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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
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
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SAXOPHONE
SYNTHETISEUR
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AFRICAIN
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CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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COUNTRY
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Non classifié
322
PIANO & CLAVIERS
Piano seul
280
Piano, Voix
55
Piano Facile
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Piano, Voix et Guitare
8
1 Piano, 4 mains
7
Instruments en Do
6
Orgue
2
2 Pianos, 4 mains
1
Piano Trio: piano, violon, violoncelle
1
Accompagnement Piano
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Instrument seul et Orgue
1
Piano Quatuor: piano, violon, alto, violoncelle
1
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GUITARES
Guitare
13
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5
Ukulele
4
Mandoline
2
Basse electrique
2
Paroles et Accords
1
Ligne De Mélodie, (Paroles) et Accords
1
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VOIX
Chorale SATB
30
Chorale 3 parties
9
Chorale Unison
8
Chorale 2 parties
5
Chorale SSAA
3
Chorale TTBB
2
Voix haute
1
Voix moyenne, Piano
1
Voix duo, Piano
1
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VENTS
Quintette de Saxophone: 5 saxophones
57
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
51
Quatuor de Saxophones: 4 saxophones
18
2 Saxophones (duo)
17
Ensemble de Clarinettes
13
Quatuor de Clarinettes: 4 clarinettes
12
Saxophone Tenor et Piano
11
Flûte traversière et Piano
10
Clarinette
9
2 Clarinettes (duo)
8
Clarinette, Violon (duo)
7
Ensemble de saxophones
7
Saxophone, Clarinette (duo)
7
Cor anglais, Piano
6
Clarinette et Piano
6
Saxophone Soprano et Piano
6
Hautbois, Piano (duo)
5
Flûte, Clarinette (duo)
5
Saxophone Alto et Piano
5
Saxophone (partie séparée)
5
Quintette de Flûte : 5 flûtes
5
Flûte, Violon
4
Ensemble de Flûtes
4
Flûte, Violon et Violoncelle
4
Saxophone Alto
4
Clarinette, Trompette (duo)
4
Saxophone Baryton, Piano
4
2 Flûtes traversières (duo)
4
Clarinette et Alto
3
Clarinette Basse, Piano
3
2 Hautbois (duo)
3
Hautbois (partie séparée)
3
Flûte, Saxophone (duo)
3
Hautbois, Flûte
3
Quintette de Clarinettes: 5 clarinettes
2
Hautbois, Clarinette (duo)
2
3 Clarinettes (trio)
2
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à bec Tenor
1
Flûte, Trompette (duo)
1
2 Flûtes à bec, Guitare
1
2 Flûte à bec (duo)
1
Flûte à bec Soprano, Piano
1
Flûte à bec Alto, Piano
1
Quatuor de Flûtes : 4 flûtes
1
Flûte à bec Soprano
1
Flûte, Hautbois, Clarinette, Basson
1
Hautbois, Basson (duo)
1
Flute, harpe et violon
1
Flûte à Bec, Piano
1
Flûte traversière
1
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CUIVRES
Quatuor de Cuivres : 2 trompettes, trombone, tuba
35
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
24
Quatuor de cuivres: 4 trombones
12
Ensemble de Trombones
10
Euphonium, Piano (duo)
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Trompette, Saxophone (duo)
6
Cor anglais, Piano
6
Ensemble de Trompettes
6
2 Trombones (duo)
6
Trombone et Piano
5
Trompette
5
Cor et Piano
5
Trombone
3
Trompette, Piano
3
2 Trompettes (duo)
3
2 Cors (duo)
3
Trompette, Trombone (duo)
3
Quatuor de Cuivres
2
Tuba et Piano
1
Bass Clef Instruments
1
Trombone (partie séparée)
1
2 Tubas (duo)
1
4 Tubas
1
Cor
1
Quatuor de cuivres: 4 cors
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
20
Violon
12
Violon et Piano
12
Harpe
11
Violoncelle, Piano
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Alto, Piano
7
Violon, Violoncelle (duo)
7
2 Violons (duo)
7
2 Violoncelles (duo)
6
Ensemble de Violons
6
Ensemble d'Altos
6
2 Altos (duo)
5
Violon, Alto (duo)
4
Trio à Cordes: violon, alto, violoncelle
4
Alto seul
4
Violon, Guitare (duo)
3
Violon (partie séparée)
2
Harpe, Flûte (duo)
2
Violoncelle (partie séparée)
2
2 Harpes (duo)
1
4 Violoncelles
1
Piano Trio: Violon, Alto, Piano
1
Alto (partie séparée)
1
Violoncelle, Contrebasse (duo)
1
Harpe et Piano
1
Violoncelle , Guitare (duo)
1
Contrebasse, Piano (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
76
Orchestre à Cordes
22
Cloches
19
Ensemble Jazz
17
Orchestre
9
Jazz combo
7
Ensemble de cuivres
6
Orchestre de chambre
5
Ensemble de Percussions
4
Marimba
3
Fanfare
2
Batterie
1
Percussion (partie séparée)
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
May Dance
Guitare
Partitions à imprimer
13 partitions trouvées
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1
Circle Dance - Play Along!
Guitare
Solo Guitar - Level 1 - Digital Download SKU: A0.939052 Composed by Gene Swanson. H…
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Solo Guitar - Level 1 - Digital Download SKU: A0.939052 Composed by Gene Swanson. Holiday. Individual part. 1 pages. Gene Swanson #2918261. Published by Gene Swanson (A0.939052). Circle Dance is the second tune from Play Along! - Student Inspired Thanksgiving Tunes for Guitar Vol. #1 There are 3 tracks included on the provided MP3 Recording. Track 1 = MelodyTrack 2 = Demonstration (band & melody)Track 3 = Play Along (band minus melody)Fingerings have been intentionally left out so students/teachers may choose to play in different positions as desired. I developed this Play Along series as a supplemental material for students and teachers to have fun playing simple tunes in a variety of styles celebrating the many seasonal times/holidays of the school year.
$1.99
1.84 €
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Guitare
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Gene Swanson
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Circle Dance - Play Along!
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Gene Swanson
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SheetMusicPlus
Corn Dance Polka - Play Along!
Guitare
Solo Guitar - Level 1 - Digital Download SKU: A0.939057 Composed by Gene Swanson. H…
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Solo Guitar - Level 1 - Digital Download SKU: A0.939057 Composed by Gene Swanson. Holiday. Individual part. 1 pages. Gene Swanson #2918333. Published by Gene Swanson (A0.939057). Corn Dance Polka is the fifth tune from Play Along! - Student Inspired Thanksgiving Tunes for Guitar Vol. #1 There are 3 tracks included on the provided MP3 Recording. Track 1 = MelodyTrack 2 = Demonstration (band & melody)Track 3 = Play Along (band minus melody)Fingerings have been intentionally left out so students/teachers may choose to play in different positions as desired. I developed this Play Along series as a supplemental material for students and teachers to have fun playing simple tunes in a variety of styles celebrating the many seasonal times/holidays of the school year.
$1.99
1.84 €
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Guitare
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Gene Swanson
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Corn Dance Polka - Play Along!
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Gene Swanson
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SheetMusicPlus
Spanish Dance for Classical Guitar
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1443629 Composed by Adolf Frey (4 …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1443629 Composed by Adolf Frey (4 April 1865 – 4 October 1938). Arranged by Keith Terrett. 19th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 6 pages. Keith Terrett #1023567. Published by Keith Terrett (A0.1443629). Adolf Frey (4 April 1865 – 4 October 1938) was an American composer of German birth. Born in Landau, Kingdom of Bavaria. He was a pupil of Johannes Brahms, Immanuel Faiszt, and Clara Schumann. From 1887 to 1893 he was a musician to Prince Alexander Frederick of Hesse. He then moved to the United States, where he began teaching on the faculty of Syracuse University in the Fall of 1893. From Wikipedia, the free encyclopedia This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources.Find sources: Adolf Frey composer – news · newspapers · books · scholar · JSTOR (October 2010)Adolf Frey (4 April 1865 – 4 October 1938)[1] was an American composer of German birth. Born in Landau, Kingdom of Bavaria. He was a pupil of Johannes Brahms, Immanuel Faiszt, and Clara Schumann. From 1887 to 1893 he was a musician to Prince Alexander Frederick of Hesse. He then moved to the United States, where he began teaching on the faculty of Syracuse University in the Fall of 1893.[2].
$1.99
1.84 €
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Guitare
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Adolf Frey
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Keith Terrett
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Spanish Dance for Classical Guitar
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Keith Terrett
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SheetMusicPlus
May Dance
Guitare
By Vincent Lindsey-Clark (1956-). For solo guitar. Level 4. 8 pages. Published by Les Prod…
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By Vincent Lindsey-Clark (1956-). For solo guitar. Level 4. 8 pages. Published by Les Productions d'OZ - Digital
$5.95
5.5 €
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Guitare
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Vincent Lindsey-Clark
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May Dance
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Les Productions d'OZ - Digital
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SheetMusicPlus
Etude de Bossa
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.928065 Composed by Vincent Ong. Co…
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Solo Guitar - Level 3 - Digital Download SKU: A0.928065 Composed by Vincent Ong. Contemporary,Instructional,Jazz,Latin. Individual part. 2 pages. Prima Acoustic Music #6535489. Published by Prima Acoustic Music (A0.928065). Key: A minor (Section A) A Major (Section B) Musical Form: Ternary form with introduction and coda Musical Texture: Homophonic Rhythm: Bossa nova dance Tempo: Andante moderato Etude de Bossa is a Bossa Nova music. Bossa nova is Portuguese, Bossa refers to the natural style and temperament when playing the Samba music, and Nova means new. This style originated in Brazil in the late 1950s. The composer Antonio Carlos Jobim and the guitarist João Gilberto may be considered the founders of this style, and later became the style of the theme song of A Felicide and Desafinado in the film Black Orpheus and caused a craze. The characteristic of Bossa nova rhythm is that the first, fourth, seventh, and eleventh beats of every two bars are retakes, and the others are light beats.
$10.00
9.24 €
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Guitare
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Vincent Ong
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Etude de Bossa
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Prima Acoustic Music
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SheetMusicPlus
All Of Me
Guitare
Solo Guitar - Digital Download SKU: A0.810601 Composed by Gerald Marks and Seymour …
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Solo Guitar - Digital Download SKU: A0.810601 Composed by Gerald Marks and Seymour Simons. Arranged by Bill Swick. Contemporary. Individual part. 8 pages. Bill Swick #3577901. Published by Bill Swick (A0.810601). This intermediate arrangement is for 5 guitars with the option of adding a 6th guitar to play chords located on the 1st Guitar part. This may also be opened for solos with some guidance.
$12.99
12 €
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Guitare
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Gerald Marks and Seymour Simons
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Bill Swick
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All Of Me
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Bill Swick
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SheetMusicPlus
Prelude No 1 in D (Memories)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1185160 Composed by Simon James. 2…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1185160 Composed by Simon James. 20th Century,Classical,Contemporary,Instructional. Individual part. 5 pages. DML #784842. Published by DML (A0.1185160). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both and I would have to say that I have been influenced by Tarrega’s Preludes which he wrote mostly for his students and so have called them Preludes rather than Studies. I learnt Tarrega’s pieces such as Adelita and Lagrima early in my study of the guitar and always enjoyed their nature as both technical exercises but also performance pieces. I have tried to emulate that with these pieces. The piece is written as a Fugue with two voices. The idea was to explore counterpoint on the guitar and how to handle it. The time signature is 6/8 which suits the guitar well as it gives a very lyrical feel. The first voice opens the piece with the subject and then at bar 8 the second voice enters in the bass while the first voice plays the countersubject. I have given considerable technical guidance both in fingering and the use of different strings as these pieces are intended to be instructional, if in doubt you will find all the techniques you need in my book The Art Of Accompaniment On The Guitar available from Amazon.
$2.99
2.76 €
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Guitare
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Simon James
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Prelude No 1 in D
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DML
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SheetMusicPlus
Prelude No 2 in A (Flight)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1147461 By Simon James. By Simon J…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1147461 By Simon James. By Simon James. Classical,Contemporary,Instructional,Multicultural,World. Individual part. 6 pages. DML #747697. Published by DML (A0.1147461). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both. This piece is based on the simple idea of an A major chord, a D major7 chord and an E9 chord in 5th position played with an unusual right hand pattern giving a time signature of 10/8. Don’t panic, if you play the right hand pattern correctly, as indicated, it automatically comes out correctly. You will find all the techniques you need in my book The Art Of Accompaniment On The Guitar. I have given considerable technical guidance both in fingering and the use of different strings as these pieces are intended to be instructional. The score is available on Sheet Music Plus and Sheet Music Direct.
$2.99
2.76 €
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Guitare
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Simon James
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Prelude No 2 in A
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DML
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SheetMusicPlus
Élégie
Guitare
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey.…
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Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
3.65 €
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Guitare
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar Sight-Reading 2
Guitare
Guitar - intermediate - Digital Download SKU: S9.Q21257 A fresh approach. Th…
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Guitar - intermediate - Digital Download SKU: S9.Q21257 A fresh approach. This edition: Sheet music. Schott Sight-Reading Series. Downloadable. Op. 2. Schott Music - Digital #Q21257. Published by Schott Music - Digital (S9.Q21257). English • French • German.'Guitar Sight-Reading 2' aims to build on the sight-reading skills learnt in book 1 and provides a wealth of more challenging examples so that the pupil may gain even greater confidence when approaching any new piece of music for the first time. Tunes progress to include keys from 2 flats to 4 sharps using a variety of styles.Construit sur la technique apprise dans le volume 1, le volume 2 propose une abondance d’exemples qui aideront l’élève à se sentir en confiance lorsqu’il abordera pour la première fois une nouvelle pièce. Les mélodies utilisent les tonalités allant de 2 bémols à 4 dièses.
$15.99
14.77 €
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Guitare
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Guitar Sight-Reading 2
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Schott Music - Digital
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SheetMusicPlus
Phase Dance
Guitare
By Lyle Mays and Pat Metheny. C Instruments. Jazz. Leadsheet (melody/chords only). 2 pages…
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By Lyle Mays and Pat Metheny. C Instruments. Jazz. Leadsheet (melody/chords only). 2 pages. Published by Hal Leonard - Digital Sheet Music
$1.99
1.84 €
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Guitare
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Lyle Mays and Pat Metheny
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Phase Dance
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Irish Folk Songs for Classical Guitar
Guitare
By Steve Marsh. For Guitar (Classical). Celtic/Irish. 48 pages. Published by Mel Bay Publi…
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By Steve Marsh. For Guitar (Classical). Celtic/Irish. 48 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609742621. Author Steve Marsh has spent many years playing guitar in the folk clubs of the United Kingdom where Irish music isin abundance. This collection draws from his extensive collection of original arrangements of traditional tunes. The songs vary in style and can be grouped into sets for use in a recital program. Many of the folk songs have been handed down from generation to generation so several versions of a song may exist. Therefore, the author has taken a few liberties with the tempo and rhythmic structures of a limited number of tunes in this collection. In general, the pieces in this album range from moderate standard to difficult. In standard notation only.
$12.99
12 €
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Guitare
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Steve Marsh
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Irish Folk Songs for Classical Guitar
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Mel Bay Publications - Digital Sheet Music
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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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