English version
PARTITIONS GRATUITES
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
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
4
Partitions
Numériques
32
Librairie
Musicale
6
Matériel
de Musique
8
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
417
PIANO & CLAVIERS
Piano seul
344
Piano, Voix et Guitare
276
Piano, Voix
186
Piano Facile
76
Instruments en Do
25
Piano grosses notes
12
Orgue
12
1 Piano, 4 mains
8
Piano Trio: piano, violon, violoncelle
5
Clavecin
4
2 Pianos, 4 mains
4
Accompagnement Piano
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Accordéon
2
Orgue, Trompette (duo)
2
Piano (partie séparée)
1
Accordéon, Piano
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Instrumentations suivantes
Retracter
GUITARES
Ligne De Mélodie, (Paroles) et Accords
67
Guitare notes et tablatures
61
Paroles et Accords
45
Guitare
32
Ukulele
19
Basse electrique
16
2 Guitares (duo)
8
Banjo
4
3 Guitares (trio)
2
Ukulele Baryton
1
Mandoline
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
184
Chorale 3 parties
32
Chorale 2 parties
28
Chorale TTBB
28
Chorale Unison
19
Chorale SSAA
12
Voix duo, Piano
9
Voix Alto, Piano
4
Voix seule
3
Voix haute
3
Voix Baryton, Piano
3
Voix Soprano, Piano
2
Voix Tenor, Piano
2
Voix duo
2
Voix moyenne, Piano
1
Voix, Guitare
1
Chorale SSATB
1
Chorale SSATTB
1
Chorale SSAATTBB
1
Chorale
1
Voix Soprano
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière
47
Quatuor de Saxophones: 4 saxophones
46
Clarinette
36
Flûte traversière et Piano
29
Flûte, Hautbois, Clarinette, Basson
27
Quatuor de Clarinettes: 4 clarinettes
26
Saxophone
25
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
25
Saxophone Alto et Piano
20
Saxophone Alto
19
Clarinette et Piano
19
2 Flûtes traversières (duo)
15
Ensemble de Flûtes
14
Hautbois (partie séparée)
14
Saxophone Tenor
14
Quatuor de Flûtes : 4 flûtes
14
Hautbois, Piano (duo)
13
Saxophone Soprano et Piano
13
Quintette de Saxophone: 5 saxophones
11
Ensemble de Clarinettes
11
Saxophone Tenor et Piano
10
Saxophone (partie séparée)
7
Cor anglais, Piano
6
2 Saxophones (duo)
6
Ensemble de saxophones
6
Saxophone Baryton, Piano
6
5 Flûtes à bec
4
Quatuor de Flûtes à bec
4
3 Clarinettes (trio)
4
2 Clarinettes (duo)
3
Flûte et Guitare
3
Quintette de Clarinettes: 5 clarinettes
3
Clarinette Basse, Piano
3
Quintette de Flûte : 5 flûtes
3
Trio de Flûtes: 3 flûtes
3
Clarinette, Guitare (duo)
2
Flûte, Clarinette (duo)
2
3 Saxophones (trio)
2
Flûte, Clarinette, Piano (trio)
2
Flûte, Hautbois, Clarinette (trio)
1
2 Flûte à bec (duo)
1
Flûte traversière, Orgue (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Violoncelle
1
Flute (partie séparée)
1
Cor Anglais
1
Flûte, Hautbois, Basson
1
Hautbois
1
Clarinette (partie séparée)
1
Hautbois, Guitare (duo)
1
Cor anglais, Guitare (duo)
1
Flûte à bec Alto, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Basson et Piano
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
32
Trompette
29
Quatuor de Cuivres : 2 trompettes, trombone, tuba
27
Trombone
23
Trombone et Piano
15
Cor
12
Trompette, Piano
11
Cor et Piano
7
Euphonium, Piano (duo)
6
Cor anglais, Piano
6
Tuba et Piano
4
Ensemble de Trompettes
3
Ensemble de Trombones
3
2 Trompettes (duo)
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Trompette, Trombone (duo)
2
Tuba
2
4 Tubas
2
Trompette, Cor (duo)
2
Quatuor de cuivres: 4 trombones
2
2 Tubas (duo)
1
Trompette (partie séparée)
1
Quatuor de Cuivres
1
Instruments en Sib
1
2 Euphoniums et 2 Tubas
1
Trombone et orchestre
1
Cor Anglais
1
Quatuor de cuivres: 4 cors
1
Cor anglais, Guitare (duo)
1
3 Trompettes (trio)
1
2 Trombones (duo)
1
Trompette, Euphonium (duo)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
70
Violon
35
Violon et Piano
35
Alto seul
23
Violoncelle
22
Violoncelle, Piano
18
Alto, Piano
16
Trio à Cordes: violon, alto, violoncelle
13
Violon, Violoncelle (duo)
13
2 Violons (duo)
11
Harpe
9
Trio à Cordes: 2 violons, violoncelle
8
4 Violoncelles
5
Violon (partie séparée)
4
Trio à Cordes: 3 violoncelles
3
Contrebasse (partie séparée)
3
2 Violoncelles (duo)
3
Contre Basse
3
Alto (partie séparée)
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Ensemble de Violons
2
Trio à Cordes: 2 violons, alto
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle (partie séparée)
2
Alto et Harpe
1
Violon, Alto (duo)
1
Violoncelle , Guitare (duo)
1
Harpe, Flûte (duo)
1
Harpe, Trombone (duo)
1
4 Contrebasses
1
Trio à cordes: 3 violins
1
Trio à cordes: 3 altos
1
Quatuor à cordes: 4 violons
1
Quatuor à cordes : 4 altos
1
2 Contrebasses (duo)
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
71
Orchestre
45
Ensemble de cuivres
28
Ensemble Jazz
23
Orchestre à Cordes
23
Cloches
16
Jazz combo
11
Batterie
10
Orchestre de chambre
9
Vibraphone
3
Ensemble de Percussions
3
Marimba
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
1
Fanfare
1
Marimba et Orgue
1
Instrumentations suivantes
Retracter
AUTRES
Vous avez sélectionné:
She Said She Said
Guitare
Partitions à imprimer
32 partitions trouvées
<
1
26
Paul McCartney: She Said She Said for guitar
Guitare
Instantly downloadable sheet music by Paul McCartney for guitar of MEDIUM skill level.
Instantly downloadable sheet music by Paul McCartney for guitar of MEDIUM skill level.
$2.99
2.71 €
#
Guitare
#
Paul McCartney
#
Virtualsheetmusic
Paul McCartney: She Said She Said for guitar
Guitare
Instantly downloadable sheet music by Paul McCartney for guitar of MEDIUM skill level.
Instantly downloadable sheet music by Paul McCartney for guitar of MEDIUM skill level.
$2.99
2.71 €
#
Guitare
#
Paul McCartney
#
Virtualsheetmusic
Paul McCartney: She Said She Said for guitar
Guitare
Instantly downloadable sheet music by Paul McCartney for guitar of MEDIUM skill level.
Instantly downloadable sheet music by Paul McCartney for guitar of MEDIUM skill level.
$2.99
2.71 €
#
Guitare
#
Paul McCartney
#
Virtualsheetmusic
Should've Said No
Guitare
By Taylor Swift. Country; Pop. Easy Guitar. 4 pages. Published by Hal Leonard - Digital Sh…
(+)
By Taylor Swift. Country; Pop. Easy Guitar. 4 pages. Published by Hal Leonard - Digital Sheet Music
$2.99
2.71 €
#
Guitare
#
Taylor Swift
#
Pop
#
Should've Said No
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
Just Tell Her Jim Said Hello
Guitare
Easy Guitar (no TAB) - Digital Download SKU: HX.1291659 By Elvis Presley. This edit…
(+)
Easy Guitar (no TAB) - Digital Download SKU: HX.1291659 By Elvis Presley. This edition: scorch. Gospel,Pop,Rock. Score. 1 pages. Hal Leonard - Digital #440390. Published by Hal Leonard - Digital (HX.1291659).
$2.99
2.71 €
#
Guitare
#
Elvis Presley
#
Just Tell Her Jim Said Hello
#
Hal Leonard - Digital
#
SheetMusicPlus
Things We Said Today
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1036577 By The Beatles. By John Le…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1036577 By The Beatles. By John Lennon and Paul McCartney. Arranged by Claudio Amadeo Viggiano. Classical,Folk,Multicultural,Pop,Rock,World. Individual part. 5 pages. Claudio viggiano #641583. Published by claudio viggiano (A0.1036577). The famous Beatle song, arranged for classic guitar, but with changes in style. It has been arranged as a Taquirari (folk music from Bolivia). My email contact: clavi10@hotmail.com.
$5.00
4.52 €
#
Guitare
#
The Beatles
#
Claudio Amadeo Viggiano
#
Things We Said Today
#
claudio viggiano
#
SheetMusicPlus
EASY RENAISSANCE GUITAR MUSIC - Volume 3
Guitare
Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. …
(+)
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
13.57 €
#
Guitare
#
Various
#
EASY RENAISSANCE GUITAR MUSIC - Volume 3
#
Socrates Arvanitakis
#
SheetMusicPlus
Alfie
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1271506 By Cher. By Burt Bacharach…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1271506 By Cher. By Burt Bacharach and Hal David. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Individual part. 2 pages. John Fries #863904. Published by John Fries (A0.1271506). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. Alfie is a song written by Burt Bacharach and Hal David to promote the 1966 film Alfie. Cilia Black states that, rather than declining outright to record the song, she decided to set conditions: I said I'd only do it if Burt Bacharach himself did the arrangement, never thinking for one moment that he would. When the reply came back from America that he'd be happy to...I said I would only do it if Burt came over to London for the recording session. 'Yes,' came the reply. Next I said that as well as the arrangements and coming over, he had to play piano on the session. To my astonishment it was agreed that Burt would do all three. So by this time, coward that I was, I really couldn't back out. The song was a major hit for Cilla Black (UK) and Dionne Warwick (US).
$4.99
4.52 €
#
Guitare
#
Cher
#
John Fries
#
Alfie
#
John Fries
#
SheetMusicPlus
Things We Said Today
Guitare
This edition: Interactive Download. Pop; Rock. Easy Guitar. 2 pages. Published by Hal Leon…
(+)
This edition: Interactive Download. Pop; Rock. Easy Guitar. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.315603). - Easy Guitar - Pop; Rock - Hal Leonard - Digital Sheet Music
$2.99
2.71 €
#
Guitare
#
Rock
#
Things We Said Today
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Am...I Said
Guitare
By Neil Diamond. Country; Pop; Rock. 3 pages. Published by Hal Leonard - Digital Sheet Mus…
(+)
By Neil Diamond. Country; Pop; Rock. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.18651). - - Country; Pop; Rock - Hal Leonard - Digital Sheet Music
$2.99
2.71 €
#
Guitare
#
Neil Diamond
#
Pop
#
I Am...I Said
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
David Bellamy: If I Said You Have A Beautiful Body Would You Hold It Against Me for guitar
Guitare
Instantly printable sheet music by Bellamy Brothers for guitar solo (chords) of EASY skill…
(+)
Instantly printable sheet music by Bellamy Brothers for guitar solo (chords) of EASY skill level. / country,children
$3.97
3.59 €
#
Guitare
#
David Bellamy
#
Virtualsheetmusic
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
(+)
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
6.33 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
(+)
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
6.33 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
(+)
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
6.33 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
2018 Holiday Contest Entry, "Away in a Manger"
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.924177 Composed by James R. Murray…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.924177 Composed by James R. Murray. Arranged by R.S. Carrier. Children,Christian,Christmas,Classical,Sacred. Individual part. 2 pages. Ralph scott carrier #3680995. Published by ralph scott carrier (A0.924177). The beloved Away in a Manger, known to children from two years of age and up. In the key of D (major,) a simple and well known melody. Note: Although I do consider this a simple little song, any thought that this is an unusually easy guitar arrangement would be a mistake. This is, in fact, a rather challenging arrangement, especially the way I have tabbed it. Measures 6 - 9 are particularly difficult. If you can find an easier way to finger it, more power to you. Some contradictory information has been found regarding the attribution of the opus. Some have suggested it was from Martin Luther (himself,) but others have said it was written for his 400th anniversary. But the hymn book I found it in (to copy the lyrics) attributes it to a James R. Murray, so I have also given him credit. It was first published in 1884, in any event.
$1.99
1.8 €
#
Guitare
#
James R
#
R
#
2018 Holiday Contest Entry, "Away in a Manger"
#
ralph scott carrier
#
SheetMusicPlus
Chan's Song
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.781798 By Various. By Herbie Hanco…
(+)
Solo Guitar - Level 5 - Digital Download SKU: A0.781798 By Various. By Herbie Hancock and Stevie Wonder. Arranged by Peter Miklitz. Contemporary. Individual part. 2 pages. Peter Miklitz #4289321. Published by Peter Miklitz (A0.781798). The beautiful ballad Chan's Song (Never Said) from Bertrand Tavernier's famous motion picture Round Midnight arranged for Fingerstyle Guitar solo.
$6.00
5.43 €
#
Guitare
#
Various
#
Peter Miklitz
#
Chan's Song
#
Peter Miklitz
#
SheetMusicPlus
Chan's Song
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.781800 By Various. By Herbie Hanco…
(+)
Solo Guitar - Level 5 - Digital Download SKU: A0.781800 By Various. By Herbie Hancock and Stevie Wonder. Arranged by Peter Miklitz. Contemporary. Individual part. 3 pages. Peter Miklitz #4289679. Published by Peter Miklitz (A0.781800). The beautiful ballad Chan's Song (Never Said) from Bertrand Tavernier's famous motion picture Round Midnight arranged for Fingerstyle Guitar solo in standard notation and TAB.
$8.00
7.24 €
#
Guitare
#
Various
#
Peter Miklitz
#
Chan's Song
#
Peter Miklitz
#
SheetMusicPlus
The Jazz Method (in A Flat)
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1173615 By Wesley Besancon. By Wes…
(+)
Solo Guitar - Level 2 - Digital Download SKU: A0.1173615 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Instructional,Jazz. Individual part. 9 pages. Wesley Besancon #773762. Published by Wesley Besancon (A0.1173615). Does your band ever struggle with jazz? Do you ever struggle with jazz? Has any of your friends stuggled with jazz? If you said yes to any of these, then I would recommend the First Place For Jazz book by Dean Sorenson. But I have seen one problem. They do not dicuss A flat! A flat is a crucial key in jazz. So I have extended his book with 4 new orginal pieces in A flat. 1. (major)2. (mixolydian)3. (dorian)4. (blues).
$19.99
18.09 €
#
Guitare
#
Wesley Besancon
#
Wesley Besancon
#
The Jazz Method
#
Wesley Besancon
#
SheetMusicPlus
Tanguillo de Cádiz Guitar 2
Guitare
Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1262076 Composed by T…
(+)
Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1262076 Composed by Traditional. Arranged by Richard Hirsch. Instructional,Multicultural,Traditional,World. 3 pages. Richard Hirsch #855138. Published by Richard Hirsch (A0.1262076). I offer an arrangement in D major of the traditional Flamenco Tanguillo de Cádiz as a second guitar to accompany my arrangement of the Tanguillo for solo guitar. The solo guitar arrangement is written in A major. To work as guitar 1 in the duet, the solo version must be played with the capo at the fifth fret to transpose the score to D major. This is normal practice in Flamenco guitar playing. The guitarist simply plays the score as if the capo were the nut. The tones/notes are then referred to as if they were being played in the first position, but they sound of course different.I created the arrangement in D major to accompany a student I taught to play the solo version so we could play and perform together. It was a lot of fun working on the arrangement and we had a great time playing the Tanguillo as a duet. It was also a big hit with audiences. I particularly recommend this arrangement for instructors teaching the solo version to intermediate students of Flamenco guitar, especially young students who will find it easier to play the Tanguillo at the fifth fret in D major. It is a great inspiration for  students to play along with their instructor, making music together. The arrangement also, of course, works just as well as a duet for two students or two experienced guitarists.The D minor section contains the typical Andalusian cadence found in the more â??jondoâ? styles of Flamenco and serves as a first introduction to these darker more serious â??sonidos negrosâ? as Manuel de Falla referred to them. The many taps or â??golpesâ? found in the score are, as I said in the description of the Tanguillo solo, not absolutely essential, but they definitely add more â??punchâ? to the performance and give the arrangement a more earthy Gitano Andaluz character.
$3.99
3.61 €
#
Guitare
#
Traditional
#
Richard Hirsch
#
Tanguillo de Cádiz Guitar 2
#
Richard Hirsch
#
SheetMusicPlus
Big Drum
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1202804 Composed by Richard Hirsch…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
4.52 €
#
Guitare
#
Richard Hirsch
#
Big Drum
#
Richard Hirsch
#
SheetMusicPlus
Excerpt from the Lyric Suite
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.52 €
#
Guitare
#
Alban Berg
#
Rod Whittle
#
4 pp
#
Excerpt from the Lyric Suite
#
Maggie Creek Music
#
SheetMusicPlus
Air
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.982792 Composed by Louis Sauter. C…
(+)
Solo Guitar - Level 2 - Digital Download SKU: A0.982792 Composed by Louis Sauter. Classical. Individual part. 1 pages. Louis Sauter #2028119. Published by Louis Sauter (A0.982792). Air (Aria) is a short piece for guitar, in the style of the Spanish classics. People who have played this piece said they really enjoyed it.
$2.49
2.25 €
#
Guitare
#
Louis Sauter
#
Air
#
Louis Sauter
#
SheetMusicPlus
'Change of scene' from Act III of Wozzeck
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arr…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.52 €
#
Guitare
#
Alban Berg
#
Rod Whittle
#
'Change of scene' from Act III of Wozzeck
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from Lulu Suite
Guitare
Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by R…
(+)
Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
4.52 €
#
Guitare
#
Alban Berg
#
Rod Whittle
#
(7 min
#
Excerpt from Lulu Suite
#
Maggie Creek Music
#
SheetMusicPlus
<
1
26
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
