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TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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GUITARES
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Mandoline
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2 Guitares (duo)
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VOIX
Chorale SATB
19
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2
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Chorale
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VENTS
Saxophone (partie séparée)
18
Flûte, Hautbois, Clarinette, Basson
16
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
2 Saxophones (duo)
14
Saxophone, Clarinette (duo)
9
Clarinette, Violon (duo)
9
Quatuor de Clarinettes: 4 clarinettes
8
2 Clarinettes (duo)
7
Clarinette et Piano
7
3 Clarinettes (trio)
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2 Flûtes traversières (duo)
6
Quatuor de Saxophones: 4 saxophones
5
Flûte, Violon
5
Flûte traversière et Piano
5
2 Hautbois (duo)
4
Clarinette, Trompette (duo)
4
Flûte, Trompette (duo)
3
Quatuor de Flûtes : 4 flûtes
3
Hautbois, Basson (duo)
3
Flûte, Clarinette (duo)
3
Trio de Flûtes: 3 flûtes
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Clarinette et Alto
3
Hautbois, Flûte
3
Clarinette
3
Hautbois, Piano (duo)
3
Flûte, Alto (duo)
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Saxophone Alto et Piano
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2
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Flûte, Violon et Violoncelle
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Flûte, Saxophone (duo)
2
Quintette de Saxophone: 5 saxophones
2
Saxophone Alto
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Hautbois, Clarinette (duo)
2
Saxophone Baryton, Piano
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3 Saxophones (trio)
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1
Clarinette (partie séparée)
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1
Saxophone Tenor
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Harmonica
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Flûte à bec Alto
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Flûte et Guitare
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Flûte traversière
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3 Flûtes à bec (trio)
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Saxophone Tenor et Piano
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Quintette de Clarinettes: 5 clarinettes
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Flûte, Hautbois, Clarinette (trio)
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Clarinette, Basson (duo)
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2 Clarinettes, Basson
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CUIVRES
Trompette (partie séparée)
11
Trombone (partie séparée)
10
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Trompette, Saxophone (duo)
6
Quatuor de Cuivres : 2 trompettes, trombone, tuba
6
Trombone
4
Trombone et Piano
4
2 Trombones (duo)
3
Trompette, Piano
3
2 Trompettes (duo)
2
Tuba et Piano
2
Trompette, Trombone (duo)
2
Cor et Piano
2
Quatuor de Cuivres
2
Tuba
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Ensemble de Trombones
1
Quatuor de cuivres: 4 trombones
1
Trompette
1
Tuba (partie séparée)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
19
Violon, Alto (duo)
13
2 Violons (duo)
13
Violon et Piano
12
Violon, Violoncelle (duo)
11
Trio à Cordes: violon, alto, violoncelle
10
Harpe
8
Violon
7
Contrebasse (partie séparée)
6
Violoncelle, Piano
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Alto, Piano
4
Trio à cordes: 3 violins
3
Violoncelle (partie séparée)
3
2 Altos (duo)
3
2 Violoncelles (duo)
3
Trio à Cordes: 2 violons, violoncelle
2
Contre Basse
2
Violoncelle
2
4 Contrebasses
1
Alto seul
1
Violon, Guitare (duo)
1
Harpe et Piano
1
Contrebasse, Piano (duo)
1
Violon (partie séparée)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
83
Orchestre à Cordes
25
Orchestre de chambre
21
Orchestre
20
Batterie (partie séparée)
5
Ensemble de cuivres
5
Ensemble Jazz
4
Percussion (partie séparée)
4
Batterie
2
Cloches
2
Ensemble de Percussions
2
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AUTRES
Vous avez sélectionné:
Last Dance
SheetMusicPlus
Partitions à imprimer
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Last Waltz To Dance Alone for solo guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.922267 Composed by Omar Felipe Mer…
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Solo Guitar - Level 4 - Digital Download SKU: A0.922267 Composed by Omar Felipe Merchán. 20th Century,Jazz,New Age. Individual part. 2 pages. Omar Felipe #5852245. Published by Omar Felipe (A0.922267). Last waltz to dance alone is a little piece for solo guitar in the unusual key of G minor. Being a waltz it is impossible to avoid Chopin´s influence but you can also find reflects from the Impressionists like Debussy and Faure or from jazz musicians like Pat Metheny with a certain minimalist touch taken from the New Age.
$2.40
2.22 €
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Guitare
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Omar Felipe Merchán
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Last Waltz To Dance Alone for solo guitar
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Omar Felipe
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SheetMusicPlus
Patios de Córdoba
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Ar…
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Solo Guitar - Level 2 - Digital Download 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
3.69 €
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Guitare
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Araber Tantz
Guitare
Solo Guitar - Digital Download SKU: A0.1001768 Composed by Naftule Brandwein. Arran…
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Solo Guitar - Digital Download SKU: A0.1001768 Composed by Naftule Brandwein. Arranged by Eric Charles Mokotoff. Jewish,Romantic Period,Wedding. Individual part. 2 pages. Eric mokotoff #6293429. Published by eric mokotoff (A0.1001768). This commonly heard tune was played as a dance in the Eastern European Jewish world. Its a dance of celebration and has origins in Arabic and Oriental music styles. Naftule Brandwein, Clarinet player and probably on the most influential musician in the history of klezmer music.In 1908 he emigrated to the USA where he became a star of the 78 rpm record era, as the (selfproclaimed) King of Jewish Music. Brandwein possessed a talent for seemingly endless and subtle rythmic and melodic variation on his C melody Albert clarinet, and his recordings belong to the best of the entire klezmer genre. Although he made his last recording in 1941, Brandwein continued to perform at weddings and other simkhes in New York, as well as at hotels in the Catskills until shortly before his death in 1963.
$4.99
4.61 €
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Guitare
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Naftule Brandwein
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Eric Charles Mokotoff
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Araber Tantz
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eric mokotoff
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SheetMusicPlus
"Danza" for solo classical fingerstyle guitar
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1412810 By Keith Gehle. By Keith W…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1412810 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #994814. Published by Keith Gehle (A0.1412810). â??Danzaâ? (or Dance) was recorded as part of Keithâ??s album of 20 original guitar solos entitled Wintersong released in 2002. With its use of rasqueado (strumming), the piece has a distinct Spanish/flamenco sound and is fun to play and a real crowd pleaser. 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
1.84 €
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Guitare
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Keith Gehle
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"Danza" for solo classical fingerstyle guitar
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Keith Gehle
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SheetMusicPlus
"Autumn suite" for trio guitars
Guitare
Guitar - Level 3 - Digital Download SKU: A0.1213069 By Oleg Boyko. By Oleg Boyko. C…
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Guitar - Level 3 - Digital Download SKU: A0.1213069 By Oleg Boyko. By Oleg Boyko. Chamber,Children,Contemporary,New Age. 12 pages. Oleg Boyko #810245. Published by Oleg Boyko (A0.1213069). Autumn Suite for trio guitars from Kids Pages:I. Autumn dance - AllegrettoII. Nocturne - AndantinoIII. Last leaves - AllegroMore info:http://www.boyko.cn.ua/kids_pages.html.
$7.50
6.93 €
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Guitare
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Oleg Boyko
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"Autumn suite" for trio guitars
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Oleg Boyko
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SheetMusicPlus
No Time To Die
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.961511 By Billie Eilish. By Billie…
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Solo Guitar - Level 4 - Digital Download SKU: A0.961511 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Colin Tommis. Pop. Individual part. 4 pages. Colin Tommis #6114397. Published by Colin Tommis (A0.961511). This intermediate /advanced version of the new James Bond song lasts towards 4 minutes and is unusual in so much that the 3rd string is detuned to F#. This makes it trickier to read but much more fun to play. There are some large stretches and unusual hammer techniques. In the latter, the player creates a note from nothing by hammering a left-hand finger down on a string. I have employed a lot of off-beats, and the idea is to keep it licking along, almost like a piece of dance reggae-style music. This makes it wonderful for the listener and challenging for the player. This is offered in notation only, there is no tab.
$5.99
5.53 €
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Guitare
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Billie Eilish
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Colin Tommis
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No Time To Die
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Colin Tommis
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SheetMusicPlus
Nicolas Vallet: Le Secret des Muses Transcribed for Classical Guitar
Guitare
Renaissance. Classics. E-book. 77 pages. Mel Bay Publications - Digital Sheet Music …
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Renaissance. Classics. E-book. 77 pages. Mel Bay Publications - Digital Sheet Music #30889EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459547. 8.75x11.75 inches.<br> <br> This book of 53 intermediate-level guitar pieces is derived from Le Secret des Muses, a two-volume collection of lute tablature by Nicolas Vallet (c. 1583 c. 1642). Born in France, by 1614 Vallet had relocated to Amsterdam where he established a dance school and was active as a composer, lute teacher and leader of a consort that played at weddings and festivals. Le Secret des Muses is among the last published collections of French lute tablature intended for the 10-course Renaissance lute, which was ultimately supplanted by the larger 13-course Baroque model. Most of these pieces consist of traditional European dance forms, but also contains a few settings of popular lute themes and longer works suitable for concert performance are included. Written in standard notation only with occasional drop-D tuning, these pieces make excellent sight-reading and warmup material as well as historically significant concert selections.
$14.99
13.85 €
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Guitare
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Nicolas Vallet: Le Secret des Muses Transcribed for Classical Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Ernesto García de León - 20 Estudios (20 Studies), Op. 50 - Collected Works, Volume 2
Guitare
Composed by Ernesto Garcia de Leon (1952-). 20th Century, Contemporary Classical, Im…
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Composed by Ernesto Garcia de Leon (1952-). 20th Century, Contemporary Classical, Impressionistic. Score. 36 pages. Published by Michael Lorimer Editions
Ernesto García de León's 20 Studies, Op. 50 is an ingenious collection thataddresses fundamental questions about how to develop and maintain guitar technique. It is designed toserve guitar teachers and students as well as performers and concert audiences. Since it explores notjust the technique of our instrument, but its musicaland expressive aspects as well, it makes daily technical work enjoyable, not tedious—even for someone only beginning to study the guitar.<br> <br> For guitar teachers and students, 20 Studies canserve as a basic curriculum or it can complementother methods or other sets of studies. For performers, it provides a complete overview and tune-up ofthe guitar technique in one graded set of daily studies that can be played in less than half an hour. Thiswarm-up then provides the player delicious concertrepertoire—as the complete set, or in smaller groups,or in combinations with other music by ErnestoGarcía de León.<br> <br> These musical exercises are also useful to rectify,reform or rehabilitate the guitar technique.<br> <br> The materials out of which the twenty studies aredeveloped are first idiomatic patterns of the guitarand then the variety of musical styles so appealing toand characteristic of Ernesto García de León. For example, classic examples of the music of theCaribbean coastal basin in general and thecomposer's native state Veracruz in particular appearunvarnished in #12 (a rumba veracruzana) and #20(a son). The other studies blend elements of Mexicanmusic in general—songs of the revolution, nativedances, boleros, children's songs, and so forth—withelements of European classical music, Beatles, NewAge music, jazz and other musical styles, in a wayintended to appeal to the player and to the listener.<br> <br> As the summary on pages 34 and 35 illustrates,the first sixteen studies explore basic formulas for theright hand. At the same time, they also address thefull range of left hand techniques—including balanceand positioning, independence of the fingers, longitudinal and transversal movements, shifts by substitution, by displacement, by jump, and by positions,barring, stretches and contractions, damping, pivoting, crossed movements, and movements with fixedfingers. The last four studies concern the slur.<br> <br> Though each of the basic right- and left-hand formulas explored in the twenty studies is relativelysimple in itself, each is a building block of a solidtechnique. Mastery of the complete set of twentystudies—less than half an hour of music—integratesall the formulas and develops the technique to a levelat which an enormous range of the guitar repertoirebecomes available.
$16.95
15.66 €
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Guitare
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Ernesto Garcia de Leon
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Ernesto García de León - 20 Estudios
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Michael Lorimer Editions
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SheetMusicPlus
Fandango de Huelva
Guitare
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditiona…
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Published by Richard Hirsch
A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, Málaga, Almería) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a compás, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the compás falling on the third beat of the first 4/4 measure. The first accented beat in the compás falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms’ Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan González “Triguito” in Madrid in the late 1960’s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mesón de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzapúa, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzapúa and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.
$4.99
4.61 €
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Guitare
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Traditional
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Richard Hirsch
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Fandango de Huelva
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Richard Hirsch
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SheetMusicPlus
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