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2
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1
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48
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44
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Trombone
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Trombone (partie séparée)
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Euphonium, Piano (duo)
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Cor
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2 Trombones (duo)
8
Cor anglais, Piano
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2 Trompettes (duo)
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Quatuor de cuivres: 4 cors
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Quatuor de Cuivres
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Cor (partie séparée)
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Tuba
5
2 Cors (duo)
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Ensemble de Trombones
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Instruments en Sib
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Quatuor de cuivres: 4 trombones
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2 Tubas (duo)
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Trombone basse
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Quatuor de cuivres: 4 trompettes
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Trompette, Violoncelle et Piano
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3 Euphoniums
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Ensemble de Cors
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
146
Harpe
103
Violon et Piano
79
Alto, Piano
42
Violoncelle, Piano
42
Violon
27
Trio à Cordes: violon, alto, violoncelle
17
Violon (partie séparée)
14
Violoncelle (partie séparée)
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2 Altos (duo)
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Violoncelle
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2 Violons (duo)
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Alto seul
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Violon, Violoncelle (duo)
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2 Violoncelles (duo)
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Contrebasse (partie séparée)
8
Contrebasse, Piano (duo)
5
Violon, Alto (duo)
5
Alto (partie séparée)
4
Trio à Cordes: 2 violons, violoncelle
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Contre Basse
3
Trio à cordes
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Trio à cordes: 3 violins
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Quatuor à cordes: 4 violons
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4 Violoncelles
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2 Contrebasses (duo)
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Trio à Cordes: 3 violoncelles
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Violon, Orgue
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Violon, Clarinette, Piano (trio)
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2 Violons, Piano
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Violon, Guitare (duo)
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2 Harpes (duo)
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Piano Trio: Violon, Alto, Piano
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Violoncelle , Guitare (duo)
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Flûte, Contrebasse (duo)
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Harpe, Violon (duo)
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Violon, Basson (duo)
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
386
Orchestre
74
Orchestre à Cordes
68
Ensemble Jazz
49
Cloches
43
Ensemble de cuivres
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Batterie
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8
Jazz combo
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Vibraphone
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Ensemble de Percussions
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Instrumentation Flexible
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2 Marimbas
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Xylophone, Piano
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Fanfare
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In The Mood
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Excerpt from the Lyric Suite
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.65 €
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Guitare
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.51 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
The Vampire: A Dramatic Theme
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.914739 Composed by Sol Paul Levy (…
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Solo Guitar - Level 4 - Digital Download SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 pages. Eric J Roth #4593125. Published by Eric J Roth (A0.914739). 6 pages (2 pages of music) formatted for 8.5x11 printing.Sol Paul Levy, born in Chicago, Illinois in 1881, was a composer, arranger and performer of silent film music. He attended All Hallows College in Dublin, Ireland and served as first clarinetist in bands led by John Philip Sousa and Arthur Pryor. Levy led the foreign orchestrating department for Victor Records – which was the first music company to produce the disc record – and was a founder of Belwin Music. Levy compiled a series of photoplay cues for piano that was published in H.S. Gordon’s 1914 Motion Picture Collection. He also wrote songs, the most famous of which was That Naughty Waltz. Sol Paul Levy died in New York in 1920. During the Silent Film Era (1896-1936), showings usually featured live music, which helped to provide dramatic and emotional cues for the audience. The first public silent film shown in 1895 was accompanied by a guitarist. Soon after, films were commonly accompanied by either a pianist, organist, or chamber orchestra. Accompanists often improvised or compiled music from the classical, theatrical or popular repertories using a cue sheet identifying the effects or moods to be conveyed. While some films produced full scores or detailed cue sheets containing excerpts of music unique to that film, a repertoire of generic music soon developed to provide accompanists with music that they could adapt as needed. With titles such as Dramatic Conflict, Dramatic Tension, Heavy Mysterioso, and Weird Oriental Theme, Sol Paul Levy’s scores clearly served this purpose. The Vampire: A Dramatic Theme, composed in 1917, could have been easily adapted to any of the more than twenty films about vampires that appeared between 1909 and 1930. The score exists in three versions: one for small orchestra with piano conductor, one for chamber orchestra without piano, and one for chamber orchestra without timpani. Instruments included piano, flute, clarinet, two cornets, trombone, two timpani, two violins, viola, cello, and bass. Despite being composed for small orchestra, the piece, composed in A minor, is well suited to the guitar once instrumental and octave doublings are removed. While a solo guitar cannot produce the power and volume of a chamber orchestra, it certainly can evoke the intended mood. Except in a few instances owing to the limitations of the guitar, all original dynamic markings have been retained. All fingerings, of course, are editorial. Please note that some of the fingerings in the score may differ than those used in the linked YouTube Video.
$3.99
3.71 €
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Guitare
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Sol Paul Levy
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Eric J Roth
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The Vampire: A Dramatic Theme
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Eric J Roth
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SheetMusicPlus
In The Mood
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.489027 By Ernie Field's Orchestra …
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Solo Guitar - Level 5 - Digital Download SKU: A0.489027 By Ernie Field's Orchestra and Glenn Miller and His Orchestra. By Joe Garland. Arranged by Steven King. Jazz,Standards. Individual part. 12 pages. STEVEN KING #105661. Published by STEVEN KING (A0.489027). Solo Fingerstyle Guitar includes treble and tab clefs, arranged by Winfield Championship Winner Steven King, in his style that creates simultaneous melody, bass lines, chords and rhythms. For the TEF file go to Fingerstyle College at kingofguitar.com.
$4.99
4.64 €
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Guitare
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Ernie Field's Orchestra and Glenn Miller and His Orchestra
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Steven King
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In The Mood
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STEVEN KING
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SheetMusicPlus
Guitar Sonata No. 2 in C major
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.985324 Composed by Jeremiah Lawson…
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Solo Guitar - Level 3 - Digital Download SKU: A0.985324 Composed by Jeremiah Lawson. Contemporary. Individual part. 6 pages. Jeremiah Lawson #6012227. Published by Jeremiah Lawson (A0.985324). I composed my second guitar sonata in 2010. Guitar Sonata No. 2 in C major is six pages long, has two movements, and its estimated performance time is 8:30 to 9:00. The first movement, Inner Visions & Power Puffs, is a zippy sonata form opening with a 12-bar blues Theme 1. After a conventional modulating transition Theme 2 appears in the traditional key of G major. The title of the movement alludes to the Stevie Wonder album Innervisions and, of course, the Powerpuff Girls. The sonata form has a climax by way of three Bartok pizzicati on the dominant pedal to depict the girls defeating Mojo Jojo and putting him in jail. The second movement is a lullaby with variations. The lullaby is an original song I used to sing for one of my nieces to help her fall asleep. The complete sonata has been recorded by Daniel Estrem and is available on the Magnatune release Estrem Plays Lawson.http://magnatune.com/artists/albums/estrem-estremlawson/I played movement 1 at a Seattle Classic Guitar Society open mic in 2012 on a warm summer Friday night and there were kids playing and screaming in the background, which helped set the mood of the sonata rather than break it.
$5.00
4.65 €
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Guitare
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Jeremiah Lawson
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Guitar Sonata No. 2 in C major
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Jeremiah Lawson
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SheetMusicPlus
The Moody Blues : Nights in White Satin (niveau débutant, avec Band)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau dé…
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Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau débutant, avec Band) de The Moody Blues. Tab pour Guitare mélodique avec band/orchestre -- Pop/rock
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Guitare
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The Moody Blues
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Nights in White Satin
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Tomplay
The Moody Blues : Nights in White Satin (niveau intermédiaire/difficile, avec Band)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau inter…
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau intermédiaire/difficile, avec Band) de The Moody Blues. Tab pour Guitare mélodique avec band/orchestre -- Pop/rock
5.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
The Moody Blues : Nights in White Satin (niveau intermédiaire/difficile, guitare seule)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau inter…
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau intermédiaire/difficile, guitare seule) de The Moody Blues. Tab pour Guitare seule -- Pop/rock
4.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
The Moody Blues : Nights in White Satin (niveau facile/intermédiaire, avec Band)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau facil…
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau facile/intermédiaire, avec Band) de The Moody Blues. Tab pour Guitare mélodique avec band/orchestre -- Pop/rock
5.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
The Moody Blues : Nights in White Satin (niveau facile/intermédiaire, guitare seule)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau facil…
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau facile/intermédiaire, guitare seule) de The Moody Blues. Tab pour Guitare seule -- Pop/rock
4.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
The Moody Blues : Nights in White Satin (niveau facile, avec Band)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau facil…
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau facile, avec Band) de The Moody Blues. Tab pour Guitare mélodique avec band/orchestre -- Pop/rock
5.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
The Moody Blues : Nights in White Satin (niveau débutant, guitare seule)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau dé…
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau débutant, guitare seule) de The Moody Blues. Tab pour Guitare seule -- Pop/rock
4.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
The Moody Blues : Nights in White Satin (niveau très facile, avec Band)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau trÅ
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau très facile, avec Band) de The Moody Blues. Tab pour Guitare mélodique avec band/orchestre -- Pop/rock
5.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
The Moody Blues : Nights in White Satin (niveau très facile, guitare seule)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau trÅ
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau très facile, guitare seule) de The Moody Blues. Tab pour Guitare seule -- Pop/rock
4.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
The Moody Blues : Nights in White Satin (niveau facile, guitare seule)
Guitare
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau facil…
(+)
Téléchargez la tablature et la partition Guitare Nights in White Satin (niveau facile, guitare seule) de The Moody Blues. Tab pour Guitare seule -- Pop/rock
4.99 €
#
Guitare
#
The Moody Blues
#
Nights in White Satin
#
Tomplay
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