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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
This Old Town
Non classifié
130
Piano & claviers
Piano seul
88
Piano, Voix
38
Piano, Voix et Guitare
32
Piano Facile
25
2 Pianos, 4 mains
21
Orgue
8
Accompagnement Piano
6
Instruments en Do
5
1 Piano, 4 mains
4
Piano grosses notes
4
Piano Trio: piano, violon, violoncelle
2
Instrument seul et Orgue
1
Orgue, Piano (duo)
1
Accordéon
1
+ 9 instrumentations
Retracter
Guitares
Guitare notes et tablatures
24
Guitare
10
Ligne De Mélodie, (Paroles) et Accords
9
Ukulele
3
Banjo
2
Basse electrique
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
22
Chorale TTBB
7
Chorale 2 parties
6
Chorale Unison
5
Chorale 3 parties
5
Voix seule
2
Voix Soprano, Piano
1
+ 2 instrumentations
Retracter
Vents
Saxophone (partie séparée)
16
Flûte traversière
15
Saxophone
12
Quatuor de Saxophones: 4 saxophones
12
Flûte, Hautbois, Clarinette, Basson
10
Clarinette
9
Saxophone Alto
9
Saxophone Tenor
8
Clarinette (partie séparée)
8
Flûte traversière et Piano
7
2 Flûtes traversières (duo)
7
Hautbois (partie séparée)
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Quatuor de Clarinettes: 4 clarinettes
5
2 Clarinettes (duo)
5
Flûte, Clarinette (duo)
4
Saxophone Tenor et Piano
3
Flute (partie séparée)
3
2 Saxophones (duo)
3
Hautbois, Piano (duo)
3
Clarinette et Piano
3
Saxophone Alto et Piano
2
Ensemble de Flûtes
2
Flûte à bec Soprano
2
Quatuor de Flûtes : 4 flûtes
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte à bec Alto, Piano
2
2 Hautbois (duo)
1
Flûte et Guitare
1
Ensemble de saxophones
1
Clarinette, Basson (duo)
1
Trio de Flûtes: 3 flûtes
1
Flûte, Clarinette, Piano (trio)
1
Ensemble de Clarinettes
1
Quintette de Flûte : 5 flûtes
1
Saxophone et Orgue
1
Clarinette, Guitare (duo)
1
2 Flûte à bec (duo)
1
+ 33 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
16
Quatuor de cuivres: 4 trombones
13
Trompette (partie séparée)
12
Trombone
12
Trompette
11
Quatuor de Cuivres
7
Cor
6
Trombone et Piano
6
Trombone (partie séparée)
5
Tuba
4
Tuba (partie séparée)
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Ensemble de Trompettes
2
Euphonium
2
Trompette, Piano
2
2 Trombones (duo)
2
2 Cors (duo)
2
Cor (partie séparée)
2
Quatuor de cuivres: 4 cors
2
2 Trompettes (duo)
2
Bass Clef Instruments
1
Trio de Cuivres
1
3 Trompettes (trio)
1
Cor et Piano
1
2 Euphoniums (duo)
1
+ 20 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
24
Violon, Violoncelle (duo)
10
Violon
9
Violoncelle
9
2 Violoncelles (duo)
9
Violon et Piano
9
Violoncelle, Contrebasse (duo)
7
Violon, Alto (duo)
7
Violon (partie séparée)
7
2 Violons (duo)
7
Trio à cordes
6
2 Altos (duo)
6
Alto seul
6
Alto, Piano
5
Alto (partie séparée)
5
Alto, Violoncelle (duo)
4
Trio à Cordes: violon, alto, violoncelle
4
2 Contrebasses (duo)
4
4 Violoncelles
3
Violoncelle, Piano
3
Contrebasse (partie séparée)
3
Violoncelle (partie séparée)
3
Quatuor à cordes : 4 altos
2
Trio à Cordes: 2 violons, violoncelle
2
Harpe, Voix
1
Contrebasse, Piano (duo)
1
Trio à cordes: 3 altos
1
Trio à Cordes: 2 violons, alto
1
4 Contrebasses
1
Harpe
1
Trio à Cordes: 3 violoncelles
1
Quatuor à cordes: 4 violons
1
Violon, Guitare (duo)
1
Trio à cordes: 3 violins
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
36
Orchestre à Cordes
29
Ensemble Jazz
24
Orchestre
18
Ensemble de cuivres
11
Percussion (partie séparée)
5
Orchestre de chambre
4
Fanfare
3
Cloches
3
Timbales (partie séparée)
2
Ensemble de Percussions
1
+ 6 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
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VIOLON
VIOLONCELLE
XYLOPHONE
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Vous avez sélectionné:
This Old Town
Guitare
Partitions à imprimer
10 partitions trouvées
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1
14 Easy Solos for Classical Guitar
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Guitare
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DÉBUTANT
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Traditional
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Tim Curd
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14 Easy Solos for Classical Gu
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Tim Curd
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.716557 Composed by Traditional. Arranged by Tim Curd. Children,Romantic Period. Individual part. 6 pages. Tim Curd #3132...
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Solo Guitar - Level 1 - SKU: A0.716557 Composed by Traditional. Arranged by Tim Curd. Children,Romantic Period. Individual part. 6 pages. Tim Curd #3132709. Published by Tim Curd (A0.716557). 14 Easy Solos for Classical Guitar1. This Old Man 2. London Bridge 3. Aura Lee 4. Polly Wolly Doodle 5. Old Macdonald 6. Little Brown Jug 7. The Muffin Man 8. Yankee Doodle 9. Camptown Ladies 10. Ode to Joy 11. She’ll be Coming Round the Mountain 12. The Old Grand Duke of York 13. Troika 14. Sand Dance.
$4.99
Top Gun Anthem
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Guitare
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INTERMÉDIAIRE
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Harold Faltermeyer
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MAJOR SCORE PUBLISHING TM
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Top Gun Anthem
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Major Score Publishing
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1120530 Composed by Harold Faltermeyer. Arranged by MAJOR SCORE PUBLISHING TM. Film/TV,Instructional,Rock. Individual pa...
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Solo Guitar - Level 3 - SKU: A0.1120530 Composed by Harold Faltermeyer. Arranged by MAJOR SCORE PUBLISHING TM. Film/TV,Instructional,Rock. Individual part. 9 pages. Major Score Publishing #721773. Published by Major Score Publishing (A0.1120530). Top Gun Anthem | Top Gun Movie Guitarists look no further! This epic guitar feature as performed by Steve Stevens in the original Top Gun movie sound track is here - including the entire epic solo! We have also included notation for the guitar tapping technique used to crush this solo! We have added a few bars to the end for a custom ending as the original recording fades out as an option for you. This chart is written out for guitar but does not contain tabs. Perfect for seasoned professionals, cover bands, music teachers, students & performers of all ages! Guitar tabs (Available on Hal Leonard Platforms) Back in Black (AC/DC)Battle Without Honor (Kill Bill)Blackbird (The Beatles)Bohemian Rhapsody (Queen)Dust in The Wind (Kansas)I'm Tore Down (Eric Clapton)Easy (The Commodores)Hotel California (Eagles)I'm Tore Down (Eric Clapton)Old Time Rock N' Roll G (Bob Seger)Old Time Rock N' Roll gb (Bob Seger)Seven Nation Army (White Stripes)Smoke on the Water (Deep Purple)Sweet Child O Mine Db Guns N' Roses)Sweet Child O' Mine D (Guns N' Roses)Sweet Home Alabama (Lynyrd Skynyrd)Tears in Heaven (Eric Clapton)Uptown Funk (Bruno Mars) Follow us today! Instagram @majorscorepublishingYouTube @majorscorepublishingWebsite https://www.majorscorepublishing.com/guitartabsheetmusic
$6.99
Recuerdos de la Alhanbra for Classical Guitar
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Guitare
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INTERMÉDIAIRE
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Keith Terrett
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Keith Terrett
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Recuerdos de la Alhanbra for C
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Keith Terrett
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1441062 By Keith Terrett. By Francisco Tarrega. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instr...
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Solo Guitar - Level 3 - SKU: A0.1441062 By Keith Terrett. By Francisco Tarrega. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 12 pages. Keith Terrett #1021041. Published by Keith Terrett (A0.1441062). Recuerdos de la Alhambra (Memories of the Alhambra) is a classical guitar piece composed in Málaga by Spanish composer and guitarist Francisco Tárrega. It requires the tremolo technique and is often performed by advanced players.The piece was written for and dedicated to Tárrega's patron Concepción Gómez de Jacoby in 1899, commemorating their visit to the Alhambra palace and fortress complex in Granada, Spain. It was originally titled Improvisación ¡A Granada! Cantiga Árabe. It became known through an early 20th-century publication edited by Tárrega and dedicated as an homage to the French guitarist Alfred Cottin.Performance notesThe piece showcases a challenging guitar tremolo, wherein a single melody note is plucked consecutively by the ring, middle and index fingers in such rapid succession that the result is an illusion of one long sustained note. The thumb plays an arpeggio-pattern accompaniment simultaneously. Many who have heard the piece but not seen it performed mistake it for a duet.The A-section of the piece is written in A-minor and the B-section is written in the parallel major (A-major).Arrangements:Ruggiero Ricci arranged this piece for solo violin and often performed it as an encore.Chris Freeman and John Shaw recorded the song for their album Chris Freeman and John Shaw (May 1981, EMI Custom Records YPRX 1828, MAC 126).Nana Mouskouri recorded a vocal version for her 1989 album Classical. Sarah Brightman recorded a re-adapted vocal version for her album Classics.Alex Jacobowitz frequently performs a version of the song on his marimba and xylophone. He recorded it for several of his albums: Spanish Rosewood (1996), The Art of Xylos (2002), and Aria (2010).Luiza Borac arranged this piece for solo piano on her 2014 CD Chants Nostalgiques (Avie AV-2316).Xavi Ganjam made a special arrangement for sitar on his EP Soham (2019, Ganjam Records, Spain).Italian violist Marco Misciagna published the arrangement of this piece for solo viola.Soundtrack use:Recuerdos de la Alhambra has been used as title or incidental music in many films, including the soundtrack for René Clément's Forbidden Games (as played by Narciso Yepes), for The Killing Fields (under the title Étude as performed by Mike Oldfield), and in the films Sideways and Margaret.Performed and arranged by Jonathon Coudrille, it was used as the title music for the British television series Out of Town and a version performed by Pepe Romero was used as incidental music in The Sopranos episode Luxury Lounge. Gideon Coe on BBC Radio 6Music uses this tune as a musical background at approximately the half-way point of his evening weekday show. A sung version appears in the Studio Ghibli film When Marnie Was There.It is also the theme used for Philip II of Spain in the 4X strategy game Civilization VI, with the track progressing from a simple guitar arrangement to an entire orchestral performance as Spain advances through the ages.The theme was part of the soundtrack and storyline for the eponymous 2018 Korean television series Memories of the Alhambra.
$1.99
Miscellaneous: Patriotic Collection, USA Tunes and Songs instantly for guitar solo
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Guitare
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INTERMÉDIAIRE
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Patriotique
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Americana
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Miscellaneous
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Virtualsheetmusic
This is an exclusive arrangements for guitar solo of MEDIUM skill level from the original composition by Miscellaneous. This title is available as instant sheet music download. Contents: america the beautiful, battle hymn of the republic, hail to the chief, america, my country tis of thee, the star ...
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This is an exclusive arrangements for guitar solo of MEDIUM skill level from the original composition by Miscellaneous. This title is available as instant sheet music download. Contents: america the beautiful, battle hymn of the republic, hail to the chief, america, my country tis of thee, the star spangled banner, usa anthem, us anthem, taps, butterfly's lullaby, day is done, camptown races, camptown ladies, ho Susanna, oh susanna, o susanna, susannah, banjo on my knee, swanee river, old folks at home, when johnny comes marching home, the stars and stripes forever, yankee doodle, the washington post march / patriotic,traditional,hymn,american,festival,multicultural
$9.99
Over The Rainbow
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Comédie Musicale
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Film/TV
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Judy Garland
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Richard Hirsch
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and 3&
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Over The Rainbow
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicu...
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Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
'Change of scene' from Act III of Wozzeck
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
Excerpt from Lulu Suite
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Guitare
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Contemporain
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
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Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
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