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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
Elements Solo
Non classifié
184
Piano & claviers
Piano seul
643
Piano, Voix
64
Piano Facile
23
Orgue
10
Piano, Voix et Guitare
7
Instruments en Do
7
Clavier
3
Accompagnement Piano
2
Piano (partie séparée)
2
Piano Trio: piano, violon, violoncelle
2
Clavecin
1
2 Pianos, 4 mains
1
+ 7 instrumentations
Retracter
Guitares
Guitare
46
Guitare notes et tablatures
34
Guitare (partie séparée)
2
Ukulele
2
Basse electrique
1
Paroles et Accords
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
34
Voix Tenor, Piano
17
Voix Soprano, Piano
16
Voix Alto, Piano
15
Voix Baryton, Piano
15
Chorale 3 parties
10
Chorale TTBB
9
Chorale SSAA
4
Voix duo, Piano
2
Chorale SSAATTBB
2
Voix duo
1
+ 6 instrumentations
Retracter
Vents
Flûte traversière
38
Clarinette
37
Flûte traversière et Piano
29
Clarinette et Piano
20
Saxophone Alto
19
Hautbois, Piano (duo)
16
Hautbois
15
Saxophone (partie séparée)
15
Saxophone Tenor
15
Saxophone Tenor et Piano
14
Saxophone Soprano et Piano
14
Saxophone Alto et Piano
13
Saxophone Baryton, Piano
12
Cor anglais, Piano
12
Quatuor de Saxophones: 4 saxophones
11
Clarinette Basse, Piano
10
Hautbois (partie séparée)
10
Flûte à bec Soprano
9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
8
Quatuor de Clarinettes: 4 clarinettes
6
Quintette de Saxophone: 5 saxophones
5
Saxophone Soprano
5
Flûte et Guitare
5
Quintette de Clarinettes: 5 clarinettes
5
Saxophone Baryton
4
2 Saxophones (duo)
4
2 Flûtes traversières (duo)
4
Cor Anglais
4
Flûte, Hautbois, Clarinette, Basson
4
Clarinette (partie séparée)
3
Saxophone
3
Flûte traversière, Basse continue
2
Ensemble de Clarinettes
2
2 Hautbois (duo)
2
Quatuor de Flûtes : 4 flûtes
2
Flute (partie séparée)
2
5 Flûtes à bec
1
Ensemble de saxophones
1
Hautbois, Basson et Piano
1
Piccolo, Piano
1
Ensemble de Flûtes
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Cornemuse
1
Flûte, Clarinette (duo)
1
Quintette de Flûte : 5 flûtes
1
Piccolo
1
Clarinette Basse
1
Flûte, Basson et Piano
1
3 Clarinettes (trio)
1
Ocarina
1
+ 45 instrumentations
Retracter
Cuivres
Trompette
41
Tuba
22
Trombone
21
Trombone et Piano
19
Cor
18
Euphonium, Piano (duo)
17
Cor et Piano
13
Cor anglais, Piano
12
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Trombone (partie séparée)
8
Trompette (partie séparée)
8
Trompette, Piano
7
Trio de Cuivres
5
Cor Anglais
4
Cor (partie séparée)
3
Euphonium
2
Ensemble de Cors
2
Tuba et Piano
2
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Tuba (partie séparée)
2
Quatuor de Cuivres
2
Quatuor de cuivres: 4 cors
1
Quatuor de cuivres: 4 trombones
1
2 Cors (duo)
1
Ensemble de Trompettes
1
2 Euphoniums (duo)
1
+ 21 instrumentations
Retracter
Cordes
Violon
41
Violoncelle
36
Violon et Piano
35
Violoncelle, Piano
21
Contre Basse
21
Alto seul
19
Alto, Piano
18
Quatuor à cordes: 2 violons, alto, violoncelle
12
Trio à Cordes: violon, alto, violoncelle
9
Alto (partie séparée)
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Harpe
3
Contrebasse (partie séparée)
2
Contrebasse, Piano (duo)
2
Violon (partie séparée)
2
2 Violons (duo)
2
Violon, Violoncelle (duo)
1
Alto, Guitare (duo)
1
2 Violoncelles (duo)
1
Harpe, Violon (duo)
1
+ 15 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
24
Orchestre
23
Orchestre de chambre
15
Orchestre d'harmonie
12
Ensemble Jazz
12
Jazz combo
4
Ensemble de cuivres
3
Ensemble de Percussions
2
Marimba
2
Fanfare
2
Percussion (partie séparée)
2
Vibraphone
2
Xylophone, Piano
1
Piano et Orchestre
1
Batterie (partie séparée)
1
Batterie
1
+ 11 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Instrumentations
Editeurs
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Formation Musicale
Idées Cadeaux Partitions
Achats pour Musiciens
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Partitions Gratuites
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Crtitères actifs :
Elements Solo
Guitare
Partitions à imprimer
46 partitions trouvées
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1
26
David Warin Solomons: Blues Rondo for solo guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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David Warin Solomons
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David Warin Solomons: Blues Ro
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Musik Fabrik Music Publishing
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.533902 Composed by David Warin Solomons. Blues,Concert,Contemporary,Standards. Individual part. 8 pages. Musik Fabrik Mu...
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Solo Guitar - Level 4 - SKU: A0.533902 Composed by David Warin Solomons. Blues,Concert,Contemporary,Standards. Individual part. 8 pages. Musik Fabrik Music Publishing #3064925. Published by Musik Fabrik Music Publishing (A0.533902). A piece for classical guitar that uses elements of the blues scale using the classical rondo form.
$9.10
APHRODITE KNIDOS (4. Goddess) - Solo Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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LINCOLN BRADY
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LINCOLN BRADY
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APHRODITE KNIDOS
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LINCOLN BRADY
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.1134432 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Durat...
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Guitar - Level 4 - SKU: A0.1134432 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Duration 148. LINCOLN BRADY #734440. Published by LINCOLN BRADY (A0.1134432). Https://www.sheetmusicplus.com/title/aphrodite-knidos-suite-solo-guitar-digital-sheet-music/20463795?narrow_by=aphrodite Inspired by the ancient greek statue - Aphrodite Knidos by Praxiteles (4th Century BC) - the most beautiful and well-known image from the classical Mediterranean world . This suite for solo guitar combines ancient and modern elements conjuring a mystical and ethereal sound-scape. One significant structural feature is the use of the 'Olympos Pentatonic Scale' (7th Century BC.) in the 1st, 2nd and 4th movements, though with modern tuning. Movements: 1. 'Knidos' 2. 'Evening Procession' 3. 'Star-Gazing' 4. 'Goddess'.
$2.99
APHRODITE KNIDOS SUITE - Solo Guitar
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Guitare
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INTERMÉDIAIRE
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Contemporain
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LINCOLN BRADY
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APHRODITE KNIDOS SUITE - Solo
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LINCOLN BRADY
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.803009 Composed by LINCOLN BRADY. 20th Century,Contemporary. Individual part. 9 pages. LINCOLN BRADY #3108265. Published...
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Solo Guitar - Level 3 - SKU: A0.803009 Composed by LINCOLN BRADY. 20th Century,Contemporary. Individual part. 9 pages. LINCOLN BRADY #3108265. Published by LINCOLN BRADY (A0.803009). Inspired by the ancient greek statue - Aphrodite Knidos by Praxiteles (4th Century BC)- the most beautiful and well-known image from the classical Mediterranean world .This suite for solo guitar combines ancient and modern elements conjuring amystical and ethereal sound-scape. One significant structural feature is the use ofthe 'Olympos Pentatonic Scale' (7th Century BC.) in the 1st, 2nd and 4th movements,though with modern tuning.Movements:1. 'Knidos'2. 'Evening Procession'3. 'Star-Gazing'4. 'Goddess'
$9.99
APHRODITE KNIDOS (3. Star-Gazing) - Solo Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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LINCOLN BRADY
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LINCOLN BRADY
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APHRODITE KNIDOS
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LINCOLN BRADY
#
SheetMusicPlus
Guitar - Level 4 - SKU: A0.1134434 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Durat...
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Guitar - Level 4 - SKU: A0.1134434 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Duration 114. LINCOLN BRADY #734526. Published by LINCOLN BRADY (A0.1134434). Https://www.sheetmusicplus.com/title/aphrodite-knidos-suite-solo-guitar-digital-sheet-music/20463795?narrow_by=aphrodite Inspired by the ancient greek statue - Aphrodite Knidos by Praxiteles (4th Century BC) - the most beautiful and well-known image from the classical Mediterranean world . This suite for solo guitar combines ancient and modern elements conjuring a mystical and ethereal sound-scape. One significant structural feature is the use of the 'Olympos Pentatonic Scale' (7th Century BC.) in the 1st, 2nd and 4th movements, though with modern tuning. Movements: 1. 'Knidos' 2. 'Evening Procession' 3. 'Star-Gazing' 4. 'Goddess'.
$2.99
APHRODITE KNIDOS (1. Knidos) - Solo Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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LINCOLN BRADY
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LINCOLN BRADY
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APHRODITE KNIDOS
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LINCOLN BRADY
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.1134347 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Durat...
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Guitar - Level 4 - SKU: A0.1134347 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Duration 102. LINCOLN BRADY #734436. Published by LINCOLN BRADY (A0.1134347). Https://www.sheetmusicplus.com/title/aphrodite-knidos-suite-solo-guitar-digital-sheet-music/20463795?narrow_by=aphrodite Inspired by the ancient greek statue - Aphrodite Knidos by Praxiteles (4th Century BC) - the most beautiful and well-known image from the classical Mediterranean world . This suite for solo guitar combines ancient and modern elements conjuring a mystical and ethereal sound-scape. One significant structural feature is the use of the 'Olympos Pentatonic Scale' (7th Century BC.) in the 1st, 2nd and 4th movements, though with modern tuning. Movements: 1. 'Knidos' 2. 'Evening Procession' 3. 'Star-Gazing' 4. 'Goddess'.
$2.99
APHRODITE KNIDOS (2. Evening Procession) - Solo Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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LINCOLN BRADY
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LINCOLN BRADY
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APHRODITE KNIDOS
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LINCOLN BRADY
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.1134349 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Durat...
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Guitar - Level 4 - SKU: A0.1134349 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Duration 128. LINCOLN BRADY #734438. Published by LINCOLN BRADY (A0.1134349). Https://www.sheetmusicplus.com/title/aphrodite-knidos-suite-solo-guitar-digital-sheet-music/20463795?narrow_by=aphrodite Inspired by the ancient greek statue - Aphrodite Knidos by Praxiteles (4th Century BC) - the most beautiful and well-known image from the classical Mediterranean world . This suite for solo guitar combines ancient and modern elements conjuring a mystical and ethereal sound-scape. One significant structural feature is the use of the 'Olympos Pentatonic Scale' (7th Century BC.) in the 1st, 2nd and 4th movements, though with modern tuning. Movements: 1. 'Knidos' 2. 'Evening Procession' 3. 'Star-Gazing' 4. 'Goddess'.
$2.99
Ben Monder Compositions, Volume II
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Ben Monder
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Ben Monder Compositions, Volum
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Intermediate- Advanced - Composed by Ben Monder. Solos/Transcriptions. Jazz and Contemporary. E-book. 148 pages. Mel Bay Publications - Digi...
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Guitar - Intermediate- Advanced - Composed by Ben Monder. Solos/Transcriptions. Jazz and Contemporary. E-book. 148 pages. Mel Bay Publications - Digital Sheet Music #30228EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619115637. 8.75 x 11.75 inches.
This book serves as a follow-up to Ben Monder Compositions, with an emphasis on the compositions found on the 2013 recording, Hydra, as well as some older pieces that didn't make it into the first book. They are scored for solo guitar, guitar trio, guitar and voice duo, and quartet with one or multiple voices. The majority of the works are through-composed and reflect the exploration of various harmonic, technical, and textural elements of the guitar. These pieces will present an array of challenges to the performer, including unusual techniques and alternate tunings.
$24.99
My first steps
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Guitare
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DÉBUTANT
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Contemporain
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Oleg Boyko
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My first steps
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Oleg Boyko
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SheetMusicPlus
Guitar - Easy/Beginner - Composed by Oleg Boyko. 21st Century, Contemporary Classical, Repertoire, Classroom, Children's Music. Solo Part. 13 p...
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Guitar - Easy/Beginner - Composed by Oleg Boyko. 21st Century, Contemporary Classical, Repertoire, Classroom, Children's Music. Solo Part. 13 pages. Published by Oleg Boyko
15 very easy and small (often in the amount of one musical sentence) pieces. They can be used from the first lessons in the guitar class, having mastered basic skills.
There are no tempos and dynamics in the pieces, there are also no titles, the pupil can give the names by himself, depending on the nature of the performance.
Working on such compositions will be able not only to diversify the learning of the instrument, but also bring in elements of creativity, co-authorship and involvement.
$12.00
Modern Jazz Guitar Styles
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Guitare
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FACILE
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Jazz
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Andre Bush
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Modern Jazz Guitar Styles
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (all) - Beginning-Intermediate - SKU: M0.99917BCDEB Composed by Andre Bush. Technique, Theory, Reference and Rhythm. Jazz. E-book and online audi...
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Guitar (all) - Beginning-Intermediate - SKU: M0.99917BCDEB Composed by Andre Bush. Technique, Theory, Reference and Rhythm. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #99917BCDEB. Published by Mel Bay Publications - Digital Sheet Music (M0.99917BCDEB). ISBN 9781610658300. 8.75x11.75 inches.A unique book and audio package including extensive chapters on soloing, chords, rhythm and effects. With in-depth exercises on modern scale applications and intervallic choices, developing individual chord voicings, incorporating rock and funk concepts, exploring elements from world music such as odd meters and polyrhythms, and ideas for developing your own sonic textures and approach to tonal manipulation. Each section features an essay illustrating the musical history and specific innovations of modern jazz guitar masters, with insightful commentary accompanying each concept and example. The last section thoroughly analyzes studio performances of two original compositions incorporating all the above materials. Modern Jazz Guitar Styles provides the serious student or professional seeking to broaden his palette with a comprehensive overview of the current state of jazz guitar. Extensive chapters on soloing, chords, rhythm and effects In-depth exercises on modern scale applications and intervallic choices Ideas for developing your own sonic textures and approach to tonal manipulation Covers developing individual chord voicings, incorporating rock and funk concepts and exploring elements from world music Provides serious student/professional a comprehensive overview of current state of jazz guitar Includes access to online audio.
$19.99
Twenty Etudes For Guitar Vol.1 No.1-10
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Guitare
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Neal Fitzpatrick
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Twenty Etudes For Guitar Vol.1
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Neal Fitzpatrick Editions
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SheetMusicPlus
Solo Guitar - SKU: A0.955439 Composed by Neal Fitzpatrick. Contemporary,Instructional. Individual part. 27 pages. Neal Fitzpatrick Editions #6169435. Pu...
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Solo Guitar - SKU: A0.955439 Composed by Neal Fitzpatrick. Contemporary,Instructional. Individual part. 27 pages. Neal Fitzpatrick Editions #6169435. Published by Neal Fitzpatrick Editions (A0.955439). This set of Etudes For Guitar is Vol.1 No.1-10 from Twenty Etudes for Guitar by Neal Fitzpatrick. These are performance etudes that also provide conventional technical demands associated with playing the guitar. These pieces engage some of the wonderful idiomatic elements of the guitar-arpeggios, scales, tremolo, harmonics, tonal contrast and harmonic richness while at times exploring possibilities outside of conventional forms. They can be performed alone or in any set desired by the performer. These works are in standard notation. Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com
$19.99
Suite for guitar and orchestra (mp3)
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Guitare
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Contemporain
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David Warin Solomons
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Suite for guitar and orchestra
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David Warin Solomons
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SheetMusicPlus
Guitar - SKU: A0.1059303 Composed by David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 650. David Warin Solomons #511059. Publ...
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Guitar - SKU: A0.1059303 Composed by David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 650. David Warin Solomons #511059. Published by David Warin Solomons (A0.1059303). Performance of my suite for guitar and orchestra by András Csáki and the Budapest Scoring Symphonic Orchestra under Péter Illényi in 2015. The suite comprises: Dreaming, Folksy Waltz, Sanctus and Benedictus, with Hosannas, and finally Distant Storm It has elements of Romantic and Renaissance music, flamenco, Latin American, a bit of Celtic square dancing, classical minuets and a general joie de vivre mixed with a little spirituality. Dreaming is a romantic getting to know you scene between guitar and orchestra, with slow harmonic progressions in the strings and melodic imitations and dialogues between guitar and woodwind and then also between guitar and harp. A simple waltz follows, in which the flutes take up new melodies and the guitar initially just provides accompaniment but joins in the conversation as the movement progresses. The Sanctus and Benedictus section reflects the rhythms of the Latin words of the mass, with the Osanna after each main part being a little faster and reminsicent of some of the lute works of Vincenzo Galilei. The harmonic ideas of the Sanctus also colour the slower parts of the last movement, Distant Storm, but the main part of this final movement is a rhythmically exciting dialogue between the various sections of the orchestra and the guitar, leading to an abrupt conclusion, possibly the first thunderclap of a distant but approaching storm, or possibly just a bit of fun. Score and parts:https://www.sheetmusicplus.com/title/20143223?aff_id=175705
$3.50
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
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
'Change of scene' from Act III of Wozzeck
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
Excerpt from Lulu Suite
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Guitare
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Contemporain
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
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Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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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 ...
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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
Chaconne
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Guitare
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AVANCÉ
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Classique
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Brad Rau
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Brad Rau
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Chaconne
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Brad Rau
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1243653 By Brad Rau. By Johann Sebastian Bach. Arranged by Brad Rau. Baroque. Individual part. 13 pages. Brad Rau #83862...
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Solo Guitar - Level 5 - SKU: A0.1243653 By Brad Rau. By Johann Sebastian Bach. Arranged by Brad Rau. Baroque. Individual part. 13 pages. Brad Rau #838620. Published by Brad Rau (A0.1243653). This is a solo guitar arrangement of the Bach Chaconne, originally written for Solo Violin, and is the final movement of Violin Parita No. 2 in D minor BWV 1004. This arrangement was created after Brad Rau memorized the Andres Segovia and Manuel Barrueco arrangement and fingering of this piece. This arrangement has some of the best elements of each arrangement. It also includes ideas from studying with Eliot Fisk and Jason Vieaux and things he heard on John Williams recorded. Rau also came up with some of his own ideas and unique solutions. Each measure is carefully and thoughtfully fingered after comparing multiple sources for maximum musicality while still having a level of playability. This was performed on Brad Rau's third album 'In a Very Unusual Manner.'.
$6.99
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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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 ...
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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
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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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 ...
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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
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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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 Naxo
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Maggie Creek Music
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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
Knockin' On Heaven's Door
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Folk Rock
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Rock
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Eric Clapton
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Stewart Maclennan
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Knockin' On Heaven's Door
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Stewart Maclennan
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1298436 By Eric Clapton. By Bob Dylan. Arranged by Stewart Maclennan. Folk,Pop,Rock. Individual part. 5 pages. Stewart M...
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Solo Guitar - Level 4 - SKU: A0.1298436 By Eric Clapton. By Bob Dylan. Arranged by Stewart Maclennan. Folk,Pop,Rock. Individual part. 5 pages. Stewart Maclennan #888425. Published by Stewart Maclennan (A0.1298436). This timeless Dylan song has been covered by many artists. This arrangement is carefully crafted with all the extra-musical elements including the solo and is a welcome addition to an electric guitarist repertoire for both professional and accomplished amateurs.
$7.99
Charito
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Guitare
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DÉBUTANT
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Gilbert Piger
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Charito
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GJP Productions
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.1018704 Composed by Gilbert Piger. Jazz,Latin,World. Individual part. 1 pages. GJP Productions #1900301. Published by GJ...
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Solo Guitar - Level 1 - SKU: A0.1018704 Composed by Gilbert Piger. Jazz,Latin,World. Individual part. 1 pages. GJP Productions #1900301. Published by GJP Productions (A0.1018704). Classical, Latin sound, and some jazz elements for solo guitar. Very popular with Latinos and Spaniards. Fun to play, looks hard but is easy.
$9.99
Ducktales Theme
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Mark Mueller
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Adam Monica
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Ducktales Theme
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TV On Guitar
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1075116 Composed by Mark Mueller. Arranged by Adam Monica. Film/TV. Individual part. 2 pages. TV On Guitar #679388. Publ...
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Solo Guitar - Level 4 - SKU: A0.1075116 Composed by Mark Mueller. Arranged by Adam Monica. Film/TV. Individual part. 2 pages. TV On Guitar #679388. Published by TV On Guitar (A0.1075116). The original DuckTales theme from the 1987 cartoon arranged for solo Classical Guitar. This arrangement captures the most compelling elements of the original tune to maximize nostalgia and recognition! The difficulty level of this arrangement is moderate-advanced.
$4.99
I Surrender All
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Guitare
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INTERMÉDIAIRE
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Musique Sacrée
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J
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Janderson Gomes
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I Surrender All
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JANDERSON GOMES DA SILVA
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1130420 Composed by J.W. Van DeVenter and W. S.Weeden. Arranged by Janderson Gomes. Christian,Classical,Historic,Praise ...
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Solo Guitar - Level 3 - SKU: A0.1130420 Composed by J.W. Van DeVenter and W. S.Weeden. Arranged by Janderson Gomes. Christian,Classical,Historic,Praise & Worship,Religious. Individual part. 5 pages. JANDERSON GOMES DA SILVA #730783. Published by JANDERSON GOMES DA SILVA (A0.1130420). The traditional Christian hymn “I Surrender All†in an arrangement for solo guitar combining elements of classical music and dissonant chords. The arrangement was created freely according to the arranger's sensibility and instrumental experience. This material is mainly indicated for guitarists starting from the middle level that contemplate the basic techniques of scales and arpeggios.
$1.99
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