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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
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CLARINETTE
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ASIE
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CLASSIQUE - BAROQUE …
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Non classifié
1597
PIANO & CLAVIERS
Piano grosses notes
3295
Orgue
1666
Piano seul
460
Piano Facile
246
Piano, Voix
116
Clavier
63
Piano, Voix et Guitare
41
1 Piano, 4 mains
16
Instruments en Do
13
Piano Trio: piano, violon, violoncelle
7
Accompagnement Piano
6
Orgue, Piano (duo)
6
2 Pianos, 4 mains
6
Piano Quatuor: piano, violon, alto, violoncelle
5
Accordéon
3
1 Piano, 6 mains
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Orgue, Trompette (duo)
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavecin
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
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GUITARES
Guitare
30
Guitare notes et tablatures
28
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3
Ligne De Mélodie, (Paroles) et Accords
2
Dulcimer
2
4 Guitares (Quatuor)
1
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1
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1
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VOIX
Chorale SATB
994
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482
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309
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258
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37
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25
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11
Voix seule
10
Chorale
7
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6
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5
Voix haute
4
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1
Voix basse, Piano
1
Voix moyenne, Piano
1
Chorale SSATTB
1
Voix Alto, Piano
1
Chorale SSAATTBB
1
Soli, choeur mixte et accompagnement
1
Chorale SSATB
1
Voix Tenor, Piano
1
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VENTS
Flûte traversière et Piano
72
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41
Flûte, Hautbois, Clarinette, Basson
41
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38
Saxophone Alto et Piano
30
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
29
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29
2 Flûtes traversières (duo)
25
2 Saxophones (duo)
22
Hautbois, Piano (duo)
22
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21
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19
Saxophone Soprano et Piano
18
Saxophone (partie séparée)
16
Ensemble de Clarinettes
15
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15
Hautbois (partie séparée)
14
Flûte traversière
13
Clarinette
13
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12
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10
2 Clarinettes (duo)
9
Saxophone Alto
8
Flûte, Clarinette (duo)
7
Clarinette (partie séparée)
7
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7
3 Saxophones (trio)
6
Saxophone Tenor
6
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6
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6
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4
Cor anglais, Piano
4
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3
3 Clarinettes (trio)
3
Flûte, Clarinette et Basson
3
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2
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2
Quintette de Flûte : 5 flûtes
2
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2
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2
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2
2 Flûte à bec (duo)
2
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1
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1
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1
Flûte, Violon, Piano
1
Quintette de Clarinettes: 5 clarinettes
1
Clarinette, Trompette (duo)
1
Flûte à bec, Guitare (duo)
1
Saxophone, Clarinette (duo)
1
Clarinette, Guitare (duo)
1
Flûte, Basson et Piano
1
2 Clarinettes, Basson
1
Flûte à bec Soprano
1
2 Flûtes traversières, Piano
1
Ocarina
1
Saxophone
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Flute (partie séparée)
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
79
Ensemble de Trompettes
35
Quatuor de Cuivres : 2 trompettes, trombone, tuba
33
Trompette
27
Trompette, Piano
25
Cor et Piano
17
Trombone et Piano
16
Quatuor de Cuivres: 2 trompettes, Cor, trombone
11
Trompette (partie séparée)
10
Trombone
6
Tuba et Piano
5
2 Trompettes (duo)
5
2 Trombones (duo)
4
Euphonium, Piano (duo)
4
2 Cors (duo)
4
Ensemble de Trombones
4
Cor anglais, Piano
4
Trombone (partie séparée)
4
Trompette, violon (duo)
3
Quatuor de cuivres: 2 trompettes, 2 trombones
3
Quatuor de cuivres: 4 trompettes
3
3 Trompettes (trio)
2
Quatuor de Cuivres
2
Cor
2
Trompette, Trombone (duo)
2
Tuba
1
Bass Clef Instruments
1
Quatuor de cuivres: 4 trombones
1
Trompette, Cor (duo)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
104
Violon et Piano
57
Violon
55
Violoncelle
42
Violoncelle, Piano
39
Violon, Violoncelle (duo)
31
Alto, Piano
30
2 Violons (duo)
29
Trio à Cordes: violon, alto, violoncelle
26
Harpe
24
2 Violoncelles (duo)
20
Violon (partie séparée)
17
Alto seul
13
Alto, Violoncelle (duo)
10
2 Altos (duo)
10
Violon, Alto (duo)
10
Alto (partie séparée)
7
Harpe, Voix
6
2 Harpes (duo)
5
Trio à cordes
4
Trio à Cordes: 2 violons, violoncelle
3
Violon, Guitare (duo)
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
Harpe, Flûte (duo)
3
Violoncelle (partie séparée)
3
Contrebasse, Piano (duo)
3
Ensemble d'Altos
2
2 Contrebasses (duo)
2
Contre Basse
2
Piano Trio: Violon, Alto, Piano
2
Ensemble de Violons
2
Alto, Guitare (duo)
1
3 Contrebasses
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Ensemble de Violoncelles
1
Violoncelle , Guitare (duo)
1
Contrebasse (partie séparée)
1
Trio à Cordes: 3 violoncelles
1
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PERCUSSIONS & ORCHESTRES
Cloches
580
Orchestre d'harmonie
111
Orchestre
66
Orchestre à Cordes
38
Ensemble de cuivres
18
Orchestre de chambre
9
Ensemble Jazz
8
Batterie
7
Ensemble de Percussions
7
Instrumentation Flexible
3
Ensemble d'École
3
Jazz combo
2
Vibraphone
2
Xylophone ou Marimba ou Vibraphone
1
Voix Mezzo-Soprano, Orchestre
1
Piano et Orchestre
1
Fanfare
1
Percussion (partie séparée)
1
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AUTRES
Formation musicale - Solfège
6
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Guitar Theory Modules
Guitare
Guitar, Music Theory - Intermediate - Digital Download Composed by Tom Godfrey. Met…
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Guitar, Music Theory - Intermediate - Digital Download Composed by Tom Godfrey. Method, Etudes and Exercises, General Instructional. 233 pages. Published by Tom Godfrey
Most music theory books are written from a piano perspective, but Guitar Theory Modules is written for the guitar player. You'll learn basic music theory in a series 80 bite-sized modules of 1-4 pages each. You'll learn how scales and chords are put together, and there are plenty of playing exercises so you can apply theory to the fretboard. It's best to work through Guitar Theory Modules with a teacher, but in case you are learning on your own, there is an answer section in the back so you can check your work on the written exercises. A deeper understanding of how music is put together can improve your music reading, give you ideas for writing, and help you become a more well-rounded musician. Before beginning Guitar Theory Modules, you should know how to read music in standard notation, be familiar with the concept of sharps and flats, and know (or be learning) the note names on each string up to the 12th fret. Need help? Check out www.godfreyguitarlessons.com for online lesson information.<br> Most music theory books are written from a piano perspective, but Guitar Theory Modules is written for the guitar player. You'll learn basic music theory in a series 80 bite-sized modules of 1-4 pages each. You'll learn how scales and chords are put together, and there are plenty of playing exercises so you can apply theory to the fretboard. It's best to work through Guitar Theory Modules with a teacher, but in case you are learning on your own, there is an answer section in the back so you can check your work on the written exercises. A deeper understanding of how music is put together can improve your music reading, give you ideas for writing, and help you become a more well-rounded musician. Before beginning Guitar Theory Modules, you should know how to read music in standard notation, be familiar with the concept of sharps and flats, and know (or be learning) the note names on each string up to the 12th fret. Need help? Check out www.godfreyguitarlessons.com for online lesson information.<br>
$16.00
14.6 €
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Guitare
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Tom Godfrey
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Guitar Theory Modules
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Tom Godfrey
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.39 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Preparatory Guide to Classical Guitar and Music Theory
Guitare
Guitar - Easy/Beginner - Digital Download Composed by Eric Charles Mokotoff. Method, …
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Guitar - Easy/Beginner - Digital Download Composed by Eric Charles Mokotoff. Method, Etudes and Exercises, Classroom, General Instructional. 184 pages. Published by Eric Charles Mokotoff
Preparatory Guide for Classical Guitar & Music Theory<br> <br> By Eric Charles Mokotoff<br> <br> 40 In-depth Lessons that take you from the basics of learning to read traditional notation through a complete and detailed understanding of scales, key signatures, chord structure, inversions, music theory and analysis. This is a must for the serious student who wants to understand music and how it pertains to the classical guitar. It’s not enough to play the guitar, you need to understand the language of music and theory and how it all comes together on this incredible instrument.Preparatory Guide for Classical Guitar & Music Theory<br> <br> By Eric Charles Mokotoff<br> <br> 40 In-depth Lessons that take you from the basics of learning to read traditional notation through a complete and detailed understanding of scales, key signatures, chord structure, inversions, music theory and analysis. This is a must for the serious student who wants to understand music and how it pertains to the classical guitar. It’s not enough to play the guitar, you need to understand the language of music and theory and how it all comes together on this incredible instrument.
$19.95
18.21 €
#
Guitare
#
Eric Charles Mokotoff
#
Preparatory Guide to Classical Guitar and Music Theory
#
Eric Charles Mokotoff
#
SheetMusicPlus
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
(+)
Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Theorie. The Praxis System. Downloadable. Op. Vol. 1. Advance Music #Q54672. Published by Advance Music
English.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, orEnglish.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or
$23.99
21.89 €
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Guitare
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Guitar Compendium
#
Advance Music
#
SheetMusicPlus
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
(+)
Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Guitar. The Praxis System. Downloadable. Op. Vol. 3. Advance Music #Q54673. Published by Advance Music
The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or ...The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or ...
$23.99
21.89 €
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Guitare
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Guitar Compendium
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Advance Music
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SheetMusicPlus
Élégie
Guitare
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey.…
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Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
3.61 €
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Guitare
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
The Guitar Études
Guitare
Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and…
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Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and Exercises, Repertoire, World. Score. 37 pages. Published by Silver Sickle Publications
Études for Solo Guitar<br> The subject of creating an educational aid for guitar students of an intermediate level that will serve also as a similar aid for theory and composition students fascinates me and motivates my compositional thought for quite a while. The objective was to create miniature complete works for the guitar, as J. S. Bach did with his fifteen inventions, in the “manner” of an Étude that deals with specific aspects of guitar techniques and musicianship in general.<br> <br> <br> These Études are gradually graded based on their difficulty and style. They cover all the positions of the guitar and explore known and some unfamiliar techniques for the contemporary guitarist.<br> I used a compositional language more familiar for the level of the intermediate guitarist but without sacrificing my original compositional voice so these pieces could be used as concert works by the advanced musicians as well. My intention is to educate students in a multilevel study environment and to be able to promote the music of our time. During my teaching years I found that students become better musicians when they have been taught to adapt certain performance difficulties and compositional techniques at an earlier level of their training.<br> Titles:<br> <br> 1 with false optimism<br> <br> 2 with moderate sadness<br> <br> 3 with just the two of you<br> <br> 4 with a touch of impatience<br> <br> 5 with a touch of grandeur<br> <br> 6 with a counterpoint attitude<br> <br> 7 with a touch of shame<br> <br> 8 with a touch of boredom<br> <br> 9 going and never coming back<br> <br> 10 with a peaceful anger<br> <br> 11 without the heavy ones<br> <br> 12 without hope<br> <br> 13 without sense of humor<br> <br> 14 with a masculine attitude<br> <br> 15 with two little bears in mind<br> <br> 16 without hesitation<br> <br> 17 with shameless vibrato<br> <br> 18 with a touch of distress<br> <br> 19 without fear of failure<br> <br> 20 with this and that<br> <br> 21 with a kind motion<br> <br> 22 with a rondo attitude<br> <br> 23 with suspense<br> <br> 24 with everything you may haveÉtudes for Solo Guitar<br> The subject of creating an educational aid for guitar students of an intermediate level that will serve also as a similar aid for theory and composition students fascinates me and motivates my compositional thought for quite a while. The objective was to create miniature complete works for the guitar, as J. S. Bach did with his fifteen inventions, in the “manner” of an Étude that deals with specific aspects of guitar techniques and musicianship in general.<br> <br> <br> These Études are gradually graded based on their difficulty and style. They cover all the positions of the guitar and explore known and some unfamiliar techniques for the contemporary guitarist.<br> I used a compositional language more familiar for the level of the intermediate guitarist but without sacrificing my original compositional voice so these pieces could be used as concert works by the advanced musicians as well. My intention is to educate students in a multilevel study environment and to be able to promote the music of our time. During my teaching years I found that students become better musicians when they have been taught to adapt certain performance difficulties and compositional techniques at an earlier level of their training.<br> Titles:<br> <br> 1 with false optimism<br> <br> 2 with moderate sadness<br> <br> 3 with just the two of you<br> <br> 4 with a touch of impatience<br> <br> 5 with a touch of grandeur<br> <br> 6 with a counterpoint attitude<br> <br> 7 with a touch of shame<br> <br> 8 with a touch of boredom<br> <br> 9 going and never coming back<br> <br> 10 with a peaceful anger<br> <br> 11 without the heavy ones<br> <br> 12 without hope<br> <br> 13 without sense of humor<br> <br> 14 with a masculine attitude<br> <br> 15 with two little bears in mind<br> <br> 16 without hesitation<br> <br> 17 with shameless vibrato<br> <br> 18 with a touch of distress<br> <br> 19 without fear of failure<br> <br> 20 with this and that<br> <br> 21 with a kind motion<br> <br> 22 with a rondo attitude<br> <br> 23 with suspense<br> <br> 24 with everything you may have
$22.00
20.08 €
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Guitare
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Apostolos Paraskevas
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The Guitar Études
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Silver Sickle Publications
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SheetMusicPlus
A Guitarist's Treasury of Song
Guitare
Guitar - Beginning- Intermediate - Digital Download Composed by Jerry Silverman. Fol…
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Guitar - Beginning- Intermediate - Digital Download Composed by Jerry Silverman. Folk. E-book. 352 pages. Mel Bay Publications - Digital Sheet Music #95489EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609740610.<br> <br> This huge collection of traditional and folk tunes includes song catergories such as love songs, songs of the sea, fun songs, train songs, sentimental songs, and songs based on historic events. Written in simple leadsheet format with complete lyrics and chord symbols, this collection is perfect for gatherings around the campfire or as a general sourcebook. Author/compiler Jerry Silverman contributes program notes for the more obscure tunes in this exhaustive anthology of American song.ISBN 9781609740610.<br> <br> This huge collection of traditional and folk tunes includes song catergories such as love songs, songs of the sea, fun songs, train songs, sentimental songs, and songs based on historic events. Written in simple leadsheet format with complete lyrics and chord symbols, this collection is perfect for gatherings around the campfire or as a general sourcebook. Author/compiler Jerry Silverman contributes program notes for the more obscure tunes in this exhaustive anthology of American song.
$34.99
31.93 €
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Guitare
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Jerry Silverman
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A Guitarist's Treasury of Song
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.39 €
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Guitare
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Richard Strauss
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Rod Whittle
#
for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.39 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.39 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Anthology of Classical Guitar Techniques
Guitare
Guitar (classical and lute) - Intermediate - Digital Download Composed by Steve Marsh…
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Guitar (classical and lute) - Intermediate - Digital Download Composed by Steve Marsh. Technique, Theory and Reference. Style. E-book. 104 pages. Mel Bay Publications - Digital Sheet Music #30733EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619118218.<br> <br> The aim of this book is to gather in one place a compendium of techniques specific to the classical guitar. Each technique has a written explanation, preliminary exercises and two original compositions, providing the opportunity to use the techniques in a musical context. --Steve Marsh<br> <br> Mel Bay Publications was founded on Mel's simple pretext of finding a need, and filling it. Mel Bay author, Steve Marsh, continues in that tradition with the publication of The Anthology of Classical Guitar Techniques, a highly original concept that fills a distinct need in the guitar study repertoire. Graded from lower intermediate to higher intermediate in difficulty, this anthology avoids fundamental skills known to most beginners and goes straight to intermediate-level techniques such as: arpeggio, barre, campanella, glissando, harmonics, pizzicato, rapid scales, rasgueado, tambour, tremolo, vibrato, and more. Each of the 32 techniques is illuminated with preliminary studies and two original compositions, all written in standard notation only. If you are ready to take the next step with the classical guitar, this book will improve your technique and musicianship in general, increase your ability to listen to yourself critically, and so lead to more productive practice sessions.ISBN 9781619118218.<br> <br> The aim of this book is to gather in one place a compendium of techniques specific to the classical guitar. Each technique has a written explanation, preliminary exercises and two original compositions, providing the opportunity to use the techniques in a musical context. --Steve Marsh<br> <br> Mel Bay Publications was founded on Mel's simple pretext of finding a need, and filling it. Mel Bay author, Steve Marsh, continues in that tradition with the publication of The Anthology of Classical Guitar Techniques, a highly original concept that fills a distinct need in the guitar study repertoire. Graded from lower intermediate to higher intermediate in difficulty, this anthology avoids fundamental skills known to most beginners and goes straight to intermediate-level techniques such as: arpeggio, barre, campanella, glissando, harmonics, pizzicato, rapid scales, rasgueado, tambour, tremolo, vibrato, and more. Each of the 32 techniques is illuminated with preliminary studies and two original compositions, all written in standard notation only. If you are ready to take the next step with the classical guitar, this book will improve your technique and musicianship in general, increase your ability to listen to yourself critically, and so lead to more productive practice sessions.
$17.99
16.42 €
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Guitare
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Steve Marsh
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Anthology of Classical Guitar Techniques
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Idiogloassia
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.775916 Composed by Jonathan David …
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Solo Guitar - Level 5 - Digital Download SKU: A0.775916 Composed by Jonathan David Barlow. Contemporary. Individual part. 16 pages. Musik Fabrik Music Publishing #2026809. Published by Musik Fabrik Music Publishing (A0.775916). The term idioglossia is used to describe invented languages and often refers to speech patterns developed by twins. Barlow’s piece is inspired by this phenomenon. The musical ideas repeat, lengthen, self-reference, and develop freely representing the composer’s perception of idioglossia from his observations of recorded examples and live exposure. This three movement concert piece includes fast passage work, interesting textures, and beautiful melodies. Although challenging, it is composed to sit well on the instrument and fingerings are included to aid the performer. Alternation between dissonant pitch clusters and lydian material is common throughout. Indeed, a general dissonant-consonant-dissonant structure is represented in each movement and across the piece as a whole. 1st movement Uproot winner in the Colorado Composers Competition.
$12.94
11.81 €
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Guitare
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Jonathan David Barlow
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Idiogloassia
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Musik Fabrik Music Publishing
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SheetMusicPlus
Spanish Guitar Study
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1444500 By Keith Terrett. By Isaac…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1444500 By Keith Terrett. By Isaac Manuel Francisco Albéniz y Pascual. Arranged by Keith Terrett. 19th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 3 pages. Keith Terrett #1024393. Published by Keith Terrett (A0.1444500). Isaac Manuel Francisco Albéniz y Pascual (Spanish pronunciation: [iˈsak alˈβeniθ]; 29 May 1860 – 18 May 1909) was a Spanish virtuoso pianist, composer, and conductor. He is one of the foremost composers of the Post-Romantic era who also had a significant influence on his contemporaries and younger composers. He is best known for his piano works based on Spanish folk music idioms. Isaac Albéniz was close to the Generation of '98.Transcriptions of many of his pieces, such as Asturias (Leyenda), Granada, Sevilla, Cadiz, Córdoba, Cataluña, Mallorca, and Tango in D, are important pieces for classical guitar, though he never composed for the guitar. Some of Albéniz's personal papers are held in the Library of Catalonia.As one of the leading composers of his era, Albéniz's influences on both contemporary composers and on the future of Spanish music are profound. As a result of his extended stay in France and the friendship he formed with numerous composers there, his composition technique and harmonic language influenced aspiring younger composers such as Claude Debussy and Maurice Ravel. His activities as conductor, performer and composer significantly raised the profile of Spanish music abroad and encouraged Spanish music and musicians in his own country.Albéniz's works have become an important part of the repertoire of the classical guitar, many of which have been transcribed by Francisco Tárrega, Miguel Llobet and others. Asturias (Leyenda) in particular is heard most often on the guitar, as are Granada, Sevilla, Cadiz, Cataluña, Córdoba, Mallorca, and Tango in D. Gordon Crosskey and Cuban-born guitarist Manuel Barrueco have both made solo guitar arrangements of all the eight-movements in Suite española. Selections from Iberia have rarely been attempted on solo guitar but have been very effectively performed by guitar ensembles, such as the performance by John Williams and Julian Bream of Iberia's opening Evocation. The Doors incorporated Asturias into their song Spanish Caravan; also, Iron Maiden's To Tame a Land uses the introduction of the piece for the song bridge. More recently, a guitar version of Granada functions as something of a love theme in Woody Allen's 2008 film Vicky Cristina Barcelona.The theme from Asturias was incorporated or adapted in several soundtracks including the 2008 horror film Mirrors, composed by Javier Navarrete, and the Netflix TV show Godless, composed by Carlos Rafael Rivera.In 1997 the Fundación Isaac Albéniz was founded to promote Spanish music and musicians and to act as a research centre for Albéniz and Spanish music in general.A street in Quito, Ecuador, is named after him.
$1.99
1.82 €
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Guitare
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Keith Terrett
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Keith Terrett
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Spanish Guitar Study
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Keith Terrett
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SheetMusicPlus
O'Carolan Favorites for Classical Guitar
Guitare
Guitar (classical and lute) - Intermediate - Digital Download SKU: M0.30623EB Compo…
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Guitar (classical and lute) - Intermediate - Digital Download SKU: M0.30623EB Composed by Guido Boger. Solos. Style. E-book. Mel Bay Publications - Digital Sheet Music #30623EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30623EB). ISBN 9781619117686. 8.75x11.75 inches.In this edition, Guido Böger provides 72 further compositions by the legendary Irish harpist Turlough Oâ??Carolan, arranged for classical guitar. These solo pieces are generally of intermediate difficulty, and convey the beautiful, lyrical qualities of the original tunes. This expanded selection of the melodies has not been organized into any set of themes or forms; however, along with his Turlough Oâ??Carolan Irish Harp Pieces for Classical Guitar, Oâ??Carolanâ??s Laments have now been arranged in their entirety. These pieces will provide the guitarist with a wonderful collection of new and fascinating pieces for use in study, concerts, or for your musical pleasure.
$17.99
16.42 €
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Guitare
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Guido Boger
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font-family: Segoe UI
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O'Carolan Favorites for Classical Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Standard Music Reading for Beginning Guitar
Guitare
Acoustic Guitar - Level 1 - Digital Download SKU: A0.1315011 By Jay Jordan. By Jay …
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Acoustic Guitar - Level 1 - Digital Download SKU: A0.1315011 By Jay Jordan. By Jay Jordan. Instructional. Educational Method. 18 pages. Pro Creations Music #903760. Published by Pro Creations Music (A0.1315011). Beginning guitar courses at the middle school and high school level can be a popular addition to curricula that so often center around performing groups. Such a course, when offered as a general music course, i.e.,a course that has no prerequisite and no public performance component, can be an attractive way for students to complete an arts requirement without an extra-curricular commitment.  At the same time a class like beginning guitar may serve as the only chance a music educator has to introduce the very idea of music to students as both an art form and a language. In todayâ??s on-line world there are countless avenues for learning guitar, be it YouTube videos, dedicated apps, or TAB sites. While the sharing of user-generated transcriptions of popular songs using tablature may be quick and easy, TAB sites do not employ standard music notation (not to mention being rife with mistakes both practical and theoretical). Standard Music Reading for Beginning Guitar was developed as a sequential, practical method for learning the basics of standard music notation using acoustic guitar as a vehicle. It is not meant to replace other methods e.g., the learning of popular songs or a music theory component, but as a companion so that students can learn about music as a language while, hopefully, continuing to enjoy guitar playing for years to come.
$10.00
9.13 €
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Guitare
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Jay Jordan
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Standard Music Reading for Beginning Guitar
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Pro Creations Music
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SheetMusicPlus
O Mio Babbino Caro (guitar solo)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.948707 Composed by Giacomo Puccini…
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Solo Guitar - Level 3 - Digital Download SKU: A0.948707 Composed by Giacomo Puccini. Arranged by Bradley Powell (The Candlelight Guitarist). 20th Century,Concert,Holiday,Opera,Wedding. Individual part. 3 pages. Geofonica Artistworks #6794347. Published by Geofonica Artistworks (A0.948707). One of the most beloved arias by Giacomo Puccini, from the opera Gianni Schicchi (1918), in a new off-the-record classical guitar finger-style arrangement by Bradley Powell (The Candlelight Guitarist). NOTE: This sheet music is in Standard Notation--(a separate edition in both TABS and standard notation is also available here). This arrangement is from The Candlelight Guitarist album The Wedding of Dulcinea & Don Quixote. It's an Intermediate classical guitar level (similar to Sor, Carcassi and Giuliani etudes), an excellent piece for concert or recital, weddings, dinners, or general enjoyment.ABOUT: Bradley Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. Brad is also the classical guitarist for Disney's Princess Breakfast Adventuire at the Disneyland's Grand Californian Resort. When not making music, Brad is often out hiking with his dogs.
$3.99
3.64 €
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Guitare
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Giacomo Puccini
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Don Quixote
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O Mio Babbino Caro
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Geofonica Artistworks
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SheetMusicPlus
Air On A G String BWV 1068
Guitare
Guitar - Level 3 - Digital Download SKU: A0.1316579 Composed by Johann Sebastian Ba…
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Guitar - Level 3 - Digital Download SKU: A0.1316579 Composed by Johann Sebastian Bach. Arranged by Simon James. Baroque,Chamber,Christmas,Classical,Contemporary. 10 pages. DML #905303. Published by DML (A0.1316579). Air On A G string is August Wilhelmj’s 1871 arrangement of the second movement of J. S. Bach’s Orchestral Suite No 3 in D major BWV 1068. The arrangement differs from the original in that the part of the first violins is transposed down so that the entire piece can be played on just the violin's lowest string (the G string, hence the name). In performance, that part is generally played by a single violin (instead of by the first violins as a group). This is however an arrangement of the original “Air†from the Orchestral Suite. Bach's third Orchestral Suite in D major, composed in the first half of the 18th century, has an Air as second movement. The music of the Air is written on four staves, for first and second violins, viola, and continuo. The interweaving melody lines of the high strings contrast with the pronounced rhythmic drive in the bass. I have followed this quite closely in the arrangement for guitar quartet in F major.
$6.99
6.38 €
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Guitare
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Johann Sebastian Bach
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Simon James
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Air On A G String BWV 1068
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DML
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SheetMusicPlus
Mauro Giuliani: Dodici Monferrine opera 12 (Composte e Dedicate a Madamigella Vicenziana de Rainer)
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1254575 Composed by Mauro Giuliani…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1254575 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 34 pages. Socrates Arvanitakis #848175. Published by Socrates Arvanitakis (A0.1254575). PREFACE & Editorial NotesThe Dodici Monferrine op.12  by Mauro Giuliani are in general of a lower moderate difficulty and are written as twelve small entertaining pieces in 6/8 rhythm all following the same uniform structure consisting of four phrases: A1, A2 – [B1, A2]*2 which is used extensively  by Giuliani as the basic structure for many of his more elaborate variation sets. Due consideration is also given to a carefully thought out tonal scheme for all twelve pieces as follows: E, A, D, G, C, F, Dm, D, A, D, G, C.For these given structural reasons op. 12 may be considered as a very good introduction to Giuliani’s later output of more complex and difficult works. Notes1 Dynamics have all been copied from the first “Artaria†edition of Vienna.2 Metronome marks are editorial suggestions and should not be taken too literally.3 This volume is offered  with decorated and undecorated pages (as two books in one) so that the user can chose which version he prefers and construct his printed or digital book accordingly. Blank pages have been added to be used or omitted for the arrangement of left and right hand pages.4 A live performance of all twelve pieces selected at random in YoutubeNavigating the Thematic Index1 click on the photo of the theme: Go to undecorated page2 click header of any titled  page: Return to the index3 click on the title of any piece: Interchange between decorated/undecorated pages.
$8.00
7.3 €
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Guitare
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Mauro Giuliani
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Socrates Arvanitakis
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Mauro Giuliani: Dodici Monferrine opera 12
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Socrates Arvanitakis
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SheetMusicPlus
Asturias (Leyenda) - Classical Guitar Ver.
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1124819 Composed by Isaac Albeniz.…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1124819 Composed by Isaac Albeniz. Arranged by Padet Netpakdee. 19th Century,Classical,Traditional. Individual part. 8 pages. Padet NEtpakdee #725590. Published by Padet NEtpakdee (A0.1124819). Asturias (Leyenda) - Classical Guitar Ver. If you're looking for a newer & fresh interpretation on this iconic repertoire, you are in the right place. This Asturias version is arranged based on the original piano version without changing the typical guitar version's key, Em. Therefore, if you have already learnt the regular version of the piece, you wouldn't have to do much more of the extra work in order to play this version. The overall concept of this specific version is to capture the impressionism aspect of the piece rather than the guitaristic stand point. This, when played properly, gives you a serenity and impressionistic atmospheric aspect of Albeniz music in general.
$4.99
4.55 €
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Guitare
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Isaac Albeniz
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Padet Netpakdee
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Asturias
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Padet NEtpakdee
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SheetMusicPlus
Pet Sematary
Guitare
Guitar - Level 2 - Digital Download SKU: A0.1319133 By The Ramones. By Daniel Rey, …
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Guitar - Level 2 - Digital Download SKU: A0.1319133 By The Ramones. By Daniel Rey, Douglas Colvin, Jeffrey Hyman, and John Cummings. Arranged by Lino Romano. 20th Century,Film/TV,Pop,Punk,Rock. 9 pages. Lino Romano #907743. Published by Lino Romano (A0.1319133). Pet Sematary song arranged for guitar quartet, with different levels of difficulty, easy to intermediate. It's a easy song in general. The first guitar take the melodies and the second guitar do the principal riff, with an echo of the melodie in some parts, in addition to the transcription of the keyboard sound present in the original recording. Guitars three and four form a 5th chord together, with suggestions of a simple drum fill in some parts. This arrangement is suitable for camera artists and groups, both students and more experienced groups who like to include more popular songs in their repertoire.
$4.99
4.55 €
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Guitare
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The Ramones
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Lino Romano
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Pet Sematary
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Lino Romano
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SheetMusicPlus
Give Me Your Hand (Tabhair dom do Lámh) Irish Traditional - Guitar Solo (standard notation)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.948703 Composed by Rory Dall O'Cah…
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Solo Guitar - Level 3 - Digital Download SKU: A0.948703 Composed by Rory Dall O'Cahan (1603), arr. Bradley Powell. Arranged by Bradley Powell (The Candlelight Guitarist). Celtic,Concert,Holiday,Renaissance,Wedding. Individual part. 4 pages. Geofonica Artistworks #6325443. Published by Geofonica Artistworks (A0.948703). One of the most beloved Irish Traditional ballads, in a new off-the-record classical finger-style arrangement. NOTE: This sheet music is in Standard Notation. (A separate edition in both TABS and standard notation is also available here on Sheet Music Plus). This arrangement is by Bradley Powell (The Candlelight Guitarist) and is released on The Candlelight Guitarist album The Wedding of Dulcinea & Don Quixote. Watch the YouTube video of Brad's performance! It's an Intermediate classical guitar level (similar to Sor, Carcassi and Giuliani etudes), an excellent piece for concert or recital, weddings, dinners, especially Irish-themed occasions, or general enjoyment.
$3.99
3.64 €
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Guitare
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Rory Dall O'Cahan
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Give Me Your Hand
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Geofonica Artistworks
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SheetMusicPlus
Ernesto García de León - 20 Estudios (20 Studies), Op. 50 - Collected Works, Volume 2
Guitare
Composed by Ernesto Garcia de Leon (1952-). 20th Century, Contemporary Classical, Im…
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Composed by Ernesto Garcia de Leon (1952-). 20th Century, Contemporary Classical, Impressionistic. Score. 36 pages. Published by Michael Lorimer Editions
Ernesto García de León's 20 Studies, Op. 50 is an ingenious collection thataddresses fundamental questions about how to develop and maintain guitar technique. It is designed toserve guitar teachers and students as well as performers and concert audiences. Since it explores notjust the technique of our instrument, but its musicaland expressive aspects as well, it makes daily technical work enjoyable, not tedious—even for someone only beginning to study the guitar.<br> <br> For guitar teachers and students, 20 Studies canserve as a basic curriculum or it can complementother methods or other sets of studies. For performers, it provides a complete overview and tune-up ofthe guitar technique in one graded set of daily studies that can be played in less than half an hour. Thiswarm-up then provides the player delicious concertrepertoire—as the complete set, or in smaller groups,or in combinations with other music by ErnestoGarcía de León.<br> <br> These musical exercises are also useful to rectify,reform or rehabilitate the guitar technique.<br> <br> The materials out of which the twenty studies aredeveloped are first idiomatic patterns of the guitarand then the variety of musical styles so appealing toand characteristic of Ernesto García de León. For example, classic examples of the music of theCaribbean coastal basin in general and thecomposer's native state Veracruz in particular appearunvarnished in #12 (a rumba veracruzana) and #20(a son). The other studies blend elements of Mexicanmusic in general—songs of the revolution, nativedances, boleros, children's songs, and so forth—withelements of European classical music, Beatles, NewAge music, jazz and other musical styles, in a wayintended to appeal to the player and to the listener.<br> <br> As the summary on pages 34 and 35 illustrates,the first sixteen studies explore basic formulas for theright hand. At the same time, they also address thefull range of left hand techniques—including balanceand positioning, independence of the fingers, longitudinal and transversal movements, shifts by substitution, by displacement, by jump, and by positions,barring, stretches and contractions, damping, pivoting, crossed movements, and movements with fixedfingers. The last four studies concern the slur.<br> <br> Though each of the basic right- and left-hand formulas explored in the twenty studies is relativelysimple in itself, each is a building block of a solidtechnique. Mastery of the complete set of twentystudies—less than half an hour of music—integratesall the formulas and develops the technique to a levelat which an enormous range of the guitar repertoirebecomes available.Ernesto García de León's 20 Studies, Op. 50 is an ingenious collection thataddresses fundamental questions about how to develop and maintain guitar technique. It is designed toserve guitar teachers and students as well as performers and concert audiences. Since it explores notjust the technique of our instrument, but its musicaland expressive aspects as well, it makes daily technical work enjoyable, not tedious—even for someone only beginning to study the guitar.<br> <br> For guitar teachers and students, 20 Studies canserve as a basic curriculum or it can complementother methods or other sets of studies. For performers, it provides a complete overview and tune-up ofthe guitar technique in one graded set of daily studies that can be played in less than half an hour. Thiswarm-up then provides the player delicious concertrepertoire—as the complete set, or in smaller groups,or in combinations with other music by ErnestoGarcía de León.<br> <br> These musical exercises are also useful to rectify,reform or rehabilitate the guitar technique.<br> <br> The materials out of which the twenty studies aredeveloped are first idiomatic patterns of the guitarand then the variety of musical styles so appealing toand characteristic of Ernesto García de León. For example, classic examples of the music of theCaribbean coastal basin in general and thecomposer's native state Veracruz in particular appearunvarnished in #12 (a rumba veracruzana) and #20(a son). The other studies blend elements of Mexicanmusic in general—songs of the revolution, nativedances, boleros, children's songs, and so forth—withelements of European classical music, Beatles, NewAge music, jazz and other musical styles, in a wayintended to appeal to the player and to the listener.<br> <br> As the summary on pages 34 and 35 illustrates,the first sixteen studies explore basic formulas for theright hand. At the same time, they also address thefull range of left hand techniques—including balanceand positioning, independence of the fingers, longitudinal and transversal movements, shifts by substitution, by displacement, by jump, and by positions,barring, stretches and contractions, damping, pivoting, crossed movements, and movements with fixedfingers. The last four studies concern the slur.<br> <br> Though each of the basic right- and left-hand formulas explored in the twenty studies is relativelysimple in itself, each is a building block of a solidtechnique. Mastery of the complete set of twentystudies—less than half an hour of music—integratesall the formulas and develops the technique to a levelat which an enormous range of the guitar repertoirebecomes available.
$16.95
15.47 €
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Guitare
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Ernesto Garcia de Leon
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Ernesto García de León - 20 Estudios
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Michael Lorimer Editions
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SheetMusicPlus
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