Page d'accueil
Parcourir Free-scores.com
--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 Right Time
Sheetmusicplus
Non classifié
770
Piano & claviers
Piano seul
858
Piano, Voix
373
Piano Facile
318
Piano, Voix et Guitare
91
Orgue
29
Instruments en Do
26
1 Piano, 4 mains
19
2 Pianos, 4 mains
18
Piano Trio: piano, violon, violoncelle
14
Accompagnement Piano
7
Piano Quatuor: piano, violon, alto, violoncelle
6
Piano (partie séparée)
4
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Orgue, Piano (duo)
3
Piano Quatuor: piano, 2 violons, violoncelle
1
2 Pianos, 8 mains
1
1 Piano, 6 mains
1
Accordéon
1
+ 13 instrumentations
Retracter
Guitares
Guitare
46
Guitare notes et tablatures
42
Basse electrique
9
2 Guitares (duo)
9
Ukulele
8
Guitare (partie séparée)
8
Paroles et Accords
5
Mandoline
4
Banjo
3
Ligne De Mélodie, (Paroles) et Accords
2
Piano, Guitare (duo)
2
Dulcimer
2
Guitare, Violon, Violoncelle (trio)
1
3 Guitares (trio)
1
Ukulele Baryton
1
Guitare, Orchestre
1
+ 11 instrumentations
Retracter
Voix
Chorale SATB
249
Chorale 3 parties
61
Chorale 2 parties
55
Chorale TTBB
31
Chorale SSAA
29
Voix Alto, Piano
26
Chorale Unison
23
Voix duo, Piano
21
Voix Baryton, Piano
21
Voix Tenor, Piano
21
Voix Soprano, Piano
17
Voix duo
5
Voix haute
5
Voix Mezzo-Soprano, Piano
2
Voix basse, Piano
2
Voix basse
1
Voix moyenne, Piano
1
+ 12 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
56
2 Saxophones (duo)
52
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
45
Saxophone (partie séparée)
37
Flûte, Hautbois, Clarinette, Basson
34
Quintette de Saxophone: 5 saxophones
34
Clarinette
32
2 Clarinettes (duo)
32
Clarinette et Piano
31
2 Flûtes traversières (duo)
28
Saxophone Alto et Piano
25
Flûte traversière
25
Flûte traversière et Piano
25
Hautbois, Piano (duo)
25
Saxophone Soprano et Piano
23
Saxophone, Clarinette (duo)
21
Saxophone Alto
21
Saxophone Tenor et Piano
17
Hautbois (partie séparée)
17
Clarinette, Violon (duo)
16
Ensemble de Clarinettes
16
Clarinette, Trompette (duo)
15
2 Hautbois (duo)
15
Flûte, Clarinette (duo)
13
Quatuor de Flûtes : 4 flûtes
13
Saxophone Tenor
12
Hautbois, Basson (duo)
12
Ensemble de saxophones
12
Quatuor de Clarinettes: 4 clarinettes
11
Hautbois, Clarinette (duo)
11
Ensemble de Flûtes
11
Saxophone Baryton, Piano
11
Harmonica
10
Hautbois, Flûte
9
Cor anglais, Piano
9
3 Saxophones (trio)
9
2 Flûtes traversières, Piano
8
Cor Anglais
8
Clarinette et Alto
8
Flûte, Alto (duo)
8
Flûte, Saxophone (duo)
8
Flûte, Trompette (duo)
7
Flûte, Violon
7
Quintette de Flûte : 5 flûtes
6
Quintette de Clarinettes: 5 clarinettes
6
Clarinette Basse, Piano
6
Flûte à bec Soprano
6
Hautbois
5
Flûte et Guitare
5
Flûte, Hautbois (duo)
5
Flute (partie séparée)
4
3 Clarinettes (trio)
4
Flûte à bec Soprano, Piano
4
Ocarina
4
Flûte, Hautbois, Clarinette (trio)
4
Clarinette, Guitare (duo)
4
Flûte, Hautbois, Piano (trio)
3
Clarinette, Trombone (duo)
3
Flûte, Clarinette et Basson
3
Trio de Flûtes: 3 flûtes
3
Clarinette (partie séparée)
2
Flûte, Violon, Piano
2
5 Flûtes à bec
2
Clarinette, Violoncelle (duo)
2
Clarinette, Violoncelle, Piano (trio)
2
Hautbois, Guitare (duo)
2
Clarinette, Basson (duo)
2
Flûte, Clarinette, Piano (trio)
2
3 Flûtes à bec (trio)
1
Ensemble de Hautbois
1
Cor anglais, Guitare (duo)
1
Saxophone Baryton
1
Flûte, Hautbois, Basson
1
Flûte traversière, Orgue (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à bec Alto
1
Flûte irlandaise
1
Flûte, Violon et Violoncelle
1
Flûte à Bec
1
Saxophone Soprano
1
Saxophone
1
3 Hautbois
1
Flûte, Violoncelle, Piano (trio)
1
Cor anglais et Harpe (duo)
1
Ensemble à vent
1
+ 80 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
87
Quatuor de Cuivres : 2 trompettes, trombone, tuba
49
Trompette, Piano
26
Trombone et Piano
25
Trombone
22
Trompette
22
Tuba
19
Quatuor de Cuivres
19
Trombone (partie séparée)
18
Trompette (partie séparée)
17
Cor
16
Trompette, Saxophone (duo)
16
2 Trombones (duo)
16
2 Trompettes (duo)
15
Trompette, Trombone (duo)
13
Cor et Piano
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
10
Tuba et Piano
9
Cor anglais, Piano
9
Cor Anglais
8
2 Cors (duo)
7
Ensemble de Trombones
5
Cor (partie séparée)
5
2 Tubas (duo)
5
Tuba (partie séparée)
5
Euphonium, Piano (duo)
5
Trompette, Basson (duo)
4
Euphonium
4
Trompette, Violoncelle (duo)
3
3 Trombones (trio)
3
Ensemble de Trompettes
3
Trompette, Cor (duo)
2
Trombone, Tuba (duo)
2
Ensemble de Cors
2
Trompette, Tuba (duo)
2
Quatuor de cuivres: 4 cors
1
2 Cors, Piano
1
Cor anglais, Guitare (duo)
1
Trompette, Violoncelle et Piano
1
Tuba et Orgue
1
3 Euphoniums
1
Trompette, Euphonium (duo)
1
Quatuor de cuivres: 4 trompettes
1
4 Tubas
1
Cor anglais et Harpe (duo)
1
Trombone basse
1
+ 41 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
125
Violon, Violoncelle (duo)
50
Violon et Piano
44
Harpe
43
Violon
42
Violoncelle
37
Alto, Piano
31
Trio à Cordes: 2 violons, violoncelle
29
Violoncelle, Piano
26
Violon, Alto (duo)
25
2 Violons (duo)
21
2 Violoncelles (duo)
21
Quintette à cordes: 2 violons, alto, violoncelle, basse
21
Contre Basse
17
Trio à Cordes: violon, alto, violoncelle
16
2 Altos (duo)
15
Alto seul
15
Violon, Basson (duo)
12
Alto, Violoncelle (duo)
8
Alto (partie séparée)
7
Violon (partie séparée)
6
Contrebasse (partie séparée)
5
2 Contrebasses (duo)
4
Contrebasse, Piano (duo)
4
Harpe, Flûte (duo)
4
Trio à Cordes: 3 violoncelles
2
4 Violoncelles
2
Ensemble d'Altos
2
Trio à cordes: 3 violins
2
Ensemble de Violons
2
Trio à Cordes: 2 violons, alto
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle , Guitare (duo)
1
Harpe, Voix
1
Alto et Basson
1
4 Contrebasses
1
Violoncelle (partie séparée)
1
Alto et Harpe
1
+ 33 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
159
Orchestre à Cordes
57
Orchestre
56
Ensemble Jazz
45
Ensemble de cuivres
30
Orchestre de chambre
21
Cloches
16
Jazz combo
12
Fanfare
9
Marimba
7
Batterie (partie séparée)
4
Percussion (partie séparée)
3
Batterie
3
Ensemble de Percussions
2
Xylophone, Piano
2
Xylophone
2
Caisse Claire
2
2 Marimbas
1
Timbales
1
Piano et Orchestre
1
Percussion
1
Vibraphone
1
+ 17 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
Autres Services
Autres Services
Top 100
Annuaire Web
Portées musicales
Metronome
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
13
Partitions Numériques
46
Librairie Musicale
0
Matériel de Musique
4
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
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
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
The Right Time
SheetMusicPlus
Partitions à imprimer
46 partitions trouvées
<
1
26
'A golden time ...' from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
#
Guitare
#
INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
A Bright Summer Night
#
Guitare
#
INTERMÉDIAIRE
#
Contemporain
#
Tomas Ericsson
#
A Bright Summer Night
#
Tomas Ericsson
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1083293 Composed by Tomas Ericsson. Classical,Contemporary. Individual part. 3 pages. Tomas Ericsson #687489. Published ...
(+)
Solo Guitar - Level 3 - SKU: A0.1083293 Composed by Tomas Ericsson. Classical,Contemporary. Individual part. 3 pages. Tomas Ericsson #687489. Published by Tomas Ericsson (A0.1083293). A Bright Summer Night is a piece of contemporary classical guitar music which I wrote in June 2022, during the brightest time of the year. The level of difficulty is intermediate which means that if you're a beginner it might be too difficult. However many parts of the music is fairly easy, so even if you consider yourself to be at easy intermediate level you could give it a try. Maybe this piece is the one that takes you to the next level! Duration: 2:49 Performing Rights Organization: STIM (Sweden).
$3.00
Larry Williams Compositions- The Guitar Book
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Larry Williams
#
Larry Williams Compositions- T
#
Larry Andrew Williams
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Pu...
(+)
Solo Guitar - Level 4 - SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Published by Larry Andrew Williams (A0.1167528). A WORD FROM THE COMPOSER Is anyone interested in new reading material anymore? I know that when I was a kid in nineteen hundred and something, the quest for new musical pieces was always one of the funnest aspects of the whole musical journey. Of course I did learn that it would take a long time to  nd those few that would resonate with me for a lifetime, but it was always fun trying them all out. It still is, in fact. Well, times change and people change, but I’d still like to believe that same factor carries on. You know, the one about trying out all that music to get to the few you keep. And what about the few we do keep? For guitar players, was it always a classic from the usual suspects, like Albeniz, Sor, Tarrega,, Granados, Rodrigo, Brouwer, Barrios, Villa-Lobos, or anything by Bach?Was it something our band director or private instructor, one of our friends, or our parents wrote? Or – Heaven forbid- something that maybe we ourselves wrote? Or some “unknown guy.â€Â Consider this.Just how often did some unknown composer's piece greatly affect us as we waded through a daunting pile of the familiar from the known masters? And since some, if not most of these classics are required reading, how often did we even get around to giving this unknown guy's piece a try?And furthermore, was this unknown guy - shudder...alive? Let’s face it. In the composer arena, we the living, stand no chance against the deceased (God rest their souls) But by saying “they don’t write ‘em like that anymore,†are we denying ourselves new ground to be broken, doors to be opened, frontiers to be discovered? And isn’t that pioneering spirit just plain ol’ curiosity when it comes right down to it? Well I believe the key lies within the carrying out of these notions that curiosity places in us. It’s climbing the mountain simply because it is there. So, for right now, I’m that unknown guy and I would only urge you to break new ground every day. Lots of trends, ideas, and interests will come and go in your life, but always hang on to that curiosity. It’s what makes the world a smaller neighborhood. Larry Williams.
$20.00
Canto de mi corazon, meditacion, The singing of my heart, meditation
#
Guitare
#
AVANCÉ
#
Alfred Feenstra
#
Canto de mi corazon, meditacio
#
Alfred Feenstra
#
SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.978021 Composed by Alfred Feenstra. 20th Century,Concert,Contemporary,World. Individual part. 8 pages. Alfred Feenstra #...
(+)
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
När ljuset återvänder (When the Light Returns)
#
Guitare
#
FACILE
#
Tomas Ericsson
#
När ljuset återv&au
#
Tomas Ericsson
#
SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.999763 Composed by Tomas Ericsson. Contemporary,Standards. Individual part. 1 pages. Tomas Ericsson #6681269. Published ...
(+)
Solo Guitar - Level 2 - SKU: A0.999763 Composed by Tomas Ericsson. Contemporary,Standards. Individual part. 1 pages. Tomas Ericsson #6681269. Published by Tomas Ericsson (A0.999763). Since we've past the darkest time of the year I found the title to be suitable for this short piece.It should be played as described, thoughtfully, with somewhat rubato.Appropriate for schools, students or anyone with some experience of note reading.Duration: 1.50Performing Rights Organization: STIM (Sweden).
$3.00
Big Drum
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
New Age
#
Contemporain
#
Richard Hirsch
#
Big Drum
#
Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568....
(+)
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
Variations on a Theme by Tommie Wright
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Ted Stanley
#
Variations on a Theme by Tommi
#
Ted Stanley
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.923993 Composed by Ted Stanley. Contemporary. Individual part. 13 pages. Ted Stanley #6639293. Published by Ted Stanley ...
(+)
Solo Guitar - Level 4 - SKU: A0.923993 Composed by Ted Stanley. Contemporary. Individual part. 13 pages. Ted Stanley #6639293. Published by Ted Stanley (A0.923993). Tommie Wright (1919 - 2014) was an American pianist and long-time professor at Florida State University where in 1950 he set to music a poem by student Doug Alley to create the FSU Fight Song, the theme of which is the basis for this set of variations for solo guitar.The audio file (Listen) offers the 2nd (Waltz) and 7th (Swing) variations, while the video (Watch) is the 1st variation, where the theme is in the bass.Although the printed order is appropriate, the variations might be performed in any order, or in groupings of three, four, or more. Many of the variations highlight idiomatic techniques of classical guitar performance and could be practiced as studies.Contact: tstanley@fsu.edu (email)
$10.00
Overture from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 4 - 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
Chorus and Aria from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
The Time Between Genesis 1:1 and 1:2
#
Guitare
#
INTERMÉDIAIRE
#
J
#
The Time Between Genesis 1:1 a
#
J.S. Jacques
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1028595 Composed by J.S. Jacques. Christian,Contemporary,Instructional,Jewish,Sacred. Individual part. 1 pages. J.S. Jac...
(+)
Solo Guitar - Level 3 - SKU: A0.1028595 Composed by J.S. Jacques. Christian,Contemporary,Instructional,Jewish,Sacred. Individual part. 1 pages. J.S. Jacques #3586003. Published by J.S. Jacques (A0.1028595). This piece was composed for solo classical guitar, but it could be performed on a variety of instruments. Excellent for guitar students, especially those seeking to learn the higher regions of the fret board. A choice piece for guitarists of all levels wishing to improve their a ( p), m, i right hand pattern. An excellent piece for church services, especially as it centers on a cryptic chapter of Bible history.If you would like to know how I play it, I'll be happy to make a YouTube tutorial. If so, or if you have questions about the title or anything else, feel free to email me at jerjacques@gmail.com.A performance would typically be around 80 BPM and last 1:40 to 2 minutes.
$2.60
The Christmas Song (chestnuts Roasting On An Open Fire)
#
Guitare
#
Noël
#
Nat Cole With N
#
Bronson Ferdinand Wright
#
The Christmas Song
#
Bronson Ferdinand
#
SheetMusicPlus
Solo Guitar - SKU: A0.1336577 By Nat Cole With N. Riddle Orch. By Mel Torme and Robert Wells. Arranged by Bronson Ferdinand Wright. 20th Century,Christm...
(+)
Solo Guitar - SKU: A0.1336577 By Nat Cole With N. Riddle Orch. By Mel Torme and Robert Wells. Arranged by Bronson Ferdinand Wright. 20th Century,Christmas,Holiday,Jazz,Standards. Individual part. 3 pages. Bronson Ferdinand #922347. Published by Bronson Ferdinand (A0.1336577). Chord melody arrangement of the classic Christmas song. A great intro to the chord melody style. This arrangement features an A section in the spirit of the original and a B section in double time feel. The distincive outro from the Nat King Cole version is included.Great for solo guitar performances.
$5.99
Hark! The Herald Angels Sing
#
Guitare
#
Traditional
#
Bronson Ferdinand Wright
#
Hark! The Herald Angels Sing
#
Bronson Ferdinand
#
SheetMusicPlus
Solo Guitar - SKU: A0.1356202 Composed by Traditional. Arranged by Bronson Ferdinand Wright. Advent,Christmas,Jazz,Religious,Traditional. Individual par...
(+)
Solo Guitar - SKU: A0.1356202 Composed by Traditional. Arranged by Bronson Ferdinand Wright. Advent,Christmas,Jazz,Religious,Traditional. Individual part. 2 pages. Bronson Ferdinand #940873. Published by Bronson Ferdinand (A0.1356202). Beautiful arrangement of classic Christmas carol.This arrangement features fingerpicking, lush voicings and two voice counterpoint. Elements of both jazz and classical are on display in this gorgeous chord melody. A dynamic version of a timeless Christmas tune. Great for solo performances and for those studying the chord melody style.In the style of Tim Lerch and Ted Greene.
$4.99
18 Etudes Progressives Pour La Guitare Op.51
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Mauro Giuliani
#
Socrates Arvanitakis
#
18 Etudes Progressives Pour La
#
Socrates Arvanitakis
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1254258 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 77 pages. ...
(+)
Solo Guitar - Level 4 - SKU: A0.1254258 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 77 pages. Socrates Arvanitakis #847831. Published by Socrates Arvanitakis (A0.1254258). PREFACE & Editorial NotesThe 18 studies op.51 by Mauro Giuliani are in general of a moderate difficulty andtheir didactic purposes can be perceived as the solid establishment of anintermediate level of technique and the advancement into a higher level, so some ofthem may be a little more difficult than the rest. At the same time, most of them areentertaining musical pieces with high aesthetic value and can also be studied andplayed for musical enjoyment.Notes1 Metronome marks are editorial suggestions and should not be taken too literally.2 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 ordigital book accordingly. Blank pages have been added to be used or omitted for thearrangement of left and right hand pages. Navigating the Thematic Index1 click on the photo of any piece: Go to relevant decorated page2 click the header of any titled page: Return to the index3 click on the title of any displayed piece: Interchange between decorated/undecorated pages.
$15.00
Mauro Giuliani: 24 Etudes Op.100 for Classical Guitar
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Mauro Giuliani
#
Socrates Arvanitakis
#
Mauro Giuliani: 24 Etudes Op.1
#
Socrates Arvanitakis
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1250788 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 93 pages. ...
(+)
Solo Guitar - Level 4 - SKU: A0.1250788 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 93 pages. Socrates Arvanitakis #845053. Published by Socrates Arvanitakis (A0.1250788). PREFACE & Editorial NotesThe 24 studies op.100  by Mauro Giuliani are in general of a moderate difficulty and their didactic purposes can be perceived as the solid establishment of an intermediate level of technique and the advancement into a higher level, so some of them may be a little more difficult than the rest. At the same time, most of them are entertaining musical pieces with high aesthetic value and can also be studied and played for musical enjoyment.Notes1 Metronome marks are editorial suggestions and should not be taken too literally.2 Staff size has been reduced by different percentages for studies no. 11, 12, 13, 14, 15, 16 & 24 so that they can be rendered in a two-page view as the rest of the pieces.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.
$15.00
The Collected Guitar Studies
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Methodes Etudes
#
Leonard Schulz
#
The Collected Guitar Studies
#
Chanterelle
#
SheetMusicPlus
Guitar - intermediate to advanced - Composed by Leonard Schulz. This edition: Sheet music. Downloadable. Chanterelle #Q47959. Published by Chanterel...
(+)
Guitar - intermediate to advanced - Composed by Leonard Schulz. This edition: Sheet music. Downloadable. Chanterelle #Q47959. Published by Chanterelle
English.
This edition presents all Schulz's known studies, and they demonstrate the composer at his best. Many of the studies are technically demanding, often with focus on specific and sometimes unusual techniques or right-hand fingerings. They also have a rich harmonic language, thus displaying an instrumental and compositional proficiency beyond that of the average guitarist at the time. In quality the Schulz studies may be compared to those by Giulio Regondi.
$21.99
Guitar Sight-Reading 1
#
Guitare
#
cleverly splitting the learnin
#
Guitar Sight-Reading 1
#
Schott Music - Digital
#
SheetMusicPlus
Guitar - very easy to intermediate - SKU: S9.Q6448 A fresh approach. This edition: Sheet music. Schott Sight-Reading Series. Downloadable. Op. 1....
(+)
Guitar - very easy to intermediate - SKU: S9.Q6448 A fresh approach. This edition: Sheet music. Schott Sight-Reading Series. Downloadable. Op. 1. Schott Music - Digital #Q6448. Published by Schott Music - Digital (S9.Q6448). English • French • German.Here comes a book with really fresh ideas just at the right time. The two authors John Kember and Martin Beech are profound experts on guitar didactic problems. They present a compendium of pieces arranged in progressive order that is without equal. Due to the guitar's specific fingering, sight-reading is, by tradition, a real pain for all generations of guitar players. By cleverly splitting the learning steps, the two authors have succeeded in creating a consistent and practical concept of easy to medium difficulty. Most important approach: all pieces without fingerings! In combination with a textbook and selected accompanying literature, teachers and pupils will certainly greatly enjoy the exercises and pieces. This book will turn a budding guitarist into a mature musician! (Dieter Kreidler).
$13.99
Mauro Giuliani: Sonatina in C op.71 no.1
#
Guitare
#
INTERMÉDIAIRE
#
Classique
#
Mauro Giuliani
#
Socrates Arvanitakis
#
Mauro Giuliani: Sonatina in C
#
Socrates Arvanitakis
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. ...
(+)
Solo Guitar - Level 3 - SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. Socrates Arvanitakis #975591. Published by Socrates Arvanitakis (A0.1392100). PREFACE AND BRIEF ANALYTICAL NOTESThe three sonatinas op.71 by Mauro Giuliani in C, G, and D were first published in 1816 in Vienna and were intended as student pieces of progressive difficulty. In parallel with this intention they are also fully developed three-movement works which reveal Giulianiâ??s technique as a composer with harmony, counterpoint, and structure.They certainly have the time length and the variety of full scale sonatas, but here Giuliani has chosen to use the supporting structures of sonatas met in movements other than the first, such as Menuetto and Trio, Rondo, Marcia and Trio, Scherzo and Trio, etc,  rather than sonata form itself.As it stands, this first sonatina in C has the following three movements:1 Maestoso (Moderato) which is a set of a theme and three variations, or better termed as a set of mathematical divisions reminiscent of an earlier era, as the accompaniment of the theme is given in crotchets, quavers, quaver triplets, and semi-quavers.2 Menuetto-Trio-Menuetto da capo written typically in the subdominant key of F and fully developed as per classical 19th century usage.3 Rondo. This movement is also written in a classical rondo style and form as an A-B-A-C-B-A-codetta  structure, with a typical tonal scheme of A in the tonic Key (C), B in the dominant key (G), and C in the relative minor key (Am).Therefore in this work we do not meet with structural innovations of any kind, but with strong affirmation of already existing and well established early 19th century structural norms, but the beautiful personal melodic and harmonic style of Giuliani and even his routine guitaristic nuances and formulas are present in all three movements and can be enjoyed as always.TECHNICALThis publication keeps each separate movement within the limit of two pages, thus avoiding page turns. It is published with two versions of the same pieces given in undecorated and decorated pages for the user to select which version he prefers to print out. Blank pages have been provided for insertion/deletion for the correct placement of left-right hand pages.Metronome marks are only editorial suggestions that need not be taken too literally.Sibelius Mp3 archive has been extracted for this publication using Note Performer playback engine.Socrates ArvanitakisLondon 2024.
$6.00
What A Wonderful World
#
Guitare
#
INTERMÉDIAIRE
#
Louis Armstrong
#
Richard Hirsch
#
and 3&
#
What A Wonderful World
#
Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Century,Multicultural...
(+)
Solo Guitar - Level 3 - SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Century,Multicultural,Pop,Standards,World. Individual part. 8 pages. Richard Hirsch #755336. Published by Richard Hirsch (A0.1155054). Taking inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement in polyrhythmic 4/4 time of What a Wonderful World for solo acoustic guitar. 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 tune is really happy and up-lifting. If there are any little folks (kids two to four years old) around listening, they will have a hard time sitting still. My grandson (two and a half) really got going when I played it for him. I can hardly resist the urge to dance to the tune while playing myself! The arrangement is in the spirit of the Canarios by Gaspar Sanz for classical guitar and is meant to have the nature of a dance. The repetitive alternating thumb and index and middle finger cycle going through the broken chords with the melody woven in works to give the arrangement an almost hypnotic character. The fingering for the right hand is given in first section and is basically the same throughout the piece. The fingering for the left hand can, I believe, be easily figured out from the tablature. The arrangement is within the reach of intermediate students of the acoustic guitar; anyone who has mastered the basics of fingerstyle fingerpicking guitar, and can be played on both nylon and steel string acoustic guitars. The short and long glissandos and the arpeggios of natural harmonics resembling the kalimba (thumb harp) together with the drone effects of the enharmonic tones in the chords give an added dash of African spice to the piece.
$4.99
Bittersweet Symphony
#
Guitare
#
INTERMÉDIAIRE
#
Thomas Mark Harmer Nichols and
#
Dan Jones www
#
Bittersweet Symphony
#
DanJonesGuitarist
#
SheetMusicPlus
Guitar - Level 3 - SKU: A0.1212661 Composed by Thomas Mark Harmer Nichols and Tim Baxter. Arranged by Dan Jones www.danjonesguitarist.com. Classical,Con...
(+)
Guitar - Level 3 - SKU: A0.1212661 Composed by Thomas Mark Harmer Nichols and Tim Baxter. Arranged by Dan Jones www.danjonesguitarist.com. Classical,Contemporary,Pop,Rock. 36 pages. DanJonesGuitarist #809981. Published by DanJonesGuitarist (A0.1212661). Bittersweet Symphony - The Verve Arranged for Intermediate Guitar Quartet by Dan Jones www.danjonesguitarist.com This arrangement is suitable for guitarists of an intermediate standard. Your download will provide you with: A full score with the parts shown in notes and TAB A score with just notes (to facilitate page turns for directors) All parts in notes and TAB Parts with just notes. Bittersweet Symphony is a single taken from the 1997 album Urban Hymns.  The song become an iconic anthem of the 1990’s making this an excellent and original concert or encore item.  The repeated motif heard in the track was taken as a sample from an orchestral arrangement of the Rolling Stones classic ‘The Last Time’ by The Andrew Oldham Orchestra. Years of legal wrangling over copyright followed the single’s huge success. In 2019, following the death of their former manager, Keith Richards and Mick Jagger returned all rights of authorship to The Verve. This arrangement gives equal melodic interest to all players. A video of the arrangement will be uploaded before the end of May 2023.  You can find a huge range of solo and chamber music for guitar in all styles at www.danjonesguitarist.com I hope you enjoy performing Bittersweet Symphony as much as I enjoyed arranging it.Â
$7.95
Prelude No 2 in A (Flight)
#
Guitare
#
INTERMÉDIAIRE
#
Simon James
#
Prelude No 2 in A
#
DML
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1147461 By Simon James. By Simon James. Classical,Contemporary,Instructional,Multicultural,World. Individual part. 6 pag...
(+)
Solo Guitar - Level 3 - SKU: A0.1147461 By Simon James. By Simon James. Classical,Contemporary,Instructional,Multicultural,World. Individual part. 6 pages. DML #747697. Published by DML (A0.1147461). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both. This piece is based on the simple idea of an A major chord, a D major7 chord and an E9 chord in 5th position played with an unusual right hand pattern giving a time signature of 10/8. Don’t panic, if you play the right hand pattern correctly, as indicated, it automatically comes out correctly. You will find all the techniques you need in my book The Art Of Accompaniment On The Guitar. I have given considerable technical guidance both in fingering and the use of different strings as these pieces are intended to be instructional. The score is available on Sheet Music Plus and Sheet Music Direct.
$2.99
Bach Cello Suite No 1 - solo guitar
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Joh
#
Georg Mertens
#
Bach Cello Suite No 1 - solo g
#
Georg Mertens
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1320915 Composed by Joh. Seb. Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,Traditional,Wedding. Individual...
(+)
Solo Guitar - Level 4 - SKU: A0.1320915 Composed by Joh. Seb. Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,Traditional,Wedding. Individual part. 13 pages. Georg Mertens #909357. Published by Georg Mertens (A0.1320915). Having grown up as a cellist, who played the Suite since I am 11 years of age, I sometimes imagined or even hummed suitable bass notes, which you can't reach on the cello. Also, I imagined certain harmonies, completed in imagination when playing the Suite for years. - With many arrangements by guitarists, who didn't play the Suite on cello, I can hear, they are not going the right way! - Bach himself arranged cello Suite No 5 for lute - as lute Suite No 3 - giving us an example of how he himself went about when adding accompaniment notes - and he certainly did!Good examples are Gavotte 2 and the Gigue from Cello Suite No 5 - or lute Suite No 3. Bach also arranged the violin Partita No 3 in E major for lute - as lute Suite No 4, another example of how he himself went about. - In the arrangement here, I tried also to transfer the slurs on the cello sometimes to the guitar - e.g. in the Gigue - when I found it brings better the intended articulation better out.I hope you thoroughly enjoy the arrangement!Â
$9.99
XII Estudos em Serenata - Ziza Padilha
#
Guitare
#
Ziza Padilha
#
XII Estudos em Serenata - Ziza
#
Emerson Coelho
#
SheetMusicPlus
Solo Guitar - SKU: A0.597603 Composed by Ziza Padilha. Instructional,Jazz,Latin,World. Individual part. 24 pages. Emerson Coelho #5302557. Published by ...
(+)
Solo Guitar - SKU: A0.597603 Composed by Ziza Padilha. Instructional,Jazz,Latin,World. Individual part. 24 pages. Emerson Coelho #5302557. Published by Emerson Coelho (A0.597603). Most of these studies, in serenade, I composed to solve problems encountered since the beginning of my career as a guitar student. Left-handed and without an instrument, the force used on the left hand was excessive and harmful, in contrast to the disconcerting lightness of the right hand. I dedicate this songbook in the form of a study to friends, brothers and teachers (most of whom contributed significantly to correct these problems), and of course, to my family, with whom I share all dreams and sounds. May the XII Serenata Studies wander in the wind, and, in time, our playing will mature.
$7.00
Prelude, BWV 999
#
Guitare
#
INTERMÉDIAIRE
#
Classique
#
Gerry Saulter
#
Gerry Saulter
#
Prelude, BWV 999
#
Serenade Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1186697 By Gerry Saulter. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Early Music. Individual...
(+)
Solo Guitar - Level 3 - SKU: A0.1186697 By Gerry Saulter. By Johann Sebastian Bach. Arranged by Gerry Saulter. Baroque,Classical,Early Music. Individual part. 7 pages. Serenade Music #786346. Published by Serenade Music (A0.1186697). Johann Sebastian Bach likely composed this Prelude sometime between 1717-1723 while he served as Kapellmeister for Prince Leopold of Anhalt-Cöthen. My goal was to create a very playable arrangement that sounds beautiful. I started with developing left hand gestures and fingerings that would be simple and logical. The left hand gestures combine with the right hand arpeggio pattern help to enhance the lyrical quality of the down-stem voice, which is consistently played with the right hand thumb. Additionally, the simplified left hand function assists to give clarity to the moving sequential chord arpeggio. To help memorize the sequential chords, I have identified the implied chord harmony as it changes throughout the Prelude.I hope that this arrangement makes the process of learning this magical and beautiful Prelude a joyful one for every guitar player.
$6.99
<
1
26
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
The Right Time
