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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
Follow Me - Viola
Non classifié
409
Piano & claviers
Piano seul
354
Piano Facile
197
Piano, Voix et Guitare
134
Piano, Voix
132
Instruments en Do
29
Orgue
13
1 Piano, 4 mains
7
Piano Trio: piano, violon, violoncelle
5
2 Pianos, 4 mains
2
Piano grosses notes
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Accompagnement Piano
2
Accordéon
1
Piano (partie séparée)
1
2 Pianos, 8 mains
1
Clavier
1
+ 11 instrumentations
Retracter
Guitares
Guitare notes et tablatures
54
Guitare
23
Ligne De Mélodie, (Paroles) et Accords
17
Ukulele
9
Paroles et Accords
4
Basse electrique
3
2 Guitares (duo)
2
Dulcimer
2
Ensemble de guitares
1
Mandoline
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
178
Chorale 2 parties
44
Chorale TTBB
32
Pack Instrumental pour Chorale
30
Chorale 3 parties
30
Chorale SSAA
27
Voix duo, Piano
10
Chorale Unison
9
Chorale
2
Voix Tenor
2
Voix duo
2
Voix Alto, Piano
2
Voix moyenne, Piano
2
Chorale SSATTB
1
Chorale, Orgue
1
Chorale SSAATTBB
1
Voix haute
1
Voix Baryton, Piano
1
Voix Tenor, Piano
1
+ 14 instrumentations
Retracter
Vents
Flûte traversière
36
2 Saxophones (duo)
28
Clarinette et Piano
24
Flûte traversière et Piano
23
Quatuor de Saxophones: 4 saxophones
21
Hautbois, Piano (duo)
20
Flûte, Hautbois, Clarinette, Basson
17
Saxophone Alto
16
Clarinette
15
Quatuor de Flûtes : 4 flûtes
15
2 Flûtes traversières (duo)
14
Saxophone (partie séparée)
14
Quatuor de Clarinettes: 4 clarinettes
14
Saxophone, Clarinette (duo)
13
Saxophone Tenor
13
Saxophone Soprano et Piano
12
Flûte à bec Alto
11
Clarinette, Violon (duo)
11
Saxophone Alto et Piano
11
Flûte et Guitare
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
11
Hautbois (partie séparée)
10
3 Clarinettes (trio)
9
Saxophone Baryton, Piano
8
Saxophone Tenor et Piano
8
2 Hautbois (duo)
7
Flûte à bec Soprano
6
2 Clarinettes (duo)
6
Cor anglais, Piano
5
Ensemble de Clarinettes
5
Quintette de Saxophone: 5 saxophones
5
Quatuor de Flûtes à bec
5
Flûte à bec Tenor
5
Flûte, Clarinette (duo)
5
Hautbois, Clarinette (duo)
5
Clarinette, Trompette (duo)
4
Ensemble De Flûte à bec
4
Hautbois, Basson (duo)
4
Saxophone Soprano
4
Hautbois, Clarinette, Basson (trio d'anches)
3
Flûte, Violon
3
Flûte, Saxophone (duo)
3
Flûte, Trompette (duo)
3
Trio de Flûtes: 3 flûtes
3
Flûte, Hautbois (duo)
2
Hautbois, Flûte
2
Ensemble de Flûtes
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte à Bec, Piano
1
Flûte, Hautbois, Basson
1
Flûte à bec Alto, Piano
1
2 Clarinettes, Piano
1
3 Saxophones (trio)
1
Flûte à bec Soprano, Piano
1
Ensemble de saxophones
1
Instruments en Mib
1
Hautbois, Guitare (duo)
1
2 Flûte à bec (duo)
1
Clarinette, Guitare (duo)
1
Quintette de Flûte : 5 flûtes
1
Saxophone et Guitare
1
Flûte, Clarinette et Basson
1
Flute (partie séparée)
1
Clarinette Basse, Piano
1
+ 59 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
28
Quatuor de Cuivres : 2 trompettes, trombone, tuba
23
Trompette
19
Trompette, Piano
14
Trombone et Piano
14
Trombone
14
Cor et Piano
10
Trompette, Trombone (duo)
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
Cor
8
Trompette, Saxophone (duo)
7
Quatuor de cuivres: 4 trombones
7
Trompette (partie séparée)
6
Tuba
6
Cor anglais, Piano
5
2 Trompettes (duo)
5
2 Trombones (duo)
3
Tuba et Piano
3
Euphonium, Piano (duo)
2
Trio de Cuivres
2
Ensemble de Trombones
2
2 Tubas (duo)
2
Bass Clef Instruments
1
Quatuor de cuivres: 4 cors
1
Trompette, Tuba (duo)
1
Quatuor de Cuivres
1
3 Trombones (trio)
1
Trombone basse
1
Instruments en Sib
1
+ 24 instrumentations
Retracter
Cordes
Violon
207
Violon, Violoncelle (duo)
154
Violon et Piano
46
Violoncelle
18
Violoncelle, Piano
14
2 Violons (duo)
11
Harpe
9
2 Violoncelles (duo)
9
Contre Basse
5
Trio à cordes: 3 violins
3
Trio à Cordes: 3 violoncelles
3
4 Violoncelles
3
Violon (partie séparée)
3
Contrebasse, Piano (duo)
2
Quatuor à cordes: 4 violons
2
Violoncelle , Guitare (duo)
1
Quatuor à cordes: 2 violons, alto, violoncelle
1
Harpe, Flûte (duo)
1
3 Harpes
1
Trio à Cordes: 2 violons, violoncelle
1
Violon, Guitare (duo)
1
Harpe, Violon, Violoncelle
1
+ 17 instrumentations
Retracter
Orchestre & Percussions
Ensemble Jazz
95
Orchestre d'harmonie
38
Orchestre
37
Orchestre à Cordes
17
Jazz combo
14
Orchestre de chambre
13
Ensemble de cuivres
13
Batterie
9
Cloches
9
Ensemble de Percussions
3
Fanfare
3
Big band
2
Percussion
1
Quintette de Cuivres: autres combinaisons
1
Instrumentation Flexible
1
+ 10 instrumentations
Retracter
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ACCORDEON
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COR ANGLAIS
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CORNET
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DULCIMER
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FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
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HARMONICA
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HAUTBOIS
LIVRES
LUTH, THEOR…
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MARIMBA
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PERCU. ORCH…
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SYNTHE
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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
style (tous)
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JEUX VIDEOS
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LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
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POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
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Note4Piano
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Vous avez sélectionné:
Follow Me - Viola
Guitare
Partitions à imprimer
23 partitions trouvées
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1
Don't You Want Me
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Guitare
#
Film/TV
#
The Human League
#
Don't You Want Me
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Theo Lawrence / TL Music Lessons
#
SheetMusicPlus
Solo Guitar - SKU: A0.1002012 By The Human League. By Adrian Wright, Jo Callis, and Phil Oakey. Arranged by Theo Lawrence / TL Music Lessons. Film/TV. I...
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Solo Guitar - SKU: A0.1002012 By The Human League. By Adrian Wright, Jo Callis, and Phil Oakey. Arranged by Theo Lawrence / TL Music Lessons. Film/TV. Individual part. 3 pages. Theo Lawrence / TL Music Lessons #6346835. Published by Theo Lawrence / TL Music Lessons (A0.1002012). This easy guitar part follows the same key and structure as the original song and adds an ending as an alternative to the song's fade out. Some of the part has been simplified on the main hook section and the chord strumming has been kept very simple so that beginners can play along with the song.
$4.99
Follow You, Follow Me
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Guitare
#
Rock
#
Tunescribers
#
Follow You, Follow Me
#
Tunescribers LLC
#
SheetMusicPlus
Solo Guitar - SKU: A0.1409824 Arranged by Tunescribers. Rock. Individual part. 2 pages. Tunescribers LLC #64478. Published by Tunescribers LLC (A0.14098...
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Solo Guitar - SKU: A0.1409824 Arranged by Tunescribers. Rock. Individual part. 2 pages. Tunescribers LLC #64478. Published by Tunescribers LLC (A0.1409824).
$7.95
My Favorite Things
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Guitare
#
Contemporain
#
Lorrie Morgan
#
Claire F
#
My Favorite Things
#
Claire F Miley
#
SheetMusicPlus
Solo Guitar - SKU: A0.934905 By Lorrie Morgan. By Richard Rodgers. Arranged by Claire F. Miley. Contemporary. Individual part. 2 pages. Claire F Miley #...
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Solo Guitar - SKU: A0.934905 By Lorrie Morgan. By Richard Rodgers. Arranged by Claire F. Miley. Contemporary. Individual part. 2 pages. Claire F Miley #6253515. Published by Claire F Miley (A0.934905). A jazz arrangement for guitar of this perennial classic from The Sound of Music. Drop me a line or follow me at: Website: clairemileymusic.com Post: @claire_miley Twitter @claire_miley Instagram @clairemileymusic.
$4.99
Ain't Nobody
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Soul/R&B
#
Chaka Khan
#
Michael Pilley
#
Ain't Nobody
#
Michael Pilley Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.746230 By Chaka Khan. By David Wolinski. Arranged by Michael Pilley. R & B. Individual part. 3 pages. Michael Pilley Mus...
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Solo Guitar - Level 4 - SKU: A0.746230 By Chaka Khan. By David Wolinski. Arranged by Michael Pilley. R & B. Individual part. 3 pages. Michael Pilley Music #5354301. Published by Michael Pilley Music (A0.746230). One of Chaka Khan's most loved songs, Ain't Nobody is a Grammy award winning synth fueled funk tune every cover band must have in their arsenal. This is a direct transcription of the guitar part on the recording, and engraved professionally to easily read down in a session.Beautifully laid out in A4 size, the score and parts are easy to read and available NOW for digital download. We suggest you print on 80gsm paper, to ensure that the copies last longer in your bands library. If you're printing on letter size paper, please fit to page when sending to the printer.More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
$5.00
La Vie En Rose
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Guitare
#
DÉBUTANT
#
Edith Piaf
#
Valdir Maia
#
La Vie En Rose
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Valdir Maia
#
SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.1213549 By Edith Piaf. By Edith Piaf and Louis Guglielmi. Arranged by Valdir Maia. Film/TV,Jazz,Pop,Singer/Songwriter,St...
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Solo Guitar - Level 1 - SKU: A0.1213549 By Edith Piaf. By Edith Piaf and Louis Guglielmi. Arranged by Valdir Maia. Film/TV,Jazz,Pop,Singer/Songwriter,Standards. Individual part. 1 pages. Valdir Maia #810741. Published by Valdir Maia (A0.1213549). La Vie En Rose, by Edith Piaf in arrangements for:1. Acoustic Guitar Duet + CHORDS2. Acoustic Guitar Duet3. Solo Acoustic Guitar + CHORDSTo see other arrangements, check out my selling page and follow me at www.youtube.com/@easysheetmusic.
$4.99
Canon in D - Acoustic Guitar Solo
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Guitare
#
DÉBUTANT
#
Classique
#
Johann Pachelbel
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Valdir Maia
#
Canon in D - Acoustic Guitar S
#
Valdir Maia
#
SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.1232240 Composed by Johann Pachelbel. Arranged by Valdir Maia. Baroque,Traditional,Wedding. Individual part. 2 pages. Va...
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Solo Guitar - Level 1 - SKU: A0.1232240 Composed by Johann Pachelbel. Arranged by Valdir Maia. Baroque,Traditional,Wedding. Individual part. 2 pages. Valdir Maia #827925. Published by Valdir Maia (A0.1232240). Canon in D from Pachelbel in an arrangement forCanon in D - Acoustic Guitar Solo (+CHORDS)Canon in D - Acoustic Guitar SoloTo see other arrangements, check out my selling page and follow me at www.youtube.com/@easysheetmusicYouTube Link.
$3.99
Clair de Lune - Acoustic Guitar
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Guitare
#
Classique
#
Claude Debussy
#
Valdir Maia
#
Clair de Lune - Acoustic Guita
#
Valdir Maia
#
SheetMusicPlus
Solo Guitar - SKU: A0.1249486 Composed by Claude Debussy. Arranged by Valdir Maia. 19th Century,20th Century,Romantic Period,Wedding. Individual part. 2...
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Solo Guitar - SKU: A0.1249486 Composed by Claude Debussy. Arranged by Valdir Maia. 19th Century,20th Century,Romantic Period,Wedding. Individual part. 2 pages. Valdir Maia #843920. Published by Valdir Maia (A0.1249486). Clair de Lune, from Claude Debussy in an arrangement for:- Acoustic Guitar and Piano + CHORDS- Acoustic Guitar and Piano- Acoustic Guitar + CHORDS- Acoustic Guitar Solo- Acoustic Guitar with TABLATURE + CHORDS- Acoustic Guitar with TABLATURETo see other arrangements, check out my selling page and follow me at www.youtube.com/@easysheetmusic.
$3.99
Canon in D - Acoustic Guitar Solo (+CHORDS)
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Guitare
#
DÉBUTANT
#
Classique
#
Johann Pachelbel
#
Valdir Maia
#
Canon in D - Acoustic Guitar S
#
Valdir Maia
#
SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.1232241 Composed by Johann Pachelbel. Arranged by Valdir Maia. Baroque,Traditional,Wedding. Individual part. 2 pages. Va...
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Solo Guitar - Level 1 - SKU: A0.1232241 Composed by Johann Pachelbel. Arranged by Valdir Maia. Baroque,Traditional,Wedding. Individual part. 2 pages. Valdir Maia #827926. Published by Valdir Maia (A0.1232241). Canon in D from Pachelbel in an arrangement forCanon in D - Acoustic Guitar Solo (+CHORDS)Canon in D - Acoustic Guitar SoloTo see other arrangements, check out my selling page and follow me at www.youtube.com/@easysheetmusicYouTube Link.
$3.99
Clair de Lune - Acoustic Guitar + CHORDS
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Guitare
#
Classique
#
Claude Debussy
#
Valdir Maia
#
Clair de Lune - Acoustic Guita
#
Valdir Maia
#
SheetMusicPlus
Solo Guitar - SKU: A0.1249484 Composed by Claude Debussy. Arranged by Valdir Maia. 19th Century,20th Century,Romantic Period,Wedding. Individual part. 2...
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Solo Guitar - SKU: A0.1249484 Composed by Claude Debussy. Arranged by Valdir Maia. 19th Century,20th Century,Romantic Period,Wedding. Individual part. 2 pages. Valdir Maia #843918. Published by Valdir Maia (A0.1249484). Clair de Lune, from Claude Debussy in an arrangement for:- Acoustic Guitar and Piano + CHORDS- Acoustic Guitar and Piano- Acoustic Guitar + CHORDS- Acoustic Guitar Solo- Acoustic Guitar with TABLATURE + CHORDS- Acoustic Guitar with TABLATURETo see other arrangements, check out my selling page and follow me at www.youtube.com/@easysheetmusic.
$3.99
Deuxiéme Sonata by Benjamin Godard (1849-1895)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Benjamin Godard
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Eric J Roth
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Deuxiéme Sonata by Benj
#
Eric J Roth
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.914747 Composed by Benjamin Godard (1849-1895). Arranged by Eric J Roth. Romantic Period. Individual part. 14 pages. Eri...
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Solo Guitar - Level 4 - SKU: A0.914747 Composed by Benjamin Godard (1849-1895). Arranged by Eric J Roth. Romantic Period. Individual part. 14 pages. Eric J Roth #5867073. Published by Eric J Roth (A0.914747). Benjamin Godard (1849-1895) was a French violinist and composer of Jewish heritage. He wrote hundreds of works, including symphonies, operas, concertos, chamber and solo pieces, and songs. Today he is most remembered for his five symphonies and the Berceuse from his opera, Jocelyn. In style, Godard's music is reminiscent of the early Romantic period rather than the more grandiose style of Wagner. Godard wrote two sonatas for solo violin. The first dates from the 1870s. The second was composed in the 1890s and published after his death. Both sonatas contain four movements and employ baroque dance forms. The Deuxiéme (second) Sonata, arranged here for guitar solo, opens with a Sarabande in A minor, marked molto moderato e pompasamente (very moderately and pompously). The following Rigodon in C major is quick and convivial, although a contrasting section in C minor tempers the mood. The third movement, Adagio non ma troppo, begins in a tranquil F major. The texture soon thickens and makes striking use of the instrument’s lower register. A sudden modulation to F minor provides the sonata's most introspective moment. The piece returns to A minor and ends in a dramatic cliffhanger on the dominant. The rhythmic Bourrée serves as a true finale and includes a frenetic contrapuntal section recalling the violin sonatas of J. S. Bach.
$9.99
Le chemin de croix / Labyrinthe
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Guitare
#
Francis Kleynjans
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Le chemin de croix / Labyrinth
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Les Productions d'OZ - Digital
#
SheetMusicPlus
Guitar - SKU: ZZ.DZ-4280 Composed by Francis Kleynjans. Score. 12 pages. Les Productions d'OZ - Digital #DZ 4280. Published by Les Productions d'OZ - Di...
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Guitar - SKU: ZZ.DZ-4280 Composed by Francis Kleynjans. Score. 12 pages. Les Productions d'OZ - Digital #DZ 4280. Published by Les Productions d'OZ - Digital (ZZ.DZ-4280). C’est un beau voyage aux travers des tonalités que je vous propose avec ces deux pièces.La première Le chemin de croix expriment les 14 tableaux de la Passion du Christ par l’intermédiaire d’un simple arpège et de 14 tonalités différentes. Les 12 tonalités mineures qui débutent l’œuvre de façon parfaitement naturelle (ré, la, mi, si, fa#, do#, sol#, ré#, sib, fa, do, sol) sont suivi par deux tonalités majeures (ré et la) qui viennent conclurent l’œuvre comme une triomphante délivrance.La deuxième pièce Labyrinthe reprend le même principe, mais de façon différente. Avec un autre arpège et des tonalités majeures et mineures qui s’enchainent en s’alternant d’une façon naturelle par le biais d’une légère mutation, nous égarant dans les méandres des tonalités, pour enfin nous retrouver dans le ton original, nous délivrant ainsi de ce grand labyrinthe (do, lam, ré, sim, mi, do#m, fa#, ré#m, lab, fam et do).J’espère que les découvreurs de ces pièces auront le même plaisir que j’ai eu à les composer pour eux.Francis KleynjansIt’s a beautiful journey through the tones that I offer you with these two pieces.The first The Stations of the Cross express the 14 scenes of the Passion of Christ through a simple arpeggio and 14 different tones. The 12 minor keys which begin the work in a perfectly natural way (D, A, E, B, F#, C#, G#, D#, Bb, F, C, G) are followed by two major keys (D and the) who come conclude the work as a triumphant deliverance.The second piece Labyrinthe uses the same principle, but in a different way. With another arpeggio and major and minor tones which follow one another alternating in a natural way through a slight mutation, leading us astray in the meanders of the tones, to finally find ourselves in the original tone, we thus delivering from this great labyrinth (do, lam, re, sim, mi, do#m, fa#, re#m, ab, fam and do).I hope that the discoverers of these pieces will have the same pleasure that I had in composing them for them.Francis Kleynjans.
$7.95
TIENTO PARA UN PENSADOR for guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Daniel Cueto
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TIENTO PARA UN PENSADOR for gu
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Daniel Cueto
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401....
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Solo Guitar - Level 4 - SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401. Published by Daniel Cueto (A0.876582). To write Tiento para un pensador, I found inspiration in an experience that I had many years ago, when I was a student in Dusseldorf, Germany. I was spending time one night with my friend Rafael Aguirre, a virtuoso classical guitarist, as he was casually playing through some of his repertoire. He asked me if I thought that it was possible to play a Baroque fugue - one of the most complex of musical genres - on the guitar. Before I had time to think about the question, he started playing his own arrangement of a fugue by J.S. Bach, talking me through it as the fugue theme appeared in different registers and the counterpoint got more and more intricate.The effectiveness and beauty of the contrapuntal sounds I experienced that night stayed with me. So in 2020, when I was invited to attend the Twisted Spruce Symposium and had a chance to compose my first piece for the guitar, I quickly decided that I would take up the challenge of writing my own fugue for the instrument. Looking to find a more specific context for the new work, I discovered the early Spanish genre of the tiento, essentially an early Hispanic form of the fugue. I came up with a melody which, I sensed, featured elements of that early style combined with a touch of Andean melancholy. As I composed, I strived to follow this basic affect throughout, letting the lines evolve organically as the piece seemed to engage in a long, continued search for its cultural and temporal identity.Para un pensador means for a thinker in Spanish. It is my homage to the intellectual guitarist, to the reflective and discerning performer of intricate contrapuntal music.I would like to extend special thanks to Nathan Fischer for producing this valuable edition of Tiento para un pensador.
$9.99
Say Something
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Guitare
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INTERMÉDIAIRE
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A Great Big World
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B
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Say Something
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B. McCormick
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1418401 By A Great Big World. By Chad Vaccarino, Ian Axel, and Mike Campbell. Arranged by B. McCormick. Pop,Singer/Songw...
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Solo Guitar - Level 3 - SKU: A0.1418401 By A Great Big World. By Chad Vaccarino, Ian Axel, and Mike Campbell. Arranged by B. McCormick. Pop,Singer/Songwriter. Individual part. 8 pages. B. McCormick #999968. Published by B. McCormick (A0.1418401). Experience the profound emotion of “Say Something†by A Great Big World with this meticulously crafted fingerstyle guitar arrangement. This digital sheet music captures the essence of the song’s poignant message and translates it into a language that only a guitar can speak. Song and Band Highlight: “Say Something†is a powerful ballad that soared to popularity for its touching lyrics and haunting melody. Released in 2013, the song became a global hit, peaking at number four on the Billboard Hot 100 chart and selling over six million copies in the United States alone1. It also topped the charts in Australia, Belgium, and Canada, resonating with audiences worldwide. The song’s success was further cemented when A Great Big World and Christina Aguilera won a Grammy Award for Best Pop Duo/Group Performance1. A Great Big World, consisting of Ian Axel and Chad King, has touched hearts with their emotional and sincere music, and “Say Something†stands as a testament to their songwriting prowess. Sheet Music Details: This arrangement is more than a simple transcription; it is an artistic interpretation that invites guitarists to explore the depth of the song’s emotional landscape. The performance notes emphasize the importance of expressive playing, guiding musicians through the nuances of dynamics and phrasing to truly convey the song’s narrative. The arrangement is structured to follow the original composition, with thoughtful adjustments made to enhance playability and musicality for solo guitar performance.Connect with me: As you embark on this musical journey, we invite you to share your experience and connect with a community of fellow musicians. Find us on social media using the handle @ResourcefulArrangements and join the conversation. Your feedback and performances are what inspire us to continue creating resources that enrich the guitar community.
$4.99
Havana
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Guitare
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INTERMÉDIAIRE
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Pop musique
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Camila Cabello
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Simon Dawson
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Havana
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Dawson Music UK
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.935134 By Camila Cabello. By Adam Feeney, Alexandra Leah Tamposi, Ali Tamposi, Andrew Watt, Andrew Wotman, Brandon Perry...
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Solo Guitar - Level 3 - SKU: A0.935134 By Camila Cabello. By Adam Feeney, Alexandra Leah Tamposi, Ali Tamposi, Andrew Watt, Andrew Wotman, Brandon Perry, Brian Dong Ho Lee, Brian Lee, Brittany Hazzard, Camila Cabello, Jeffery Lamar Williams, Kaan Gunesberk, Louis Bell, Pharrell, Ramon Ayala, and etc. Arranged by Simon Dawson. Pop. Individual part. 7 pages. Dawson Music UK #5793665. Published by Dawson Music UK (A0.935134). This is an arrangement of Havana by Camila Cabello, feat. Young Thug, for solo classical guitar. Scored in standard notation only, this is a full song arrangement which features an instrumental section in the middle centred around the bass line of the song for a little extra guitar flare. Itâ??s in the key of A minor to lend itself to the natural resonance of the guitar.This version is intended to be played a little slower and more rubato than the original to bring out the expressive qualities of the melody and character within this instrumentation. Although, it can be played faster like the original if preferred. This is an intermediate piece of approximately grade 5-6 level (ABRSM). Follow the link to a full performance on YouTube, or contact me directly for further information at simon@dawsonmusic.co.uk. www.dawsonmusic.co.uk
$4.99
Acoustic Music Source Book
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Guitare
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DÉBUTANT
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Richard L
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Acoustic Music Source Book
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (all) - Beginning - SKU: M0.21665EB Over 200 Old-Time Songs With Melody Line, Lyrics & Guitar Chords. Composed by Richard L. Matteson, Jr....
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Guitar (all) - Beginning - SKU: M0.21665EB Over 200 Old-Time Songs With Melody Line, Lyrics & Guitar Chords. Composed by Richard L. Matteson, Jr. American Music. Acoustic Music. E-book. Mel Bay Publications - Digital Sheet Music #21665EB. Published by Mel Bay Publications - Digital Sheet Music (M0.21665EB). ISBN 9781619110991. 8.75x11.75 inches.Bill Bay asked me to write a follow up book to my last book, The Bluegrass Pickers Tune Book (20233). If you like Bluegrass music (232 songs) I'd recommend getting that book to add to your collection. The focus of this book, The Acoustic Source Book is on roots and old-time music. The book is focused on the time period from late 1800's until 1940's.There are a few songs from The Bluegrass Book that were too important to be left out. I decided not to use any patriotic and Christmas songs and came up with a list of about 400 songs which eventually was cut down to over 200. During the late 1800's and early 1900's there was an important evolution in American music; the birth of jazz, ragtime, and blues. This was also the period of the phonograph and early commercial recordings. Music from the Minstrel period as well as traditional songs were used as staple for the roots musicians. In the early 1900's there were rags, blues, gospel, Tin-Pan Alley, jug band, spiritual, old-time country and popular songs. I've tried to include some of the well-known songs from every genre to give you a big slice of Americana.There are some great songs that are popular roots, bluegrass and old-time songs today that have never been published. There are also great songs that are not well known that should be played and enjoyed.
$29.99
Christmas Carol Medley - I Saw Three Ships/God Rest Ye Merry Gentlemen/In Dulci Jubilo - Solo Guitar
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Guitare
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FACILE
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Noël
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Traditional
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Dawson Music UK
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Christmas Carol Medley - I Saw
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Dawson Music UK
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1175512 Composed by Traditional. Arranged by Dawson Music UK. Christmas,Classical,Contemporary,Early Music,Folk. Individ...
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Solo Guitar - Level 2 - SKU: A0.1175512 Composed by Traditional. Arranged by Dawson Music UK. Christmas,Classical,Contemporary,Early Music,Folk. Individual part. 8 pages. Dawson Music UK #775655. Published by Dawson Music UK (A0.1175512). This arrangement is a medley of three all time favourite traditional Christmas Carols; I Saw Three Ships, God Rest Ye Merry Gentlemen and In Dulci Jubilo. Scored for solo classical guitar in standard notation only, these arrangements feature some exciting modern harmonisations and rhythmic variations. The playing level is of an easy to intermediate standard, based around the lower positions. Follow the link to a full performance on YouTube, or contact me directly for further information at simon@dawsonmusic.co.uk.www.dawsonmusic.co.uk.
$4.99
Élégie
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO...
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Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
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
'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
À vos guitares, prêts, jouez! Vol. 4
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Guitare
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À vos guitares, prêts, jouez
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SheetMusicPlus
This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end...
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This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end of primary school with a few years of experience and the beginning of secondary school. Some pieces are written in a homorhythmic manner and can constitute an introduction to ensemble music, while others are rather polyrhythmic. They can constitute a first contact with the following techniques and effects: staccato, pizzicato, accent, louré, natural harmonic, percussion or crossed strings. This volume is therefore intended for guitarists who already know the notes in first position. Two pieces include a more advanced part with an introduction to playing in 5th position. These are short pieces that do not present technical challenges other than those allowing you to achieve the effects and play expressively.You will find in the scores indications of nuances, timbre, attack and fingerings which constitute suggestions for work and not prescriptions. Teachers and students are therefore invited to make interpretation choices different from those proposed or to try to convincingly render those already written.The pieces were composed or arranged by UQAM music education students as part of a course aimed at equipping musicians for teaching guitar in the school system. Many of them are musicians from different backgrounds (composition, performance, world music, etc.), which explains the creativity found in the pieces. All the pieces have been the subject of an audio recording available on the Productions d’Oz website and on YouTube. Search for À vos guitares, prêt, joue! Vol. 4.Isabelle Héroux, editor, professor, Department of Music, UQAM.Louis-Edouard Thouin-Poppe, assistant editor, arranger and engraver.Ce quatrième cahier est consacré au jeu en ensemble grâce à cinq trios et trois quatuors de styles variés (tango, ballade, rock…) appropriés pour la fin du primaire avec quelques années d’expérience et le début du secondaire. Certaines pièces sont écrites de manière homorythmique et peuvent constituer une initiation à la musique d’ensemble, alors que d’autres sont plutôt polyrythmiques. Elles peuvent constituer un premier contact avec les techniques et effets suivants : staccato, pizzicato, accent, louré, harmonique naturelle, percussion ou cordes croisées. Ce volume s’adresse donc aux guitaristes qui connaissent déjà les notes en première position. Deux pièces comportent une partie plus avancée avec une initiation au jeu en Ve position. Ce sont des pièces courtes qui ne présentent pas de défis techniques outre ceux permettant de réaliser les effets et de jouer de manière expressive. Vous trouverez dans les partitions des indications de nuances, de timbre, d’attaque et de doigtés qui constituent des suggestions de travail et non des prescriptions. Ainsi, les enseignants et les élèves sont invités à faire des choix d’interprétation différents de ceux qui sont proposés ou à tenter de rendre de manière convaincante ceux déjà écrits.Les pièces ont été composées ou arrangées par des étudiants en enseignement de la musique de l’UQAM dans le cadre d’un cours qui vise à outiller les musiciens pour l’enseignement de la guitare dans le système scolaire. Beaucoup d’entre eux sont des musiciens provenant d’horizons différents (composition, interprétation, musique du monde, etc.) ce qui explique la créativité que l’on retrouve dans les pièces. Toutes les pièces ont fait l’objet d’un enregistrement audio disponible sur le site des Productions d’Oz et sur YouTube. Recherchez À vos guitares, prêts, jouez! Vol. 4.Isabelle Héroux, éditrice, professeure, Département de musique, UQAM.Louis-Edouard Thouin-Poppe, assistant éditeur, arrangeur et graveur
Song List
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1. Songe d'une nuit de printemps
2. Nostalgie
3. Tres guitarras
4. Jeu froid (tude rock)
5. Le dernier souffle
6. Manhattan
7. Baile de la passion
8. Corsaires
9. Cerisier Japonais
$9.95
Patios de Córdoba
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Guitare
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FACILE
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individu...
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Solo Guitar - Level 2 - SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
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