Page d'accueil
Parcourir Free-scores.com
--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
I Was Here
Non classifié
1 429
Piano & claviers
Piano seul
740
Piano, Voix
223
Piano, Voix et Guitare
222
Instruments en Do
76
Piano Facile
57
Orgue
47
2 Pianos, 4 mains
35
1 Piano, 4 mains
13
Piano Trio: piano, violon, violoncelle
12
Accompagnement Piano
8
Accordéon
4
Piano grosses notes
3
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano Quatuor: piano, 2 violons, violoncelle
3
Orgue, Piano (duo)
2
2 Pianos, 8 mains
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Orgue, Trompette (duo)
1
Piano (partie séparée)
1
Clavier
1
+ 15 instrumentations
Retracter
Guitares
Guitare
80
Guitare notes et tablatures
61
Ligne De Mélodie, (Paroles) et Accords
18
2 Guitares (duo)
15
Ukulele
11
Basse electrique
10
4 Guitares (Quatuor)
8
Mandoline
6
Piano, Guitare (duo)
3
3 Guitares (trio)
3
Banjo
2
Ensemble de guitares
2
Mandoline, Guitare (duo)
1
Guitare, Violon, Violoncelle (trio)
1
Paroles et Accords
1
Guitare, Orchestre
1
Ukulele Baryton
1
+ 12 instrumentations
Retracter
Voix
Chorale SATB
345
Chorale 3 parties
60
Chorale 2 parties
39
Chorale TTBB
31
Voix Alto, Piano
30
Chorale SSAA
27
Voix Baryton, Piano
26
Voix Tenor
26
Voix Soprano
24
Chorale Unison
12
Voix seule
12
Voix Soprano, Piano
11
Voix duo, Piano
9
Voix duo
7
Voix haute
6
Voix Tenor, Piano
3
Voix moyenne, Piano
2
Chorale SSATTB
2
Chorale SSAB, Piano
1
+ 14 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
148
Quintette de Saxophone: 5 saxophones
110
Ensemble de saxophones
74
Quatuor de Saxophones: 4 saxophones
64
Flûte traversière et Piano
59
Flûte, Hautbois, Clarinette, Basson
58
Ensemble de Clarinettes
49
Clarinette et Piano
45
Quatuor de Clarinettes: 4 clarinettes
40
2 Clarinettes (duo)
39
Hautbois, Piano (duo)
36
Ensemble de Flûtes
35
Clarinette
35
Saxophone Alto et Piano
34
2 Flûtes traversières (duo)
33
Flûte traversière
31
2 Saxophones (duo)
29
Saxophone Alto
26
Saxophone Tenor et Piano
24
Cor anglais, Piano
18
Flûte et Guitare
17
Quintette de Flûte : 5 flûtes
17
Hautbois (partie séparée)
16
3 Clarinettes (trio)
16
Saxophone Baryton, Piano
15
Saxophone Soprano et Piano
14
Quatuor de Flûtes : 4 flûtes
13
Clarinette, Guitare (duo)
13
Saxophone Tenor
11
Saxophone, Clarinette (duo)
10
Clarinette, Violon (duo)
9
2 Hautbois (duo)
9
Flûte, Clarinette (duo)
9
Clarinette Basse, Piano
8
Saxophone (partie séparée)
7
Hautbois, Basson (duo)
7
Quintette de Clarinettes: 5 clarinettes
7
Hautbois, Guitare (duo)
6
Flûte à bec Soprano
6
Hautbois, Clarinette (duo)
5
2 Flûtes traversières, Piano
5
Flûte, Saxophone (duo)
5
Flûte, Violon
5
Quatuor de Flûtes à bec
5
Clarinette et Alto
4
3 Saxophones (trio)
4
Flûte à Bec
4
Saxophone Soprano
4
Trio de Flûtes: 3 flûtes
4
Flûte, Alto (duo)
3
Flûte, Clarinette, Piano (trio)
3
Flûte, Hautbois, Clarinette (trio)
3
Cor Anglais
3
Flute, harpe et violon
3
Cor anglais, Guitare (duo)
3
Clarinette, Harpe (duo)
3
2 Clarinettes, Piano
2
Saxophone et Harpe
2
Flûte à bec Alto
2
Clarinette, Violoncelle (duo)
2
Ocarina
2
2 Hautbois, Piano
2
Flûte, Violon, Piano
2
Flute (partie séparée)
2
Clarinette, Trombone (duo)
2
Harmonica
2
Hautbois, Flûte
2
Saxophone et Guitare
2
Clarinette, Trompette (duo)
2
Flûte à bec Alto, Piano
2
Saxophone
2
Saxophone et Orgue
2
Flûte à bec Soprano, Piano
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Clarinette, Basson (duo)
1
Flûte, Hautbois (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Basson et Piano
1
2 Saxophones, Piano
1
2 Flûte à bec (duo)
1
Piccolo
1
Piccolo, Piano
1
Hautbois, Harpe
1
2 Flûtes traversières, Harpe
1
Clarinette, Violoncelle, Piano (trio)
1
4 Hautbois
1
+ 81 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
125
Quatuor de Cuivres : 2 trompettes, trombone, tuba
114
Trombone et Piano
37
Trompette
35
Quatuor de Cuivres
34
Quatuor de Cuivres: 2 trompettes, Cor, trombone
30
Ensemble de Trombones
30
Trompette, Piano
25
Trombone
23
Ensemble de Trompettes
20
Cor anglais, Piano
18
Euphonium, Piano (duo)
16
2 Trombones (duo)
16
Cor et Piano
15
Tuba
15
Cor
13
Tuba et Piano
12
2 Trompettes (duo)
12
2 Cors (duo)
9
Trompette, Trombone (duo)
9
Quatuor de cuivres: 4 trombones
7
Ensemble de Cors
6
Trompette, Saxophone (duo)
5
2 Trompettes, Clavier (piano ou orgue)
4
2 Cors, Piano
3
2 Tubas (duo)
3
Trio de Cuivres
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cor Anglais
3
Cor anglais, Guitare (duo)
3
Quatuor de cuivres: 4 trompettes
3
2 Euphoniums et 2 Tubas
2
3 Trombones (trio)
2
Trombone basse et Piano
2
Bass Clef Instruments
1
4 Euphoniums
1
Trombone et orchestre
1
Trompette, Harpe
1
2 Euphoniums (duo)
1
Quatuor de cuivres: 4 cors
1
Cor et Harpe
1
Ensemble de Tubas
1
Trompette, Trombone, Piano
1
3 Cors (trio)
1
Trompette, Euphonium (duo)
1
Trombone, Tuba (duo)
1
+ 41 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
190
Violon et Piano
85
Violon
53
Violoncelle, Piano
50
Harpe
49
Violoncelle
43
Alto, Piano
41
Trio à Cordes: violon, alto, violoncelle
38
2 Violons (duo)
31
Violon, Violoncelle (duo)
22
2 Harpes (duo)
18
2 Altos (duo)
17
Ensemble d'Altos
17
2 Violoncelles (duo)
17
Quintette à cordes: 2 violons, alto, violoncelle, basse
16
Ensemble de Violons
16
Alto seul
15
Violon, Alto (duo)
11
Contre Basse
10
Contrebasse, Piano (duo)
9
Alto (partie séparée)
9
Trio à Cordes: 2 violons, violoncelle
9
Violoncelle , Guitare (duo)
7
Violon, Guitare (duo)
6
2 Violons, Piano
6
4 Violoncelles
4
Harpe, Voix
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Harpe, Flûte (duo)
3
Harpe, Violon (duo)
2
2 Violoncelles, Piano
2
Trio à cordes: 3 violins
2
Alto, Violoncelle (duo)
2
Quatuor à cordes: 4 violons
2
4 Contrebasses
2
Violoncelle, Orgue
1
3 Harpes
1
Alto et Harpe
1
Ensemble de Violoncelles
1
Violon, Clarinette, Piano (trio)
1
Harpe, Trombone (duo)
1
Alto et Basson
1
Quatuor à cordes : 4 altos
1
Alto, Guitare (duo)
1
Violoncelle, Contrebasse (duo)
1
Violoncelle, Orchestre
1
Harpe, Violoncelle (duo)
1
Trio à Cordes: 3 violoncelles
1
Piano Trio: Violon, Alto, Piano
1
Violon (partie séparée)
1
Trio à cordes: 3 altos
1
+ 46 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
163
Orchestre
96
Orchestre à Cordes
87
Ensemble de cuivres
55
Orchestre de chambre
44
Ensemble Jazz
42
Jazz combo
26
Ensemble de Percussions
14
Cloches
11
Fanfare
10
Marimba
5
Batterie
3
Vibraphone
3
Piano et Orchestre
1
2 Marimbas
1
Quintette de Cuivres: autres combinaisons
1
Xylophone
1
+ 12 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
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
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
32
Partitions Numériques
80
Librairie Musicale
70
Matériel de Musique
31
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
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
Vous avez sélectionné:
I Was Here
Guitare
Partitions à imprimer
80 partitions trouvées
<
1
26
51
76
There and Back Again
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
John David Morgan
#
John David Morgan
#
There and Back Again
#
John David Morgan
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.525316 By John David Morgan. By John David Morgan. Arranged by John David Morgan. Contemporary,Folk,Jazz. Individual par...
(+)
Solo Guitar - Level 4 - SKU: A0.525316 By John David Morgan. By John David Morgan. Arranged by John David Morgan. Contemporary,Folk,Jazz. Individual part. 11 pages. John David Morgan #135855. Published by John David Morgan (A0.525316). A piece in the style of One Step Closer to Cool. If you pair the two titles the chuckle is: I was uncool. I got one step closer to cool. Now I'm back to uncool again:-) Musically there is some fun syncopation and plenty of harmonic twists and turns. It may even expand your harmonic vocabularly.
$4.00
Here, There And Everywhere
#
Guitare
#
FACILE
#
Rock
#
The Beatles
#
Clive Lane
#
Here, There And Everywhere
#
Clive Lane
#
SheetMusicPlus
Guitar - Level 2 - SKU: A0.1340947 By The Beatles. By John Lennon and Paul McCartney. Arranged by Clive Lane. 20th Century,Pop. 8 pages. Clive Lane #926...
(+)
Guitar - Level 2 - SKU: A0.1340947 By The Beatles. By John Lennon and Paul McCartney. Arranged by Clive Lane. 20th Century,Pop. 8 pages. Clive Lane #926521. Published by Clive Lane (A0.1340947). Here, There and Everywhere was written by Paul McCartney (but credited as Lennon-McCartney). In his authorised biography Paul named it as one of his personal favourites. I have arranged it here for guitar quartet.Score and parts.
$4.99
Як тебе не любити, Києве мій / How can I not to love you, my Kyiv guitar score / tabs
#
Guitare
#
INTERMÉDIAIRE
#
Eugen Sedko
#
Eugen Sedko
#
Як тебе Ð
#
Eugen Sedko
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1041207 By Eugen Sedko. By Ihor Shamo. Arranged by Eugen Sedko. 20th Century,Multicultural,Patriotic,World. Individual p...
(+)
Solo Guitar - Level 3 - SKU: A0.1041207 By Eugen Sedko. By Ihor Shamo. Arranged by Eugen Sedko. 20th Century,Multicultural,Patriotic,World. Individual part. 3 pages. Eugen Sedko #645938. Published by Eugen Sedko (A0.1041207). This beautiful song about Kyiv was composed 60 years ago by Ukrainian composer Ihor Shamo, lyrics by Dmytro Lutsenko. This song became an official anthem of Kyiv, capital of Ukraine. Guitar arrangement by Eugen Sedko. See more arrangements on my profile here or on http://eugensedko.com/en/.
$7.99
As I went to Walsingham - Solo Guitar
#
Guitare
#
FACILE
#
Anonymous
#
Bisdre Santos
#
As I went to Walsingham - Solo
#
Soul - Musical Creations
#
SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.948998 Composed by Anonymous. Arranged by Bisdre Santos. Renaissance,Standards,Wedding. Individual part. 2 pages. Soul -...
(+)
Solo Guitar - Level 2 - SKU: A0.948998 Composed by Anonymous. Arranged by Bisdre Santos. Renaissance,Standards,Wedding. Individual part. 2 pages. Soul - Musical Creations #6438311. Published by Soul - Musical Creations (A0.948998). Walsingham was a popular folk song arranged by almost all the Elizabethan composers. The song, from the Cambridge lute book (D.D.2.11), relates to the traditional pigrimage to the Church of Our Lady at Walsingham, Norfolk, which was a shrine famous for miracles. Since priory there was dissolved in 1538, the tune is clearly a very old one.
$1.99
Something There
#
Guitare
#
INTERMÉDIAIRE
#
Rock
#
Film Walt Disney
#
Alan Menken and Howard Ashman
#
Brad Powell
#
Something There
#
Geofonica Artistworks
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1374708 Composed by Alan Menken and Howard Ashman. Arranged by Brad Powell. Broadway,Classical,Film/TV,Musical/Show,Pop,...
(+)
Solo Guitar - Level 3 - SKU: A0.1374708 Composed by Alan Menken and Howard Ashman. Arranged by Brad Powell. Broadway,Classical,Film/TV,Musical/Show,Pop,Wedding. Individual part. 5 pages. Geofonica Artistworks #959262. Published by Geofonica Artistworks (A0.1374708). This is an instrumental solo arrangement of Something There created by Brad Powell for his performances in Disney's Princess Breakfast Adventure at the Disneyland Resort's Grand Californian hotel (Napa Rose restaurant), from 2019 to early 2024. It's an intermediate solo guitar arrangement, mixing jazz and classical techniques and chord voicings. You can hear the full arrangement performed in the YouTube link provided. NOTE: This instrumental arrangement is in standard notation (LYRICS are included for reference). It is also available as standard notation with TAB.ABOUT: Brad Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso, and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. When not making music, Brad is often out hiking with his four dogs. Brad also played as the solo guitarist for Disney's Princess Breakfast Adventure at Disney's Grand Californian Resort by Disneyland (March 2019-January 2024), providing music for the Disney Princesses (Belle, Tiana, Jasmine, Rapunzel, Mulan, Aurora, Ariel, Pocahontas, Cinderella, and their friends and guests).COMMENTS FROM LONG-ESTABLISHED REVIEWERS (for this and other Candlelight Guitarist recordings)...Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age RetailerThe Candleight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals.Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWERBradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart. ...  Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences.Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell.Bob McKillop, founder and publisher, MaineFolkMusic.com...perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation â?? the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender..
$4.99
DUEL del MESONES
#
Guitare
#
INTERMÉDIAIRE
#
Gilbert Piger
#
DUEL del MESONES
#
GJP Productions
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1018769 Composed by Gilbert Piger. Contemporary,Latin,World. Individual part. 3 pages. GJP Productions #2162641. Publish...
(+)
Solo Guitar - Level 3 - SKU: A0.1018769 Composed by Gilbert Piger. Contemporary,Latin,World. Individual part. 3 pages. GJP Productions #2162641. Published by GJP Productions (A0.1018769). A very snappy duet for 2 guitars written while in Spain somewhere around 1967. Mesones are old inn type places where one [use to] put your horse in the back stalls and in front you would have food and drink. When it got late you would join your horse and sleep on the hay. These have been converted into drinking and singing places and when I was there would play guitar with friends and have a good time.
$7.45
I Know Him So Well
#
Guitare
#
INTERMÉDIAIRE
#
Rock
#
Tim Rice
#
David Jaggs
#
I Know Him So Well
#
David Jaggs
#
SheetMusicPlus
Guitar, Classical Guitar - By Tim Rice. Arranged by David Jaggs. Solo Part. 3 pages. Published by David Jaggs...
(+)
Guitar, Classical Guitar - By Tim Rice. Arranged by David Jaggs. Solo Part. 3 pages. Published by David Jaggs
Another of David's arrangements. This is "I Know Him So Well" from the show "Chess". Many people believe this is a Lloyd Weber song, but actually it was written by Benny and Bjorn from Abba! A relatively easy piece to play and fingering is provided where uncertain. There is also a version of this arrangement available with tablature on this website.
$6.99
Waltz For Guitar
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Frank Zappa
#
Andrew Pattinson
#
Waltz For Guitar
#
Andrew Pattinson
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1042421 Composed by Frank Zappa. Arranged by Andrew Pattinson. Classical,Contemporary. Individual part. 1 pages. Andrew ...
(+)
Solo Guitar - Level 4 - SKU: A0.1042421 Composed by Frank Zappa. Arranged by Andrew Pattinson. Classical,Contemporary. Individual part. 1 pages. Andrew Pattinson #647206. Published by Andrew Pattinson (A0.1042421). Zappa Quote: This is a 12-tone crab canon written when I was 18. There's actually another version for two guitars, so it's a double crab canon. I don't know where it is though. I'd been doing 12-tone music for quite some time before I did this, but it was the first time I'd tried to write something for the guitar. I couldn't play it, and I never got to hear it until I got the Synclavier. And because it's printed on the Synclavier, that also means I got to push the button and listen to it..
$4.99
Big Drum
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
New Age
#
Contemporain
#
Richard Hirsch
#
Big Drum
#
Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568....
(+)
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
Larry Williams Compositions- The Guitar Book
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Larry Williams
#
Larry Williams Compositions- T
#
Larry Andrew Williams
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Pu...
(+)
Solo Guitar - Level 4 - SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Published by Larry Andrew Williams (A0.1167528). A WORD FROM THE COMPOSER Is anyone interested in new reading material anymore? I know that when I was a kid in nineteen hundred and something, the quest for new musical pieces was always one of the funnest aspects of the whole musical journey. Of course I did learn that it would take a long time to  nd those few that would resonate with me for a lifetime, but it was always fun trying them all out. It still is, in fact. Well, times change and people change, but I’d still like to believe that same factor carries on. You know, the one about trying out all that music to get to the few you keep. And what about the few we do keep? For guitar players, was it always a classic from the usual suspects, like Albeniz, Sor, Tarrega,, Granados, Rodrigo, Brouwer, Barrios, Villa-Lobos, or anything by Bach?Was it something our band director or private instructor, one of our friends, or our parents wrote? Or – Heaven forbid- something that maybe we ourselves wrote? Or some “unknown guy.â€Â Consider this.Just how often did some unknown composer's piece greatly affect us as we waded through a daunting pile of the familiar from the known masters? And since some, if not most of these classics are required reading, how often did we even get around to giving this unknown guy's piece a try?And furthermore, was this unknown guy - shudder...alive? Let’s face it. In the composer arena, we the living, stand no chance against the deceased (God rest their souls) But by saying “they don’t write ‘em like that anymore,†are we denying ourselves new ground to be broken, doors to be opened, frontiers to be discovered? And isn’t that pioneering spirit just plain ol’ curiosity when it comes right down to it? Well I believe the key lies within the carrying out of these notions that curiosity places in us. It’s climbing the mountain simply because it is there. So, for right now, I’m that unknown guy and I would only urge you to break new ground every day. Lots of trends, ideas, and interests will come and go in your life, but always hang on to that curiosity. It’s what makes the world a smaller neighborhood. Larry Williams.
$20.00
Key West Suite for Two Guitars. In three movements: 1. Seven-Mile Bridge, 2. Bolero del Atardecer,
#
Guitare
#
AVANCÉ
#
Jose Lezcano
#
Best wishes, Jose
#
Key West Suite for Two Guitars
#
Jose Manuel Lezcano
#
SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1009964 Composed by Jose Lezcano. Contemporary,Jazz,Latin. Individual part. 42 pages. Jose Manuel Lezcano #6087209. Publ...
(+)
Solo Guitar - Level 5 - SKU: A0.1009964 Composed by Jose Lezcano. Contemporary,Jazz,Latin. Individual part. 42 pages. Jose Manuel Lezcano #6087209. Published by Jose Manuel Lezcano (A0.1009964). Key West Suite was composed in 2013 on commission from the Amaral Duo, Jorge Amaral and Mia Pomerantz. The three movements are inspired by various places in Key West, Florida, where I was serving as an Artist in Residence at the Studios of Key West in June 2013. I'm a Cuban-American born in Havana, and my influences include Cuban popular music (of course), Jazz, and the contrapuntal music of Bach and other Baroque composers. I think you can hear all of that in this piece. Jorge and MIa perform it beautifully on their CD, Key West, which I highly recommend. I'm a member of ASCAP and you can read more about my work and purchase other compositions at these sites. Best wishes, Jose.www.joselezcanocomposer.webs.com
$30.00
Sonata No. 6 "Kharkiv", Op. 48
#
Guitare
#
AVANCÉ
#
Classique
#
Konstantin Bliokh
#
Sonata No. 6 "Kharkiv", Op. 48
#
Les Productions d'OZ - Digital
#
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...
(+)
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
RENAISSANCE GUITAR MUSIC - Volume 4 INTERMEDIATE
#
Guitare
#
INTERMÉDIAIRE
#
Renaissance
#
Various
#
Socrates Arvanitakis
#
RENAISSANCE GUITAR MUSIC - Vol
#
Socrates Arvanitakis
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1327548 Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. 83 pages. Socrates Arvanita...
(+)
Solo Guitar - Level 3 - SKU: A0.1327548 Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. 83 pages. Socrates Arvanitakis #915591. Published by Socrates Arvanitakis (A0.1327548). FROM THE PREFACEThe fourth volume of Renaissance music for classical guitar contains twenty mostly well-known and a few more rare intermediate Renaissance pieces taken mainly from lute and vihuela sources. I have tried to keep the upper level of technical difficulty to the contemporary grade VI level of the A.B.R.S.M. which takes the student to the advanced level (grades VII-VIII).The pieces are given in two versions, first as decorated pages in ordinary notation, and then the same pieces are again given in undecorated pages of notation and tablature. Therefore each volume contains two books in one and the choice is left to the user whether to keep the volume as presented, or to construct his own book by inclusion or deletion of unwanted pages, blank pages, etc, for use either as a printed or a tablet-screen book version. The addition of tablature of course results in increasing the number of pages needed for the presentation of the pieces, therefore the staff sizes are here reduced to an appropriate degree which can maintain the two-page view principle of any piece without need for automatic or manual page turners, foot pedals etc.THEMATIC INDEX OF THIS VOLUME  & NAVIGATION BY ACTIVE LINKSThe thematic index following the cover page of this volume contains active links to the decorated pages of the pieces.The titles of the pieces are also active links interconnecting decorated and tablature pages of the same piece.The header in pages containing  the title of a piece is an active link bringing back to the thematic index. The YOUTUBE logo icons in the thematic index are external links to particular performances of these pieces by various artists.Socrates ArvanitakisLondon 2023CONTENTSPavana 1 Luys MilanPavana 2 L. MilanPavana 3 L. MilanPavana 4 L. MilanPavana 5 L. MilanPavana 6 L. MilanGallarda - Alonso de MudarraGuardame las Vacas I - Luis de NarvaezGuárdame las vacas II - Luis de NarvaezDance Of The Washerwomen - Hans NeusidlerTedesca - AnonymousAlmain - Richard AllisonGreensleeves 1-traditional/AnonymousGreensleeves 2- Francis CuttingAlman in Am - Robert Johnson The Round Battle Galliard - John DowlandThe King of Danemark's Galliard - John DowlandThe Night Watch - Anthony HolborneThe Cobbler - AnonymousGo From My Window - Anonymous.
$15.00
Patios de Córdoba
#
Guitare
#
FACILE
#
Traditional
#
Richard Hirsch
#
Patios de Córdoba
#
Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individu...
(+)
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
Chorus and Aria from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
#
Maggie Creek Music
#
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 ...
(+)
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
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
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 ...
(+)
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
#
Guitare
#
INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
#
Maggie Creek Music
#
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 ...
(+)
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
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
#
Maggie Creek Music
#
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 ...
(+)
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
Edwin Culver: a bridge a-way, exits within (for solo guitar)
#
Guitare
#
INTERMÉDIAIRE
#
Contemporain
#
Edwin Culver
#
Edwin Culver: a bridge a-way,
#
Edwin Culver
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published ...
(+)
Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
Over The Rainbow
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Comédie Musicale
#
Film/TV
#
Judy Garland
#
Richard Hirsch
#
and 3&
#
Over The Rainbow
#
Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicu...
(+)
Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99
"Be Thou My Vision" for solo classical fingerstyle guitar
#
Guitare
#
INTERMÉDIAIRE
#
Keith Gehle
#
"Be Thou My Vision"
#
Keith Gehle
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1420186 By Keith Gehle. By Keith W. Gehle. Celtic,Irish,New Age,Religious,Sacred,Wedding. Individual part. 3 pages. Keit...
(+)
Solo Guitar - Level 3 - SKU: A0.1420186 By Keith Gehle. By Keith W. Gehle. Celtic,Irish,New Age,Religious,Sacred,Wedding. Individual part. 3 pages. Keith Gehle #1001604. Published by Keith Gehle (A0.1420186). Variations on an Irish Theme (Be Thou My Vision) was recorded as part of Keith’s album of 20 original guitar solos entitled Wintersong released in 2002.. The opening theme is followed by three variations and includes detailed fingerings in standard notation. There’s also a version available with TAB on this site. This ancient Irish melody can serve as a beautiful interlude during church services, gigs or wedding ceremonies. Here’s what one listener wrote of Wintersong:As a classical guitarist, I'm always on the lookout for new compositions. I have scoured the internet looking for new guitar music and Keith's Winter Song is the best thing I have seen in a year. If you like the sound of soothing classical guitar, I know you will like listening to this CD. If you’re a guitarist, I highly recommend buying the book of sheet music from Keith's website. I play at least a half dozen of these pieces at my gigs and I just love them. They range from easy to advanced intermediate in difficulty. I can't wait for Keith's next CD Songs of December which will be out for the holiday season!- Larry B.
$2.99
"Into the Mist" for solo classical fingerstyle guitar
#
Guitare
#
INTERMÉDIAIRE
#
Keith Gehle
#
"Into the Mist" for solo class
#
Keith Gehle
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1412335 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #994507. Published b...
(+)
Solo Guitar - Level 3 - SKU: A0.1412335 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #994507. Published by Keith Gehle (A0.1412335). â??Into the Mistâ? was recorded as part of Keithâ??s album of 20 original guitar solos entitled Wintersong released in 2002. Thereâ??s also a version available with TAB on this site. Hereâ??s what one listener wrote of the Wintersong recording:I have purchased almost 200 Cd's from CD Baby over the last few years, most recently were acoustic guitar. This is certainly in the top three, if not the best, of ALL the CD's I've boughtâ?¦ very pure acoustic sound. .. beautiful, flowing sound from the heart. I could listen to it over and over every day. I can't wait to hear more from this splendid artist.- Bob S.
$1.99
<
1
26
51
76
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
I Was Here
