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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
Mood Ring
Non classifié
394
Piano & claviers
Piano seul
303
Piano, Voix et Guitare
79
Piano Facile
76
Piano, Voix
67
Orgue
21
Piano Trio: piano, violon, violoncelle
16
Instruments en Do
9
Piano Quatuor: piano, violon, alto, violoncelle
5
Piano grosses notes
3
Clavier
3
Piano Quintette: piano, 2 violons, alto, violoncelle
3
1 Piano, 4 mains
3
Accompagnement Piano
2
Ligne De Mélodie, Piano
2
2 Pianos, 4 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Accordéon
1
Piano (partie séparée)
1
1 Piano, 6 mains
1
+ 14 instrumentations
Retracter
Guitares
Guitare notes et tablatures
33
Guitare
32
Ligne De Mélodie, (Paroles) et Accords
12
Basse electrique
7
Ukulele
3
Dulcimer
2
3 Guitares (trio)
2
Mandoline
2
Mandoline, Guitare (duo)
1
2 Guitares (duo)
1
Paroles et Accords
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
83
Chorale 3 parties
34
Chorale 2 parties
16
Voix Alto, Piano
9
Chorale SSAA
7
Chorale Unison
3
Voix Soprano, Piano
2
Chorale TTBB
2
Voix Mezzo-Soprano, Piano
2
Voix seule
1
Voix moyenne, Piano
1
Chorale SSATB
1
Voix haute
1
+ 8 instrumentations
Retracter
Vents
Clarinette
28
Quatuor de Saxophones: 4 saxophones
28
Flûte traversière et Piano
23
2 Saxophones (duo)
21
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
21
Hautbois, Piano (duo)
21
Clarinette et Piano
19
Saxophone Alto et Piano
17
2 Flûtes traversières (duo)
16
Saxophone Alto
15
Quatuor de Flûtes : 4 flûtes
15
Flûte traversière
13
Flûte, Hautbois, Clarinette, Basson
13
Saxophone Tenor et Piano
13
Saxophone Soprano et Piano
11
Hautbois
10
Saxophone Baryton
9
Saxophone Soprano
9
Saxophone Tenor
9
3 Saxophones (trio)
8
Ensemble de Clarinettes
7
Saxophone Baryton, Piano
7
Cor anglais, Piano
7
Cor Anglais
6
Quintette de Saxophone: 5 saxophones
6
2 Clarinettes (duo)
6
Saxophone (partie séparée)
6
Clarinette (partie séparée)
6
Ensemble de Flûtes
6
Quatuor de Clarinettes: 4 clarinettes
5
2 Hautbois (duo)
5
Clarinette Basse, Piano
4
Flûte, Clarinette (duo)
3
Saxophone, Clarinette (duo)
3
Clarinette Basse
3
Flûte, Hautbois, Clarinette (trio)
3
Flûte, Hautbois, Piano (trio)
2
3 Clarinettes (trio)
2
Quatuor de Flûtes à bec
2
Clarinette, Trompette (duo)
2
Flute (partie séparée)
2
Clarinette, Violon (duo)
2
Flûte, Clarinette, Piano (trio)
2
Hautbois (partie séparée)
2
Hautbois, Basson (duo)
2
Flûte, Clarinette et Basson
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Flûte, Violon
1
Flûte, Alto (duo)
1
Clarinette et Alto
1
Flute, harpe et violon
1
Flûte à bec Soprano, Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte et Trio à cordes
1
Piccolo, Piano
1
2 Clarinettes, Piano
1
Flûte, Saxophone (duo)
1
2 Flûtes traversières, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Trio de Flûtes: 3 flûtes
1
Flûte, trombone et piano
1
Ensemble de saxophones
1
Quintette de Clarinettes: 5 clarinettes
1
Flûte, Trompette (duo)
1
Hautbois, Clarinette (duo)
1
Saxophone et Orgue
1
Flûte, Violon et Violoncelle
1
Flûte, Violon, Piano
1
Quintette de Flûte : 5 flûtes
1
Hautbois, Flûte
1
+ 65 instrumentations
Retracter
Cuivres
Trompette
23
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
23
Trombone et Piano
16
Cor et Piano
12
Tuba
11
Cor
11
Trompette, Piano
10
Euphonium, Piano (duo)
10
Trombone
9
2 Trompettes (duo)
7
Cor anglais, Piano
7
Cor Anglais
6
Tuba et Piano
6
2 Trombones (duo)
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Quatuor de Cuivres
4
2 Cors (duo)
4
Cor (partie séparée)
3
Trompette (partie séparée)
3
Trombone (partie séparée)
3
2 Tubas (duo)
2
Quatuor de cuivres: 4 cors
2
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Trompette, Saxophone (duo)
2
Trompette, Trombone (duo)
1
Tuba (partie séparée)
1
Quatuor de cuivres: 4 trombones
1
Ensemble de Tubas
1
Ensemble de Trombones
1
+ 24 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
214
Violon et Piano
43
Trio à Cordes: violon, alto, violoncelle
37
Violon (partie séparée)
19
Violon
18
Alto, Piano
17
Violoncelle
16
Violoncelle, Piano
16
Trio à Cordes: 2 violons, violoncelle
13
Alto seul
13
Quintette à cordes: 2 violons, alto, violoncelle, basse
13
Harpe
13
Contre Basse
12
Contrebasse (partie séparée)
12
2 Violons (duo)
10
Trio à cordes: 3 violins
9
Contrebasse, Piano (duo)
9
Violoncelle (partie séparée)
8
Trio à Cordes: 3 violoncelles
7
Quatuor à cordes: 4 violons
7
2 Altos (duo)
6
Alto (partie séparée)
6
4 Violoncelles
5
Trio à Cordes: 2 violons, alto
5
2 Violoncelles (duo)
5
Violon, Violoncelle (duo)
5
Trio à cordes
3
Violon, Alto (duo)
3
Quatuor à cordes : 4 altos
2
2 Contrebasses (duo)
2
Violon, Guitare (duo)
1
Violoncelle , Guitare (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violon, Orgue
1
2 Harpes (duo)
1
Piano Trio: Violon, Alto, Piano
1
Violon, Clarinette, Piano (trio)
1
2 Violons, Piano
1
Alto, Violoncelle (duo)
1
+ 34 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
112
Orchestre d'harmonie
79
Orchestre
47
Cloches
41
Ensemble Jazz
12
Ensemble de cuivres
10
Orchestre de chambre
9
Marimba
6
Xylophone
6
Batterie
6
Percussion (partie séparée)
3
Fanfare
2
Jazz combo
2
Vibraphone
1
+ 9 instrumentations
Retracter
Autres
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ACCORDEON
ALTO
AUTRES INST…
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CLAIRON
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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…
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SAXOPHONE
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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
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PIANO
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TROMBONE
TROMPETTE
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METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
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POP ROCK - ROCK CLAS…
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Vous avez sélectionné:
Mood Ring
Guitare
Partitions à imprimer
32 partitions trouvées
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1
26
Jesus, Joy of Man's Desiring
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Richard Hirsch
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Jesus, Joy of Man's Desiring
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1234273 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Classical,Country,Folk. Individ...
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Solo Guitar - Level 4 - SKU: A0.1234273 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Classical,Country,Folk. Individual part. 7 pages. Richard Hirsch #829813. Published by Richard Hirsch (A0.1234273). I offer an arrangement of Bach’s all-time favourite Jesus, Joy of Man’s Desiring for solo acoustic or classical guitar. I have arranged the piece in 4/4 time in a folk-fingerpicking style giving it something of an American folk-country character, perhaps verging on a gospel. The arrangement follows the original as faithfully as possible with the melody and choral sections interwoven. I think the piece survives the time-change operation beautifully, retaining the joyful and praiseful character of Bach’s original. The piece is a joy to play and to listen to.The arrangement is accessible to intermediate to advanced students of acoustic or classical guitar. Any student of guitar who has mastered the basics of thumb-index-middle fingerpicking  (thumb, thumb, index, middle, thumb, index) will have fun with the piece.I give extensive left hand fingering accompanied by tabs as a guide to the intermediate students of guitar. Right hand fingering is given for the first playing of the repetitive passages and in passages where it might be difficult for the performer to find appropriate  fingering. Otherwise I expect the fingering to be more or less self-evident, leaving it to the individual taste and style of the interpreting guitarist.I have set the tempo to Presto for the arrangement to keep close to lively nature of the original, but the arrangement can also be played much slower, somewhere around Metronome 130. This results in a shift in mood towards a ragtime blues, verging on a spiritual. This great music is a never-ending source of inspiration.The piece is a nice follow-up to my folk-fingerpicking arrangements for Freight Train and The Entertainer.
$4.99
Big Drum
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Richard Hirsch
#
Big Drum
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Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568....
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Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
Neve
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Guitare
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INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Eric J Roth
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Neve
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.914745 Composed by Eric J Roth. 20th Century,Contemporary. Individual part. 6 pages. Eric J Roth #5733799. Published by ...
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Solo Guitar - Level 4 - SKU: A0.914745 Composed by Eric J Roth. 20th Century,Contemporary. Individual part. 6 pages. Eric J Roth #5733799. Published by Eric J Roth (A0.914745). Two pages of music.Neve (pronounced NEEV) is an ancestral name within my family, to whom this piece is dedicated. The word appears in multiple languages and has a variety of meanings. In British English, Neve has two definitions, both of which have long been out of common usage. The first definition refers to a younger male relative such as a nephew or grandson. The second refers to a spendthrift. Neve is also found in Irish as a girl’s name. In various Latin and Romance languages, it refers to snow or glaciers. Neve is one of a set of four pieces composed in late 2019 and early 2020. The publication of the entire set is forthcoming, but I am also offering Neve here as a short standalone work. Composed for guitar solo, Neve evokes a young boy’s leisurely daydream. The 3/2 time signature, marked andante, and opening G major tonality convey the sense of a lazy weekend day outside in the woods or by the water. Like many daydreams, Neve starts out simply before wandering off into different moods and ideas. A recurring transitional passage (set as a quasi hemiola) serves to modulate to new tonal areas, each of which has its own distinct character. The brief section in A Dorian is marked con moto and evokes the thoughts of excitement and adventure. This is followed by a contrapuntal section in E minor with hints of Dorian. The mood here is more subdued and perhaps even melancholy. The penultimate section in C# minor (with hints of pentatonic and Phrygian) suggests a longing for faraway exotic places before returning to G major to end the piece.
$2.99
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Alban Berg
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Rod Whittle
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4 pp
#
Excerpt from the Lyric Suite
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
'Change of scene' from Act III of Wozzeck
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Alban Berg
#
Rod Whittle
#
'Change of scene' from Act III
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
Excerpt from Lulu Suite
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Guitare
#
Contemporain
#
Alban Berg
#
Rod Whittle
#
Excerpt from Lulu Suite
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
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Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
Four Short Single Focus Compositions for Guitar Solo
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Guitare
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FACILE
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Contemporain
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Scott A
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Four Short Single Focus Compos
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Ponticello Music
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1028891 Composed by Scott A. Niebauer. 20th Century,Contemporary. Individual part. 7 pages. Ponticello Music #4364608. P...
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Solo Guitar - Level 2 - SKU: A0.1028891 Composed by Scott A. Niebauer. 20th Century,Contemporary. Individual part. 7 pages. Ponticello Music #4364608. Published by Ponticello Music (A0.1028891). A suite of short pieces for solo guitar intended to capture a unique yet popular idiosyncratic sound. Some of these are new works, some have been re-worked from older ideas. They all incorporate the idea of popular rock style guitar music being combined with standard classical guitar technique and notation.Andante Tremolo creates an eerie yet nostalgic mood with a sixteenth note tremolo figure at the beginning that bursts into a middle section utilizing pull offs to open strings and a more rapid tremolo. It features a descending melodic figure that leads to nowhere... Anniversary Theme is a half-remembered hum-along melody at the end of the formal celebration when the chairs are being put away but the decorations are still up. It uses simple harmonies that don't really make sense but just follow that same half-forgotten melody, cadencing here and there when they feel like it. Cloudburst Arpeggio focuses on the chime-like campanella effect produced by a descending slur pulled-off to an open string, and then hammering it back on again. It begins with a straight-ahead arpeggio pattern going through a standard chord change, and then jumps off the edge of the cliff into other areas...Mobile is a perpetual motion machine that rocks its way into an Arabic sounding riff in the middle. The low D tuning allows utilization of a drone on the high open D string that produces interesting sonic effects allowing for unique sounds to pull off to open strings.
$5.00
Spanish Nocturne
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Doug Smith
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Spanish Nocturne
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1253431 Composed by Doug Smith. 20th Century,21st Century,Classical,Contemporary,Latin. Individual part. 6 pages. Doug S...
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Solo Guitar - Level 4 - SKU: A0.1253431 Composed by Doug Smith. 20th Century,21st Century,Classical,Contemporary,Latin. Individual part. 6 pages. Doug Smith Guitar Studio #847092. Published by Doug Smith Guitar Studio (A0.1253431). Spanish Nocturne is a guitar solo that brings out the special character of the A or 5th string. The melody sets the mood as it begins in the bass and then gently moves to the trebles and develops into an extended arpeggio section before returning in ornamental fashion to highlight the bass strings.
$2.99
IL SATIRO DANZANTE - Solo Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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LINCOLN BRADY
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IL SATIRO DANZANTE - Solo Guit
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LINCOLN BRADY
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.802998 Composed by LINCOLN BRADY. 20th Century,Concert,Contemporary,World. Individual part. 9 pages. LINCOLN BRADY #1985...
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Solo Guitar - Level 4 - SKU: A0.802998 Composed by LINCOLN BRADY. 20th Century,Concert,Contemporary,World. Individual part. 9 pages. LINCOLN BRADY #1985881. Published by LINCOLN BRADY (A0.802998). Inspired by the true story of the ancient greek statue - 'DANCING SATYR' (in Mazara del Vallo) - discovered by fishermen off the coast of Sicily in 1998 after having lain on the Mediterranean ocean floor for over 2,000 years. Following five years of careful refurbishment in Rome's 'Istituto Centrale per il Restauro' this amazing bronze statue, probably from the school of Praxiteles, was restored almost to its former glory with its head and torso remaining largely intact, incredibly! The 'Dancing Satyr' was then taken on a global tour, including Japan and the Louvre in Paris, where it drew very large crowds capturing the world's imagination. It is now housed in a purpose-built museum in Sicily - 'Museo del Satiro'. The first movement - INTRODUZIONE - begins in a neo-Italian Baroque style , with ancient undertones, in homage to the statue's current home where it has received great care and attention. The music then proceeds in a more modern and programmatic vein conjuring the disastrous sinking of the ship carrying this masterpiece in ancient times and its loss to the inky depths below. The second movement - DANZA - is much lighter in mood celebrating its recovery and conveying the joyous expression of the 'Dancing Satyr' with its arched back and head thrown back in ecstatic abandonment, brilliantly portrayed by its original sculptor. Here the musical language is more influenced by the rhythms of Greek folk music while incorporating modern guitar idioms and harmonic concepts as in the first movement.
$9.99
The Vampire: A Dramatic Theme
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Sol Paul Levy
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Eric J Roth
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The Vampire: A Dramatic Theme
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 ...
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Solo Guitar - Level 4 - SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 pages. Eric J Roth #4593125. Published by Eric J Roth (A0.914739). 6 pages (2 pages of music) formatted for 8.5x11 printing.Sol Paul Levy, born in Chicago, Illinois in 1881, was a composer, arranger and performer of silent film music. He attended All Hallows College in Dublin, Ireland and served as first clarinetist in bands led by John Philip Sousa and Arthur Pryor. Levy led the foreign orchestrating department for Victor Records – which was the first music company to produce the disc record – and was a founder of Belwin Music. Levy compiled a series of photoplay cues for piano that was published in H.S. Gordon’s 1914 Motion Picture Collection. He also wrote songs, the most famous of which was That Naughty Waltz. Sol Paul Levy died in New York in 1920. During the Silent Film Era (1896-1936), showings usually featured live music, which helped to provide dramatic and emotional cues for the audience. The first public silent film shown in 1895 was accompanied by a guitarist. Soon after, films were commonly accompanied by either a pianist, organist, or chamber orchestra. Accompanists often improvised or compiled music from the classical, theatrical or popular repertories using a cue sheet identifying the effects or moods to be conveyed. While some films produced full scores or detailed cue sheets containing excerpts of music unique to that film, a repertoire of generic music soon developed to provide accompanists with music that they could adapt as needed. With titles such as Dramatic Conflict, Dramatic Tension, Heavy Mysterioso, and Weird Oriental Theme, Sol Paul Levy’s scores clearly served this purpose. The Vampire: A Dramatic Theme, composed in 1917, could have been easily adapted to any of the more than twenty films about vampires that appeared between 1909 and 1930. The score exists in three versions: one for small orchestra with piano conductor, one for chamber orchestra without piano, and one for chamber orchestra without timpani. Instruments included piano, flute, clarinet, two cornets, trombone, two timpani, two violins, viola, cello, and bass. Despite being composed for small orchestra, the piece, composed in A minor, is well suited to the guitar once instrumental and octave doublings are removed. While a solo guitar cannot produce the power and volume of a chamber orchestra, it certainly can evoke the intended mood. Except in a few instances owing to the limitations of the guitar, all original dynamic markings have been retained. All fingerings, of course, are editorial. Please note that some of the fingerings in the score may differ than those used in the linked YouTube Video.
$3.99
Impromptu For Anna
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Guitare
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AVANCÉ
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Doug Smith
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Impromptu For Anna
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1304754 Composed by Doug Smith. 20th Century,Classical,Folk,Instructional,Multicultural,World. Individual part. 6 pages....
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Solo Guitar - Level 5 - SKU: A0.1304754 Composed by Doug Smith. 20th Century,Classical,Folk,Instructional,Multicultural,World. Individual part. 6 pages. Doug Smith Guitar Studio #894181. Published by Doug Smith Guitar Studio (A0.1304754). Impromptu For Anna is music composed for performance on the twelfth fret of the guitar. The mood of the music is one of exotic mystery. The high range of the pitches offer sounds that are quite simialr to Chinese folk instruments. The music was first performed for Chinese visitors to McNally Smith College of Music in St. Paul, MN in the summer of 2015. The melody is built within arpeggios that weave open strings into the texture. Intonation in the high range of the guitar involves careful listening and exact fingering with the left hand.
$2.99
Far East Fantasy
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Doug Smith
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Far East Fantasy
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1252008 Composed by Doug Smith. 20th Century,21st Century,Classical,Contemporary,Multicultural,World. Individual part. 8...
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Solo Guitar - Level 4 - SKU: A0.1252008 Composed by Doug Smith. 20th Century,21st Century,Classical,Contemporary,Multicultural,World. Individual part. 8 pages. Doug Smith Guitar Studio #846190. Published by Doug Smith Guitar Studio (A0.1252008). Far East Fantasy is the second of a set of seven guitar solos that focus on a particular string of the guitar. The Far East Fantasy brings out the character of the second or B string.The piece offers a combination of arpeggios and scales scales that work in tandem to create a mystic mood and a dramatic flourish.
$3.99
'Golaud's Letter' from Pelleas et Melisande
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Guitare
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INTERMÉDIAIRE
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Classique
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Claude Debussy
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Rod Whittle
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for solo classical guitar
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'Golaud's Letter' from Pelleas
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899117 Composed by Claude Debussy. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #...
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Solo Guitar - Level 3 - SKU: A0.899117 Composed by Claude Debussy. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25803. Published by Maggie Creek Music (A0.899117). 2 pages; for solo classical guitar; published by Maggie Creek MusicClaude Debussy (1862 – 1918) Debussy’s compositions form part of an art movement known as French Impressionism that evolved in France at the end of the 19th Century. He was its leading musical exponent and a seminal influence on modern music. The aim of Impressionism was to reflect mood, which Debussy did with the use of unusual chords and modes which nevertheless progress unerringly through evocative landscapes to peaks of tension. Careful attention to form gives impalpable sentiments a sense of direction and completion. The excerpt 'Golaud's Letter' from early in Debussy's only opera, the hugely influential ‘Pelleas and Melisande’, demonstrates this, and exhibits his masterful expression of mood and drama. Exquisite without being flowery, forceful but not overblown, the Letter's spoken voice recitative style is a natural accompaniment to the Letter's contents, while it accentuates the arrival of cadences.
$7.00
Reflections: Ten Solos for Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Michael Reardon
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Reflections: Ten Solos for Gui
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Songburd Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1411011 Composed by Michael Reardon. Classical,Jazz. Individual part. 35 pages. Songburd Music #993382. Published by Son...
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Solo Guitar - Level 4 - SKU: A0.1411011 Composed by Michael Reardon. Classical,Jazz. Individual part. 35 pages. Songburd Music #993382. Published by Songburd Music (A0.1411011). Reflections is a set of ten solo pieces for classical guitar that focuses on connecting compositional ideas and moments expressed in the framework of each piece of this collection.Vesta, Gaia and Lakshmi assume some connection to mythology as these titles take their names from three notable Roman, Greek and Hindu goddesses.  Vesta, Gaia and Lakshmi are classical pieces, but they are not without jazz influence, using the major scale modes to convey a sense of mood and atmosphere that is commonly found in impressionism.  Pulse No. 1 and No. 2 follow the idea of maintaining a steady beat over changing meter to influence the way the music is perceived.  The melody at the end of Pulse No. 1 creates the melodic material of Pulse No. 2, which can be thought of as an extension to No. 1.  Inspired by minimalist and popular music these pieces are not melodically and harmonically complex, and what makes them of interest is how the feeling of the beat is different in each piece.Chiasma Nos. 1, 2 and 3 are pieces that find common ground in “linking,†created by using similar compositional devices such as chord shapes and patterns, which gives the impression of crossing over or exchanging information from one piece to another.Sleeping Muse is a three-movement work inspired by the famous 1910 bronze sculpture of Constantin Brâncuși’s “Sleeping Muse,†with each movement expressing some reflection or meditation on Brâncuși’s work, illustrating the notion of drifting off to sleep, dreaming and waking, while characterizing the impact of our dreams on reality.Synesthesia is a highly chromatic piece with distantly related harmonic progressions that gives the listener the sense of seeing the different colors in the score and/or hearing the colors in the music.The abstract nature of these pieces encourages the performer to reflect and draw their own conclusions of imagery and story within the music.
$19.99
CAPRICHO ÁRABE [Serenade by Francisco Tárrega]: solo guitar
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Guitare
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INTERMÉDIAIRE
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Francisco Tarrega
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Cristiano Sousa
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CAPRICHO ÁRABE [Serenad
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Cristiano Sousa
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.941924 Composed by Francisco Tarrega. Arranged by Cristiano Sousa. Concert,Graduation,Instructional,Romantic Period,Stan...
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Solo Guitar - Level 3 - SKU: A0.941924 Composed by Francisco Tarrega. Arranged by Cristiano Sousa. Concert,Graduation,Instructional,Romantic Period,Standards. Individual part. 6 pages. Cristiano Sousa #6343091. Published by Cristiano Sousa (A0.941924). Capricho Ãrabe by Francisco Tárrega (1852-1909) is a masterpiece from romanticism guitar repertoire. Its charming and exotic mood enchant any audience and make this piece a good choice. Level: Advanced guitar skills are maybe required, although it is not hard to play. Some devices are listed below: -- Full and half bars (barré or capotasto); -- Jumps; -- Guide fingers; -- Distencions; -- Contractions; -- Slurs (they can be dropped to keep control); -- Memorizing: the whole piece or some critical passages; -- Scales; -- Arpeggios; -- Harmonics. Fingering: As a classical guitarist, I understand the fingering indication value. Despite I tried to mark clear and confortable fingerings, it is always possible to modify them. You can contact me at cristiano.sousa.santos@gmail.com .
$10.99
IL SATIRO DANZANTE - Solo Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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LINCOLN BRADY
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LINCOLN BRADY
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IL SATIRO DANZANTE - Solo Guit
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LINCOLN BRADY
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.1135186 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Durat...
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Guitar - Level 4 - SKU: A0.1135186 By LINCOLN BRADY. By LINCOLN BRADY. Arranged by LINCOLN BRADY. Classical,Multicultural,World. Full Performance. Duration 403. LINCOLN BRADY #735224. Published by LINCOLN BRADY (A0.1135186). Http://www.sheetmusicplus.com/title/il-satiro-danzante-digital-sheet-music/20229001?ac=1&_requestid=2340691 The first movement - INTRODUZIONE - begins in a neo-Italian Baroque style , with ancient undertones, in homage to the statue's current home where it has received great care and attention. The music then proceeds in a more modern and programmatic vein conjuring the disastrous sinking of the ship carrying this masterpiece in ancient times and its loss to the inky depths below. The second movement - DANZA - is much lighter in mood celebrating its recovery and conveying the joyous expression of the 'Dancing Satyr' with its arched back and head thrown back in ecstatic abandonment, brilliantly portrayed by its original sculptor. Here the musical language is more influenced by the rhythms of Greek folk music while incorporating modern guitar idioms and harmonic concepts as in the first movement.
$2.99
O’Carolan’s Ramble To Cashel - Guitar Arrangement
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Guitare
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FACILE
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Turlough O'carolan
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Arezzo Music
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O’Carolan’s Ramble
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Arezzo Music
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1208810 By Turlough O'carolan. By Turlough O'carolan. Arranged by Arezzo Music. Baroque,Celtic,Classical,Folk,Irish,Trad...
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Solo Guitar - Level 2 - SKU: A0.1208810 By Turlough O'carolan. By Turlough O'carolan. Arranged by Arezzo Music. Baroque,Celtic,Classical,Folk,Irish,Traditional. Individual part. 1 pages. Arezzo Music #806914. Published by Arezzo Music (A0.1208810). Welcome to our guitar arrangement of O'Carolan's Ramble To Cashel, a lively and energetic traditional Irish tune composed by the harper Turlough O'Carolan in the 18th century.Our arrangement features the guitar as the main instrument, allowing us to showcase the intricate melody and rhythmic drive of the piece. Through fingerstyle technique, we weave together the melody and accompaniment, creating a rich and full sound that captures the spirit of this classic tune.In this performance, we explore the playful and dynamic nature of O'Carolan's music, with its quick changes in tempo and mood. From the joyful opening theme to the more contemplative middle section, we aim to bring out the unique character of each section while maintaining the overall flow of the piece.Whether you're a fan of traditional Irish music or simply enjoy intricate guitar arrangements, we hope you enjoy our performance of O'Carolan's Ramble To Cashel. If you like what you hear, please like, comment, and subscribe to our channel for more videos like this one. Thank you for listening!
$2.99
Two Sides of Laurie
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Doug Smith
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Two Sides of Laurie
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1171575 Composed by Doug Smith. 20th Century,Classical,Contemporary,Instructional,Jazz. Individual part. 6 pages. Doug S...
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Solo Guitar - Level 4 - SKU: A0.1171575 Composed by Doug Smith. 20th Century,Classical,Contemporary,Instructional,Jazz. Individual part. 6 pages. Doug Smith Guitar Studio #771882. Published by Doug Smith Guitar Studio (A0.1171575). Two Sides of Laurie is played in the 1st through 9th positions. The melodies are in the treble and the bass strings that are played out as a reply or counterpoint to each other. The mood created is one of melancholy. Guitar techniques include arpeggios, slurs with left hand fingers over four notes, playing chords lightly, and plentiful dynamics.
$2.99
Twilight Tea
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Guitare
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AVANCÉ
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Doug Smith
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Twilight Tea
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1304732 Composed by Doug Smith. 20th Century,21st Century,Classical,Instructional,Jazz. Individual part. 6 pages. Doug S...
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Solo Guitar - Level 5 - SKU: A0.1304732 Composed by Doug Smith. 20th Century,21st Century,Classical,Instructional,Jazz. Individual part. 6 pages. Doug Smith Guitar Studio #894158. Published by Doug Smith Guitar Studio (A0.1304732). Twilight Tea is music composed for perfomance on the ninth fret of the guitar. The mood is reflective. The music is in the key of F# minor and uses scale runs and melodic phrases over chords. Both the melody and the chords artfully make use of open strings for ease of playability and interesting harmony.
$2.99
10th Degree Blues
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Guitare
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AVANCÉ
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Doug Smith
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10th Degree Blues
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1304739 Composed by Doug Smith. 20th Century,Blues,Classical,Contemporary,Jazz. Individual part. 5 pages. Doug Smith Gui...
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Solo Guitar - Level 5 - SKU: A0.1304739 Composed by Doug Smith. 20th Century,Blues,Classical,Contemporary,Jazz. Individual part. 5 pages. Doug Smith Guitar Studio #894165. Published by Doug Smith Guitar Studio (A0.1304739). 10th Degree Blues is music to be performed on the tenth fret of the guitar.The piece tosses phrases back and forth in an echoing fashio, using blues melodies and phrasing over a typical 12 bar blues progression. The chords work in open strings for haarmonies. The tenth position offers higher pitches that provide a bright happy mood and context.
$2.99
Lua para o Epilogo de Verão (Août)
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Guitare
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AVANCÉ
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Contemporain
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Louis Trépanier
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Lua para o Epilogo de Verão
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4088 Composed by Louis Trépanier. Score. 9 pages. Les Productions d'OZ - Digital #DZ 4088. Published by Les Productions ...
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Guitar - Advanced - SKU: ZZ.DZ-4088 Composed by Louis Trépanier. Score. 9 pages. Les Productions d'OZ - Digital #DZ 4088. Published by Les Productions d'OZ - Digital (ZZ.DZ-4088). ISBN 9782898522055.August nights can be tinged with a bit of melancholy because the end of the summer approaches. The moon softly glows with nostalgia for a season passing us by. This mood seems to me folded into the Brazilian Bossa Nova, and the Brazilians? term ?saudade?; in this piece I offer up my tribute to one of my favourite composers, Radamés Gnattali (1906-1988), who wrote for every musical situation in his era in Brazil ? from the concert stage to the back alley, and everything in between. Lua para Epilogo de Verão, is dedicated to the Brazilian guitarist Fabio Zanon, who is both a great friend and a tremendous inspiration.This étude tackles solid chords and contrary motion in the left hand, and, like all the études in this collection, voice separation and phrasing. In measure 24 the guitarist must execute a diagonal barré, where the first finger covers position IV at the first string, and position V at the fifth string, hence the V/IV indication after the barré symbol. The practicalities of navigating through the different chord shapes and rhythms in the piece mean that not all notes can be held for their full, written value. Such discrepancies between the text and the playing are common in this style of music.Les nuits du mois d?août peuvent contenir une douce mélancolie, à savoir que la fin de l?été approche. La lune luit alors avec une nostalgie pour la saison qui est déjà en train de passer. Cette saveur me semble parfaitement miroitée dans les couleurs de la bossa nova brésilienne et le terme brésilien « saudade » ; dans cette pièce je vous offre mon hommage au style d?un de mes compositeurs préféré, Radamés Gnattali (1906-1988), qui a su créer des musiques pour tous les différents musiciens de ses années au Brésil, de la salle de concert, jusqu?à la ruelle. Lua para Epilogo de Verão est dédié au guitariste brésilien Fabio Zanon, un bon ami, et une grande inspiration.Cette étude travaille les accords plaqués et divers mouvements contraires à la main gauche, et, comme toutes les études de cette collection, la séparation de voix et le phrasé. À la mesure 24, on doit exécuter un barré en diagonal, où le premier doigt un est à la position IV à la première corde, et à la position V à la cinquième corde, d?où l?indication V/IV suivant le symbole du barré. Pour des raisons pratiques à naviguer les accords et les rythmes de cette pièce, vous verrez qu?il n?est pas toujours possible de tenir toutes les notes pour leur durée complète. Ces différences entre l?écriture et l?exécution sont courantes dans ce style de musique.
$5.95
Chorus and Aria 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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Chorus and Aria from Ariadne a
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Maggie Creek Music
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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
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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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'A golden time ...' from Ariad
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Maggie Creek Music
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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
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