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Vous avez sélectionné:
Giga
Guitare
Partitions à imprimer
5 partitions trouvées
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1
Giga, opus 13
Guitare
By Antonio Vivaldi (1678-1741). Arranged by David Gaudreau. For guitar orchestra. Level 2.…
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By Antonio Vivaldi (1678-1741). Arranged by David Gaudreau. For guitar orchestra. Level 2. Published by Les Productions d'OZ - Digital
$10.95
10.21 €
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Guitare
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Antonio Vivaldi
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David Gaudreau
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Giga, opus 13
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Les Productions d'OZ - Digital
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SheetMusicPlus
Tango a Gigaro, Choro
Guitare
By Jean-Paul Boymond. For solo guitar. Level 3. 4 pages. Published by Les Productions d'OZ…
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By Jean-Paul Boymond. For solo guitar. Level 3. 4 pages. Published by Les Productions d'OZ - Digital
$3.95
3.68 €
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Guitare
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Jean-Paul Boymond
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Tango a Gigaro, Choro
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Les Productions d'OZ - Digital
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SheetMusicPlus
Partita II (BWV1004) in d minor transcribed for guitar
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.982523 Composed by Johann Sebastia…
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Solo Guitar - Level 5 - Digital Download SKU: A0.982523 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 26 pages. Daniel Clark #6435265. Published by Daniel Clark (A0.982523). This is a full transcription of Bach’s second violin partita for classical guitar, including the Allemanda, Corrente, Sarabanda, Giga, and the Ciaccona. The transcription is authentic to the original has been made strictly to the original violin manuscript. The partita has been arranged in D-tuning to take advantage of the resonance of the guitar, though the lower D on the guitar is never played since it is below the dynamic range of the violin, (taking into account the octave difference). Bach’s Ciaccona, or Chaconne, in d-minor for solo violin from the second partita is well known on the guitar thanks to Segovia’s arrangement. However, Segovia’s version takes a number of liberties in his arrangement that have the effect of blurring the contrapuntal voices through his decision to harmonise the chords into 6-strings wherever possible. This current arrangement takes the contrary position that it is better to clearly retain the different voices. The working dynamic range of the classical guitar and violin are similar, albeit with an octave difference in pitch. The fact that the classical guitar notation is written an octave higher than it is in relation to the notation for other instruments makes transcribing the violin work for guitar relatively straightforward.  Consequently, I have made no changes to the violin version. This transcription is exact, in the sense that the manuscript for the violin has been used as a basis for the transcription. The articulation of the arpeggios is suggested at the beginning of these sections, which are arranged to be idiomatic to the violin. These realisations can also be adopted on the guitar, though I have not written these out and leave it to the performer to interpret these passages.  Â
$8.00
7.46 €
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Guitare
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Johann Sebastian Bach
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Daniel Clark
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Partita II
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Daniel Clark
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SheetMusicPlus
Giga & Minuet in E minor
Guitare
Composed by Carlos de Seixas. Arranged by Roberto García. Baroque Period, Repertoire, Cla…
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Composed by Carlos de Seixas. Arranged by Roberto García. Baroque Period, Repertoire, Classroom. Solo Part. 3 pages. Published by apt4guitar (S0.201791). - Solo Part - Baroque Period,Repertoire,Classroom - apt4guitar
$2.95
2.75 €
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Guitare
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Carlos de Seixas
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Roberto García
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Giga & Minuet in E minor
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apt4guitar
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SheetMusicPlus
Royal Winter Music
Guitare
Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Compo…
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Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Composed by Hans Werner Henze (1926-). This edition: Sheet music. Guitar Archive. Downloadable. Duration 25 minutes. Schott Music - Digital #Q4978. Published by Schott Music - Digital
My idea of developing music from Richard of Gloucester's monologue 'Now is the winter of our discontent', and of generating more music from that material, was conceived during the 1960s. Ten years later it took a more concrete form, when Julian Bream suggested to me that I should write a substanial new guitar work for him. More time went by, and only having finished 'We Come to the River' could I begin to realise our plan. Then began a collaboration with the instrumentalist that went through various phases, from which I gained a more profound knowledge of the technicalities and of the sound-world of the guitar. I would even go so far as to say that this collaboration gave me a new concept of how to write for an instrument with a rich tradition. The guitar is a 'knowing' or 'knowledgeable' instrument, with many limitations but also many unexplored spaces and depths within these limits. It possesses a richness of sound capable of embracing everything one might find in a gigantic contemporary orchestra. but one has to start from silence in order to notice this: one has to pause, and completely exclude noise.<br> The dramatis personae of this piece enter through the sound of the guitar as if it were curtain. Through masks, voices and gestures, they speak to us of great passion, of tenderness, sadness and comedy: strange events in people's lives. Into this, the whispering voices of spirits are mingled. The epilogue is spoken by Oberon, pacified and reconciled, as though Nature had been subjected to Man.<br> - Hans Werner Henze.
$19.99
18.63 €
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Guitare
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Hans Werner Henze
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Royal Winter Music
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Schott Music - Digital
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SheetMusicPlus
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