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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
Movement No 1
Non classifié
652
Piano & claviers
Piano seul
529
Piano Facile
108
Piano, Voix
71
1 Piano, 4 mains
36
Piano Trio: piano, violon, violoncelle
18
Orgue
18
2 Pianos, 4 mains
12
Clavecin
11
Piano, Voix et Guitare
11
Accompagnement Piano
5
Instruments en Do
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Orgue, Piano (duo)
2
Piano grosses notes
1
Piano (partie séparée)
1
2 Accordéons
1
+ 11 instrumentations
Retracter
Guitares
Guitare
24
Guitare notes et tablatures
16
2 Guitares (duo)
5
Ligne De Mélodie, (Paroles) et Accords
2
Ukulele
2
Piano, Guitare (duo)
1
Guitare, Flûte, Clarinette
1
Dulcimer
1
Mandoline
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
13
Voix duo
5
Chorale 3 parties
4
Chorale SSAA
2
Chorale 2 parties
2
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
72
Quatuor de Saxophones: 4 saxophones
61
Flûte traversière et Piano
58
Quatuor de Clarinettes: 4 clarinettes
47
Clarinette
47
2 Flûtes traversières (duo)
44
Hautbois, Piano (duo)
34
Clarinette (partie séparée)
31
Clarinette et Piano
31
Flûte, Hautbois, Clarinette, Basson
30
Quintette de Saxophone: 5 saxophones
28
Flûte traversière
28
Hautbois (partie séparée)
28
Quatuor de Flûtes : 4 flûtes
27
Ensemble de saxophones
27
Saxophone Alto et Piano
26
2 Clarinettes (duo)
22
3 Clarinettes (trio)
19
Saxophone Tenor et Piano
18
2 Saxophones (duo)
17
Saxophone Alto
16
Saxophone Tenor
14
Saxophone Soprano et Piano
14
Quintette de Clarinettes: 5 clarinettes
13
3 Saxophones (trio)
13
Hautbois, Basson (duo)
12
2 Hautbois (duo)
11
Flûte, Violoncelle
10
Quintette de Flûte : 5 flûtes
10
Ensemble de Clarinettes
10
Saxophone (partie séparée)
9
Cor anglais, Piano
9
Saxophone
8
Ensemble de Flûtes
7
Saxophone Baryton, Piano
7
Flûte, Hautbois, Clarinette (trio)
6
2 Cors Anglais Et Pianoforte
6
Cor Anglais
5
Flûte, Alto (duo)
5
Flûte, Clarinette et Basson
5
Clarinette, Violoncelle (duo)
5
Clarinette et Alto
5
Quatuor de Flûtes à bec
5
Trio de Flûtes: 3 flûtes
4
Flûte, Clarinette (duo)
4
2 Flûte à bec (duo)
3
Flûte et Guitare
3
Flute (partie séparée)
3
3 Flûtes à bec (trio)
2
Flûte à bec Alto
2
Flûte, Hautbois, Basson
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Flûte, Violon
2
Flûte à Bec
2
Flûte à bec Soprano
2
Flûte irlandaise
1
Saxophone, Clarinette (duo)
1
Clarinette, Harpe (duo)
1
Clarinette, Guitare (duo)
1
Ensemble de Hautbois
1
5 Flûtes à bec
1
2 Clarinettes, Piano
1
Saxophone, Violon (duo)
1
Flûte, Saxophone (duo)
1
Clarinette Basse, Piano
1
Clarinette, Basson (duo)
1
Piccolo, Piano
1
Flûte à bec Soprano, Piano
1
Clarinette Basse
1
Hautbois, Harpe
1
+ 65 instrumentations
Retracter
Cuivres
Cor
86
Quatuor de Cuivres : 2 trompettes, trombone, tuba
60
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
55
Trompette
50
Trompette (partie séparée)
49
Trombone
24
Trombone et Piano
23
Trombone (partie séparée)
21
Trompette, Piano
20
Cor et Piano
18
Euphonium, Piano (duo)
10
Tuba
9
Cor anglais, Piano
9
Quatuor de Cuivres
8
2 Trompettes (duo)
7
Tuba et Orgue
6
2 Cors Anglais Et Pianoforte
6
Quatuor de cuivres: 4 trombones
6
Ensemble de Trombones
5
Ensemble de Trompettes
5
Cor Anglais
5
3 Trombones (trio)
4
Cor, Violoncelle (duo)
3
Tuba (partie séparée)
3
Tuba et Piano
3
2 Trombones (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Trio de Cuivres
2
Trombone, violoncelle (duo)
2
Trompette, Violoncelle (duo)
2
2 Cors (duo)
2
Cor (partie séparée)
2
2 Euphoniums et 2 Tubas
1
2 Tubas (duo)
1
4 Tubas
1
Trompette, Trombone (duo)
1
Trompette, Saxophone (duo)
1
Quatuor de cuivres: 4 trompettes
1
Trompette, violon (duo)
1
2 Euphoniums (duo)
1
3 Cors (trio)
1
Ensemble de Cors
1
+ 37 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
301
Violon
93
Violon et Piano
76
Violoncelle, Piano
43
Alto seul
35
Alto, Piano
29
Violoncelle
28
2 Violoncelles (duo)
24
2 Violons (duo)
23
Trio à Cordes: violon, alto, violoncelle
23
Violon, Violoncelle (duo)
20
Violon (partie séparée)
15
Quintette à cordes: 2 violons, alto, violoncelle, basse
13
2 Altos (duo)
11
Violon, Alto (duo)
10
Contre Basse
9
Violoncelle, Contrebasse (duo)
8
Contrebasse, Piano (duo)
8
Alto, Violoncelle (duo)
8
4 Violoncelles
8
Trio à Cordes: 2 violons, violoncelle
7
Alto (partie séparée)
5
Flûte, Contrebasse (duo)
5
Contrebasse (partie séparée)
4
Trio à cordes: 3 altos
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Trio à cordes: 3 violins
4
Violoncelle (partie séparée)
4
Trio à Cordes: 3 violoncelles
3
4 Contrebasses
3
Harpe
3
Trio à Cordes: 2 violons, alto
2
Violon, Guitare (duo)
2
Quatuor à cordes: 4 violons
2
Violon, Clarinette, Piano (trio)
1
Alto, Guitare (duo)
1
2 Violons, Piano
1
2 Contrebasses (duo)
1
Harpe, Flûte (duo)
1
Harpe, Violon (duo)
1
Quatuor à cordes : 4 altos
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Orchestre
255
Orchestre à Cordes
158
Orchestre d'harmonie
74
Orchestre de chambre
71
Ensemble de cuivres
16
Ensemble Jazz
7
Timbales (partie séparée)
5
Ensemble de Percussions
3
Piano et Orchestre
3
Percussion (partie séparée)
3
Fanfare
1
Orchestre, Violon
1
2 Marimbas
1
Xylophone, Piano
1
+ 9 instrumentations
Retracter
Autres
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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← INSTRUMENTATIONS
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)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Crtitères actifs :
Movement No 1
Guitare
Partitions à imprimer
24 partitions trouvées
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1
Guitar Sonata No. 5 in G major (open G tuning)
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Guitare
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AVANCÉ
#
Contemporain
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Jeremiah Lawson
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Guitar Sonata No. 5 in G major
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.985325 Composed by Jeremiah Lawson. Contemporary. Individual part. 9 pages. Jeremiah Lawson #6012233. Published by Jerem...
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Solo Guitar - Level 5 - SKU: A0.985325 Composed by Jeremiah Lawson. Contemporary. Individual part. 9 pages. Jeremiah Lawson #6012233. Published by Jeremiah Lawson (A0.985325). Guitar Sonata No. 5 in G major is open G tuning. It is in three movements and performance time is abut 10 to 10:15. Movements 1 and 3 are to be played using a glass or bronze slide worn on the fourth finger. The movements are:1. Hobo Spider Blues2. Ragged) and Sor(e) (after Sor's Op. 29, 10)3. Ricardo de YakimaThe first movement is a set of bottleneck technique variations on an original blues theme. Each variation explores different timbrel possibilities such as ordinary tone, pizzicato, sul tasto, and ponticello before recapitulating the original form of the blues theme.The second movement reconceives Sor's study in E flat from his Op. 29 as a ragtime sonata form, with a developmental intrusion from another Sor etude. This ragtime sonata leads attaca into the final movement.The third movement is another set of variations, this time on a two-step dance theme cast in the form of a menuet. It was common in early 19th century guitar sonatas to end with a menuet and so I opted to end with a menuet with variations. In sharp contrast to my first guitar sonata, which drew inspiration from late Beethoven piano sonatas and late Shostakovich string quartets, the inspirations here were Muddy Waters, Fernando Sor, Scott Joplin, Johnny Cash, and Don Helms.This sonata was also recorded by Daniel Estrem on Estrem Plays Lawson, which was released through Magnatune in 2016. .
$9.95
Mauro Giuliani: Sonatina in C op.71 no.1
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Guitare
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INTERMÉDIAIRE
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Classique
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Mauro Giuliani
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Socrates Arvanitakis
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Mauro Giuliani: Sonatina in C
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. ...
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Solo Guitar - Level 3 - SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. Socrates Arvanitakis #975591. Published by Socrates Arvanitakis (A0.1392100). PREFACE AND BRIEF ANALYTICAL NOTESThe three sonatinas op.71 by Mauro Giuliani in C, G, and D were first published in 1816 in Vienna and were intended as student pieces of progressive difficulty. In parallel with this intention they are also fully developed three-movement works which reveal Giulianiâ??s technique as a composer with harmony, counterpoint, and structure.They certainly have the time length and the variety of full scale sonatas, but here Giuliani has chosen to use the supporting structures of sonatas met in movements other than the first, such as Menuetto and Trio, Rondo, Marcia and Trio, Scherzo and Trio, etc,  rather than sonata form itself.As it stands, this first sonatina in C has the following three movements:1 Maestoso (Moderato) which is a set of a theme and three variations, or better termed as a set of mathematical divisions reminiscent of an earlier era, as the accompaniment of the theme is given in crotchets, quavers, quaver triplets, and semi-quavers.2 Menuetto-Trio-Menuetto da capo written typically in the subdominant key of F and fully developed as per classical 19th century usage.3 Rondo. This movement is also written in a classical rondo style and form as an A-B-A-C-B-A-codetta  structure, with a typical tonal scheme of A in the tonic Key (C), B in the dominant key (G), and C in the relative minor key (Am).Therefore in this work we do not meet with structural innovations of any kind, but with strong affirmation of already existing and well established early 19th century structural norms, but the beautiful personal melodic and harmonic style of Giuliani and even his routine guitaristic nuances and formulas are present in all three movements and can be enjoyed as always.TECHNICALThis publication keeps each separate movement within the limit of two pages, thus avoiding page turns. It is published with two versions of the same pieces given in undecorated and decorated pages for the user to select which version he prefers to print out. Blank pages have been provided for insertion/deletion for the correct placement of left-right hand pages.Metronome marks are only editorial suggestions that need not be taken too literally.Sibelius Mp3 archive has been extracted for this publication using Note Performer playback engine.Socrates ArvanitakisLondon 2024.
$6.00
Suite for Guitar No. 1 Op. 25 (1/2) Tablatur
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Guitare
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AVANCÉ
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Classique
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Fabio Henrique Teles Martins
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Fabio Henrique Teles Martins
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Suite for Guitar No. 1 Op. 25
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Fabio Dentello
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1201762 By Fabio Henrique Teles Martins. By Fabio Henrique Teles Martins. Arranged by Fabio Henrique Teles Martins. 19th...
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Solo Guitar - Level 5 - SKU: A0.1201762 By Fabio Henrique Teles Martins. By Fabio Henrique Teles Martins. Arranged by Fabio Henrique Teles Martins. 19th Century,Baroque,Classical,Romantic Period. Individual part. 13 pages. Fabio Dentello #800379. Published by Fabio Dentello (A0.1201762). My aim in composing this Guitar Suite was to showcase my ability to write in the Baroque Suite style. Having written an ebook on the subject, I wanted to provide a practical example of each movement type, explained in an accessible yet thorough manner. I'm proud to say that this Suite is my first such example, and I'm delighted with the final product.Moving forward, I plan to expand the Suite into an orchestral context, and I can't wait to see how it sounds in that form. The Suite follows a traditional Baroque structure, consisting of five movements: Allemande, Courante, Sarabande, Gavotte (including Musette), and Gigue. It is a challenging piece, but I believe it's well worth the effort, as it's a beautiful and rewarding composition.
$20.00
Suite for Guitar No. 1 Op. 25 (1/2) (Partitur +Tablatur)
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Guitare
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AVANCÉ
#
Classique
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Fabio Henrique Teles Martins
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Fabio Henrique Teles Martins
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Suite for Guitar No. 1 Op. 25
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Fabio Dentello
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1201763 By Fabio Henrique Teles Martins. By Fabio Henrique Teles Martins. Arranged by Fabio Henrique Teles Martins. 19th...
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Solo Guitar - Level 5 - SKU: A0.1201763 By Fabio Henrique Teles Martins. By Fabio Henrique Teles Martins. Arranged by Fabio Henrique Teles Martins. 19th Century,Baroque,Classical,Romantic Period. Individual part. 23 pages. Fabio Dentello #800380. Published by Fabio Dentello (A0.1201763). My aim in composing this Guitar Suite was to showcase my ability to write in the Baroque Suite style. Having written an ebook on the subject, I wanted to provide a practical example of each movement type, explained in an accessible yet thorough manner. I'm proud to say that this Suite is my first such example, and I'm delighted with the final product.Moving forward, I plan to expand the Suite into an orchestral context, and I can't wait to see how it sounds in that form. The Suite follows a traditional Baroque structure, consisting of five movements: Allemande, Courante, Sarabande, Gavotte (including Musette), and Gigue. It is a challenging piece, but I believe it's well worth the effort, as it's a beautiful and rewarding composition.
$30.00
Suite for Guitar No. 1 Op. 25 (1/2) Partitur
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Guitare
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AVANCÉ
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Classique
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Fabio Henrique Teles Martins
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Fabio Henrique Teles Martins
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Suite for Guitar No. 1 Op. 25
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Fabio Dentello
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1201759 By Fabio Henrique Teles Martins. By Fabio Henrique Teles Martins. Arranged by Fabio Henrique Teles Martins. 19th...
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Solo Guitar - Level 5 - SKU: A0.1201759 By Fabio Henrique Teles Martins. By Fabio Henrique Teles Martins. Arranged by Fabio Henrique Teles Martins. 19th Century,Baroque,Classical,Romantic Period. Individual part. 10 pages. Fabio Dentello #800376. Published by Fabio Dentello (A0.1201759). My aim in composing this Guitar Suite was to showcase my ability to write in the Baroque Suite style. Having written an ebook on the subject, I wanted to provide a practical example of each movement type, explained in an accessible yet thorough manner. I'm proud to say that this Suite is my first such example, and I'm delighted with the final product.Moving forward, I plan to expand the Suite into an orchestral context, and I can't wait to see how it sounds in that form. The Suite follows a traditional Baroque structure, consisting of five movements: Allemande, Courante, Sarabande, Gavotte (including Musette), and Gigue. It is a challenging piece, but I believe it's well worth the effort, as it's a beautiful and rewarding composition.
$20.00
Guitar Sonata in F minor (Guitar Sonata No. 1)
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Guitare
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AVANCÉ
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Contemporain
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Jeremiah Lawson
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Guitar Sonata in F minor
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.985320 Composed by Jeremiah Lawson. Contemporary. Individual part. 8 pages. Jeremiah Lawson #5370923. Published by Jerem...
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Solo Guitar - Level 5 - SKU: A0.985320 Composed by Jeremiah Lawson. Contemporary. Individual part. 8 pages. Jeremiah Lawson #5370923. Published by Jeremiah Lawson (A0.985320). This is a single-movement, 8 page solo guitar sonata in F minor that I composed in 2000. My main inspirations were the late piano sonatas of Beethoven (especially Op. 111) and the late string quartets of Shostakovich (particularly No. 13). This is a very demanding work to play. Prescribed tempo should be no LESS than 152 bpm. The work is a traditional sonata form and includes large stretches as well as chords and melodies in harmonics played over continuously moving bass lines using conventional tones on the lower strings. .
$5.00
Pieces Froides : No. 1. Airs a faire fuir: I. D'une maniere particuliere (In a Very Unusual Manner)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Classique
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Brad Rau
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Brad Rau
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Pieces Froides : No. 1. Airs a
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Brad Rau
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1243618 By Brad Rau. By Erik Satie. Arranged by Brad Rau. 20th Century. Individual part. 3 pages. Brad Rau #838582. Publ...
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Solo Guitar - Level 4 - SKU: A0.1243618 By Brad Rau. By Erik Satie. Arranged by Brad Rau. 20th Century. Individual part. 3 pages. Brad Rau #838582. Published by Brad Rau (A0.1243618). D'une Manière Très Particulière was originally written for solo piano and has been arranged for solo guitar by Brad Rau. Fingering suggestions have been added to make it easier to play. The original piece was notated without measures; however, measures have been added to make learning easier. The pieces also do not have a key signature. However, it seems to begin in C minor. It has been transposed to A minor to make it easier to play. This is from a set of pieces Erik Satie wrote in 1897 called Pieces Froides or Cold Pieces. The first set of pieces is called Airs à faire fuir or Tunes to Make You Run Away. This movement is called D'une manière très particulière or In a Very Unusual Manner. In these sets of pieces, Satie writes in the enigmatic he used to compose the Gymnopedies and Gnossienne composed earlier. This little-known piece is rarely played on guitar but works really well.
$4.99
Sonata No. 1
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Guitare
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Contemporain
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Ryan Bair
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Sonata No. 1
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Ryan G. Bair
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SheetMusicPlus
Solo Guitar - SKU: A0.1030904 Composed by Ryan Bair. Contemporary. Individual part. 6 pages. Ryan G. Bair #119529. Published by Ryan G. Bair (A0.1030904...
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Solo Guitar - SKU: A0.1030904 Composed by Ryan Bair. Contemporary. Individual part. 6 pages. Ryan G. Bair #119529. Published by Ryan G. Bair (A0.1030904). Sonata No. 1 for Classical guitar, in three movements. Tuning- DADGBE.
$4.99
Courante - Suite No.1, BWV 1007
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Guitare
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Classique
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Gerry Saulter - Guitar
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Gerry Saulter
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Courante - Suite No.1, BWV 100
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Serenade Music
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SheetMusicPlus
Guitar - SKU: A0.1105357 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance...
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Guitar - SKU: A0.1105357 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance. Duration 250. Serenade Music #708605. Published by Serenade Music (A0.1105357). The 1st cello suite of J.S. Bach is one of his most enduring and recognizable works. This recording was done live in-studio with no edits. My arrangement of the full suite is designed to be very accessible, including fingerings, chord symbols, and even TAB. It is also available through ArrangeMe. I hope you find this selection and all of the other movements from this suite as enchanting as I do.
$1.99
Sarabande - Suite No.1, BWV 1007
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Guitare
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Classique
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Gerry Saulter - Guitar
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Gerry Saulter
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Sarabande - Suite No.1, BWV 10
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Serenade Music
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SheetMusicPlus
Guitar - SKU: A0.1153689 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance...
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Guitar - SKU: A0.1153689 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance. Duration 215. Serenade Music #708606. Published by Serenade Music (A0.1153689). The 1st cello suite of J.S. Bach is one of his most enduring and recognizable works. This recording was done live in-studio with no edits. My arrangement of the full suite is designed to be very accessible, including fingerings, chord symbols, and even TAB. It is also available through ArrangeMe. I hope you find this selection and all of the other movements from this suite as enchanting as I do.
$1.99
Prelude - Suite No. 1, BWV 1007
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Guitare
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Classique
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Gerry Saulter - Guitar
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Gerry Saulter
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Prelude - Suite No. 1, BWV 100
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Serenade Music
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SheetMusicPlus
Guitar - SKU: A0.1105344 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance...
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Guitar - SKU: A0.1105344 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance. Duration 186. Serenade Music #708587. Published by Serenade Music (A0.1105344). The 1st cello suite of J.S. Bach is one of his most enduring and recognizable works. This recording was done live in-studio with no edits. My arrangement of the full suite is designed to be very accessible, including fingerings, chord symbols, and even TAB. It is also available through ArrangeMe. I hope you find this selection and all of the other movements from this suite as enchanting as I do.
$1.99
Minuets I & II - Suite No.1, BWV 1007
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Guitare
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Classique
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Gerry Saulter - Guitar
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Gerry Saulter
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Minuets I & II - Suite No.
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Serenade Music
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SheetMusicPlus
Guitar - SKU: A0.1153690 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance...
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Guitar - SKU: A0.1153690 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance. Duration 269. Serenade Music #708607. Published by Serenade Music (A0.1153690). The 1st cello suite of J.S. Bach is one of his most enduring and recognizable works. This recording was done live in-studio with no edits. My arrangement of the full suite is designed to be very accessible, including fingerings, chord symbols, and even TAB. It is also available through ArrangeMe. I hope you find this selection and all of the other movements from this suite as enchanting as I do.
$1.99
Allemande - Suite No. 1, BWV 1007
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Guitare
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Classique
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Gerry Saulter - Guitar
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Gerry Saulter
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Allemande - Suite No. 1, BWV 1
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Serenade Music
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SheetMusicPlus
Guitar - SKU: A0.1105350 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance...
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Guitar - SKU: A0.1105350 By Gerry Saulter - Guitar. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Traditional. Full Performance. Duration 332. Serenade Music #708598. Published by Serenade Music (A0.1105350). The 1st cello suite of J.S. Bach is one of his most enduring and recognizable works. This recording was done live in-studio with no edits. My arrangement of the full suite is designed to be very accessible, including fingerings, chord symbols, and even TAB. It is also available through ArrangeMe. I hope you find this selection and all of the other movements from this suite as enchanting as I do.
$1.99
Sonata No. 6 "Kharkiv", Op. 48
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Guitare
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AVANCÉ
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Classique
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Konstantin Bliokh
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Sonata No. 6 "Kharkiv", Op. 48
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Production...
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Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95
Cello Suite No. 1, BWV 1007, - 8-string guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Jeffry Steele
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Jeffry Steele
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Cello Suite No. 1, BWV 1007, -
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Jeffry Steele
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1277278 By Jeffry Steele. By Johann Sebastian Bach. Arranged by Jeffry Steele. Baroque. Individual part. 9 pages. Jeffry...
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Solo Guitar - Level 4 - SKU: A0.1277278 By Jeffry Steele. By Johann Sebastian Bach. Arranged by Jeffry Steele. Baroque. Individual part. 9 pages. Jeffry Steele #868975. Published by Jeffry Steele (A0.1277278). Note that I can only link to the Prelude here but on youtube it is part of a playlist comprising all six movements.
$6.00
Guitar Sonata No. 2 in C major
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Jeremiah Lawson
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Guitar Sonata No. 2 in C major
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.985324 Composed by Jeremiah Lawson. Contemporary. Individual part. 6 pages. Jeremiah Lawson #6012227. Published by Jerem...
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Solo Guitar - Level 3 - SKU: A0.985324 Composed by Jeremiah Lawson. Contemporary. Individual part. 6 pages. Jeremiah Lawson #6012227. Published by Jeremiah Lawson (A0.985324). I composed my second guitar sonata in 2010. Guitar Sonata No. 2 in C major is six pages long, has two movements, and its estimated performance time is 8:30 to 9:00. The first movement, Inner Visions & Power Puffs, is a zippy sonata form opening with a 12-bar blues Theme 1. After a conventional modulating transition Theme 2 appears in the traditional key of G major. The title of the movement alludes to the Stevie Wonder album Innervisions and, of course, the Powerpuff Girls. The sonata form has a climax by way of three Bartok pizzicati on the dominant pedal to depict the girls defeating Mojo Jojo and putting him in jail. The second movement is a lullaby with variations. The lullaby is an original song I used to sing for one of my nieces to help her fall asleep. The complete sonata has been recorded by Daniel Estrem and is available on the Magnatune release Estrem Plays Lawson.http://magnatune.com/artists/albums/estrem-estremlawson/I played movement 1 at a Seattle Classic Guitar Society open mic in 2012 on a warm summer Friday night and there were kids playing and screaming in the background, which helped set the mood of the sonata rather than break it.
$5.00
"Cavatina" from Beethoven String Quartet No 13, excerpt for guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven
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Martin Tang Bruland
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"Cavatina" from Beet
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Martin Tang Bruland
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.944220 Composed by Ludwig van Beethoven. Arranged by Martin Tang Bruland. 20th Century,Classical,Romantic Period. Indivi...
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Solo Guitar - Level 4 - SKU: A0.944220 Composed by Ludwig van Beethoven. Arranged by Martin Tang Bruland. 20th Century,Classical,Romantic Period. Individual part. 1 pages. Martin Tang Bruland #4643145. Published by Martin Tang Bruland (A0.944220). String Quartet No. 13, Op. 130, fifth movement - Cavatina.Arrangement of the first 39 bars of the cavatina for classical guitar.
$1.99
Carnaval, Op.9 No.5:Eusebius
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Guitare
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INTERMÉDIAIRE
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Classique
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Robert Schumann
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Greg Hays
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Carnaval, Op.9 No.5:Eusebius
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Greg Hays
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.934508 Composed by Robert Schumann. Arranged by Greg Hays. Romantic Period. Individual part. 1 pages. Greg Hays #3470082...
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Solo Guitar - Level 3 - SKU: A0.934508 Composed by Robert Schumann. Arranged by Greg Hays. Romantic Period. Individual part. 1 pages. Greg Hays #3470082. Published by Greg Hays (A0.934508). From Robert Schumann's famous Carnaval, this movement, Eusebius, was originally written for solo piano. Now add it to you background rep for solo guitar! Arranged in the key of D and contains some nice jazz reharm to keep it modern. Enjoy!
$2.50
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
In An English Garden
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Guitare
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AVANCÉ
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Contemporain
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Dusan Bogdanovic
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In An English Garden
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Advanced - SKU: ZY.DO-1529 Composed by Dusan Bogdanovic. Score. 8 pages. Les Editions Doberman-Yppan (digital) #DO 1529. Published by Les Editi...
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Guitar - Advanced - SKU: ZY.DO-1529 Composed by Dusan Bogdanovic. Score. 8 pages. Les Editions Doberman-Yppan (digital) #DO 1529. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1529). Homage to the English guitarist-composer John Duarte, In an English Garden, is a short Neo-Baroque triptych based on a charming harmonic fragment from the second movement of the composer?s well-known work English Suite. The blueprint for the Prelude is in the French Overture style and Sarabande with the accompanying Double is modelled after Bach?s Partita no.1 in B minor. The quote Sitting in an English garden, waiting for the sun, is from one of my favorite songs by John Lennon, I Am The Walrus.Hommage au guitariste-compositeur anglais John Duarte, In an English Garden est un court triptyque néo-baroque basé sur un charmant fragment harmonique du deuxième mouvement de l??uvre bien connue du compositeur English Suite. Le plan du Prélude est dans le style de l?Ouverture française et la Sarabande accompagnée du Double est calquée sur la Partita n°1 en si mineur de Bach. La citation « Assis dans un jardin anglais, attendant le soleil » est tirée d?une de mes chansons préférées de John Lennon, I Am The Walrus.
$5.95
Suite in D Lydian Mixed Mode
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Classique
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Socrates Arvanitakis
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Suite in D Lydian Mixed Mode
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1421220 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 14 pages. Socrates Arvanitakis #10026...
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Solo Guitar - Level 4 - SKU: A0.1421220 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 14 pages. Socrates Arvanitakis #1002611. Published by Socrates Arvanitakis (A0.1421220). This suite utilises the ancient Lydian Mode (Present day Ionian) in its lower diatonic and upper chromatic tetrachords,containing the notes:D-E-F#-GandA-Bb-C#-Dtherefore it can be termed as in Lydian Mixed Mode but not as Mixolydian mode to which it bears no relation. Â The upper chromatic tetrachord gives the music a bitter-sweet minor feeling and the time signatures are mainly based on Rebetiko Music dance rhythms.The six movements are1 Zeibekikos2 Hassapikos3 Valse4 Tsifteteli5 Kamilieriko6 Hassaposervikosand are here listed as active links to the relevant music pages, from which you can come back to this page by clicking on the title of each piece.Socrates ArvanitakisLondon 2024.
$12.00
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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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
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1
Movement No 1