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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
The Effect
Non classifié
1 174
Piano & claviers
Piano seul
442
Orgue
267
Piano Facile
95
Piano, Voix
78
Piano, Voix et Guitare
33
Instruments en Do
19
1 Piano, 4 mains
17
Piano (partie séparée)
17
Piano Trio: piano, violon, violoncelle
14
Accompagnement Piano
10
1 Piano, 6 mains
8
2 Pianos, 4 mains
5
Orgue, Piano (duo)
4
Clavecin
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Accordéon
2
Orgue, Trompette (duo)
1
+ 13 instrumentations
Retracter
Guitares
Guitare
82
Guitare notes et tablatures
50
Guitare (partie séparée)
31
Ukulele
18
2 Guitares (duo)
10
Basse electrique
9
4 Guitares (Quatuor)
6
3 Guitares (trio)
4
Piano, Guitare (duo)
4
Ensemble de guitares
4
Mandoline
3
Ligne De Mélodie, (Paroles) et Accords
3
Dulcimer
2
Ukulele Baryton
2
Banjo
1
Guitare, Violon, Violoncelle (trio)
1
+ 11 instrumentations
Retracter
Voix
Chorale SATB
918
Chorale 3 parties
246
Chorale 2 parties
131
Chorale Unison
73
Chorale TTBB
70
Chorale SSAA
43
Voix duo, Piano
8
Voix Alto, Piano
8
Voix duo
5
Chorale SSAATTBB
4
Voix seule
2
Chorale
2
Voix Soprano, Piano
2
Voix haute
2
Voix moyenne, Piano
2
Chorale SSATTB
2
Voix basse, Piano
1
Voix Baryton, Piano
1
Chorale SAATB A Cappella
1
+ 14 instrumentations
Retracter
Vents
Saxophone (partie séparée)
83
Quatuor de Saxophones: 4 saxophones
59
Flûte traversière et Piano
54
Quatuor de Clarinettes: 4 clarinettes
44
Clarinette et Piano
43
Flûte, Hautbois, Clarinette, Basson
43
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
39
Hautbois, Piano (duo)
36
Saxophone Alto et Piano
28
Quatuor de Flûtes : 4 flûtes
27
2 Saxophones (duo)
26
2 Flûtes traversières (duo)
25
Clarinette
24
2 Clarinettes (duo)
23
Flûte traversière
23
Clarinette (partie séparée)
23
Flute (partie séparée)
22
Saxophone Tenor et Piano
19
Quintette de Saxophone: 5 saxophones
17
Ensemble de saxophones
15
Flûte et Guitare
15
Saxophone Alto
15
Trio de Flûtes: 3 flûtes
14
Ensemble de Clarinettes
14
Ensemble de Flûtes
14
Saxophone Baryton, Piano
12
Hautbois (partie séparée)
12
3 Saxophones (trio)
11
Saxophone Soprano et Piano
11
Harmonica
9
Clarinette, Guitare (duo)
9
Cor anglais, Piano
8
Quintette de Flûte : 5 flûtes
8
Quintette de Clarinettes: 5 clarinettes
7
Flûte, Clarinette (duo)
7
3 Clarinettes (trio)
6
Saxophone Tenor
6
Hautbois
6
Flûte à bec Soprano
6
Clarinette, Basson (duo)
6
Clarinette Basse, Piano
5
Clarinette, Violon (duo)
5
2 Flûte à bec (duo)
5
2 Hautbois (duo)
5
Flûte, Violon, Piano
4
Flûte, Clarinette et Basson
4
Flûte à bec Alto
4
Flûte à Bec
4
2 Clarinettes, Piano
4
Saxophone, Clarinette (duo)
3
Saxophone Soprano
3
Hautbois, Clarinette (duo)
3
Saxophone Baryton
3
Clarinette, Violoncelle (duo)
3
Clarinette, Violoncelle, Piano (trio)
3
Flûte à bec Tenor
3
Hautbois, Basson (duo)
3
Clarinette et Alto
2
Cor anglais, Guitare (duo)
2
Flûte, Violon et Violoncelle
2
Flûte, trombone et piano
2
Flûte, Hautbois, Clarinette (trio)
2
Hautbois, Violoncelle
2
Clarinette, Orchestre
2
Cor Anglais
2
3 Flûtes à bec (trio)
2
Saxophone
2
Saxophone et Guitare
2
Quatuor de Flûtes à bec
2
Clarinette, Trompette (duo)
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte, Alto (duo)
1
Flûte, Saxophone (duo)
1
Hautbois, Basson et Piano
1
Flûte, Violoncelle
1
2 Flûtes traversières, Piano
1
Cor anglais et Harpe (duo)
1
2 Clarinettes, Basson
1
Flûte, Hautbois, Basson
1
Hautbois, violon (duo)
1
Hautbois, Flûte
1
Piccolo
1
Flûte, Violoncelle, Piano (trio)
1
Flûte à bec, Harpe
1
Ensemble de Hautbois
1
Flûte, Clarinette, Violon (trio)
1
2 Saxophones, Piano
1
Flûte, Alto et Piano
1
Flûte, Basson et Piano
1
Hautbois, Harpe
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Hautbois (duo)
1
Saxophone et Harpe
1
4 Hautbois
1
Flûte, Trompette (duo)
1
Flûte à Bec, Piano
1
Hautbois et alto (duo)
1
Flûte, Violon
1
Flûte traversière, Orgue (duo)
1
Flûte de Pan
1
Flûte à bec Alto, Piano
1
Flute, harpe et violon
1
Clarinette, Harpe (duo)
1
+ 98 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
76
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
67
Trompette (partie séparée)
53
Quatuor de Cuivres : 2 trompettes, trombone, tuba
30
Trompette, Piano
29
Trombone et Piano
26
Trompette
22
Cor (partie séparée)
22
Tuba
21
Tuba (partie séparée)
19
Trombone
17
Cor et Piano
16
Quatuor de Cuivres: 2 trompettes, Cor, trombone
16
Cor
14
Tuba et Piano
11
Cor anglais, Piano
8
2 Trompettes (duo)
7
2 Cors (duo)
5
2 Trombones (duo)
5
Quatuor de cuivres: 4 trompettes
5
Quatuor de cuivres: 4 cors
5
Quatuor de Cuivres
5
Trompette, Trombone (duo)
5
Quatuor de cuivres: 4 trombones
4
Euphonium, Piano (duo)
4
Ensemble de Trombones
4
3 Trombones (trio)
3
Ensemble de Trompettes
3
4 Tubas
3
Ensemble de Cors
3
2 Euphoniums et 2 Tubas
2
Trombone basse et Piano
2
Trombone, Cor (duo)
2
3 Tubas (trio)
2
Trompette, Saxophone (duo)
2
3 Trompettes (trio)
2
Cor anglais, Guitare (duo)
2
2 Tubas (duo)
2
Cor Anglais
2
Euphonium, Tuba (duo)
2
Trombone basse
1
Trompette, Harpe
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor anglais et Harpe (duo)
1
Trompette, Cor (duo)
1
Tuba et Orgue
1
Trompette, Violoncelle et Piano
1
3 Cors (trio)
1
2 Euphoniums (duo)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Cor, Tuba (duo)
1
Trio de Cuivres
1
Cornet et orchestre
1
Euphonium
1
+ 49 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
231
Harpe
97
Violon et Piano
78
Violon
61
Violoncelle, Piano
41
Alto, Piano
38
Trio à Cordes: violon, alto, violoncelle
35
2 Violons (duo)
29
Violon (partie séparée)
28
Violoncelle
24
Contrebasse (partie séparée)
24
Violon, Violoncelle (duo)
24
2 Harpes (duo)
12
Alto (partie séparée)
12
Alto seul
12
Violoncelle (partie séparée)
10
Contre Basse
10
Trio à Cordes: 2 violons, violoncelle
9
2 Violoncelles (duo)
8
Violon, Guitare (duo)
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Contrebasse, Piano (duo)
8
4 Violoncelles
7
Violon, Alto (duo)
6
2 Altos (duo)
5
Violoncelle , Guitare (duo)
5
Harpe, Flûte (duo)
4
Quatuor à cordes: 4 violons
4
Harpe, Violoncelle (duo)
4
Trio à Cordes: 3 violoncelles
4
Trio à cordes: 3 violins
3
Alto, Guitare (duo)
3
Violoncelle, Contrebasse (duo)
2
Violon, Basson (duo)
2
Violon, Clarinette, Piano (trio)
2
2 Contrebasses (duo)
2
Violon, Orgue
2
Trio à cordes: 3 altos
2
Alto, Violoncelle (duo)
2
4 Harpes
1
Ensemble de Violoncelles
1
Piano Trio: Violon, Alto, Piano
1
Violoncelle, Basse continue
1
Harpe, Violon, Violoncelle
1
Harpe, Voix
1
Alto et Harpe
1
Alto et orchestre
1
Trio à Cordes: 2 violons, alto
1
4 Contrebasses
1
+ 44 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
870
Orchestre à Cordes
193
Cloches
104
Orchestre
103
Ensemble Jazz
63
Ensemble de cuivres
51
Fanfare
30
Orchestre de chambre
24
Batterie (partie séparée)
18
Ensemble de Percussions
15
Jazz combo
13
Batterie
10
Percussion (partie séparée)
7
Vibraphone
6
Marimba
5
Ensemble d'École
5
Xylophone
2
Xylophone, Piano
2
+ 13 instrumentations
Retracter
Autres
Théorie de la musique
1
Formation musicale - Solfège
1
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
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ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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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
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Vous avez sélectionné:
The Effect
Guitare
Partitions à imprimer
82 partitions trouvées
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1
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51
76
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
The Vampire: A Dramatic Theme
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Sol Paul Levy
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Eric J Roth
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The Vampire: A Dramatic Theme
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 ...
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Solo Guitar - Level 4 - SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 pages. Eric J Roth #4593125. Published by Eric J Roth (A0.914739). 6 pages (2 pages of music) formatted for 8.5x11 printing.Sol Paul Levy, born in Chicago, Illinois in 1881, was a composer, arranger and performer of silent film music. He attended All Hallows College in Dublin, Ireland and served as first clarinetist in bands led by John Philip Sousa and Arthur Pryor. Levy led the foreign orchestrating department for Victor Records – which was the first music company to produce the disc record – and was a founder of Belwin Music. Levy compiled a series of photoplay cues for piano that was published in H.S. Gordon’s 1914 Motion Picture Collection. He also wrote songs, the most famous of which was That Naughty Waltz. Sol Paul Levy died in New York in 1920. During the Silent Film Era (1896-1936), showings usually featured live music, which helped to provide dramatic and emotional cues for the audience. The first public silent film shown in 1895 was accompanied by a guitarist. Soon after, films were commonly accompanied by either a pianist, organist, or chamber orchestra. Accompanists often improvised or compiled music from the classical, theatrical or popular repertories using a cue sheet identifying the effects or moods to be conveyed. While some films produced full scores or detailed cue sheets containing excerpts of music unique to that film, a repertoire of generic music soon developed to provide accompanists with music that they could adapt as needed. With titles such as Dramatic Conflict, Dramatic Tension, Heavy Mysterioso, and Weird Oriental Theme, Sol Paul Levy’s scores clearly served this purpose. The Vampire: A Dramatic Theme, composed in 1917, could have been easily adapted to any of the more than twenty films about vampires that appeared between 1909 and 1930. The score exists in three versions: one for small orchestra with piano conductor, one for chamber orchestra without piano, and one for chamber orchestra without timpani. Instruments included piano, flute, clarinet, two cornets, trombone, two timpani, two violins, viola, cello, and bass. Despite being composed for small orchestra, the piece, composed in A minor, is well suited to the guitar once instrumental and octave doublings are removed. While a solo guitar cannot produce the power and volume of a chamber orchestra, it certainly can evoke the intended mood. Except in a few instances owing to the limitations of the guitar, all original dynamic markings have been retained. All fingerings, of course, are editorial. Please note that some of the fingerings in the score may differ than those used in the linked YouTube Video.
$3.99
Tremolo from the Regondi Nocturne (Op.19)
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Guitare
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Classique
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Giulio Regondi
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Rod Whittle
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4 pp  
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Tremolo from the Regondi Noctu
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - SKU: A0.899137 Composed by Giulio Regondi. Arranged by Rod Whittle. Romantic Period. Individual part. 4 pages. Maggie Creek Music #4349081...
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Solo Guitar - SKU: A0.899137 Composed by Giulio Regondi. Arranged by Rod Whittle. Romantic Period. Individual part. 4 pages. Maggie Creek Music #4349081. Published by Maggie Creek Music (A0.899137). for solo classical guitar (tremolo) 4 pp (7 min.)GIULIO REGONDI (1823 - 72) Regondi was born in Switzerland, but lived in France and, mostly, the United Kingdom. He was a child prodigy of the guitar, with Fenando Sor dedicating a piece to him when he was just nine. He composed for the guitar and also the concertina. His works for solo guitar comprise etudes, a set of variations and some larger compositions. The tremolo section of the Nocturne (op.19) - subtitled 'Reverie' – must be some of the most wonderful music written for tremolo guitar. In the Nocturne it is split between sections of different style and content, but its effectiveness as a piece is fully satisfied without these interspersed parts, nice as they are, and its persuasive theme quite naturally repeats to end with a superb coda (which also finishes the actual Nocturne). The original score has no dynamics except for the end, and I have not added any. However, the piece is impossible to play without inferring some loudness, tempo and accentuation changes. There is that Romantic period element to it. I have added fingering. I like to settle into a barre position where possible – it often lets the bass accompaniment ring through (e.g. the D in the first few bars) and simplifies the playing. But it hardly needs saying that fingering, helpful if it is good, is a kind of curse if it is bad or just wrong, and it is never mandatory. It is always instructive with tremolo pieces to first play some of the top line (e.g. of the first few bars) without tremolo to properly reveal its melody. The style needs plenty of practice to achieve fidelity to this musical meaning; that is always the aim. Then listen carefully as the lower part is added. The bass is very important, as mentioned, but the harmonies of the broken chords are vital too. The Nocturne is brilliant counterpoint.
$5.00
Over The Rainbow
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Comédie Musicale
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Film/TV
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Judy Garland
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Richard Hirsch
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and 3&
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Over The Rainbow
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicu...
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Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99
Mastering the Classical Guitar Book 1A
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Guitare
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Classique
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Wissam Abboud
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Mastering the Classical Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (classical and lute) - Beginning - Composed by Wissam Abboud. Mastering The Classical Guitar. Classical. E-book and online audio. 72 pages. Mel...
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Guitar (classical and lute) - Beginning - Composed by Wissam Abboud. Mastering The Classical Guitar. Classical. E-book and online audio. 72 pages. Mel Bay Publications - Digital Sheet Music #30683MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619118515.
Mastering the Classical Guitar, Book 1AA is the first in a progressive series using a wide variety of musical repertoire and educational material to provide a solid technical foundation for classical guitar students, exposing the full range of the instruments potential and repertoire.Book 1A is most appropriate for students with no prior knowledge of the guitar or music theory, or for those who simply want a fresh start with the classic guitar. It is written in three broad sections:A Progressive Studies and Pieces,A Technical ExercisesA andA Rhythmic Reading. Tips on how to integrate the three sections are provided throughout the book. Every chapter begins with exercises written specifically to improve a certain aspect of ones playing, followed by various examples from the classical music repertoire and traditional songs from various cultures.While every aspect of classical guitar technique is clearly described and illustrated, students using this book would still benefit from the advice and constructive feedback of a competent teacher. Consequently, teachers will find opportunities to assert their individual teaching perspectives within this method, making it a perfect road map for the instructor and students musical journey.Written in standard notation only,A Mastering the Classical Guitar, Book 1AA comes with extensive online audio examples. Fingering is kept to a minimum to encourage effective sight reading, allowing teachers and students to annotate their own ideas about digitation and contribute to their own learning process. Includes access to online audio.
$17.99
"Tone Poem No. 2 (Stars of the Desert Sky)" for solo classical fingerstyle guitar
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Guitare
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INTERMÉDIAIRE
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Keith Gehle
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"Tone Poem No. 2
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Keith Gehle
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1375434 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #960008. Published b...
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Solo Guitar - Level 3 - SKU: A0.1375434 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #960008. Published by Keith Gehle (A0.1375434). “Tone Poem No. 2 (Stars of the Desert Sky)†is the closing track of Keith’s 2016 album entitled Space and Time and the second in a series of close to ten pieces he's written under the title of “tone poemâ€. An interesting feature of “Stars of the Desert Sky†is that it incorporates an altered tuning of the 5th string (down to G) and the 3rd string (down to F#). This “open†tuning gives the piece a droning effect and is relatively easy to play. The title refers to Keith’s late brother Ken’s many photos of the landscape of the desert southwest and the particular beauty of the night sky far from city lights. While the recorded version of this piece features additional instruments including percussion, the music also works well as a guitar solo. This PDF includes detailed fingerings in standard notation. There’s also a version available with TAB on this site.
$2.99
La ciudad de los ecos / The city of echoes
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Guitare
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INTERMÉDIAIRE
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Gustavo Porras
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La ciudad de los ecos / The ci
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Gustavo Porras Chinchilla
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.985190 Composed by Gustavo Porras. 20th Century,Contemporary,New Age,Standards. Individual part. 6 pages. Gustavo Porras...
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Solo Guitar - Level 3 - SKU: A0.985190 Composed by Gustavo Porras. 20th Century,Contemporary,New Age,Standards. Individual part. 6 pages. Gustavo Porras Chinchilla #5041995. Published by Gustavo Porras Chinchilla (A0.985190). A deep song that recreates the effects of echo sound anywhere.Youtube Channel: Gustavo Porras GuitarristaFacebook: Gustavo Porras guitarrista y compositorInstagram: gustavoporrasguitar
$9.99
Canto de mi corazon, meditacion, The singing of my heart, meditation
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Guitare
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AVANCÉ
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Alfred Feenstra
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Canto de mi corazon, meditacio
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Alfred Feenstra
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.978021 Composed by Alfred Feenstra. 20th Century,Concert,Contemporary,World. Individual part. 8 pages. Alfred Feenstra #...
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Solo Guitar - Level 5 - SKU: A0.978021 Composed by Alfred Feenstra. 20th Century,Concert,Contemporary,World. Individual part. 8 pages. Alfred Feenstra #4986005. Published by Alfred Feenstra (A0.978021). Here again a very special piece for the classical guitar. Now some years later for me, it feels like a kind of monument.A very intense work, hard labour for the right hand. If it flows well you get in a type of trance and then it has an effect that a meditation piece has.I played it for Leo Brouwer some time ago, with the fear that he would not like it al all. But happily, he judged it, like also my Gabriel piece that I played for, as very positive. The video is recorded in the tower of Benavites with a lot of natural acoustics
$4.50
God's Time Is The Very Best Time, BWV 106 by J.S. Bach
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Guitare
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INTERMÉDIAIRE
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Classique
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Aaron Larget-Caplan
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Aaron Larget-Caplan
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God's Time Is The Very Best Ti
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Aaron Larget-Caplan
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1356074 By Aaron Larget-Caplan. By Johann Sebastian Bach. Arranged by Aaron Larget-Caplan. Baroque,Classical,Early Music...
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Solo Guitar - Level 3 - SKU: A0.1356074 By Aaron Larget-Caplan. By Johann Sebastian Bach. Arranged by Aaron Larget-Caplan. Baroque,Classical,Early Music,Sacred,Spiritual. Individual part. 4 pages. Aaron Larget-Caplan #940737. Published by Aaron Larget-Caplan (A0.1356074). A beautiful and solemn solo by Johann Sebastian Bach arranged for guitar by award winning composer, arranger, and guitarist Aaron Larget-Caplan.An early cantata, BWV 106 is assumed to have been written as a funeral cantata while Bach was in Mühlhausen, Germany. In the original, two recorders echo each other in the melody. Due to lack of sustain and technical issues, the guitar is unable to copy that effect fully, but the performer should be aware.Arranged for moderate level and above players, the solo is written in Drop D (E string 6 tuned down to D).  Most of the playing is in the first three positions and ornamentation is optional.A note on the history of the work, arrangement, and recording are included, as well as a page for ornament realizations.
$5.00
À vos guitares, prêts, jouez! Vol. 4
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Guitare
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À vos guitares, prêts, jouez
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SheetMusicPlus
This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end...
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This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end of primary school with a few years of experience and the beginning of secondary school. Some pieces are written in a homorhythmic manner and can constitute an introduction to ensemble music, while others are rather polyrhythmic. They can constitute a first contact with the following techniques and effects: staccato, pizzicato, accent, louré, natural harmonic, percussion or crossed strings. This volume is therefore intended for guitarists who already know the notes in first position. Two pieces include a more advanced part with an introduction to playing in 5th position. These are short pieces that do not present technical challenges other than those allowing you to achieve the effects and play expressively.You will find in the scores indications of nuances, timbre, attack and fingerings which constitute suggestions for work and not prescriptions. Teachers and students are therefore invited to make interpretation choices different from those proposed or to try to convincingly render those already written.The pieces were composed or arranged by UQAM music education students as part of a course aimed at equipping musicians for teaching guitar in the school system. Many of them are musicians from different backgrounds (composition, performance, world music, etc.), which explains the creativity found in the pieces. All the pieces have been the subject of an audio recording available on the Productions d’Oz website and on YouTube. Search for À vos guitares, prêt, joue! Vol. 4.Isabelle Héroux, editor, professor, Department of Music, UQAM.Louis-Edouard Thouin-Poppe, assistant editor, arranger and engraver.Ce quatrième cahier est consacré au jeu en ensemble grâce à cinq trios et trois quatuors de styles variés (tango, ballade, rock…) appropriés pour la fin du primaire avec quelques années d’expérience et le début du secondaire. Certaines pièces sont écrites de manière homorythmique et peuvent constituer une initiation à la musique d’ensemble, alors que d’autres sont plutôt polyrythmiques. Elles peuvent constituer un premier contact avec les techniques et effets suivants : staccato, pizzicato, accent, louré, harmonique naturelle, percussion ou cordes croisées. Ce volume s’adresse donc aux guitaristes qui connaissent déjà les notes en première position. Deux pièces comportent une partie plus avancée avec une initiation au jeu en Ve position. Ce sont des pièces courtes qui ne présentent pas de défis techniques outre ceux permettant de réaliser les effets et de jouer de manière expressive. Vous trouverez dans les partitions des indications de nuances, de timbre, d’attaque et de doigtés qui constituent des suggestions de travail et non des prescriptions. Ainsi, les enseignants et les élèves sont invités à faire des choix d’interprétation différents de ceux qui sont proposés ou à tenter de rendre de manière convaincante ceux déjà écrits.Les pièces ont été composées ou arrangées par des étudiants en enseignement de la musique de l’UQAM dans le cadre d’un cours qui vise à outiller les musiciens pour l’enseignement de la guitare dans le système scolaire. Beaucoup d’entre eux sont des musiciens provenant d’horizons différents (composition, interprétation, musique du monde, etc.) ce qui explique la créativité que l’on retrouve dans les pièces. Toutes les pièces ont fait l’objet d’un enregistrement audio disponible sur le site des Productions d’Oz et sur YouTube. Recherchez À vos guitares, prêts, jouez! Vol. 4.Isabelle Héroux, éditrice, professeure, Département de musique, UQAM.Louis-Edouard Thouin-Poppe, assistant éditeur, arrangeur et graveur
Song List
:
1. Songe d'une nuit de printemps
2. Nostalgie
3. Tres guitarras
4. Jeu froid (tude rock)
5. Le dernier souffle
6. Manhattan
7. Baile de la passion
8. Corsaires
9. Cerisier Japonais
$9.95
Prelude No 3 in C (Streams)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Simon James
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Prelude No 3 in C
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DML
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1189167 Composed by Simon James. Classical,Contemporary,Instructional. Individual part. 6 pages. DML #788788. Published ...
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Solo Guitar - Level 4 - SKU: A0.1189167 Composed by Simon James. Classical,Contemporary,Instructional. Individual part. 6 pages. DML #788788. Published by DML (A0.1189167). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both and I would have to say that I have been influenced by Tarrega’s Preludes which he wrote mostly for his students and so have called them Preludes rather than Studies. I learnt Tarrega’s pieces such as Adelita and Lagrima early in my study of the guitar and always enjoyed their nature as both technical exercises but also performance pieces. I have tried to emulate that with these pieces. The piece makes extensive use of open strings but is essentially a set of variations. The melody keeps returning but with small alterations as does the accompaniment. There is also a B section in E minor before a return to the opening melody. The return to the opening section has, as a variation, a change in bass and harmony. The original C major7 chord becomes E minor by changing the bass and the E minor chord becomes C major7 in the same fashion. The effect is subtle but attractive and is no harder to play.
$2.99
"ЧИ ДОМÐ, ДОМРПÐРГОСПОДÐÐ " (The arrangement of Ukrainian ritual song)
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Guitare
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Andriy M
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"ЧИ ДОМÐ
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Andriy M. Andrushko
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SheetMusicPlus
Guitar - SKU: A0.1071685 Composed by Andriy M. Andrushko. 20th Century,Christmas,Folk,Holiday,World. Accompaniment. Duration 213. Andriy M. Andrushko #3...
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Guitar - SKU: A0.1071685 Composed by Andriy M. Andrushko. 20th Century,Christmas,Folk,Holiday,World. Accompaniment. Duration 213. Andriy M. Andrushko #3626407. Published by Andriy M. Andrushko (A0.1071685). The piece is based on the theme of a Ukrainian ritual song, arranged for two classical Guitar, The music of the arrangement is to some extent simple and easy to understand, but sudden changes of harmonies and mood, supported by various sound effects (flageolets, slides, strokes, etc.), make the piece very interesting, both for those who prefer more conservative music language and for those who is fond of contemporary academic style.
$4.95
The Wellerman
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Guitare
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FACILE
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Trad
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Abigail James
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The Wellerman
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Guitarkestra Publications
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1153083 Composed by Trad. Arranged by Abigail James. Chamber,Classical,Folk,Multicultural,World. 8 pages. Guitarkestra Public...
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Guitar - Level 2 - SKU: A0.1153083 Composed by Trad. Arranged by Abigail James. Chamber,Classical,Folk,Multicultural,World. 8 pages. Guitarkestra Publications #753329. Published by Guitarkestra Publications (A0.1153083). This arrangement of the Wellerman is a simple guitar quartet with a very easy bass line, a more challenging bass and a descant with percussive effects. The percussive effects can be varied to suit the level of player from a simple string slap or drum on the soundboard or you could add tambora chords!
$12.99
The Crystal Palace
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Adam Frank
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The Crystal Palace
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Adam Frank
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.976152 By Adam Frank. By Adam Frank. 20th Century,Classical,Contemporary,New Age. Individual part. 7 pages. Adam Frank #...
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Solo Guitar - Level 4 - SKU: A0.976152 By Adam Frank. By Adam Frank. 20th Century,Classical,Contemporary,New Age. Individual part. 7 pages. Adam Frank #581515. Published by Adam Frank (A0.976152). The Crystal Palace is a solo guitar piece written in an altered tuning. Passages highlighting different effects, such as harmonics ringing out over open strings, droning bass notes, and rasgueados adds to the already prevailing mystical quality of this developmental piece.
$4.99
Love On The Weekend
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Guitare
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Pop musique
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John Mayer
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Joachim Demharter
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Love On The Weekend
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Joachim Demharter
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SheetMusicPlus
Solo Guitar - SKU: A0.509096 By John Mayer. By John Mayer. Arranged by Joachim Demharter. Pop. Individual part. 6 pages. Published by Joachim Demharter ...
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Solo Guitar - SKU: A0.509096 By John Mayer. By John Mayer. Arranged by Joachim Demharter. Pop. Individual part. 6 pages. Published by Joachim Demharter (A0.509096). Fingerstyle Guitar Version of John Mayers lead-single from his great album The Search For Everything. This version includes scordatura and percussive effects and is for medium advanced players.
$4.99
Blowin' In The Wind
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Guitare
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INTERMÉDIAIRE
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Rock
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Bob Dylan
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Stewart Maclennan
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Blowin' In The Wind
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Stewart Maclennan
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.912344 By Bob Dylan. By Bob Dylan. Arranged by Stewart Maclennan. Rock. Individual part. 2 pages. Stewart Maclennan #478...
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Solo Guitar - Level 3 - SKU: A0.912344 By Bob Dylan. By Bob Dylan. Arranged by Stewart Maclennan. Rock. Individual part. 2 pages. Stewart Maclennan #4783417. Published by Stewart Maclennan (A0.912344). Simple and effective arrangement of this classic song. Perfect for intermediate players.
$4.99
Four Short Single Focus Compositions for Guitar Solo
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Guitare
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FACILE
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Contemporain
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Scott A
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Four Short Single Focus Compos
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Ponticello Music
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1028891 Composed by Scott A. Niebauer. 20th Century,Contemporary. Individual part. 7 pages. Ponticello Music #4364608. P...
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Solo Guitar - Level 2 - SKU: A0.1028891 Composed by Scott A. Niebauer. 20th Century,Contemporary. Individual part. 7 pages. Ponticello Music #4364608. Published by Ponticello Music (A0.1028891). A suite of short pieces for solo guitar intended to capture a unique yet popular idiosyncratic sound. Some of these are new works, some have been re-worked from older ideas. They all incorporate the idea of popular rock style guitar music being combined with standard classical guitar technique and notation.Andante Tremolo creates an eerie yet nostalgic mood with a sixteenth note tremolo figure at the beginning that bursts into a middle section utilizing pull offs to open strings and a more rapid tremolo. It features a descending melodic figure that leads to nowhere... Anniversary Theme is a half-remembered hum-along melody at the end of the formal celebration when the chairs are being put away but the decorations are still up. It uses simple harmonies that don't really make sense but just follow that same half-forgotten melody, cadencing here and there when they feel like it. Cloudburst Arpeggio focuses on the chime-like campanella effect produced by a descending slur pulled-off to an open string, and then hammering it back on again. It begins with a straight-ahead arpeggio pattern going through a standard chord change, and then jumps off the edge of the cliff into other areas...Mobile is a perpetual motion machine that rocks its way into an Arabic sounding riff in the middle. The low D tuning allows utilization of a drone on the high open D string that produces interesting sonic effects allowing for unique sounds to pull off to open strings.
$5.00
'Change of scene' from Act III of Wozzeck
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - 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
Excerpt from Lulu Suite
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Guitare
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Contemporain
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
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Solo Guitar - 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
Partita II (BWV1004) in d minor transcribed for guitar
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Guitare
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Daniel Clark
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Partita II
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Daniel Clark
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.982523 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 26 pages. Daniel Clark #64...
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Solo Guitar - Level 5 - SKU: A0.982523 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 26 pages. Daniel Clark #6435265. Published by Daniel Clark (A0.982523). This is a full transcription of Bach’s second violin partita for classical guitar, including the Allemanda, Corrente, Sarabanda, Giga, and the Ciaccona. The transcription is authentic to the original has been made strictly to the original violin manuscript. The partita has been arranged in D-tuning to take advantage of the resonance of the guitar, though the lower D on the guitar is never played since it is below the dynamic range of the violin, (taking into account the octave difference). Bach’s Ciaccona, or Chaconne, in d-minor for solo violin from the second partita is well known on the guitar thanks to Segovia’s arrangement. However, Segovia’s version takes a number of liberties in his arrangement that have the effect of blurring the contrapuntal voices through his decision to harmonise the chords into 6-strings wherever possible. This current arrangement takes the contrary position that it is better to clearly retain the different voices. The working dynamic range of the classical guitar and violin are similar, albeit with an octave difference in pitch. The fact that the classical guitar notation is written an octave higher than it is in relation to the notation for other instruments makes transcribing the violin work for guitar relatively straightforward.  Consequently, I have made no changes to the violin version. This transcription is exact, in the sense that the manuscript for the violin has been used as a basis for the transcription. The articulation of the arpeggios is suggested at the beginning of these sections, which are arranged to be idiomatic to the violin. These realisations can also be adopted on the guitar, though I have not written these out and leave it to the performer to interpret these passages.  Â
$8.00
Nadir
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Guitare
#
Apostolos Paraskevas
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Nadir
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Silver Sickle Publications
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SheetMusicPlus
Solo Guitar - SKU: A0.942099 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Individual part. 9 pages. Silver Sickle Publications #62...
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Solo Guitar - SKU: A0.942099 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Individual part. 9 pages. Silver Sickle Publications #6227369. Published by Silver Sickle Publications (A0.942099). Nadir (1994) is written for prepared guitar, a term usually associated with a piano in which certain objects have been placed on the strings in order to alter the conventional sound of the instrument. Many composers have written music for prepared piano, among them John Cage, who, according to Mr. Paraskevas, was the inspiration for his transferring of the same technique to the guitar. It is quite possible that nobody has used this kind of technique on the guitar before. After experimenting with various materials, he decided on the use of two metal paper clips, which he puts at specific locations on the fingerboard, so that they best produce the desired sound effect, a sound both harmonic and percussive. Nadir suggests the lowest point, here associated with the notion of death. The piece bears many programmatic references to the struggle between good and evil, life and death, musically portrayed in the persistent ostinato rhythms and the fragmented melodic phrases. Death cuts through in the form of an abrupt strike on the wood, the fingers continue to play but no sound is heard, until two more strikes make their movement stop. Little by little life and sound start again, but the final strike brings about the pessimistic message that fate and death predominate in the end. The piece ends with the inscription ...but sooner or later we live forever - a final optimistic touch. Nadir was the outcome of continuous experimentation on the capabilities of the guitar as an instrument, and all the potential sound effects that one can draw from it. ...Dr. Paraskevas, is an amazingly versatile guitarist. He conquers the many technical challenges of this repertoire with ease, he can sing with the purest tone (try the opening work, Alfonsina y el Mar, and see). What makes Visions of Azure a wonderful guitar CD rather than simply a good one is the last 18 minutes. The guitarist saves his own compositions for last, and if the ear is fatigued at this point in the recital. Paraskevas gives it good reason to wake up....I am sold on Paraskevas's playing, and do not think hunting down the alternatives is necessary. In short, this is an essential CD for those interested in modern classical guitar.
$8.99
KriyÄ (Direction, Goal) for 10-String Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Julian Bertino
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KriyÄ
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Julian Bertino
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1187094 By Julian Bertino. By Julian Bertino. Classical,Contemporary. Individual part. 10 pages. Julian Bertino #786726....
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Solo Guitar - Level 4 - SKU: A0.1187094 By Julian Bertino. By Julian Bertino. Classical,Contemporary. Individual part. 10 pages. Julian Bertino #786726. Published by Julian Bertino (A0.1187094). Kriyā is a Sanskrit word meaning to do, make, perform, accomplish, cause, effect, prepare, undertake†toward something specific. We often live our lives hiding from ourselves, usually because of an artificial sense of fear, embarassment, shame or guilt that we may have acquired because of social pressures. This is why we many people have a mid-life crisis and suddenly change the way they have lived their lives into how they wished to live all along. This piece represents the unraveling of previously held ideals into one which is synchronous with the world around us, beginning with a vision reminding us of mortality, progressing through the difficulties and cognitive dissonances which occur when we must change our lives to find happiness. Kriya began originally as a tremolo etude on the 2nd and 3rd strings, but quickly evolved into a musical composition. Practicing Tremolo on strings other than the first develops control and discipline in the right hand, which was my original intention in writing it- but I felt as if the material that was generated required more and more variation and contrast- and quite quickly I realized that I had to complete it with the intention of performing it as a piece of music rather than simply a technical exercise.**This version is for 10-string guitar. There is a 6-string guitar version available also.
$9.99
TIENTO PARA UN PENSADOR for guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Daniel Cueto
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TIENTO PARA UN PENSADOR for gu
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Daniel Cueto
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401....
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Solo Guitar - Level 4 - SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401. Published by Daniel Cueto (A0.876582). To write Tiento para un pensador, I found inspiration in an experience that I had many years ago, when I was a student in Dusseldorf, Germany. I was spending time one night with my friend Rafael Aguirre, a virtuoso classical guitarist, as he was casually playing through some of his repertoire. He asked me if I thought that it was possible to play a Baroque fugue - one of the most complex of musical genres - on the guitar. Before I had time to think about the question, he started playing his own arrangement of a fugue by J.S. Bach, talking me through it as the fugue theme appeared in different registers and the counterpoint got more and more intricate.The effectiveness and beauty of the contrapuntal sounds I experienced that night stayed with me. So in 2020, when I was invited to attend the Twisted Spruce Symposium and had a chance to compose my first piece for the guitar, I quickly decided that I would take up the challenge of writing my own fugue for the instrument. Looking to find a more specific context for the new work, I discovered the early Spanish genre of the tiento, essentially an early Hispanic form of the fugue. I came up with a melody which, I sensed, featured elements of that early style combined with a touch of Andean melancholy. As I composed, I strived to follow this basic affect throughout, letting the lines evolve organically as the piece seemed to engage in a long, continued search for its cultural and temporal identity.Para un pensador means for a thinker in Spanish. It is my homage to the intellectual guitarist, to the reflective and discerning performer of intricate contrapuntal music.I would like to extend special thanks to Nathan Fischer for producing this valuable edition of Tiento para un pensador.
$9.99
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