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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
Rat Jazz
Non classifié
2 452
Piano & claviers
Piano seul
1 741
Piano grosses notes
694
Orgue
349
Piano Facile
206
Piano, Voix
198
Piano, Voix et Guitare
161
Instruments en Do
85
1 Piano, 4 mains
52
Accompagnement Piano
42
Piano (partie séparée)
26
2 Pianos, 4 mains
18
Piano Trio: piano, violon, violoncelle
8
Accordéon
6
Clavier
4
1 Piano, 6 mains
4
Clavecin
2
Orgue, Piano (duo)
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 13 instrumentations
Retracter
Guitares
Guitare notes et tablatures
172
Guitare
124
Ligne De Mélodie, (Paroles) et Accords
114
Guitare (partie séparée)
57
Ukulele
23
Basse electrique
20
Piano, Guitare (duo)
5
2 Guitares (duo)
4
Paroles et Accords
4
4 Guitares (Quatuor)
4
Banjo
3
3 Guitares (trio)
2
Ensemble de guitares
1
Mandoline
1
+ 9 instrumentations
Retracter
Voix
Pack Instrumental pour Chorale
491
Chorale SATB
340
Chorale 3 parties
243
Chorale TTBB
91
Chorale 2 parties
73
Chorale SSAA
57
Chorale Unison
22
Voix Tenor, Piano
13
Chorale
4
Voix duo
4
Voix moyenne, Piano
4
Voix Tenor
3
Voix Baryton, Piano
2
Voix haute
2
Voix Mezzo-Soprano, Piano
2
Voix Alto, Piano
2
Chorale SSATB
1
Voix seule
1
Chorale SSAATTBB
1
Voix Soprano, Piano
1
Voix duo, Piano
1
+ 16 instrumentations
Retracter
Vents
Saxophone (partie séparée)
230
Quatuor de Saxophones: 4 saxophones
197
Flûte, Hautbois, Clarinette, Basson
120
Flûte traversière et Piano
112
Saxophone Alto et Piano
84
Clarinette et Piano
71
Quatuor de Clarinettes: 4 clarinettes
58
Clarinette
55
2 Saxophones (duo)
52
Saxophone Tenor
52
Flûte traversière
49
Hautbois, Piano (duo)
49
Clarinette (partie séparée)
46
Saxophone Tenor et Piano
40
Quatuor de Flûtes : 4 flûtes
36
Saxophone Alto
35
2 Clarinettes (duo)
35
Saxophone
33
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
33
2 Flûtes traversières (duo)
32
Saxophone Soprano et Piano
30
Flute (partie séparée)
27
Trio de Flûtes: 3 flûtes
22
Quintette de Saxophone: 5 saxophones
21
Clarinette, Violon (duo)
19
Hautbois (partie séparée)
18
3 Clarinettes (trio)
18
Saxophone et Orchestre
15
3 Saxophones (trio)
13
Clarinette Basse, Piano
12
Flûte et Guitare
11
Cor anglais, Piano
11
2 Hautbois (duo)
9
Saxophone Baryton, Piano
8
Flûte, Saxophone (duo)
7
Quintette de Clarinettes: 5 clarinettes
7
Flûte, Clarinette (duo)
7
Clarinette, Trompette (duo)
7
Saxophone, Clarinette (duo)
7
Hautbois, Basson (duo)
6
2 Flûtes traversières, Piano
6
Ensemble de Clarinettes
6
Hautbois, Clarinette (duo)
6
Clarinette et Alto
6
Flûte, Violon
6
Ensemble de saxophones
6
Harmonica
6
Flûte, Alto (duo)
5
3 Flûtes à bec (trio)
5
Flûte, Violon, Piano
5
Flûte, Hautbois (duo)
5
Flûte à bec Soprano
5
Hautbois, violon (duo)
4
Saxophone Soprano
3
Saxophone Baryton
3
Flûte, Trompette (duo)
3
Ensemble de Flûtes
3
Hautbois
3
Flûte, Clarinette et Basson
2
Clarinette, Guitare (duo)
2
Clarinette, Violoncelle, Piano (trio)
2
2 Saxophones, Piano
2
Clarinette Basse
2
Quatuor de Flûtes à bec
2
Flûte, Clarinette, Piano (trio)
2
Flûte, Violoncelle, Piano (trio)
1
Flûte à bec Tenor
1
Ensemble De Flûte à bec
1
Flûte, Violoncelle
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Quintette de Flûte : 5 flûtes
1
2 Clarinettes, Piano
1
Flûte, trombone et piano
1
Saxophone et Guitare
1
2 Flûte à bec (duo)
1
Flûte à Bec
1
Flûte à bec Alto
1
Flûte, Hautbois, Clarinette (trio)
1
Hautbois, Guitare (duo)
1
Piccolo
1
Flûte, Hautbois, Basson
1
2 Clarinettes, Basson
1
+ 77 instrumentations
Retracter
Cuivres
Trompette (partie séparée)
220
Trombone (partie séparée)
190
Quatuor de Cuivres : 2 trompettes, trombone, tuba
76
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
75
Trompette
51
Trombone
43
Quatuor de Cuivres
40
Trompette, Piano
32
Cor (partie séparée)
30
Trombone et Piano
29
Trio de Cuivres
28
Quatuor de cuivres: 4 trombones
22
Cor et Piano
16
Tuba (partie séparée)
16
Euphonium, Piano (duo)
14
2 Trombones (duo)
14
2 Trompettes (duo)
13
Cor
13
Cor anglais, Piano
11
Trompette, Trombone (duo)
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
Trompette, Saxophone (duo)
8
Tuba et Piano
7
3 Trompettes (trio)
7
Ensemble de Trombones
5
Ensemble de Trompettes
5
Tuba
4
Trompette, Cor (duo)
3
Instruments en Sib
2
Trompette, Violoncelle et Piano
2
Ensemble de Cors
2
2 Cors (duo)
2
Trompette, Tuba (duo)
1
Trompette, Trombone, Piano
1
Trompette, Euphonium (duo)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
3 Trombones (trio)
1
Trombone basse et Piano
1
2 Tubas (duo)
1
2 Cors, Piano
1
+ 35 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
242
Violon et Piano
105
Contrebasse (partie séparée)
78
Violoncelle, Piano
54
Violon
41
Violon, Violoncelle (duo)
39
Violon (partie séparée)
36
Alto, Piano
33
Violoncelle
23
Trio à Cordes: violon, alto, violoncelle
21
Alto seul
15
Violon, Alto (duo)
14
2 Altos (duo)
12
Violon, Guitare (duo)
10
2 Violons (duo)
9
Contre Basse
9
2 Violoncelles (duo)
9
Harpe
8
Trio à cordes: 3 violins
8
Alto (partie séparée)
8
Violoncelle (partie séparée)
8
Trio à Cordes: 2 violons, violoncelle
6
Violoncelle, Contrebasse (duo)
3
Contrebasse, Piano (duo)
2
Harpe, Flûte (duo)
2
Alto, Guitare (duo)
1
2 Violoncelles, Piano
1
Violon, Clarinette, Piano (trio)
1
Violoncelle , Guitare (duo)
1
Ensemble de Violoncelles
1
Violoncelle, Orgue
1
Trio à Cordes: 2 violons, alto
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
4 Violoncelles
1
Violoncelle, Orchestre
1
+ 30 instrumentations
Retracter
Orchestre & Percussions
Ensemble Jazz
791
Orchestre d'harmonie
237
Jazz combo
211
Orchestre
92
Ensemble de cuivres
62
Batterie (partie séparée)
50
Batterie
50
Orchestre à Cordes
44
Percussion (partie séparée)
39
Cloches
26
Orchestre de chambre
18
Percussion
7
Ensemble de Percussions
7
Marimba
4
Ensemble d'École
4
Vibraphone
3
Fanfare
3
Timbales (partie séparée)
3
Timbales
3
Caisse Claire
1
Big band
1
Xylophone, Piano
1
+ 17 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
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
Achats pour Musiciens
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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
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
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Crtitères actifs :
Rat Jazz
Guitare
Partitions à imprimer
124 partitions trouvées
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101
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Guitare
#
FACILE
#
Brian Streckfus
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Guitar Chord Progression Gener
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Brian Streckfus
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #7...
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Solo Guitar - Level 2 - SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670). This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!Objective:Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. What Scales/Modes are being harmonized? C Major (+jazz version) A (natural) minor (+jazz version) A harmonic minor (+jazz version) B Locrian D Dorian E Phyrigian F Lydian G Mixolydian Features: Slowly increases in physical and theoritcal difficulty at the same time. Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. These chord progressions are a great composition aid. Guitar chord diagrams Traditional notation with letter names on the note heads Roman numerals color coded Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. Tips: Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled! Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.
$1.99
Soul Jazz Guitar
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Guitare
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INTERMÉDIAIRE
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Jazz
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Randy Johnston
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Soul Jazz Guitar
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Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Guitar (all) - Intermediate - SKU: M0.20033BCDEB Composed by Randy Johnston. Solos. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet ...
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Guitar (all) - Intermediate - SKU: M0.20033BCDEB Composed by Randy Johnston. Solos. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #20033BCDEB. Published by Mel Bay Publications - Digital Sheet Music (M0.20033BCDEB). ISBN 9781610651066. 8.75x11.75 inches.Soul Jazz Guitar is a collection of Randy Johnston's tunes and solos specifically designed for the intermediate student. Rather than merely transcribing solos from his CDs, he plays material at a reasonable tempo specifically with the student in mind. There are tunes (Downtime, The Philadelphians, and Rolling at the Summit) that appear on his commercial CDs, but included here are versions that are new and totally unique to this project. There are also some improvisations on some familiar standard progressions to help the student deal with these changes when he or she encounters them at jam sessions etc. Randy has tried to present his take on the Jazz language as clearly and faithfully as possible to make the solos easy to learn. He hopes that this will lead the student not just to imitation but also to develop his or her own approach to these progressions just as he developed his own approach from listening to the playing of his role models over the years. Includes access to online audio.
$19.99
I Just Want To Celebrate
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Guitare
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Rare Earth
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I Just Want To Celebrate
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Hal Leonard - Digital
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SheetMusicPlus
Easy Guitar (no TAB) - SKU: HX.1241337 By Rare Earth. This edition: scorch. Jazz,Pop,R & B,Rock. Score. 2 pages. Hal Leonard - Digital #15181. Published...
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Easy Guitar (no TAB) - SKU: HX.1241337 By Rare Earth. This edition: scorch. Jazz,Pop,R & B,Rock. Score. 2 pages. Hal Leonard - Digital #15181. Published by Hal Leonard - Digital (HX.1241337).
$2.99
Christmas Time Is Here - Jazz Guitar
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Guitare
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Noël
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Vince Guaraldi
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Robert Sterling
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Concert
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Christmas Time Is Here - Jazz
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Vince Guaraldi. Arranged by Robert Sterling. Rhythm/Strings. Christmas; Concert; Holiday; Jazz. EPak. 2 pages. Duration 3:50. Published by Hal Leonard - Digi...
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By Vince Guaraldi. Arranged by Robert Sterling. Rhythm/Strings. Christmas; Concert; Holiday; Jazz. EPak. 2 pages. Duration 3:50. Published by Hal Leonard - Digital Sheet Music
$7.00
The Look Of Love
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Guitare
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Jazz
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Sergio Mendes & Brasil '66
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Richard Stratton
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The Look Of Love
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Richard Stratton
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SheetMusicPlus
Solo Guitar - SKU: A0.934642 By Sergio Mendes & Brasil '66. By Burt Bacharach. Arranged by Richard Stratton. Jazz. Individual part. 1 pages. Richard Str...
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Solo Guitar - SKU: A0.934642 By Sergio Mendes & Brasil '66. By Burt Bacharach. Arranged by Richard Stratton. Jazz. Individual part. 1 pages. Richard Stratton #3636657. Published by Richard Stratton (A0.934642). Guitar solo with chords.
$4.99
Have Yourself A Merry Little Christmas from MEET ME IN ST. LOUIS
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Guitare
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Jazz
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Colbie Caillat
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Richard Stratton
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Have Yourself A Merry Little C
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Richard Stratton
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SheetMusicPlus
Solo Guitar - SKU: A0.934645 By Colbie Caillat. By Hugh Martin and Ralph Blane. Arranged by Richard Stratton. Jazz. Individual part. 2 pages. Richard St...
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Solo Guitar - SKU: A0.934645 By Colbie Caillat. By Hugh Martin and Ralph Blane. Arranged by Richard Stratton. Jazz. Individual part. 2 pages. Richard Stratton #3638861. Published by Richard Stratton (A0.934645). Guitar solo in standard notation.
$4.99
Understanding How to Build Guitar Chords and Arpeggios
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Guitare
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FACILE
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Methode : Gammes & Accords
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Jazz
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Michael Policastro
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Understanding How to Build Gui
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (jazz and contemporary) - Multiple Levels - Composed by Michael Policastro. Theory and Reference. Style. E-book. 232 pages. Mel Bay Publicati...
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Guitar (jazz and contemporary) - Multiple Levels - Composed by Michael Policastro. Theory and Reference. Style. E-book. 232 pages. Mel Bay Publications - Digital Sheet Music #98287EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609742324.
The first part of this edition teaches a very specific portion of music theory with the goal of providing a thorough foundation for building chords and arpeggios. The second part reveals the unique fingerboard patterns arising from the nature of the guitar's six-string tuning and applies these essential patterns to teaching every aspect of building chords and arpeggios for the guitar. Clear illustrations are abundant throughout this text, making its wealth of information easier to learn and apply. This book is accessible to those who have never learned to read music notation, presenting ideas that anyone can understand and utilize. Self-tests are featured at the end of each chapter facilitating complete and thorough comprehension. Even though this text accelerates rapidly through intermediate and advanced levels, it will also benefit the beginner with no previous musical experience.
$27.99
Élégie
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO...
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Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
Chromatic Bossa
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Guitare
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INTERMÉDIAIRE
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Latin/Musique du monde
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Tomas Ericsson
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Chromatic Bossa
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Tomas Ericsson
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SheetMusicPlus
Guitar - Intermediate - Composed by Tomas Ericsson. 21st Century, Jazz, Bossa Nova, Repertoire. Solo Part. 3 pages. Published by Tomas Ericsson...
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Guitar - Intermediate - Composed by Tomas Ericsson. 21st Century, Jazz, Bossa Nova, Repertoire. Solo Part. 3 pages. Published by Tomas Ericsson
Original work in Bossa style, written during the spring of 2021. Suitable for classical guitarists with a little more experience.
If you go to measure 33 and 34 you'll find an easy chord there with which you can practice the rhythm, which is pretty much the same throughout the piece. Use your middle finger as leading finger from measure 25 through 30. That is keep it on the 3rd string (G3) second fret all the time to simplify changing between the different positions.
Duration: 1:39
Performing Rights Organization: STIM (Sweden)
https://www.youtube.com/channel/UCOI37xrnZsoi88vAQJwNm_A
$3.00
Cultural balance
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Guitare
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INTERMÉDIAIRE
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Jazz
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Kogan Ilya
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Cultural balance
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Kogan Ilya
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SheetMusicPlus
Guitar - Intermediate - Composed by Kogan Ilya. 21st Century, Jazz, Repertoire, World, Asian. Solo Part. 3 pages. Published by Kogan Ilya...
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Guitar - Intermediate - Composed by Kogan Ilya. 21st Century, Jazz, Repertoire, World, Asian. Solo Part. 3 pages. Published by Kogan Ilya
This is World music piece beacause it formed by 2 melodic approaches: West ( A part) and Oriental ( B part).
It call us to Co-Existence founded of cultural fusion.
In that piece I influenced by Greatest Guitarists as Paco De Lucia,Al Di Meola,Joe Pass etc.
The duration is 3.5 min.
$4.00
Sonata
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Guitare
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AVANCÉ
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Classique
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Vojislav Ivanovic
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Sonata
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Chanterelle
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SheetMusicPlus
Guitar - advanced - Digital Download Composed by Vojislav Ivanovic. This edition: Sheet music. Downloadable. Duration 15 minutes 50 seconds. Chantere...
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Guitar - advanced - Digital Download Composed by Vojislav Ivanovic. This edition: Sheet music. Downloadable. Duration 15 minutes 50 seconds. Chanterelle #Q49822. Published by Chanterelle
English - German.
The Sonata for guitar solo was conceived in 1981 and premiered in 1984 by the author. It has been revised several times, the final version was finished in 1999 and dedicated to the great guitarist Zoran Dukic. It follows the outline of Classical Sonata Form but is heavily influenced by the rhythmical, melodic and harmonic language of jazz and traditional Balkan music.
$12.99
8 Swinging Xmas Carols for Guitar & Piano
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Guitare
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INTERMÉDIAIRE
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Musique Sacrée
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Keith Terrett
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Keith Terrett
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Piano
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8 Swinging Xmas Carols for Gui
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Keith Terrett
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1315071 By Keith Terrett. By Various. Arranged by Keith Terrett. 20th Century,Christmas,Holiday,Praise & Worship. Indivi...
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Solo Guitar - Level 3 - SKU: A0.1315071 By Keith Terrett. By Various. Arranged by Keith Terrett. 20th Century,Christmas,Holiday,Praise & Worship. Individual part. 31 pages. Keith Terrett #903814. Published by Keith Terrett (A0.1315071). An exciting arrangement of eight popular swinging xmas carols arranged for Guitar & Piano; in an up-beat and somewhat jazzy manner. This challenging set of carols, offers players in general, something very different for those Christmas concerts and recitals, give them a go, and I am sure that you won’t be disappointed!The set includes: Ding Dong Merrily On High, Silent Night,We Three Kings,Away in a Manger, Joy to the World, God Rest Ye Merry Gentlemen, Deck the Halls & Good King Wenceslas.The part is all written out with jazz inflections and articulation included. The Piano part is all written out, but also includes the jazz chords for players who wish to comp. These Carols are playable by moderately advanced performers and are perfect for parties, church services, busking & recitals. Range is very moderate, nothing high at all.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible!Reviewer Chet Heflin Date 29th Sep 2006Bluesy Xmas! Keith Terrett has done an outstanding job of injecting jazz and blues into these holiday favorites. The writing beginning in measure 13 of Ding Dong Merrily On High is outstanding. Check out the wonderful contrast in movement between the flute and bass. This arrangement of Xmas carols would be a wonderful addition to any future holiday program. Well done Keith! Have fun! Caroling (singing carols in the street) is one of the oldest customs in Great Britain, going back to the Middle Ages when beggars, seeking food, money, or drink, would wander the streets singing holiday songs..
$15.99
The Walls of Jericho
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Traditional
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Richard Hirsch
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The Walls of Jericho
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1402631 Composed by Traditional. Arranged by Richard Hirsch. Blues,Jazz,Multicultural,Ragtime,Spiritual,World. Individua...
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Solo Guitar - Level 4 - SKU: A0.1402631 Composed by Traditional. Arranged by Richard Hirsch. Blues,Jazz,Multicultural,Ragtime,Spiritual,World. Individual part. 8 pages. Richard Hirsch #985855. Published by Richard Hirsch (A0.1402631). I offer an arrangement for solo acoustic guitar of the Spiritual “The Battle of Jericho†in a rendition that takes inspiration from Mississippi Delta Ragtime Blues and Django Reinhardt. The thumb pounds out a steady beat of alternating bases to a swing rhythm with the melody played by alternating middle and index fingers running over the top. There are lots of pull-offs and vibrato-bends in the melody line together with half-tone chord shifts, mutes, and holds (fermatas) that make for a lively and exciting musical rendering of the Old Testament story. However, as opposed to the message of the Old Testament story, I like to think of my arrangement as a message of hope that through music the walls of ignorance separating peoples will “come tumbling downâ€.The arrangement is within reach of advanced intermediate students of nylon or steel string acoustic guitar.
$4.99
The Look Of Love
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Sergio Mendes & Brasil '66
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Christopher J
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The Look Of Love
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Christopher J. Malin
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1297727 By Sergio Mendes & Brasil '66. By Burt Bacharach and Hal David. Arranged by Christopher J. Malin. 20th Century,J...
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Solo Guitar - Level 4 - SKU: A0.1297727 By Sergio Mendes & Brasil '66. By Burt Bacharach and Hal David. Arranged by Christopher J. Malin. 20th Century,Jazz,Pop,Standards. Individual part. 2 pages. Christopher J. Malin #887699. Published by Christopher J. Malin (A0.1297727). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable melody. One of Bacharach/David's finer pieces. A sensual piece of music. Should be played as such. Play in a legato style with subtle finger vibrato on the long single notes. I like to play this on a guitar equiped with a vibrato to also add a little flair to the ending chords. Have fun with this one!This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars.
$4.99
Lua Nascente
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Guitare
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AVANCÉ
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Leo Costa
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Leo Costa
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Lua Nascente
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Leo Costa
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1260598 By Leo Costa. By Marina Oliveira de Santana / Leonardo Costa Dela Coleta. Arranged by Leo Costa. Classical,Conte...
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Solo Guitar - Level 5 - SKU: A0.1260598 By Leo Costa. By Marina Oliveira de Santana / Leonardo Costa Dela Coleta. Arranged by Leo Costa. Classical,Contemporary,Jazz,Latin,Multicultural,World. Individual part. 4 pages. Leo Costa #853791. Published by Leo Costa (A0.1260598). Lua Nascente is a work for solo guitar which brings deep references to Brazilian regional rhythms such as ijexá, maracatu and baião.The original and virtuoso arrangement, written by the artist himself, brings references from popular music closer to the erudite universe without losing the connection with the lyrical narrative that makes it sound like a song. Influenced by great names in Brazilian guitar such as João Pernambuco, Garoto and Paulo Bellinati, Leo Costa proposes his own look at the instrument. It brings complex sonority due to the diversity of elements worked on the same instrument. Starting with low dynamics, full of natural harmonics, the music gradually grows and shows the clearest and strongest notes, reaching the fortissimo at its peak, to fall again afterwards, bringing precisely the figurative sense of a nocturnal trip/journey, with ups and downs, in the light of an imaginary moon that illuminates the Brazilian hinterland and our interior.The music follows unusual paths but at the same time brings constancy in the repetitive marking of the bass, proposing to be a reduced form of the rhythmic orchestra of an ijexá.
$5.00
Guitar Tutor eBoox - Level 2 (Debut)
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Guitare
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DÉBUTANT
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Alison Jackson, Jonathan Eno B
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Guitar Tutor eBoox - Level 2
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Jonathan Eno
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.936705 Composed by Alison Jackson, Jonathan Eno BEM. Instructional. Individual part. 21 pages. Jonathan Eno #6077325. Pu...
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Solo Guitar - Level 1 - SKU: A0.936705 Composed by Alison Jackson, Jonathan Eno BEM. Instructional. Individual part. 21 pages. Jonathan Eno #6077325. Published by Jonathan Eno (A0.936705). This contemporary tutor book is part of the amazing Hot House eBOOX series. Featuring input from the international award-winning team at Hot House, the guitar BOOX were principally authored and curated by Alison Jackson. As an integral member of the Hot House team, Alison is currently the Director of ALL the Hot House Music Schools based in the West Midlands and is an expert pedagogist.Each BOOX has been designed to help you learn to play your instrument both individually and as part of a band. We want you to love playing both written music and improvising i.e. music without notes (making it up). Each level features band music, you can play this with your teacher on the same instrument or… even better your friends around the world on different instruments.Above all, remember that music should be fun, it is always more fun when you play with a friend. Why not record yourselves playing and post it on our social media platforms, we would love to hear you:https://www.facebook.com/bigbangsheet#joinourtribe #bbmusic #boox #eboox #hhmusicNeed help???Tel: 03303 200 880Email: info@bigbangsheetmusic.co.ukWeb: www.bbmusic.co.ukIf you enjoy this tutor boox, why not check out some of the other titles from the Big Bang Music including:Don’t Stop Me Now – QueenHold My Hand – Jess GlynneSuper Mario Theme – Nintendowww.twitter.com/hhyouthjazzwww.twitter.com/jonenowww.instagram.com/HHMusicSchoolwww.facebook.com/bigbangsheetwww.twitter.com/bigbangsheetwww.hhmusic.co.ukwww.bbmusic.co.uk
$9.99
Guitar Tutor eBoox - Level 4 (Debut)
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Guitare
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FACILE
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Alison Jackson & Jonathan Eno
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Guitar Tutor eBoox - Level 4
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Jonathan Eno
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.936703 Composed by Alison Jackson & Jonathan Eno BEM. Instructional. Individual part. 25 pages. Jonathan Eno #6077329. P...
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Solo Guitar - Level 2 - SKU: A0.936703 Composed by Alison Jackson & Jonathan Eno BEM. Instructional. Individual part. 25 pages. Jonathan Eno #6077329. Published by Jonathan Eno (A0.936703). This contemporary tutor book is part of the amazing Hot House eBOOX series. Featuring input from the international award-winning team at Hot House, the guitar BOOX were principally authored and curated by Alison Jackson. As an integral member of the Hot House team, Alison is currently the Director of ALL the Hot House Music Schools based in the West Midlands and is an expert pedagogist.Each BOOX has been designed to help you learn to play your instrument both individually and as part of a band. We want you to love playing both written music and improvising i.e. music without notes (making it up). Each level features band music, you can play this with your teacher on the same instrument or… even better your friends around the world on different instruments.Above all, remember that music should be fun, it is always more fun when you play with a friend. Why not record yourselves playing and post it on our social media platforms, we would love to hear you:https://www.facebook.com/bigbangsheet#joinourtribe #bbmusic #boox #eboox #hhmusicNeed help???Tel: 03303 200 880Email: info@bigbangsheetmusic.co.ukWeb: www.bbmusic.co.ukIf you enjoy this tutor boox, why not check out some of the other titles from the Big Bang Music including:Don’t Stop Me Now – QueenHold My Hand – Jess GlynneSuper Mario Theme – Nintendowww.twitter.com/hhyouthjazzwww.twitter.com/jonenowww.instagram.com/HHMusicSchoolwww.facebook.com/bigbangsheetwww.twitter.com/bigbangsheetwww.hhmusic.co.ukwww.bbmusic.co.uk
$9.99
Guitar Tutor eBoox - Level 3 (Debut)
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Guitare
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FACILE
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Methodes
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Alison Jackson, Jonathan Eno B
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Guitar Tutor eBoox - Level 3
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Jonathan Eno
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.936704 Composed by Alison Jackson, Jonathan Eno BEM. Instructional. Individual part. 25 pages. Jonathan Eno #6077327. Pu...
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Solo Guitar - Level 2 - SKU: A0.936704 Composed by Alison Jackson, Jonathan Eno BEM. Instructional. Individual part. 25 pages. Jonathan Eno #6077327. Published by Jonathan Eno (A0.936704). This contemporary tutor book is part of the amazing Hot House eBOOX series. Featuring input from the international award-winning team at Hot House, the guitar BOOX were principally authored and curated by Alison Jackson. As an integral member of the Hot House team, Alison is currently the Director of ALL the Hot House Music Schools based in the West Midlands and is an expert pedagogist.Each BOOX has been designed to help you learn to play your instrument both individually and as part of a band. We want you to love playing both written music and improvising i.e. music without notes (making it up). Each level features band music, you can play this with your teacher on the same instrument orâ?¦ even better your friends around the world on different instruments.Above all, remember that music should be fun, it is always more fun when you play with a friend. Why not record yourselves playing and post it on our social media platforms, we would love to hear you:https://www.facebook.com/bigbangsheet#joinourtribe #bbmusic #boox #eboox #hhmusicNeed help???Tel: 03303 200 880Email: info@bigbangsheetmusic.co.ukWeb: www.bbmusic.co.ukIf you enjoy this tutor boox, why not check out some of the other titles from the Big Bang Music including:Donâ??t Stop Me Now â?? QueenHold My Hand â?? Jess GlynneSuper Mario Theme â?? Nintendowww.twitter.com/hhyouthjazzwww.twitter.com/jonenowww.instagram.com/HHMusicSchoolwww.facebook.com/bigbangsheetwww.twitter.com/bigbangsheetwww.hhmusic.co.ukwww.bbmusic.co.uk
$9.99
Raindrops Keep Fallin' On My Head
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Guitare
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INTERMÉDIAIRE
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B
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Christopher J
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Raindrops Keep Fallin' On My H
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Christopher J. Malin
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1348275 By B.J. Thomas. By Burt Bacharach and Hal David. Arranged by Christopher J. Malin. 20th Century,Film/TV,Pop,Stan...
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Solo Guitar - Level 3 - SKU: A0.1348275 By B.J. Thomas. By Burt Bacharach and Hal David. Arranged by Christopher J. Malin. 20th Century,Film/TV,Pop,Standards. Individual part. 1 pages. Christopher J. Malin #933060. Published by Christopher J. Malin (A0.1348275). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable cheerful melody. One of Burt Bacharach's many fine pieces. This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars.I tend to play the triad chords using a little hand vibrato, makes them sing a bit. I also slide up to the single notes at times. The tag at the end, is a nice jam in itself if playing with another guitar or bass, if solo I play it 4 times. Listeners will love this tune! Hope you will too.
$4.99
Dream Not Of Today
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Guitare
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Apostolos Paraskevas
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Dream Not Of Today
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Silver Sickle Publications
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SheetMusicPlus
Guitar - SKU: A0.1070393 Composed by Apostolos Paraskevas. 20th Century,Contemporary,Jazz. Full Performance. Duration 335. Silver Sickle Publications #6...
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Guitar - SKU: A0.1070393 Composed by Apostolos Paraskevas. 20th Century,Contemporary,Jazz. Full Performance. Duration 335. Silver Sickle Publications #6103013. Published by Silver Sickle Publications (A0.1070393). Dream Not of Today is a lullaby and a night storytelling fable with heroes, challenges and romances. It's a lullaby for the brave kids and for those adults full of emotions, who want to sleep at the end of it and only after all the good guys have already won. It is written in a jazzier and continuing motivic development style as almost a Theme and Variations. It was composed in 2013 and commissioned by and dedicated to Laura Young.
$1.99
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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