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Next to Me
Guitare
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Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
10.99 €
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Guitare
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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SheetMusicPlus
Patios de Córdoba
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Ar…
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
3.66 €
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Guitare
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Alfie
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1271506 By Cher. By Burt Bacharach…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1271506 By Cher. By Burt Bacharach and Hal David. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Individual part. 2 pages. John Fries #863904. Published by John Fries (A0.1271506). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. Alfie is a song written by Burt Bacharach and Hal David to promote the 1966 film Alfie. Cilia Black states that, rather than declining outright to record the song, she decided to set conditions: I said I'd only do it if Burt Bacharach himself did the arrangement, never thinking for one moment that he would. When the reply came back from America that he'd be happy to...I said I would only do it if Burt came over to London for the recording session. 'Yes,' came the reply. Next I said that as well as the arrangements and coming over, he had to play piano on the session. To my astonishment it was agreed that Burt would do all three. So by this time, coward that I was, I really couldn't back out. The song was a major hit for Cilla Black (UK) and Dionne Warwick (US).
$4.99
4.58 €
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Guitare
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Cher
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John Fries
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Alfie
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John Fries
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SheetMusicPlus
J.S. Bach: Prelude and Fugue in A-Flat Major, BWV 862 transcription for Duo Guitars
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.1317254 By Yuriy Kuznetsov. By Joh…
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Solo Guitar - Level 5 - Digital Download SKU: A0.1317254 By Yuriy Kuznetsov. By Johann Sebastian Bach. Arranged by Yuriy Kuznetsov. Baroque,Chamber,Classical. Individual part. 5 pages. Viacheslav Aleksandrov #905914. Published by Viacheslav Aleksandrov (A0.1317254). Professional level transcription for Duo guitars of the original J.S. Bach: The Well-Tempered Clavier, Book I , Prelude and Fugue in A-Flat Major, BWV 862. Dear Guitar Players, let me to bring to your attention my next transcription: Prelude and Fugue in A-Flat Major, BWV 862 from the The Well-Tempered Clavier, Book I by J.S.Bach. The transcription was made for duo guitars, so you can expect interesting and creative work, which may result in the emergence of a new wonderful ensemble of guitarists.The level of this transcription is highly professional - in the guitar's score you will get the full fingering for both players, for the right and left hands. The attached midi represents the melody you will get, but, of course, the sound of midi is simple and it can't provide you the magic of the magnificent sound of the real two guitars. So, I hope you manage to realize it!
$20.00
18.34 €
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Guitare
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Yuriy Kuznetsov
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Yuriy Kuznetsov
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J.S. Bach: Prelude and Fugue in A-Flat Major, BWV 862 transcription for Duo Guitars
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Viacheslav Aleksandrov
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SheetMusicPlus
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