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All of Me in E Major
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Vous avez sélectionné:
All of Me in E Major
Guitare
Partitions à imprimer
4 partitions trouvées
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1
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
Sonata No. 6 "Kharkiv", Op. 48
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Guitare
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AVANCÉ
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Classique
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Konstantin Bliokh
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Sonata No. 6 "Kharkiv", Op. 48
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Production...
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Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95
Deuxiéme Sonata by Benjamin Godard (1849-1895)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Benjamin Godard
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Eric J Roth
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Deuxiéme Sonata by Benj
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.914747 Composed by Benjamin Godard (1849-1895). Arranged by Eric J Roth. Romantic Period. Individual part. 14 pages. Eri...
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Solo Guitar - Level 4 - SKU: A0.914747 Composed by Benjamin Godard (1849-1895). Arranged by Eric J Roth. Romantic Period. Individual part. 14 pages. Eric J Roth #5867073. Published by Eric J Roth (A0.914747). Benjamin Godard (1849-1895) was a French violinist and composer of Jewish heritage. He wrote hundreds of works, including symphonies, operas, concertos, chamber and solo pieces, and songs. Today he is most remembered for his five symphonies and the Berceuse from his opera, Jocelyn. In style, Godard's music is reminiscent of the early Romantic period rather than the more grandiose style of Wagner. Godard wrote two sonatas for solo violin. The first dates from the 1870s. The second was composed in the 1890s and published after his death. Both sonatas contain four movements and employ baroque dance forms. The Deuxiéme (second) Sonata, arranged here for guitar solo, opens with a Sarabande in A minor, marked molto moderato e pompasamente (very moderately and pompously). The following Rigodon in C major is quick and convivial, although a contrasting section in C minor tempers the mood. The third movement, Adagio non ma troppo, begins in a tranquil F major. The texture soon thickens and makes striking use of the instrument’s lower register. A sudden modulation to F minor provides the sonata's most introspective moment. The piece returns to A minor and ends in a dramatic cliffhanger on the dominant. The rhythmic Bourrée serves as a true finale and includes a frenetic contrapuntal section recalling the violin sonatas of J. S. Bach.
$9.99
Le chemin de croix / Labyrinthe
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Guitare
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Francis Kleynjans
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Le chemin de croix / Labyrinth
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - SKU: ZZ.DZ-4280 Composed by Francis Kleynjans. Score. 12 pages. Les Productions d'OZ - Digital #DZ 4280. Published by Les Productions d'OZ - Di...
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Guitar - SKU: ZZ.DZ-4280 Composed by Francis Kleynjans. Score. 12 pages. Les Productions d'OZ - Digital #DZ 4280. Published by Les Productions d'OZ - Digital (ZZ.DZ-4280). C’est un beau voyage aux travers des tonalités que je vous propose avec ces deux pièces.La première Le chemin de croix expriment les 14 tableaux de la Passion du Christ par l’intermédiaire d’un simple arpège et de 14 tonalités différentes. Les 12 tonalités mineures qui débutent l’œuvre de façon parfaitement naturelle (ré, la, mi, si, fa#, do#, sol#, ré#, sib, fa, do, sol) sont suivi par deux tonalités majeures (ré et la) qui viennent conclurent l’œuvre comme une triomphante délivrance.La deuxième pièce Labyrinthe reprend le même principe, mais de façon différente. Avec un autre arpège et des tonalités majeures et mineures qui s’enchainent en s’alternant d’une façon naturelle par le biais d’une légère mutation, nous égarant dans les méandres des tonalités, pour enfin nous retrouver dans le ton original, nous délivrant ainsi de ce grand labyrinthe (do, lam, ré, sim, mi, do#m, fa#, ré#m, lab, fam et do).J’espère que les découvreurs de ces pièces auront le même plaisir que j’ai eu à les composer pour eux.Francis KleynjansIt’s a beautiful journey through the tones that I offer you with these two pieces.The first The Stations of the Cross express the 14 scenes of the Passion of Christ through a simple arpeggio and 14 different tones. The 12 minor keys which begin the work in a perfectly natural way (D, A, E, B, F#, C#, G#, D#, Bb, F, C, G) are followed by two major keys (D and the) who come conclude the work as a triumphant deliverance.The second piece Labyrinthe uses the same principle, but in a different way. With another arpeggio and major and minor tones which follow one another alternating in a natural way through a slight mutation, leading us astray in the meanders of the tones, to finally find ourselves in the original tone, we thus delivering from this great labyrinth (do, lam, re, sim, mi, do#m, fa#, re#m, ab, fam and do).I hope that the discoverers of these pieces will have the same pleasure that I had in composing them for them.Francis Kleynjans.
$7.95
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All of Me in E Major
