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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
May It Be
Non classifié
2 164
Piano & claviers
Piano seul
456
Piano, Voix et Guitare
397
Piano, Voix
299
Piano Facile
106
Orgue
70
Instruments en Do
21
Accompagnement Piano
18
1 Piano, 4 mains
17
Clavecin
8
Piano Trio: piano, violon, violoncelle
7
2 Pianos, 4 mains
7
Piano Quatuor: piano, violon, alto, violoncelle
6
Piano (partie séparée)
4
Orgue, Trompette (duo)
2
Orgue, Piano (duo)
2
Piano Quatuor: piano, 2 violons, violoncelle
2
1 Piano, 6 mains
1
Clavier
1
Piano grosses notes
1
+ 14 instrumentations
Retracter
Guitares
Guitare
87
Guitare notes et tablatures
41
Ukulele
13
Banjo
6
4 Guitares (Quatuor)
6
Mandoline
5
Basse electrique
4
Ligne De Mélodie, (Paroles) et Accords
3
3 Guitares (trio)
2
Ensemble de guitares
2
Dulcimer
2
Guitare (partie séparée)
1
Paroles et Accords
1
+ 8 instrumentations
Retracter
Voix
Chorale SATB
400
Chorale 3 parties
111
Voix haute
72
Chorale 2 parties
61
Chorale Unison
53
Chorale TTBB
40
Voix Alto, Piano
38
Voix Soprano, Piano
37
Chorale SSAA
29
Voix moyenne, Piano
17
Voix duo
10
Voix seule
6
Voix Tenor, Piano
5
Voix Baryton, Piano
5
Voix duo, Piano
4
Voix basse, Piano
4
Voix Tenor
3
Voix basse
2
Chorale SSATTB
2
Chorale
2
Voix Soprano
1
Voix Mezzo-Soprano, Piano
1
+ 17 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
156
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
109
Ensemble de saxophones
104
Flûte traversière et Piano
88
Quatuor de Clarinettes: 4 clarinettes
78
Quatuor de Saxophones: 4 saxophones
64
Ensemble de Clarinettes
55
Clarinette et Piano
42
2 Flûtes traversières (duo)
36
Hautbois, Piano (duo)
33
Clarinette
33
2 Saxophones (duo)
31
Flûte, Hautbois, Clarinette, Basson
29
Quintette de Flûte : 5 flûtes
28
Flûte traversière
26
Ensemble de Flûtes
24
Saxophone Tenor et Piano
23
Saxophone Alto et Piano
23
Hautbois (partie séparée)
21
Saxophone Soprano et Piano
18
Saxophone (partie séparée)
17
2 Clarinettes (duo)
16
3 Saxophones (trio)
14
Saxophone Alto
13
Saxophone Tenor
13
Cor anglais, Piano
12
Saxophone Baryton, Piano
12
Saxophone
11
Clarinette (partie séparée)
11
Clarinette Basse, Piano
9
Flûte à Bec
8
Quintette de Clarinettes: 5 clarinettes
7
Quatuor de Flûtes : 4 flûtes
7
Saxophone, Clarinette (duo)
7
Hautbois, Flûte
6
Clarinette, Violon (duo)
6
3 Clarinettes (trio)
6
Clarinette, Trompette (duo)
5
Flûte et Guitare
5
Flûte, Clarinette (duo)
5
Trio de Flûtes: 3 flûtes
4
Flûte à bec Soprano
4
Hautbois
3
2 Hautbois (duo)
3
Flûte, Alto (duo)
3
Flûte, Saxophone (duo)
3
2 Flûte à bec (duo)
3
Hautbois, Basson (duo)
3
Flûte, Violon
3
Hautbois, Clarinette, Basson (trio d'anches)
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte à bec Alto, Piano
2
Cor Anglais
2
Saxophone et Orgue
2
Clarinette, Guitare (duo)
2
Flûte, Violon et Violoncelle
2
Clarinette et Alto
2
Quatuor de Flûtes à bec
2
Flûte, Alto et Piano
2
Hautbois, Clarinette (duo)
2
Flûte, Trompette (duo)
2
Flûte à bec Alto
2
Flûte, Clarinette et Basson
2
5 Flûtes à bec
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Clarinette, Piano (trio)
1
Clarinette Basse
1
Clarinette, Basson (duo)
1
Flûte, Hautbois, Basson
1
Flute (partie séparée)
1
Flûte, Violon, Piano
1
Flûte traversière, Orgue (duo)
1
3 Flûtes à bec (trio)
1
2 Saxophones, Piano
1
Flute, harpe et violon
1
Clarinette, Orgue
1
Piccolo
1
Flûte, Hautbois (duo)
1
Cor anglais, Guitare (duo)
1
+ 74 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
129
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
109
Ensemble de Trompettes
59
Quatuor de Cuivres: 2 trompettes, Cor, trombone
43
Ensemble de Trombones
43
Trompette
32
Trombone et Piano
26
Euphonium, Piano (duo)
17
Quatuor de cuivres: 4 trombones
17
Cor et Piano
17
Quatuor de Cuivres
16
Trompette, Piano
15
Trombone
14
Trompette, Trombone (duo)
13
Cor anglais, Piano
12
Tuba
12
Trompette (partie séparée)
12
2 Trompettes (duo)
11
2 Trombones (duo)
10
Trombone (partie séparée)
10
Cor
10
Euphonium
6
Tuba et Piano
6
Ensemble de Cors
6
Trio de Cuivres
5
2 Euphoniums et 2 Tubas
5
Trompette, Saxophone (duo)
5
2 Tubas (duo)
4
Cor (partie séparée)
4
2 Cors (duo)
4
Tuba (partie séparée)
4
Trompette, violon (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cor Anglais
2
Quatuor de cuivres: 4 cors
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone, Orgue
1
Ensemble de Tubas
1
Trombone basse
1
4 Tubas
1
3 Trombones (trio)
1
Cor anglais, Guitare (duo)
1
+ 37 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
300
Violon
158
Violon, Violoncelle (duo)
155
Trio à Cordes: violon, alto, violoncelle
151
Harpe
61
Violon et Piano
58
Violoncelle, Piano
32
Quintette à cordes: 2 violons, alto, violoncelle, basse
31
Alto, Piano
30
Ensemble de Violons
29
Ensemble d'Altos
27
Violoncelle
23
Violon, Alto (duo)
22
2 Violoncelles (duo)
20
2 Violons (duo)
18
Alto seul
16
Violon (partie séparée)
12
Trio à Cordes: 2 violons, violoncelle
12
2 Altos (duo)
11
Alto (partie séparée)
10
2 Harpes (duo)
9
4 Violoncelles
8
Violon, Guitare (duo)
6
Violoncelle, Contrebasse (duo)
6
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
Contrebasse (partie séparée)
6
Quatuor à cordes: 4 violons
4
3 Harpes
3
Contrebasse, Piano (duo)
3
2 Contrebasses (duo)
3
Trio à Cordes: 3 violoncelles
3
Quatuor à cordes : 4 altos
3
Contre Basse
3
5 Harpes
2
Harpe, Voix
2
Harpe et Piano
2
Violon, Orgue
2
Trio à Cordes: 2 violons, alto
2
Trio à cordes: 3 violins
1
2 Violons, Piano
1
Alto, Orgue
1
Violoncelle, Orgue
1
Ensemble de Violoncelles
1
Violoncelle , Guitare (duo)
1
Alto, Violoncelle (duo)
1
Violoncelle (partie séparée)
1
Trio à cordes: 3 altos
1
Piano Trio: Violon, Alto, Piano
1
4 Harpes
1
Harpe, Flûte (duo)
1
+ 45 instrumentations
Retracter
Orchestre & Percussions
Cloches
458
Orchestre d'harmonie
179
Orchestre à Cordes
160
Orchestre
90
Ensemble de cuivres
79
Ensemble Jazz
64
Fanfare
32
Orchestre de chambre
32
Jazz combo
22
Ensemble de Percussions
13
Percussion (partie séparée)
6
Batterie
4
Marimba
3
Ensemble d'École
2
Batterie (partie séparée)
1
Orchestre, Violon
1
Timbales (partie séparée)
1
Vibraphone
1
+ 13 instrumentations
Retracter
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
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AMERICANA
ASIE
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CELTIQUE - IRISH - S…
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CHRISTIAN (contempor…
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COMEDIES MUSICALES -…
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COUNTRY
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ENFANTS : EVEIL - IN…
FILM - TV
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FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
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Note4Piano
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Vous avez sélectionné:
May It Be
Guitare
Partitions à imprimer
87 partitions trouvées
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1
26
51
76
I'll Be Home For Christmas
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Guitare
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INTERMÉDIAIRE
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Noël
#
Brian McKnight
#
Bill Swick
#
I'll Be Home For Christmas
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Bill Swick
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1307699 By Brian McKnight. By Kim Gannon and Walter Kent. Arranged by Bill Swick. 20th Century,Christmas,Film/TV,Holiday...
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Solo Guitar - Level 3 - SKU: A0.1307699 By Brian McKnight. By Kim Gannon and Walter Kent. Arranged by Bill Swick. 20th Century,Christmas,Film/TV,Holiday,Jazz. Individual part. 4 pages. Bill Swick #896962. Published by Bill Swick (A0.1307699). This arrangement of I’ll Be Home for Christmas is written for solo guitar and may be performed on an electric guitar, steel string acoustic, or nylon string guitar.  It is written in both standard notation with chord symbols as well as tablature.
$4.99
Mendelssohn's Andante - Excerpt from Violin Concert #1 in E minor, 2nd Movement
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Guitare
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INTERMÉDIAIRE
#
Classique
#
Tom Salvatori
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Tom Salvatori
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Mendelssohn's Andante - Excerp
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Salvatori Productions, Inc.
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1473187 By Tom Salvatori. By Felix Bartholdy Mendelssohn. Arranged by Tom Salvatori. 19th Century,Classical,Romantic Per...
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Solo Guitar - Level 3 - SKU: A0.1473187 By Tom Salvatori. By Felix Bartholdy Mendelssohn. Arranged by Tom Salvatori. 19th Century,Classical,Romantic Period. Individual part. 1 pages. Salvatori Productions, Inc. #1050809. Published by Salvatori Productions, Inc. (A0.1473187). A note about this Guitar Arrangement - This piece presents a reimagined excerpt from Felix Mendelssohn's Violin Concerto #1 in E minor, 2nd Movement. My goal in the arrangement was to stay strongly reverent to the original form and structure of the composition, but to present it in a manner that I anticipate even Mendelssohn himself would have never expected to hear his work...as a solo nylon string guitar lullaby. My hope is that you will enjoy listening to it in it's new form, and that it will help bring Felix Mendelssohn's composing work newly to the ears of folks who may not be inclined to attend Classical Symphony concerts. - Tom Salvatori, Guitar ArrangerShow less.
$3.99
in memoriam Aretha Franklin: a sonata-prelude and fugue in C minor for solo guitar
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Guitare
#
AVANCÉ
#
Jeremiah Lawson
#
in memoriam Aretha Franklin: a
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Jeremiah Lawson
#
SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1102997 Composed by Jeremiah Lawson. Blues,Classical,Rock. Individual part. 7 pages. Jeremiah Lawson #706323. Published ...
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Solo Guitar - Level 5 - SKU: A0.1102997 Composed by Jeremiah Lawson. Blues,Classical,Rock. Individual part. 7 pages. Jeremiah Lawson #706323. Published by Jeremiah Lawson (A0.1102997). This is a 7-page score for solo guitar in two-movements, both in C minor. The opening sonata-prelude has an exposition, development and recapitulation and uses two themes, both of which use the gesture of a rising second as either core thematic or accompaniment material. There are places indicated in the score where a performer can improvise embellishments or substitutions in the return of Theme 1 in the recapitulation. The fugue is written in three voices with a subject and countersubject. It has two expositions, the first based on the primary form and the second on a somewhat free retrograde form of the initial fugue subject. I use fragmented forms of the subject to create blues and 5/4 episodes after the grand stretto that signals the structural climax of the fugue. This work is pretty difficult but although I wrote it on classical guitar it may also be played on acoustic or electric guitars with whatever timbre modifications strike your fancy.
$5.00
Roma Ryan: May It Be for guitar solo
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Guitare
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INTERMÉDIAIRE
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Film/TV
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New Age
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Roma Ryan
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Virtualsheetmusic
Instantly printable sheet music by Enya for guitar solo of MEDIUM skill level. / film/tv,new age,pop,movies
Instantly printable sheet music by Enya for guitar solo of MEDIUM skill level. / film/tv,new age,pop,movies
$5.97
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
Romance Anonimo (tremolo) for Classical Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Anon
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Keith Terrett
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Romance Anonimo
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Keith Terrett
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1441944 Composed by Anon. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural...
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Solo Guitar - Level 4 - SKU: A0.1441944 Composed by Anon. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 7 pages. Keith Terrett #1021937. Published by Keith Terrett (A0.1441944). Romance Anonimo for Guitar.This beautiful piece, known as Romance d'Amour, Anonymous Romance, Spanish Romance, Romance de Amor, Romanza among other names are a very well know piece. The composer is unknown.Romance Anónimo (Anonymous Romance) is a piece for guitar, also known as Estudio en Mi de Rubira (Study in E by Rubira), Spanish Romance, Romance de España, Romance de Amor, Romance of the Guitar, Romanza and Romance d'Amour among other names. It is composed in the style of parlour music of the late 19th century in Spain or South America,History:The style of the piece is that of the parlour music of the late 19th century in Spain or South America. It has a closed three-part form, the first in the minor key and the second being in the major key, with the third part being a restatement of the first.The origins and authorship of the piece are unknown, hence 'anonimo'. It is thought to have been originally a solo instrumental guitar work from the 19th century, and has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Francisco Vicaria l Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes. It has been suggested that doubts about its authorship may have been encouraged by a wish to avoid paying copyright fees and the desire of publishing companies to claim the lucrative copyright.Early recordings:The earliest recording of Romance is found on a cylinder from the Viuda de Aramburo label[3][4][5][6] featuring guitarists Luis and Simon Ramírez, which was made in Madrid sometime between 1897 and 1901. The work is titled Sort-Estudio para Guitarra por S. Ramirez. The name Sort, as it occurs on the cylinder's title, probably refers to Fernando Sor, as his surname is sometimes spelled Sort or Sorts. The recording may be heard on the Doremi CD release Tarrega, His Disciples, and Their Students (DHR-7996) and online at the UCSB Cylinder Audio Archive.Possible origins:An early publication of the work, known as Estudio para Guitarra de Rovira and attributed to Spanish guitarist Antonio Rubira,[13] was published by J.A. Medina e Hijo in Argentina before 1925 (probably in 1913, when the publisher ceased activities).Guitarist and composer Isaías Sávio (Montevideo, 1900 — São Paulo, 1977) published the work in 1959 with the title Romance de Amor (Estudo em Mi) Música de Antonio Rovira (Segunda metade do século XIX) He published information which cited Antonio Rubira as the author. (See Violào e Mestres Junio, 1966 / São Paulo, Brasil.Sávio gives information that Juan Pargas, who knew Rubira, gave the Estudio de Rovira to the guitarist Juan Valles in 1876 or 1878. Sávio mentions that the work became popular in Buenos Aires and began to be published by, among others, Spaniard Pedro Maza; and that the work appeared in the method of Pedro Mascaró y Reissig, published in Montevideo in 1919, with the title Conocido por Estudio de Rovira.Publishing company Ricordi of Argentina currently publishes the piece, and attributes authorship to Antonio Rubira.
$1.99
Standard Music Reading for Beginning Guitar
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Guitare
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DÉBUTANT
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Methodes
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Jay Jordan
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Standard Music Reading for Beg
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Pro Creations Music
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SheetMusicPlus
Acoustic Guitar - Level 1 - SKU: A0.1315011 By Jay Jordan. By Jay Jordan. Instructional. Educational Method. 18 pages. Pro Creations Music #903760. Publ...
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Acoustic Guitar - Level 1 - SKU: A0.1315011 By Jay Jordan. By Jay Jordan. Instructional. Educational Method. 18 pages. Pro Creations Music #903760. Published by Pro Creations Music (A0.1315011). Beginning guitar courses at the middle school and high school level can be a popular addition to curricula that so often center around performing groups. Such a course, when offered as a general music course, i.e.,a course that has no prerequisite and no public performance component, can be an attractive way for students to complete an arts requirement without an extra-curricular commitment.  At the same time a class like beginning guitar may serve as the only chance a music educator has to introduce the very idea of music to students as both an art form and a language. In todayâ??s on-line world there are countless avenues for learning guitar, be it YouTube videos, dedicated apps, or TAB sites. While the sharing of user-generated transcriptions of popular songs using tablature may be quick and easy, TAB sites do not employ standard music notation (not to mention being rife with mistakes both practical and theoretical). Standard Music Reading for Beginning Guitar was developed as a sequential, practical method for learning the basics of standard music notation using acoustic guitar as a vehicle. It is not meant to replace other methods e.g., the learning of popular songs or a music theory component, but as a companion so that students can learn about music as a language while, hopefully, continuing to enjoy guitar playing for years to come.
$10.00
Prelude No. 1 in C Major by J.S. Bach for Guitar (Arranged by Aaron Larget-Caplan)
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Guitare
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INTERMÉDIAIRE
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Classique
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Aaron Larget-Caplan
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Aaron Larget-Caplan
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Prelude No. 1 in C Major by J.
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Aaron Larget-Caplan
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1377888 By Aaron Larget-Caplan. By Johann Sebastian Bach. Arranged by Aaron Larget-Caplan. Baroque,Christian,Christmas,C...
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Solo Guitar - Level 3 - SKU: A0.1377888 By Aaron Larget-Caplan. By Johann Sebastian Bach. Arranged by Aaron Larget-Caplan. Baroque,Christian,Christmas,Classical,Early Music. Individual part. 5 pages. Aaron Larget-Caplan #962501. Published by Aaron Larget-Caplan (A0.1377888). Prelude N. 1 in C Major, BWV 846 by J.S. Bach (1685-1750) arranged by Aaron Larget-Caplan Includes: 2 pages of music, 1 page of notes, 1 page of alternate fingering. It is recommended to print double-sided so no page turns are required while playing.About this Arrangement â?? The regular arpeggio gesture is straightforward on piano, but on guitar the performer may have to do a few adjustments to keep this gesture clear. The performer should play the arpeggios over multiple strings as much as possible allowing the notes to ring beyond their notated values. The music can be realized in various ways; hence the fingerings are suggestions and some measures can be played without a Barre. For an ethereal conclusion, I raised the octave of the last measures.Prelude N. 1 in C Major (no sharps or flats) is the first of 44 preludes and fugues written by Bach for keyboard. It follows a progression of arpeggiated chords touching multiple keys as it climaxes on an exquisite pedal point in the Dominant before returning to C-major. One of the most often arranged of Bachâ??s compositions, it was most famously the basis of Ave Maria by Charles Gunoud.This arrangement of Prelude No. 1 in C major, WTC Book I, BWV 846 is featured on the 2022 album â??Godâ??s Time: Music of J.S. Bach on Guitarâ?? by Aaron Larget-Caplan on Tiger Turn (888-09) and streams worldwide. Online lessons are also available.The arrangements of Aaron Larget-Caplan have been called â??very importantâ? and â??a must haveâ?, with Soundboard â??strongly advocatingâ? for them â??to be performed by young guitaristsâ? and include music by J.S. Bach, John Cage, Isaac Albéniz, Franz Schubert, Reynaldo Hahn, and Alan Hovhaness.Â
$5.00
Alice In Wonderland
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Guitare
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AVANCÉ
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Bill Evans
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Christopher J
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Alice In Wonderland
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Christopher J. Malin
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1459406 By Bill Evans. By Bob Hilliard and Sammy Fain. Arranged by Christopher J. Malin. 20th Century,Contemporary,Film/...
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Solo Guitar - Level 5 - SKU: A0.1459406 By Bill Evans. By Bob Hilliard and Sammy Fain. Arranged by Christopher J. Malin. 20th Century,Contemporary,Film/TV,Jazz,Standards. Individual part. 2 pages. Christopher J. Malin #1038354. Published by Christopher J. Malin (A0.1459406). Solo jazz guitar chord/melody arrangement with tablature. This one is by Sammy Fain/Bob Hilliard in 1951. I believe this was written for an early Disney animated film. Watching this piece (available online) may help you get a feel for it. It’s in a ¾ jazz waltz time signature. I also believe Dave Brubeck covered it.I interpreted many chords to be played as triads or eliminated, and single notes are used. I tend to use a minimalist style that keeps the important parts of the music. I arranged it to be played an octave above as written (8 va.). It sounds great on electric guitars. Accurate intonation is important on this song. You do need access to the upper notes. It explores the upper register of the guitar. I also play many of the chords as arpeggios (varying between high note to low note and vice versa). It is a very beautiful tune! I hope you will like it! I certainly do!P.S. I have to admit, I like using chorus and delay on the electric guitar, it gives an ethereal quality to this one!
$4.99
Asturias - Leyenda.
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Guitare
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AVANCÉ
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Classique
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Isaac Albeniz
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Daniel Clark
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Asturias - Leyenda.
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Daniel Clark
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.982529 Composed by Isaac Albeniz. Arranged by Daniel Clark. Romantic Period. Individual part. 13 pages. Daniel Clark #64...
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Solo Guitar - Level 5 - SKU: A0.982529 Composed by Isaac Albeniz. Arranged by Daniel Clark. Romantic Period. Individual part. 13 pages. Daniel Clark #6441461. Published by Daniel Clark (A0.982529). The work draws on original and early piano editions as well as the first guitar transcription made by Severino GarciÌa Fortea who introduced key innovations familiar to most classical guitarists. Guitarists are encouraged to use this arrangement in consultation with the transcriptions by GarciÌa Fortea, AndreÌs Segovia, and Stanley Yates. Asturias is known for its abrupt chord interruptions which gives it its distinctive character. In the original, less well known, transcription for guitar by GarciÌa Fortea, these were plucked with the thumb and three fingers simultaneously. Segovia expanded the chord to a full six strings which is strummed. This six-string variation is now adopted as standard in nearly all classical guitar versions and the work of GarciÌa Fortea has all but been forgotten. Stanley Yates was aware of GarciÌa’s version, though seems to have been misdirected by Segovia and did not appear to get hold of GarciÌa’s work before making his own transcription. A key difference between the piano versions and guitar versions is the fact that the pedal note is missing immediately following the chords played on the first notes of the bar. This seems to be a pragmatic decision made due to the technical challenge of articulating a chord on the guitar and then immediately following up with a pedal note. It may have been also a decision to more strongly emphasise the chord. However, the composer clearly indicated that the chord should be as short as all of the other notes and hence it is reasonable to strike the chord and immediately lose it and start the pedal note.
$2.99
Prelude No 1 in D (Memories)
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Guitare
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INTERMÉDIAIRE
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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
Solo Guitar - Level 3 - SKU: A0.1185160 Composed by Simon James. 20th Century,Classical,Contemporary,Instructional. Individual part. 5 pages. DML #78484...
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Solo Guitar - Level 3 - 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
Adelita by Francisco Tárrega
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Guitare
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FACILE
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Francisco Tarrega
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Zellev
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Adelita by Francisco Tá
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Zellev Music
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.910911 Composed by Francisco Tarrega. Arranged by Zellev. Classical,Jewish,Musical/Show,Standards. Individual part. 1 pa...
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Solo Guitar - Level 2 - SKU: A0.910911 Composed by Francisco Tarrega. Arranged by Zellev. Classical,Jewish,Musical/Show,Standards. Individual part. 1 pages. Zellev Music #6253151. Published by Zellev Music (A0.910911). Adelita is a charming mazurka written by Francisco Tárrega that has been recorded by many famous guitarists.the intended beats per minute of a particular tempo indicator was ambiguous at best. Tárrega could well have intended the tempo to be faster than what we today conceive of as Lento. Therefore, you may choose to play the piece faster than the 60 bpm I've listed, opting for a faster 80–90 in the Andante range.Adelita is deceptively simple. If you are a novice guitarist, you may feel it is within your reach based on hearing the first half of the song. Even if you've mastered barres, upon reaching measures 11 and 12, you may reach an impasse. Playing the slurs fluidly requires a well-developed little finger. Therefore, I recommend not trying to learn the piece until you've developed both comfort with barres and sufficient strength and flexibility in the little finger to play clear hammer-ons and pull-offs.
$2.00
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
Blank Space
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Guitare
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FACILE
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Pop musique
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Taylor Swift
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Timothy A
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Blank Space
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Helisek Music Publishing
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.745419 By Taylor Swift. By Johan Schuster, Max Martin, Shellback, and Taylor Swift. Arranged by Timothy A. Helisek. Inst...
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Solo Guitar - Level 2 - SKU: A0.745419 By Taylor Swift. By Johan Schuster, Max Martin, Shellback, and Taylor Swift. Arranged by Timothy A. Helisek. Instructional,Pop,Rock. Individual part. 4 pages. Helisek Music Publishing #353376. Published by Helisek Music Publishing (A0.745419). This arrangement of Blank Space by Taylor Swift great for students learning how to read traditional music notation on guitar. It is for beginner or early intermediate guitar and may be played on electric, acoustic or nylon string guitar. It could be played as a solo or as a duet if another guitarist plays the chord accompaniment. For more information on the arranger, Timothy A. Helisek, visit www.timhelisek.com or connect on FaceBook at www.facebook.com/helisekmusic.
$4.99
La Caroline by CPE Bach
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Guitare
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INTERMÉDIAIRE
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Classique
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Carl Philipp Emanuel Bach
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Eric J Roth
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La Caroline by CPE Bach
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.914748 Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Eric J Roth. Baroque,Classical. Individual part. 2...
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Solo Guitar - Level 3 - SKU: A0.914748 Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Eric J Roth. Baroque,Classical. Individual part. 2 pages. Eric J Roth #6017047. Published by Eric J Roth (A0.914748). La Caroline, H. 98 (Wq. 117/36) is one of dozens of short character pieces of great charm written by the Carl Philipp Emanuel Bach (1714-1788), oldest son of Johann Sebastian Bach. As a composer, CPE Bach occupied an interesting transitional space between baroque and classical music and certainly helped to usher in the stylistic traits of the latter into general popular usage. The piece here is arranged for classical guitar solo at an intermediate level. It is more a transcription than a true arrangement, and every attempt has been made to keep the music as close to the original as possible. All fingerings are editorial, and most ornaments, except for trills, have been written out rather than notated with a symbol. However, many expert pianists embellish these ornaments (sometimes very lavishly), particularly on repeats, and expert guitarists will likely want to do the same. Since the original music was written an octave higher and to be played on the delicate-sounding keyboard instruments of the 18th century, some guitarists may want to experiment with using a capo to better create a more period-appropriate sound.Bach marks the tempo as Allegro ma con tenerezza (fast but with tenderness) and most keyboardists take it a moderate to quick tempo. On the guitar, which has a different resonance, the piece can also be convincing played at somewhat slower tempos, but certainly nothing slower than a true andante.
$2.99
Prelude No 2 in A (Flight)
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Guitare
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INTERMÉDIAIRE
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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
Solo Guitar - Level 3 - SKU: A0.1147461 By Simon James. By Simon James. Classical,Contemporary,Instructional,Multicultural,World. Individual part. 6 pag...
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Solo Guitar - Level 3 - 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
Planxty Irwin
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Guitare
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O'Carolan
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Robert McCormack
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Planxty Irwin
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Robert McCormak
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SheetMusicPlus
Solo Guitar - SKU: A0.483386 Composed by O'Carolan. Arranged by Robert McCormack. Celtic,Classical,Folk,Irish,Standards,Traditional. Individual part. 1 ...
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Solo Guitar - SKU: A0.483386 Composed by O'Carolan. Arranged by Robert McCormack. Celtic,Classical,Folk,Irish,Standards,Traditional. Individual part. 1 pages. Published by Robert McCormak (A0.483386). A very player-friendly arrangement with 'drop D' tuning of this beautiful piece by O'Carolan. There is an optional coda at the ending composed by the arranger which may be used as an introduction and/or bridge between the two sections as well as a coda. Purists may prefer to eliminate it altogether.
$4.99
Guitar Sonata No. 9 in E flat major (homage to Stevie Wonder)
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Guitare
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AVANCÉ
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Jeremiah Lawson
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Guitar Sonata No. 9 in E flat
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1271026 Composed by Jeremiah Lawson. 21st Century,Classical. Individual part. 7 pages. Jeremiah Lawson #863416. Publishe...
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Solo Guitar - Level 5 - SKU: A0.1271026 Composed by Jeremiah Lawson. 21st Century,Classical. Individual part. 7 pages. Jeremiah Lawson #863416. Published by Jeremiah Lawson (A0.1271026). I started composing this single-movement sonata for guitar on October 29, 2016 and completed it on May 11, 2018. As the title says, this is an homage to Stevie Wonder, one of my musical heroes. This is a roughly 12-minute single-movement that has original themes inspired by the chord changes from the synth break to Stevie Wonder's Living for the City.  The work is primarly in standard tuning but the performer must switch to the tuning E flat, A, D, G, B flat, E flat in the final page. The sonata may be played on classical, electric or acoustic guitar. Although this is not indicated in the published score between measures 236 and 260 you can introduce embellishments and four-measure cadenzas. I suggest inserted cadenzas between measures 255 and 256 as well as between measures 259 and 260.Â
$5.00
Guitar Sonata No. 6 in A major (homage to Scott Joplin)
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Guitare
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Contemporain
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Jeremiah Lawson
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Guitar Sonata No. 6 in A major
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - SKU: A0.985333 Composed by Jeremiah Lawson. Classical,Contemporary. Individual part. 5 pages. Jeremiah Lawson #6833461. Published by Jerem...
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Solo Guitar - SKU: A0.985333 Composed by Jeremiah Lawson. Classical,Contemporary. Individual part. 5 pages. Jeremiah Lawson #6833461. Published by Jeremiah Lawson (A0.985333). This work was premiered at the Seattle Composers Salon on May 5, 2017 at the Chapel of the Good Shepherd. I composed Guitar Sonata No. 6 in A major as an homage to Scott Joplin for the centennial of his death. It is a fully traditional sonata form but composed entirely from original ragtime themes. The piece may be played with or without swing and has a few places where the performer can improvise or compose interludes or vary the first theme within the first structural repeat of the sonata. Performance time is roughly 7 minutes (give or take cadenzas, etc) and is five pages long.
$5.00
AFTER SAN RAFAEL (DESPUES DE SAN RAFAEL)
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Guitare
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INTERMÉDIAIRE
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Claudio Amadeo Viggiano - Digi
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Claudio Amadeo Viggiano
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AFTER SAN RAFAEL
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claudio viggiano
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1292945 Composed by Claudio Amadeo Viggiano. 21st Century,Folk,Latin,Multicultural,World. Individual part. 6 pages. Clau...
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Solo Guitar - Level 3 - SKU: A0.1292945 Composed by Claudio Amadeo Viggiano. 21st Century,Folk,Latin,Multicultural,World. Individual part. 6 pages. Claudio viggiano #883550. Published by claudio viggiano (A0.1292945). An original work for classic guitar. It has been conceived for a single guitar, however it may be quite simple to play with two guitars. If you like it please check: LITTLE PUDDLE (EL CHARQUITO) By Claudio Amadeo Viggiano - Digital Sheet Music For Individual Part - Download & Print A0.807847 | Sheet Music Plus. My email contact: clavi10@hotmail.com.
$3.00
La Philippine by CPE Bach
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Guitare
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Classique
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Carl Philipp Emanuel Bach
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Eric J Roth
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La Philippine by CPE Bach
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Eric J Roth
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SheetMusicPlus
Solo Guitar - SKU: A0.914749 Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Eric J Roth. Baroque,Classical. Individual part. 1 pages. Er...
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Solo Guitar - SKU: A0.914749 Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Eric J Roth. Baroque,Classical. Individual part. 1 pages. Eric J Roth #6017141. Published by Eric J Roth (A0.914749). La Philippine, H. 96 (Wq. 117/34) is one of dozens of short character pieces of great charm written by the Carl Philipp Emanuel Bach (1714-1788), oldest son of Johann Sebastian Bach. As a composer, CPE Bach occupied an interesting transitional space between baroque and classical music and certainly helped to usher in the stylistic traits of the latter into general popular usage. The piece here is arranged for classical guitar solo at an intermediate level. It is more a transcription than a true arrangement, and every attempt has been made to keep the music as close to the original as possible. All fingerings are editorial, and ornaments kept simple. However, many expert pianists embellish these ornaments (sometimes very lavishly), particularly on repeats, and expert guitarists will likely want to do the same. Since the original music was written an octave higher, and to be played on the delicate-sounding keyboard instruments of the 18th century, some guitarists may want to experiment with using a capo to better create a more period-appropriate sound.Bach marks the style as Arioso (between an aria and recitative). In terms of tempo, various keyboardists interpret it very differently. Some play it quick and light while others opt for a slower, more lyrical approach. Guitarists should feel free to experiment with what sounds best on their instrument.
$2.99
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