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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Make Us One
Non classifié
133
Piano & claviers
Piano, Voix
92
Piano seul
86
Accompagnement Piano
52
Piano, Voix et Guitare
33
Instruments en Do
22
Piano Facile
21
Orgue
5
1 Piano, 4 mains
3
2 Pianos, 4 mains
2
+ 4 instrumentations
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Guitares
Guitare
7
Ligne De Mélodie, (Paroles) et Accords
6
Guitare notes et tablatures
2
Ukulele
1
Ensemble de guitares
1
Voix
Chorale SATB
64
Voix Tenor, Piano
17
Chorale 3 parties
10
Chorale 2 parties
8
Voix Alto, Piano
8
Voix Soprano, Piano
8
Voix Tenor
4
Chorale SSAA
3
Voix duo
2
Voix Soprano
1
Chorale TTBB
1
Chorale Unison
1
Voix Baryton, Piano
1
+ 8 instrumentations
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Vents
Saxophone (partie séparée)
43
Saxophone Alto et Piano
19
Saxophone Tenor
18
Saxophone Alto
16
Saxophone Tenor et Piano
15
Saxophone Soprano et Piano
14
Saxophone Baryton, Piano
14
Quatuor de Saxophones: 4 saxophones
13
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
8
Flûte traversière
7
Clarinette et Piano
7
Quintette de Clarinettes: 5 clarinettes
6
Flûte traversière et Piano
6
Quintette de Saxophone: 5 saxophones
6
Hautbois, Piano (duo)
5
2 Flûtes traversières (duo)
5
Quatuor de Clarinettes: 4 clarinettes
4
Quatuor de Flûtes : 4 flûtes
4
2 Saxophones (duo)
3
2 Hautbois (duo)
3
Clarinette
3
Ensemble de Clarinettes
2
Hautbois (partie séparée)
2
Quintette de Flûte : 5 flûtes
2
Flûte, Hautbois, Clarinette, Basson
1
Hautbois, Clarinette (duo)
1
2 Flûte à bec (duo)
1
Saxophone, Tuba (duo)
1
Flûte à bec Soprano
1
+ 24 instrumentations
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Cuivres
Trombone et Piano
19
Trombone
16
Trombone (partie séparée)
10
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Quatuor de Cuivres : 2 trompettes, trombone, tuba
9
Cor et Piano
6
Quatuor de cuivres: 4 trombones
5
Trompette, Piano
5
3 Trompettes (trio)
5
2 Trombones (duo)
4
Ensemble de Trombones
3
2 Trompettes (duo)
3
Trompette
3
Tuba
2
Ensemble de Trompettes
2
Tuba et Piano
2
Cor
2
Quatuor de cuivres: 4 cors
1
Euphonium, Piano (duo)
1
2 Tubas (duo)
1
+ 15 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
22
Violon
10
Violon et Piano
8
Alto, Piano
7
Violoncelle, Piano
7
Quatuor à cordes : 4 altos
6
Violon, Violoncelle (duo)
4
Violoncelle
3
Trio à Cordes: 2 violons, violoncelle
3
2 Violoncelles (duo)
3
Trio à Cordes: violon, alto, violoncelle
2
Contrebasse, Piano (duo)
2
2 Violons (duo)
2
4 Violoncelles
2
Alto seul
2
Harpe, Voix
1
Harpe
1
2 Altos (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
+ 14 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
30
Orchestre à Cordes
15
Orchestre
13
Ensemble Jazz
8
Cloches
8
Jazz combo
7
Ensemble de cuivres
6
Orchestre de chambre
4
Ensemble de Percussions
1
+ 4 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
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Vous avez sélectionné:
Make Us One
Guitare
Partitions à imprimer
7 partitions trouvées
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Larry Williams Compositions- The Guitar Book
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Larry Williams
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Larry Williams Compositions- T
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Larry Andrew Williams
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Pu...
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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
Stompin' At The Savoy "instrumental"
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Guitare
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AVANCÉ
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Dick Garcia
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Christopher J
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Stompin' At The Savoy "in
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Christopher J. Malin
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1294292 By Dick Garcia. By Benny Goodman, Benny Us 1 Goodman, Chick William Webb, and Edgar M Sampson. Arranged by Chris...
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Solo Guitar - Level 5 - SKU: A0.1294292 By Dick Garcia. By Benny Goodman, Benny Us 1 Goodman, Chick William Webb, and Edgar M Sampson. Arranged by Christopher J. Malin. 20th Century,Jazz,Standards. Individual part. 1 pages. Christopher J. Malin #884674. Published by Christopher J. Malin (A0.1294292). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable melody. One of Benny Goodman's finer pieces. It was actually written by Edgar Samposon. Although it became Goodman's most recognizable pieces. This is a leisure swing piece, that is danceable. Pay close attension to your timng on this one and also make it swing! In a trio setting it's fun to improvise over the B section.This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads. I tend to use a minimalist style that keeps the important parts of the music. Tried and true arrangement. Sounds great on acoustic and electric guitars.
$4.99
Heartbeats
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Jose Gonzalez
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Pablo Alcázar
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Heartbeats
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Pablo Alcázar
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1268428 By Jose Gonzalez. By Karin Dreijer Andersson and Olof Dreijer. Arranged by Pablo Alcázar. 21st Century,Pop,Si...
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Solo Guitar - Level 4 - SKU: A0.1268428 By Jose Gonzalez. By Karin Dreijer Andersson and Olof Dreijer. Arranged by Pablo Alcázar. 21st Century,Pop,Singer/Songwriter,Wedding. Individual part. 6 pages. Pablo Alcázar #860970. Published by Pablo Alcázar (A0.1268428). Arrangement for solo guitar of the famous song Heartbeats. This arrange by Pablo Alcázar, professional guitarist arranger and composer, is for intermediate players that want a challenge to play or for professional guitarist that want some new repertoire for wedding gigs or concerts. It includes the full voice melody line aswell as the full guitar line from the original song. This arrangement uses the 3º string on F# and the 6º string on D and the reading doesn't include the real notes you are playing but the translation of a normal tuning reading to make things easier. Also you can check the strings on the tablature in case you need to play in different positions.This is the Lyrics of the song:One night to be confusedOne night to speed up truthWe had a promise, babeFour hands and then awayBoth under influenceWe had divine senseTo know what to sayMind is a razor bladeTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noOne night of magic rushThe start a simple touchOne night to push and screamAnd then reliefTen days of perfect huesThe colors red and blueWe had a promise, babeWe were in loveTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enoughAnd youYou knew the hand of the devilAnd youKept us awake with wolves teethSharing different heartbeatsIn one nightTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enough.
$4.99
KriyÄ (Direction, Goal) for 10-String Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Julian Bertino
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KriyÄ
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Julian Bertino
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1187094 By Julian Bertino. By Julian Bertino. Classical,Contemporary. Individual part. 10 pages. Julian Bertino #786726....
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Solo Guitar - Level 4 - SKU: A0.1187094 By Julian Bertino. By Julian Bertino. Classical,Contemporary. Individual part. 10 pages. Julian Bertino #786726. Published by Julian Bertino (A0.1187094). Kriyā is a Sanskrit word meaning to do, make, perform, accomplish, cause, effect, prepare, undertake†toward something specific. We often live our lives hiding from ourselves, usually because of an artificial sense of fear, embarassment, shame or guilt that we may have acquired because of social pressures. This is why we many people have a mid-life crisis and suddenly change the way they have lived their lives into how they wished to live all along. This piece represents the unraveling of previously held ideals into one which is synchronous with the world around us, beginning with a vision reminding us of mortality, progressing through the difficulties and cognitive dissonances which occur when we must change our lives to find happiness. Kriya began originally as a tremolo etude on the 2nd and 3rd strings, but quickly evolved into a musical composition. Practicing Tremolo on strings other than the first develops control and discipline in the right hand, which was my original intention in writing it- but I felt as if the material that was generated required more and more variation and contrast- and quite quickly I realized that I had to complete it with the intention of performing it as a piece of music rather than simply a technical exercise.**This version is for 10-string guitar. There is a 6-string guitar version available also.
$9.99
Bourrée in E MInor
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Richard Hirsch
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Bourrée in E MInor
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1340077 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Classical,Instructional,Standards. Indivi...
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Solo Guitar - Level 4 - SKU: A0.1340077 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Classical,Instructional,Standards. Individual part. 3 pages. Richard Hirsch #925741. Published by Richard Hirsch (A0.1340077). I offer the famous Bourrée from Bach’s First Suite for Lute in E minor notated for solo acoustic guitar. The notation is accompanied by tablature and extensive left and right hand fingering as an aid to the student. The fingering aims to be as economical and as ergonomic as possible. If played according to the tablature and left hand fingering, the left hand flows smoothly from one position to another over the fretboard. This is especially important in the second part of the piece where Bach takes us on a tour of the harmonic space related to the key of E minor. The piece is a good introduction to the full potential of the fretboard as there are many alternative left hand fingerings, among which I have chosen those I feel fit together and enable flow best. Notice especially how the little finger plays an important role in guiding the left hand from one position to another. The fingering for the right hand is also good for the practice of alternating the index and middle fingers in the melody while the thumb plays the bases.This piece has become part of the standard repertoire for classical guitar, but is also a piece that sounds equally good on a steel string acoustic guitar. The steel strings make the piece sound like it is being played on a harpsichord. I first heard the piece as a boy of 15 back in 1960 in a recording by Chet Atkins playing on a steel string electric guitar!The piece has been transcribed from the original score for Lute and notated for guitar by many guitarists over the years. I hope my version contributes to its continued popularity, making the piece even more accessible and relevant to intermediate students of acoustic guitar.I have chosen a tempo of 130bpm for the notation which I think gives the piece a lively but not overly stressed quickness appropriate for a courtly dance.
$4.99
Don't Get Around Much Anymore
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Bob Russell and Duke Ellington
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John Fries
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Don't Get Around Much Anymore
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John Fries
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1271539 Composed by Bob Russell and Duke Ellington. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Stan...
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Solo Guitar - Level 4 - SKU: A0.1271539 Composed by Bob Russell and Duke Ellington. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Standards. Individual part. 2 pages. John Fries #863938. Published by John Fries (A0.1271539). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. Don't Get Around Much Anymore is a jazz standard written by composer Duke Ellington. The song was originally entitled Never No Lament and was first recorded by Duke Ellington and his orchestra on May 4, 1940. Don't Get Around Much Anymore quickly became a hit after Bob Russell wrote its lyrics in 1942. Two different recordings of Don't Get Around Much Anymore, one by The Ink Spots and the 1940 instrumental by Ellington's own band, reached No. 1 on the R&B chart in the US in 1943. Both were top-ten pop records, along with a version by Glen Gray. The Duke Ellington version reached No. 8 on the pop chart.
$4.99
Alfie
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Cher
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John Fries
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Alfie
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John Fries
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1271506 By Cher. By Burt Bacharach and Hal David. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Individua...
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Solo Guitar - Level 4 - SKU: A0.1271506 By Cher. By Burt Bacharach and Hal David. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Individual part. 2 pages. John Fries #863904. Published by John Fries (A0.1271506). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. Alfie is a song written by Burt Bacharach and Hal David to promote the 1966 film Alfie. Cilia Black states that, rather than declining outright to record the song, she decided to set conditions: I said I'd only do it if Burt Bacharach himself did the arrangement, never thinking for one moment that he would. When the reply came back from America that he'd be happy to...I said I would only do it if Burt came over to London for the recording session. 'Yes,' came the reply. Next I said that as well as the arrangements and coming over, he had to play piano on the session. To my astonishment it was agreed that Burt would do all three. So by this time, coward that I was, I really couldn't back out. The song was a major hit for Cilla Black (UK) and Dionne Warwick (US).
$4.99
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Make Us One
