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PIANO & CLAVIERS
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Instruments en Do
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VOIX
Chorale SATB
64
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8
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6
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2
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2
Voix duo, Piano
2
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VENTS
Quintette de Saxophone: 5 saxophones
89
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88
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78
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64
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59
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56
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50
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46
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42
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37
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37
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33
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32
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31
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11
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CUIVRES
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97
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Trombone et Piano
37
Ensemble de Trombones
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Euphonium, Piano (duo)
28
Trompette, Piano
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Cor et Piano
27
Cor anglais, Piano
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17
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16
Tuba et Piano
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Trompette
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Trombone
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Tuba
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Cor
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2 Cors (duo)
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4 Tubas
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Quatuor de cuivres: 4 trompettes
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Tuba (partie séparée)
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3 Euphoniums
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2 Cors, Piano
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Quatuor de cuivres: 4 cors
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
269
Violon, Violoncelle (duo)
165
Trio à Cordes: violon, alto, violoncelle
124
Violon
119
Harpe
63
Violon et Piano
63
Violoncelle, Piano
52
Alto, Piano
46
Quintette à cordes: 2 violons, alto, violoncelle, basse
36
Violon, Alto (duo)
22
2 Violoncelles (duo)
19
2 Altos (duo)
16
2 Violons (duo)
12
Violoncelle (partie séparée)
11
Ensemble d'Altos
10
Ensemble de Violons
10
Quintette à cordes: 2 violons, 2 altos, violoncelle
7
2 Harpes (duo)
7
Contrebasse, Piano (duo)
6
4 Violoncelles
6
Violoncelle, Contrebasse (duo)
5
Flûte, Contrebasse (duo)
4
Alto seul
4
Trio à Cordes: 2 violons, violoncelle
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Harpe, Flûte (duo)
3
2 Violons, Piano
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Trio à Cordes: 2 violons, alto
2
Violon (partie séparée)
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Violoncelle
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Trio à Cordes: 3 violoncelles
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Harpe, Violon, Violoncelle
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Contre Basse
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Quatuor à cordes : 4 altos
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Contrebasse (partie séparée)
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4 Contrebasses
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Violon, Guitare (duo)
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Violoncelle , Guitare (duo)
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Violoncelle, Orchestre
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
169
Orchestre d'harmonie
91
Orchestre
85
Ensemble Jazz
59
Ensemble de cuivres
54
Orchestre de chambre
27
Cloches
23
Jazz combo
21
Ensemble de Percussions
17
Fanfare
6
Batterie
5
Piano et Orchestre
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2 Marimbas
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Ensemble d'École
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Batterie (partie séparée)
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Vibraphone
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She\\\'s Not There: Score
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Rod Argent: She's Not There - guitar solo
Guitare
Instantly printable sheet music by Rod Argent for guitar solo of EASY skill level. / pop,r…
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Instantly printable sheet music by Rod Argent for guitar solo of EASY skill level. / pop,rock,children
$4.97
4.56 €
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Guitare
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Rod Argent
#
Virtualsheetmusic
EASY RENAISSANCE GUITAR MUSIC - Volume 3
Guitare
Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. …
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Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. 77 pages. Socrates Arvanitakis #889149. Published by Socrates Arvanitakis
This collection contains sixty easy Renaissance pieces from various European countries, and from works of well known, but also obscure or anonymous composers, transcribed for the classical guitar mainly from lute, vihuela, and bandore sources. The pieces will be published in three volumes, each volume containing twenty pieces. <br> I have tried to include pieces of varied difficulty in all three volumes and also to keep the upper level of technical difficulty to the contemporary grade IV level of the A.B.R.S.M. which takes the student to the intermediate level (grades IV-VI).<br> The pieces in each volume are given in two versions, first as decorated pages in ordinary notation, and then the same pieces are again given in undecorated pages of notation and tablature. Therefore each volume contains two books in one and the choice is left to the user whether to keep the volume as presented, or to construct his own book by inclusion or deletion of unwanted pages, blank pages, etc, for use either as a printed or a tablet-screen book version. The addition of tablature of course results in doubling the number of pages needed for the presentation of the pieces, therefore the staff sizes are here reduced to an appropriate degree which can maintain the two-page view principle of any piece without need for automatic or manual page turners, foot pedals etc.<br> The inclusion of tablatures which shows a preference for open string combinations whenever that is possible, clarifies sufficiently the left hand playing positions without need for additional fingerings.<br> Having said that, my professional advice to all guitar students is to abandon completely their reliance on tablatures and study seriously through many easy collections of music such as the present one in order to familiarise themselves to all aspects of musical notation. And always have in mind that tablatures were invented and still are in use only for fretted instruments, and only due to commercial (publisher’s) considerations primarily, while other string instrumentalists neither have them available, nor need them in order to study/play music.<br> <br> Metronome marks are only suggestions that need not be taken too literally and are placed mainly for guiding a score writer programme such as Sibelius for performance and extraction of audio and video files. To this end many other expression and/or technique and tempo marks may have been added to the score and made invisible.<br> <br> NAVIGATION INDEXES – External and Internal links<br> <br> The second page in every volume is an index divided into three columns. The first column has the titles of the pieces as active invisible links which take the user to the relevant tablature page. The header of that page brings the user back to this index.<br> The second column has visible links (in frames) to live performances of the pieces either by professional guitarists or students, which are only for getting familiar with the music, but not as suggestions that particular performances should be followed for study purposes.<br> The third column contains active links to information about particular composers, found mainly in Wikipedia, but sometimes also in other external sources.<br> The third page in every volume contains a thematic index of active links to the decorated (without tablatures) pages of the pieces. The header of every decorated page brings the user back to this index.<br> Finally, the titles of all decorated and tablature pages are active links of interconnection between these pages.<br> <br> This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.
$15.00
13.77 €
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Guitare
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Various
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EASY RENAISSANCE GUITAR MUSIC - Volume 3
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Socrates Arvanitakis
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SheetMusicPlus
Fandango de Huelva
Guitare
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditiona…
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Published by Richard Hirsch
A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, Málaga, Almería) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a compás, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the compás falling on the third beat of the first 4/4 measure. The first accented beat in the compás falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms’ Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan González “Triguito” in Madrid in the late 1960’s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mesón de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzapúa, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzapúa and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.
$4.99
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Guitare
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Traditional
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Richard Hirsch
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Fandango de Huelva
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Richard Hirsch
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SheetMusicPlus
Shawn Mendes: There's Nothing Holdin' Me Back - guitar solo (ChordBuddy system)
Guitare
Instantly printable sheet music by Shawn Mendes for guitar solo (ChordBuddy system) of MED…
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Instantly printable sheet music by Shawn Mendes for guitar solo (ChordBuddy system) of MEDIUM skill level. / pop
$4.97
4.56 €
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Guitare
#
Shawn Mendes
#
Virtualsheetmusic
Sonata No. 6 "Kharkiv", Op. 48
Guitare
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh.…
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Guitar - Advanced - Digital Download 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
7.3 €
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Guitare
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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
Soren's Jig
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.954949 Composed by Jim Bosse. Conc…
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Solo Guitar - Level 3 - Digital Download SKU: A0.954949 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 11 pages. Jim Bosse #4574679. Published by Jim Bosse (A0.954949). This is the final movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. It is fun to perform as multi-tasking is required to play a percussion part with feet. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Soren's Jig was written in a Scottish style, highlighting his genetic heritage. As the finale for this suite, each other gandkid's theme is revisited. Performance time is 4 minutes and 09 seconds, with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
1.83 €
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Guitare
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Jim Bosse
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Soren's Jig
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Jim Bosse
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SheetMusicPlus
Riely's Dance
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.954944 Composed by Jim Bosse. Afri…
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Solo Guitar - Level 3 - Digital Download SKU: A0.954944 Composed by Jim Bosse. African,Concert,Contemporary. Individual part. 10 pages. Jim Bosse #4574663. Published by Jim Bosse (A0.954944). This is the first movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. It is fun to perform as multi-tasking is required to play a percussion part with feet. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Riely's Dance was intended to present only African rhythms with no melody, but a rock n' roll middle somehow snuck in. Performance time is 5 minutes with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
1.83 €
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Guitare
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Jim Bosse
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Riely's Dance
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Jim Bosse
#
SheetMusicPlus
Study for M
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.940528 Composed by Nick Clow. Cont…
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Solo Guitar - Level 2 - Digital Download SKU: A0.940528 Composed by Nick Clow. Contemporary,Instructional,Standards,Wedding. Individual part. 2 pages. Nick Clow #3379963. Published by Nick Clow (A0.940528). This is an intermediate level solo guitar study that might be a worthwhile addition to a student's or intermediate guitarist's study materials or repertoire. It's not too hard - maybe Trinity Grade 3/4. You will be able to find a performance on YouTube.My scores are intentionally devoid of expressive and dynamic markings (even tempo indications). Dynamics and other markings are not only crude, but imply there is only one interpretation of the piece. There should be significant development of dynamics, tempo and colour within my pieces, but I leave this to the interpretation of the player.Notwithstanding the above, the fingerings are important. My pieces are 'guitaristic' in that certain notes need to be played at specific places on the fretboard in order to exploit resonances or harmonies only available when playing them there.
$2.99
2.75 €
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Guitare
#
Nick Clow
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Study for M
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Nick Clow
#
SheetMusicPlus
Bourrée in E MInor
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1340077 Composed by Johann Sebasti…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1340077 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Classical,Instructional,Standards. Individual part. 3 pages. Richard Hirsch #925741. Published by Richard Hirsch (A0.1340077). I offer the famous Bourrée from Bach’s First Suite for Lute in E minor notated for solo acoustic guitar. The notation is accompanied by tablature and extensive left and right hand fingering as an aid to the student. The fingering aims to be as economical and as ergonomic as possible. If played according to the tablature and left hand fingering, the left hand flows smoothly from one position to another over the fretboard. This is especially important in the second part of the piece where Bach takes us on a tour of the harmonic space related to the key of E minor. The piece is a good introduction to the full potential of the fretboard as there are many alternative left hand fingerings, among which I have chosen those I feel fit together and enable flow best. Notice especially how the little finger plays an important role in guiding the left hand from one position to another. The fingering for the right hand is also good for the practice of alternating the index and middle fingers in the melody while the thumb plays the bases.This piece has become part of the standard repertoire for classical guitar, but is also a piece that sounds equally good on a steel string acoustic guitar. The steel strings make the piece sound like it is being played on a harpsichord. I first heard the piece as a boy of 15 back in 1960 in a recording by Chet Atkins playing on a steel string electric guitar!The piece has been transcribed from the original score for Lute and notated for guitar by many guitarists over the years. I hope my version contributes to its continued popularity, making the piece even more accessible and relevant to intermediate students of acoustic guitar.I have chosen a tempo of 130bpm for the notation which I think gives the piece a lively but not overly stressed quickness appropriate for a courtly dance.
$4.99
4.58 €
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Guitare
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Johann Sebastian Bach
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Richard Hirsch
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Bourrée in E MInor
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Richard Hirsch
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SheetMusicPlus
Élégie
Guitare
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey.…
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Guitar - Intermediate - Digital Download 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
3.63 €
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Guitare
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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
Study: Secondary Dominance
Guitare
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1163714 Composed by Brian…
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Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1163714 Composed by Brian Streckfus. Classical,Contemporary,Instructional,Romantic Period. Score. 1 pages. Brian Streckfus #764059. Published by Brian Streckfus (A0.1163714). This piece gives practice in understanding sophisticated chord progressions that use secondary dominance (temporary key changes). For Example:Key of E minor:G E7 Am The E7 chord does not belong (diatonic) in the key of E minor. However, it is the V7 chord of the A minor chord. Therefor, the E7 chord is a dominant chord, it is just not the primary dominant 7th chord in the key of e minor, it's a secondary one. In measure 13 of this piece there is a G#dim7 chord that leads steretypically to A minor. This is the same trick explained earlier, just the chords are ever so slightly different by one note, drastically changing the name of the chord. G#dim7 does not belong (diatonic) in the key of E minor. Tips:1. Secondary dominance allows a composer to get to any chord and key in a seamless sounding way.2. Secondary dominance is a common way to incorporate more chromaticism in compositions.
$1.99
1.83 €
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Guitare
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Brian Streckfus
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Study: Secondary Dominance
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Brian Streckfus
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SheetMusicPlus
Hey Man Take Me With You
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.940535 Composed by Nick Clow. Conc…
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Solo Guitar - Level 4 - Digital Download SKU: A0.940535 Composed by Nick Clow. Concert,Contemporary,Instructional,Standards,Wedding. Individual part. 2 pages. Nick Clow #3383785. Published by Nick Clow (A0.940535). This is an advanced intermediate piece for solo guitar. It's around Trinity Grade 7. You can find a performance on YouTube.My scores are intentionally devoid of expressive and dynamic markings (even tempo indications). Dynamics and other markings not only seem crude to me, but also imply there is just one interpretation of the piece. There should be significant development of dynamics, tempo and colour within my pieces, but I leave this up to the interpretation of the player.Notwithstanding the above, my fingerings are important. My pieces are 'guitaristic' in that certain notes need to be played at specific places on the fretboard in order to exploit resonances or harmonies only available when playing them there.
$2.99
2.75 €
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Guitare
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Nick Clow
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Hey Man Take Me With You
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Nick Clow
#
SheetMusicPlus
You've Got A Friend In Me
Guitare
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1044225 By Randy Newman A…
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Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1044225 By Randy Newman And Lyle Lovett. By Randy Newman. Arranged by Toni Lindgren. Broadway,Children,Film/TV,Musical/Show. Score. 5 pages. Toni Lindgren #648968. Published by Toni Lindgren (A0.1044225). This is a simplified arrangement of the chords to Disney's Toy Story theme by Randy Newman. It's intended for players who are still in the earlier stages of rhythm technique development and are currently focusing on expanding their knowledge of basic open chords. There are no barre chords (with the exception of a small one string barre for the basic F chord) and all the extended voicings of the original song have been removed, but these chords will still function over the original song melody. The score includes these basic open chords, their relevant diagrams, the song lyrics, and notation of the melody, which can be sung over the guitar or played by another instrument.
$4.99
4.58 €
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Guitare
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Randy Newman And Lyle Lovett
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Toni Lindgren
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You've Got A Friend In Me
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Toni Lindgren
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SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download 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
6.43 €
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Guitare
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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 auf Naxos
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Maggie Creek Music
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download 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
6.43 €
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Guitare
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Richard Strauss
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Rod Whittle
#
for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.43 €
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Guitare
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download 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
6.43 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
The Winner Takes It All
Guitare
Guitar - Level 3 - Digital Download SKU: A0.1283320 By ABBA. By Benny Andersson and…
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Guitar - Level 3 - Digital Download SKU: A0.1283320 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Derek Hasted. 20th Century,Pop. 28 pages. Derek Hasted #874514. Published by Derek Hasted (A0.1283320). THE WINNER TAKES IT ALL - Great concert piece for 4 GUITARS or larger ensemblePrimarily for Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar only.Derek Hasted writes This is a concert crowd-pleaser perfect for intermediate or advanced intermediate guitarists!One reason ABBA songs are so memorable isn’t the strong melody line, it’s all the other clever harmonies and countermelodies that lurk just under the surface to make a crafted masterpiece.My arrangement uses guitar-friendly shapes to capture the whole song and many of the countermelodies that make the original such a great listen.The dynamics on the score tie in with the orchestration, so that the quiet sections are slow-moving and the louder sections are busy, adding yet more notes before the previous ones fade away. I’ve added just a little fingering here and there if there’s really only one place on the neck to play what’s on the page. Elsewhere, please choose the sweet spot that gives you, the player, the best mix of tone, sustain, playability and confidence.I hope you enjoy performing this as much as the audience will enjoy hearing it!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
4.58 €
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Guitare
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ABBA
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Derek Hasted
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The Winner Takes It All
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Derek Hasted
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SheetMusicPlus
Toy for Timothy
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.954946 Composed by Jim Bosse. Conc…
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Solo Guitar - Level 3 - Digital Download SKU: A0.954946 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 8 pages. Jim Bosse #4574667. Published by Jim Bosse (A0.954946). This is the third movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. It is fun to perform as multi-tasking is required, to play a percussion part with feet. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Toy for Timothy was written in a Native American style, highlighting this aspect of Timothy's genetic heritage. Performance time is 3 minutes and 42 seconds, with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
1.83 €
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Guitare
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Jim Bosse
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Toy for Timothy
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Jim Bosse
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SheetMusicPlus
"Lavender Sky" for solo classical fingerstyle guitar
Guitare
Solo Guitar - Level 1 - Digital Download SKU: A0.1413643 By Keith Gehle. By Keith W…
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Solo Guitar - Level 1 - Digital Download SKU: A0.1413643 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 2 pages. Keith Gehle #995427. Published by Keith Gehle (A0.1413643). This solo guitar version of “Lavender Sky†was written and recorded as part of Keith’s 2006 Christmas/seasonal recording Songs of December. A few years later, a portion of this tune was used as part of the musical score for the award winning short film by David Field entitled Caterpillar. A third rendering of this piece with various instruments appears on Keith’s 2016 album Space and Time. This relatively easy solo version captures beautifully the colors of the December sky and is popular with students learning classical or fingerstyle guitar. The PDF print out includes standard notation with detailed fingerings. There's also a version with TAB on this site.
$1.99
1.83 €
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Guitare
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Keith Gehle
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"Lavender Sky" for solo classical fingerstyle guitar
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Keith Gehle
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SheetMusicPlus
Lullaby for Mirabai
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.954948 Composed by Jim Bosse. Conc…
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Solo Guitar - Level 3 - Digital Download SKU: A0.954948 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 6 pages. Jim Bosse #4574677. Published by Jim Bosse (A0.954948). This is the fifth movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Lullaby for Mirabai was written in a Scottish style, highlighting her genetic heritage. Performance time is 3 minutes and 30 seconds, with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
1.83 €
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Guitare
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Jim Bosse
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Lullaby for Mirabai
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Jim Bosse
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SheetMusicPlus
Air for Chiara
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.954947 Composed by Jim Bosse. Conc…
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Solo Guitar - Level 3 - Digital Download SKU: A0.954947 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 7 pages. Jim Bosse #4574675. Published by Jim Bosse (A0.954947). This is the fourth movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. It is fun to perform as multi-tasking is required to play a percussion part with feet. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Air for Chiara was written in a Scottish style, highlighting her genetic heritage. Performance time is 2 minutes and 36 seconds, with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
1.83 €
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Guitare
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Jim Bosse
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Air for Chiara
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Jim Bosse
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SheetMusicPlus
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