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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
9
Cor
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Trombone
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Tuba
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Trompette (partie séparée)
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Cor anglais, Piano
5
Trompette, Saxophone (duo)
3
Cor (partie séparée)
3
Quatuor de cuivres: 4 trombones
3
2 Trombones (duo)
2
Ensemble de Trompettes
2
Ensemble de Cors
2
Euphonium, Piano (duo)
2
3 Cors (trio)
2
4 Tubas
2
3 Tubas (trio)
2
Trompette, Trombone (duo)
2
Quatuor de cuivres: 4 trompettes
2
3 Trombones (trio)
2
2 Cors (duo)
1
Cor Anglais
1
2 Trompettes (duo)
1
Trombone, Cor (duo)
1
Euphonium, Tuba (duo)
1
Tuba (partie séparée)
1
Ensemble de Trombones
1
Trompette, Cor (duo)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
36
Violon et Piano
29
Violoncelle, Piano
21
Alto, Piano
21
Violoncelle
16
Violon
10
Violon, Alto (duo)
10
Violon, Violoncelle (duo)
9
2 Violoncelles (duo)
7
Contrebasse, Piano (duo)
7
4 Violoncelles
5
2 Violons (duo)
5
Trio à Cordes: violon, alto, violoncelle
5
Harpe
4
Alto (partie séparée)
4
Contre Basse
3
2 Altos (duo)
3
Alto seul
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Contrebasse (partie séparée)
2
Violon (partie séparée)
2
Alto, Violoncelle (duo)
2
Trio à cordes: 3 altos
2
Quatuor à cordes : 4 altos
2
Trio à Cordes: 2 violons, violoncelle
2
Trio à cordes: 3 violins
2
Quatuor à cordes: 4 violons
2
Trio à Cordes: 3 violoncelles
2
Harpe, Flûte (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
42
Orchestre
21
Jazz combo
6
Xylophone, Piano
6
Ensemble de cuivres
5
Orchestre à Cordes
5
Ensemble Jazz
4
Percussion (partie séparée)
2
Cloches
2
Orchestre de chambre
2
Fanfare
1
Batterie (partie séparée)
1
Ensemble de Percussions
1
Quintette de Cuivres: autres combinaisons
1
Xylophone
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Vibraphone
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AUTRES
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Better With A Man
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'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download 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
6.35 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Jesu, Joy of Man's Desiring
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.940533 Composed by Johann Sebastia…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.940533 Composed by Johann Sebastian Bach. Arranged by Nick Clow. Concert,Instructional,Spiritual,Standards,Wedding. Individual part. 2 pages. Nick Clow #3379965. Published by Nick Clow (A0.940533). This famous piece is something of a crowd pleaser. It is often indicated to be an intermediate piece, but some versions are a little awkward for a piece at this level.This arrangement pays attention to left hand fingerings in order to smooth out some clunky sections. Bass notes are done away with in certain sections (with no loss to the musicality of the piece) to make it easier and more consistent. Hopefully this piece flows a little better than some others.The piece is set out tidily and logically on one page with one set of repeat bar lines. More fingerings are indicated than strictly necessary.The main tip for playing this piece relates to the unusual 9/8 tempo. Don't let it run away with you - play it solidly with a slowish pulse. That is the biggest challenge of this piece.
$2.99
2.71 €
#
Guitare
#
Johann Sebastian Bach
#
Nick Clow
#
Jesu, Joy of Man's Desiring
#
Nick Clow
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download 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
6.35 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
(+)
Solo Guitar - Level 3 - Digital Download 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
6.35 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download 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
6.35 €
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Guitare
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Bach to Africa
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.1237543 Composed by Johann Sebasti…
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Solo Guitar - Level 5 - Digital Download SKU: A0.1237543 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Multicultural,Spiritual,World. Individual part. 11 pages. Richard Hirsch #833059. Published by Richard Hirsch (A0.1237543). I offer an arrangement of Bach’s all-time favourite Jesus, Joy of Man’s Desiring in an African inspired rendering for solo classical or acoustic guitar. The arrangement uses lots of natural harmonics in an attempt to mimic the African kalimba style of music. The arrangement goes in 4/4 time in polyrhythm with a second tier of accents at 2, 2&, and 4 with a slight swing. The polyrhythm makes the final chord sound like an upbeat! The low bases are notated as quarter notes and should be played so that they do not ring out. They are not muted (staccato), except where notated, but they should be kept short to give the piece a bouncy character.The arrangement contains the main melody and chorus sections of the original in G major, although I have changed the original in a number of ways. The first melody and chorus section in G major is prefaced by several bars of natural harmonics and is repeated only after the melody and chorus section in the key of A minor. Natural harmonics appear in many places in the piece interwoven with Bach’s original melody and chorus. I think the natural harmonics give the piece a really glorious ring. The present arrangement incorporates many sections of a sister arrangement of the piece that I published recently that follows the original more closely and works as an introduction to the music with extensive left and right hand fingerings and tablature for intermediate students of guitar. This arrangement, considering the many natural harmonics, staccatos, tempo, and swing, is perhaps better suited for advanced intermediate students of classical or acoustic guitar. With that in mind, I therefore refrain from any extensive left and right hand fingerings for the present arrangement. The piece is a real joy to play and listen to! The tempo for the present arrangement has been set to 140 bpm. I think the pace gives a real swing to the music. The piece may however be played at a faster tempo, e.g. Presto, or somewhere in between. With this great music you can hardly go wrong.The title I have chosen for the arrangement aims to be a play on words as in many English speaking parts of the world the name Bach often rhymes with the word ‘back’ as in a return to some place or time. ‘Bach to Africa’ is then an allusion to humanity’s primordial roots in Africa. Rejoice!
$4.99
4.53 €
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Guitare
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Johann Sebastian Bach
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Richard Hirsch
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Bach to Africa
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Richard Hirsch
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SheetMusicPlus
La Caroline by CPE Bach
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.914748 Composed by Carl Philipp Em…
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Solo Guitar - Level 3 - Digital Download SKU: A0.914748 Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Eric J Roth. Baroque,Classical. Individual part. 2 pages. Eric J Roth #6017047. Published by Eric J Roth (A0.914748). La Caroline, H. 98 (Wq. 117/36) is one of dozens of short character pieces of great charm written by the Carl Philipp Emanuel Bach (1714-1788), oldest son of Johann Sebastian Bach. As a composer, CPE Bach occupied an interesting transitional space between baroque and classical music and certainly helped to usher in the stylistic traits of the latter into general popular usage. The piece here is arranged for classical guitar solo at an intermediate level. It is more a transcription than a true arrangement, and every attempt has been made to keep the music as close to the original as possible. All fingerings are editorial, and most ornaments, except for trills, have been written out rather than notated with a symbol. However, many expert pianists embellish these ornaments (sometimes very lavishly), particularly on repeats, and expert guitarists will likely want to do the same. Since the original music was written an octave higher and to be played on the delicate-sounding keyboard instruments of the 18th century, some guitarists may want to experiment with using a capo to better create a more period-appropriate sound.Bach marks the tempo as Allegro ma con tenerezza (fast but with tenderness) and most keyboardists take it a moderate to quick tempo. On the guitar, which has a different resonance, the piece can also be convincing played at somewhat slower tempos, but certainly nothing slower than a true andante.
$2.99
2.71 €
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Guitare
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Carl Philipp Emanuel Bach
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Eric J Roth
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La Caroline by CPE Bach
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Eric J Roth
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SheetMusicPlus
La Philippine by CPE Bach
Guitare
Solo Guitar - Digital Download SKU: A0.914749 Composed by Carl Philipp Emanuel Bach…
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Solo Guitar - Digital Download SKU: A0.914749 Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Eric J Roth. Baroque,Classical. Individual part. 1 pages. Eric J Roth #6017141. Published by Eric J Roth (A0.914749). La Philippine, H. 96 (Wq. 117/34) is one of dozens of short character pieces of great charm written by the Carl Philipp Emanuel Bach (1714-1788), oldest son of Johann Sebastian Bach. As a composer, CPE Bach occupied an interesting transitional space between baroque and classical music and certainly helped to usher in the stylistic traits of the latter into general popular usage. The piece here is arranged for classical guitar solo at an intermediate level. It is more a transcription than a true arrangement, and every attempt has been made to keep the music as close to the original as possible. All fingerings are editorial, and ornaments kept simple. However, many expert pianists embellish these ornaments (sometimes very lavishly), particularly on repeats, and expert guitarists will likely want to do the same. Since the original music was written an octave higher, and to be played on the delicate-sounding keyboard instruments of the 18th century, some guitarists may want to experiment with using a capo to better create a more period-appropriate sound.Bach marks the style as Arioso (between an aria and recitative). In terms of tempo, various keyboardists interpret it very differently. Some play it quick and light while others opt for a slower, more lyrical approach. Guitarists should feel free to experiment with what sounds best on their instrument.
$2.99
2.71 €
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Guitare
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Carl Philipp Emanuel Bach
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Eric J Roth
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La Philippine by CPE Bach
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Eric J Roth
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SheetMusicPlus
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfu…
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Solo Guitar - Level 2 - Digital Download 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
1.81 €
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Guitare
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Brian Streckfus
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Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Brian Streckfus
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SheetMusicPlus
The Guitar Études
Guitare
Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and…
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Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and Exercises, Repertoire, World. Score. 37 pages. Published by Silver Sickle Publications
Études for Solo Guitar<br> The subject of creating an educational aid for guitar students of an intermediate level that will serve also as a similar aid for theory and composition students fascinates me and motivates my compositional thought for quite a while. The objective was to create miniature complete works for the guitar, as J. S. Bach did with his fifteen inventions, in the “manner” of an Étude that deals with specific aspects of guitar techniques and musicianship in general.<br> <br> <br> These Études are gradually graded based on their difficulty and style. They cover all the positions of the guitar and explore known and some unfamiliar techniques for the contemporary guitarist.<br> I used a compositional language more familiar for the level of the intermediate guitarist but without sacrificing my original compositional voice so these pieces could be used as concert works by the advanced musicians as well. My intention is to educate students in a multilevel study environment and to be able to promote the music of our time. During my teaching years I found that students become better musicians when they have been taught to adapt certain performance difficulties and compositional techniques at an earlier level of their training.<br> Titles:<br> <br> 1 with false optimism<br> <br> 2 with moderate sadness<br> <br> 3 with just the two of you<br> <br> 4 with a touch of impatience<br> <br> 5 with a touch of grandeur<br> <br> 6 with a counterpoint attitude<br> <br> 7 with a touch of shame<br> <br> 8 with a touch of boredom<br> <br> 9 going and never coming back<br> <br> 10 with a peaceful anger<br> <br> 11 without the heavy ones<br> <br> 12 without hope<br> <br> 13 without sense of humor<br> <br> 14 with a masculine attitude<br> <br> 15 with two little bears in mind<br> <br> 16 without hesitation<br> <br> 17 with shameless vibrato<br> <br> 18 with a touch of distress<br> <br> 19 without fear of failure<br> <br> 20 with this and that<br> <br> 21 with a kind motion<br> <br> 22 with a rondo attitude<br> <br> 23 with suspense<br> <br> 24 with everything you may have
$22.00
19.97 €
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Guitare
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Apostolos Paraskevas
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The Guitar Études
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Silver Sickle Publications
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SheetMusicPlus
Beginning Rock/Pop Guitar Etudes
Guitare
Guitar (rock & blues) - Beginning-Intermediate - Digital Download Composed by Ada…
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Guitar (rock & blues) - Beginning-Intermediate - Digital Download Composed by Adam Douglass. Rock. E-book and online video. 32 pages. Mel Bay Publications - Digital Sheet Music #30648MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619117679.<br> <br> Is the beginning stage of learning the guitar proving to be a frustrating experience? Do you lack songs which you can play from start to finish? Do the ones that you can play all the way through not sound much like their original versions? I have been teaching these pieces to my beginner students for quite some time now, and the success rate has been remarkable. Most methods start by having the student slowly move back and forth between basic chords using only down strokes, playing chords one note at a time to make sure all the notes ring clear. This book offers something much differentaplaying music! The pieces are designed to target trouble areas often experienced by beginners of the instrument: arching the fingers enough in order to let all the notes of a chord ring clearly. Rather than just droning on through a series of chords, musical patterns are created so that as you learn proper technique youare also playing something musical. The results have been better than expected. Focusing on figures that demand proper technique and some of the most common strumming patterns found in popular music, many of my students are able to execute beginner and intermediate level songs within a few weeks of picking up the instrument rather than a few months. Additionally, the dreaded F chord, or root 6 major barre chord, often rings clearly with all 6 notes being heard upon the first attempt. This book will help you achieve your guitar related goals quickly, more efficiently, and most importantly, more enjoyably. Includes access to online video.
$12.99
11.79 €
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Guitare
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Adam Douglass
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Beginning Rock/Pop Guitar Etudes
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Bach Cello Suite No 1 - solo guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1320915 Composed by Joh. Seb. Bach…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1320915 Composed by Joh. Seb. Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,Traditional,Wedding. Individual part. 13 pages. Georg Mertens #909357. Published by Georg Mertens (A0.1320915). Having grown up as a cellist, who played the Suite since I am 11 years of age, I sometimes imagined or even hummed suitable bass notes, which you can't reach on the cello. Also, I imagined certain harmonies, completed in imagination when playing the Suite for years. - With many arrangements by guitarists, who didn't play the Suite on cello, I can hear, they are not going the right way! - Bach himself arranged cello Suite No 5 for lute - as lute Suite No 3 - giving us an example of how he himself went about when adding accompaniment notes - and he certainly did!Good examples are Gavotte 2 and the Gigue from Cello Suite No 5 - or lute Suite No 3. Bach also arranged the violin Partita No 3 in E major for lute - as lute Suite No 4, another example of how he himself went about. - In the arrangement here, I tried also to transfer the slurs on the cello sometimes to the guitar - e.g. in the Gigue - when I found it brings better the intended articulation better out.I hope you thoroughly enjoy the arrangement!Â
$9.99
9.07 €
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Guitare
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Joh
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Georg Mertens
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Bach Cello Suite No 1 - solo guitar
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Georg Mertens
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SheetMusicPlus
Michelle
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1342617 By The Beatles. By John Le…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1342617 By The Beatles. By John Lennon and Paul McCartney. Arranged by Christopher J. Malin. 20th Century,Chamber,Contemporary,Pop,Standards. Individual part. 2 pages. Christopher J. Malin #928091. Published by Christopher J. Malin (A0.1342617). Solo jazz guitar chord/melody arrangement with tablature. Beautiful, instantly recognizable melody. One of The Beatles finer pieces. This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars.I realise there are many arrangments of this great song. Give mine a try...I tend to play this song as a ballad. It's such a beautiful melody no need to rush it. Better to relish it! I love this tune! Hope you will too.
$4.99
4.53 €
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Guitare
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The Beatles
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Christopher J
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Michelle
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Christopher J. Malin
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SheetMusicPlus
Partita II (BWV1004) in d minor transcribed for guitar
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.982523 Composed by Johann Sebastia…
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Solo Guitar - Level 5 - Digital Download 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
7.26 €
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Guitare
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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
CLASSICAL GUITAR TUNES - ENGLISH FOLK SONGS
Guitare
Guitar - Intermediate - Digital Download Classical. E-book. 49 pages. Mel Bay Publica…
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Guitar - Intermediate - Digital Download Classical. E-book. 49 pages. Mel Bay Publications - Digital Sheet Music #30947EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459844. 8.75x11.75 inches.<br> <br> This book presents 42 English folk songs arranged for the intermediate classic guitarist in standard notation with phrase and dynamic markings plus light fingering. The collection includes popular melodies like Sprig of Thyme, Seventeen Come Sunday, and Blow the Wind Southerly, but also lesser known but no less beautiful tunes like Cupid the Pretty Ploughboy, Dabbling in the Dew and Saucy Sailor. All the arrangements present the basic tune faithfully and simply before offering more elaborate and sophisticated variations suitable for concert performance. Without compromising their sophistication, these polyphonic arrangements are elegant and idiomatic to the guitar, all but devoid of excessive physical demands; even barre chords are kept to a minimum so the player can relax and focus on tone and interpretation. The primary objective of this collection is to draw attention to these deserving melodies, some of which are now rarely heard. Longtime fans of the genre will recognize a few songs once performed by folk-rock groups like Steeleye Span and The Fairport Convention, here presented anew for the solo classic guitar. Its an excellent collection - good to play for pleasure, good for learning and consolidating rhythm, good for sight-reading. Just marvelous. It should meet a lot of needs. Gilbert Biberian These are very accessible arrangements of 42 English folk tunes, some of which are familiar and many others which deserve to be better known. They are all tuneful and have interesting harmonies and rhythms in arrangements which will be well within the reach of intermediate guitarists. These fine settings would be useful pieces for a teacher looking for supplementary material and also for the performer looking for unhackneyed repertoire. They are thoughtfully presented with good fingering and phrasing, with idiomatic guitar writing and interesting harmonies. Congratulations to Peter Worley for presenting this compendium of gems from a lesser known tradition. Gerald Garcia.
$12.99
11.79 €
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Guitare
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CLASSICAL GUITAR TUNES - ENGLISH FOLK SONGS
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Spirituals: Guitar Solos and Songbook
Guitare
By David Marshall. For Guitar (Fingerpicking). Gospel-Black. 142 pages. Published by Mel B…
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By David Marshall. For Guitar (Fingerpicking). Gospel-Black. 142 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781610657631. The Spirituals Their Story, Their Song Guitar Solos and Songbook is both a collection of guitar solos and a songbook devoted to African-American spirituals. The music is placed in historical context to help the reader better appreciate and interpret this amazing musical legacy. The book provides solo guitar arrangements in standard notation and tablature plus a vocal stave with complete lyrics and chord diagrams for 60 songs of faith, freedom, hope and the human spirit. A companion online audio includes the author's rendition of all of the guitar solos in the book. The book provides an in-depth analysis of the various meanings and messages of the spirituals, and traces the musical forms that grew out of them, namely blues, jazz, gospel, country, calypso, rhythm and blues, soul, and rock. This book is for all who play the guitar including: students, music teachers, parents, performing guitarists, vocalists and anyone with an interest in folk, gospel and sacred music. Includes access to online audio.
$22.99
20.87 €
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Guitare
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David Marshall
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Spirituals: Guitar Solos and Songbook
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
The Lute Music of Robert Johnson
Guitare
Lute - Multiple Levels - Digital Download Artist Specific. E-book. 36 pages. Mel Bay …
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Lute - Multiple Levels - Digital Download Artist Specific. E-book. 36 pages. Mel Bay Publications - Digital Sheet Music #30864EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459882. 8.75 x 11.75 inches.<br> <br> Robert Johnson (c. 1583 1633) was the last of the great English lutenists; he served Prince Henry and was later a prominent figure in the court of Charles I. He wrote music for many plays and masques of the time, including several by Shakespeare. Decades after Johnsons death, in a Dialogue between the Author and His Lute within Musicks Monument and the persona of the Lute, writer and lutenist Thomas Mace described John Dowland and Robert Johnson as Two famous men; Great Masters in My Art. Despite such high praise and the fact that much of Johnsons music is well-suited to the guitar, few guitarists play it. This comprehensive collection of solo lute works, transcribed for guitar in standard notation, is an attempt to remedy this shortcoming. It includes music for the beginner as well as the advanced player. The books 23 pieces range from Johnsons delightful almains, galliards, masques and a single coranto to the somber intensity of the pavans and a fantasie. Dropped-D and lowered third-string tuning (F#) are frequently used to better approximate the tuning and range of the 9 or 10-course Renaissance lute.
$9.99
9.07 €
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Guitare
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The Lute Music of Robert Johnson
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Neshamah
Guitare
By Tim Sparks. For Guitar (Fingerpicking). Jewish. 160 pages. Published by Mel Bay Publica…
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By Tim Sparks. For Guitar (Fingerpicking). Jewish. 160 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609740993. Transcriptions from Neshamah, Tim Sparks's ground-breaking recording for Tzadik Records of traditional Jewish melodies arranged for solo guitar. Neshamah is a Hebrew word meaning "soul," and in these soulful pieces, Sparks explores the music of the Jewish Diaspora, from the Caucasus to the Carpathians, from the Black Sea to Bosnia, from Jerusalem, Istanbul, Sarajevo, to New York's Lower East Side. Using a unique blend of bluesy string bends, jazz harmony and middle-eastern scales, he sheds new light on these tunes through the prism of fingerstyle guitar. Neshamah received wide critical acclaim in many publications around the world, including Fingerstyle Guitar, Acoustic Guitar, Guitar Player, Akustik Gitarre, Acoustic Guitar Japan, Dirty Linen, The Wall Street Journal, CDNOW, All Music Guide and the Amazon.com Editor's Top 100 CDs of 1999. The entire recording has been transcribed here, including an appendix with the complete solos. Several of the arrangements are accessible to intermediate level players while some are better suited to the advanced player. Some of these transcriptions are slightly different than the CD recorded versions and reflect how the composition is currently played by Tim and are notated as such in the Performance Notes.
$24.99
22.69 €
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Guitare
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Tim Sparks
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Neshamah
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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