitar 1:  The Guitar 1 Part is written to showcase the tune’s main melody and chorus.  This part should be played by an advanced player, mainly due to the advanced guitar soloing toward the end of the piece.  All fingering and tabulator are included for convenience. Guitar 2:  The Guitar 2 Part provides adds a fingerstyle chord technique that is unmistakable.  Toward the end of the piece, Guitar 2 plays harmony with Guitar 1 for the iconic solo.  This part can be played by an intermediate player.  All fingering and tabulator are included for convenience. Guitar 3 & 4:  The Guitar 3 and Guitar 4 Parts provide contrasting melodic sequences to the melody and solo sections.  These parts can be challenging, but are intended to be played by a beginner to intermediate player. Guitar 5:  The Guitar 5 Part is the bass guitar part (written in G clef).  From time to time, the part includes key rhythmic phrases used to complement the other parts.  The Guitar 5 Part also includes the chords as a potential 6th Part. I wrote this arrangement of Hotel California to fill a void in contemporary guitar ensemble arrangements.  I hope you enjoy playing it.  Ron.
$19.98
Hotel California
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Guitare
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INTERMÉDIAIRE
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The Eagles
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Ron Calabrese
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Hotel California
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Ron Calabrese
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SheetMusicPlus
Guitar - Level 3 - Interactive Download SKU: A0.1350516 By The Eagles. By Don Felder, Don Henley, and Glenn Frey. Arranged by Ron Calabrese. This edition...
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Guitar - Level 3 - Interactive Download SKU: A0.1350516 By The Eagles. By Don Felder, Don Henley, and Glenn Frey. Arranged by Ron Calabrese. This edition: Interactive Download. Classical,Folk,Pop,Rock. 79 pages. Duration 372. Ron Calabrese #TNcRYrWN5BaTRWl6j56eK. Published by Ron Calabrese (A0.1350516). Key: A minor.Guitar, Guitar Ensemble, Guitar Ensemble – Beginner/Advanced – Ron Calabrese Hotel California (Arrangement by Ron Calabrese): Score, 5 Guitar Parts, Guitar Tablature: 49 pages. Introduction: Hotel California is a guitar arrangement created for beginners as well as intermediate and advanced players. The guitar harmonies or the piece brings a special blending that is enjoyable to play and perform for any occasion. The iconic guitar solo includes smooth harmonies across multiple guitar parts. Part Descriptions: Guitar 1: The Guitar 1 Part is written to showcase the tune’s main melody and chorus. This part should be played by an advanced player, mainly due to the advanced guitar soloing toward the end of the piece. All fingering and tabulator are included for convenience. Guitar 2: The Guitar 2 Part provides adds a fingerstyle chord technique that is unmistakable. Toward the end of the piece, Guitar 2 plays harmony with Guitar 1 for the iconic solo. This part can be played by an intermediate player. All fingering and tabulator are included for convenience. Guitar 3 & 4: The Guitar 3 and Guitar 4 Parts provide contrasting melodic sequences to the melody and solo sections. These parts can be challenging, but are intended to be played by a beginner to intermediate player. Guitar 5: The Guitar 5 Part is the bass guitar part (written in G clef). From time to time, the part includes key rhythmic phrases used to complement the other parts. The Guitar 5 Part also includes the chords as a potential 6th Part.
$19.99
Clergy's Lamentation (Arranged for Guitar)
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Guitare
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FACILE
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Turlough O'carolan
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Victor Araújo
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Clergy's Lamentation
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Arezzo Music
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1193396 By Turlough O'carolan. By Turlough O'carolan. Arranged by Victor Araújo. Baroque,Celtic,Classical,Folk,Irish,...
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Solo Guitar - Level 2 - SKU: A0.1193396 By Turlough O'carolan. By Turlough O'carolan. Arranged by Victor Araújo. Baroque,Celtic,Classical,Folk,Irish,Traditional. Individual part. 1 pages. Arezzo Music #792855. Published by Arezzo Music (A0.1193396). In this arrangement you'll hear a beautiful rendition of the traditional Irish song Clergy's Lamentation, arranged for guitar. The haunting melody of this tune are brought to life through the expressiveness of the arrangement. As you listen, you'll be transported to the windswept landscapes of Ireland, where the song's origins lie. The guitar arrangement brings out the song's Celtic roots, with fingerpicking patterns that evoke the sound of the harp and delicate ornamentation that captures the essence of traditional Irish music.If you're a guitarist who loves exploring new styles and expanding your repertoire, you'll want to get your hands on the sheet music for this arrangement. Don't miss your chance to learn this beautiful piece of music and add it to your collection. Click the link in the video description to purchase the sheet music today.
$2.99
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