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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BASSON
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7
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5
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
8
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5
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4
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4
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3
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3
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3
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2
Hautbois, Violoncelle
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2
Saxophone Soprano et Piano
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2 Flûtes traversières (duo)
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Cor anglais, Piano
2
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1
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1
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1
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1
Ensemble de Flûtes
1
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1
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1
Saxophone Alto
1
Flûte à Bec
1
Hautbois (partie séparée)
1
Clarinette, Violon (duo)
1
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1
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1
Flûte, Alto (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Quintette de Clarinettes: 5 clarinettes
1
Quintette de Saxophone: 5 saxophones
1
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1
Flûte à bec Tenor
1
Clarinette Basse, Piano
1
Hautbois, Flûte
1
2 Clarinettes (duo)
1
Flûte, Clarinette (duo)
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Trombone et Piano
3
Cor et Piano
3
Trompette
3
2 Tubas (duo)
2
Trompette, Saxophone (duo)
2
Cor anglais, Piano
2
Tuba
1
2 Trombones (duo)
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
4 Tubas
1
Tuba et Piano
1
Euphonium
1
2 Trompettes (duo)
1
Quatuor de cuivres: 4 cors
1
Trompette, Piano
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
22
Violon et Piano
5
Violon
4
Alto, Piano
3
Violoncelle
2
2 Harpes (duo)
2
Harpe, Flûte (duo)
2
Violoncelle, Piano
2
Contrebasse, Piano (duo)
2
Violon, Alto (duo)
2
2 Violoncelles (duo)
1
2 Altos (duo)
1
4 Contrebasses
1
Harpe, Violon (duo)
1
Violon, Violoncelle (duo)
1
Autoharp
1
Trio à Cordes: 2 violons, violoncelle
1
Alto (partie séparée)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
75
Orchestre
12
Orchestre à Cordes
10
Ensemble de cuivres
6
Ensemble Jazz
6
Orchestre de chambre
5
Cloches
4
Ensemble de Percussions
3
Jazz combo
3
Xylophone, Piano
1
Piano et Orchestre
1
Marimba, Piano (duo)
1
Marimba
1
Batterie
1
Fanfare
1
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AUTRES
Vous avez sélectionné:
Up To Something
Guitare
Partitions à imprimer
14 partitions trouvées
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1
Something There
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1374708 Composed by Alan Menken an…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1374708 Composed by Alan Menken and Howard Ashman. Arranged by Brad Powell. Broadway,Classical,Film/TV,Musical/Show,Pop,Wedding. Individual part. 5 pages. Geofonica Artistworks #959262. Published by Geofonica Artistworks (A0.1374708). This is an instrumental solo arrangement of Something There created by Brad Powell for his performances in Disney's Princess Breakfast Adventure at the Disneyland Resort's Grand Californian hotel (Napa Rose restaurant), from 2019 to early 2024. It's an intermediate solo guitar arrangement, mixing jazz and classical techniques and chord voicings. You can hear the full arrangement performed in the YouTube link provided. NOTE: This instrumental arrangement is in standard notation (LYRICS are included for reference). It is also available as standard notation with TAB.ABOUT: Brad 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. When not making music, Brad is often out hiking with his four dogs. Brad also played as the solo guitarist for Disney's Princess Breakfast Adventure at Disney's Grand Californian Resort by Disneyland (March 2019-January 2024), providing music for the Disney Princesses (Belle, Tiana, Jasmine, Rapunzel, Mulan, Aurora, Ariel, Pocahontas, Cinderella, and their friends and guests).COMMENTS FROM LONG-ESTABLISHED REVIEWERS (for this and other Candlelight Guitarist recordings)...Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age RetailerThe Candleight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals.Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWERBradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart. ...  Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences.Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell.Bob McKillop, founder and publisher, MaineFolkMusic.com...perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation â?? the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender..
$4.99
4.5 €
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Guitare
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Alan Menken and Howard Ashman
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Brad Powell
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Something There
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Geofonica Artistworks
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SheetMusicPlus
Jesus, Joy of Man's Desiring
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1234273 Composed by Johann Sebasti…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1234273 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Classical,Country,Folk. Individual part. 7 pages. Richard Hirsch #829813. Published by Richard Hirsch (A0.1234273). I offer an arrangement of Bach’s all-time favourite Jesus, Joy of Man’s Desiring for solo acoustic or classical guitar. I have arranged the piece in 4/4 time in a folk-fingerpicking style giving it something of an American folk-country character, perhaps verging on a gospel. The arrangement follows the original as faithfully as possible with the melody and choral sections interwoven. I think the piece survives the time-change operation beautifully, retaining the joyful and praiseful character of Bach’s original. The piece is a joy to play and to listen to.The arrangement is accessible to intermediate to advanced students of acoustic or classical guitar. Any student of guitar who has mastered the basics of thumb-index-middle fingerpicking  (thumb, thumb, index, middle, thumb, index) will have fun with the piece.I give extensive left hand fingering accompanied by tabs as a guide to the intermediate students of guitar. Right hand fingering is given for the first playing of the repetitive passages and in passages where it might be difficult for the performer to find appropriate  fingering. Otherwise I expect the fingering to be more or less self-evident, leaving it to the individual taste and style of the interpreting guitarist.I have set the tempo to Presto for the arrangement to keep close to lively nature of the original, but the arrangement can also be played much slower, somewhere around Metronome 130. This results in a shift in mood towards a ragtime blues, verging on a spiritual. This great music is a never-ending source of inspiration.The piece is a nice follow-up to my folk-fingerpicking arrangements for Freight Train and The Entertainer.
$4.99
4.5 €
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Guitare
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Johann Sebastian Bach
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Richard Hirsch
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Jesus, Joy of Man's Desiring
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Richard Hirsch
#
SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
10.81 €
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Guitare
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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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
6.31 €
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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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Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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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
6.31 €
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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
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
6.31 €
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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
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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
6.31 €
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Guitare
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Patios de Córdoba
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Ar…
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
3.6 €
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Guitare
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Every Breath You Take
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1264075 By The Police. By Sting. A…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1264075 By The Police. By Sting. Arranged by Pablo Alcázar. Pop,Rock,Singer/Songwriter. Individual part. 3 pages. Pablo Alcázar #856983. Published by Pablo Alcázar (A0.1264075). This arrangement of Every Breath you Take (for solo guitar) fits perfectly for Classical (spanish) and acoustic guitars because every chord sounds fully along with the melody and the bass gives a unique feeling of the rhythm. It's made for solo guitar and it's appropiate for begginers that look for a challenge or intermediate guitarist that want something fresh and new to play. Also is a very good arrangement for professional players that need repertoire for wedding events.Every Breath You Take is a song by the English rock band the Police from their album Synchronicity (1983). Written by Sting, the single was the biggest US and Canadian hit of 1983, topping the Billboard Hot 100 singles chart for eight weeks (the band's only No. 1 hit on that chart), and the Canadian RPM Chart for four weeks. Their fifth UK No. 1, it topped the UK Singles Chart for four weeks. The song also reached the Top 10 in numerous other countries.Sting wrote the song in 1982 in the aftermath of his separation from Frances Tomelty and the beginning of his relationship with Trudie Styler. Their split was controversial. As The Independent reported in 2006, The problem was, he was already married – to actress Frances Tomelty, who just happened to be Trudie's best friend. Sting and Frances lived next door to Trudie in Bayswater, West London, for several years before the two of them became lovers. The affair was widely condemned.To escape the public eye, Sting retreated to the Caribbean. He started writing the song at Ian Fleming's writing desk on the Goldeneye estate in Oracabessa, Jamaica. The lyrics are the words of a possessive lover who is watching every breath you take; every move you make. Sting recalled:I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn't realise at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control..
$4.99
4.5 €
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Guitare
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The Police
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Pablo Alcázar
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every move you make
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Every Breath You Take
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Pablo Alcázar
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SheetMusicPlus
8 Swinging Xmas Carols for Guitar & Piano
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1315071 By Keith Terrett. By Vario…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1315071 By Keith Terrett. By Various. Arranged by Keith Terrett. 20th Century,Christmas,Holiday,Praise & Worship. Individual part. 31 pages. Keith Terrett #903814. Published by Keith Terrett (A0.1315071). An exciting arrangement of eight popular swinging xmas carols arranged for Guitar & Piano; in an up-beat and somewhat jazzy manner. This challenging set of carols, offers players in general, something very different for those Christmas concerts and recitals, give them a go, and I am sure that you won’t be disappointed!The set includes: Ding Dong Merrily On High, Silent Night,We Three Kings,Away in a Manger, Joy to the World, God Rest Ye Merry Gentlemen, Deck the Halls & Good King Wenceslas.The part is all written out with jazz inflections and articulation included. The Piano part is all written out, but also includes the jazz chords for players who wish to comp. These Carols are playable by moderately advanced performers and are perfect for parties, church services, busking & recitals. Range is very moderate, nothing high at all.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible!Reviewer Chet Heflin Date 29th Sep 2006Bluesy Xmas! Keith Terrett has done an outstanding job of injecting jazz and blues into these holiday favorites. The writing beginning in measure 13 of Ding Dong Merrily On High is outstanding. Check out the wonderful contrast in movement between the flute and bass. This arrangement of Xmas carols would be a wonderful addition to any future holiday program. Well done Keith! Have fun! Caroling (singing carols in the street) is one of the oldest customs in Great Britain, going back to the Middle Ages when beggars, seeking food, money, or drink, would wander the streets singing holiday songs..
$15.99
14.42 €
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Guitare
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Keith Terrett
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Keith Terrett
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Piano
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8 Swinging Xmas Carols for Guitar & Piano
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Keith Terrett
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SheetMusicPlus
Pachelbel's Carol - Easy Guitar Sextet
Guitare
Guitar - Level 1 - Digital Download SKU: A0.797757 Composed by Johann Pachelbel + T…
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Guitar - Level 1 - Digital Download SKU: A0.797757 Composed by Johann Pachelbel + Traditional Cornish. Arranged by Derek Hasted. Baroque,Christmas,Classical. 14 pages. Derek Hasted #4847685. Published by Derek Hasted (A0.797757). PACHELBEL'S CAROL - a piece with a twist in the tail - 6 GUITARS/LARGE ENSEMBLE For Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes Pachelbel's Carol - a piece for 6 guitars (or a large ensemble) with a twist in the tail!Before you purchase - please note that I have also arranged this piece in 5 parts. You can find it most easily from my website (below) - select the quintet page.It was quite a few years ago that I conceived and arranged this fun little Christmas piece. Since then I’ve performed it many times in concert, and it’s always particularly well received.The arpeggios and countermelodies are inspired by the repeating sequences in Pachelbel’s Canon, and they end up providing a rich and totally unexpected accompaniment to a verse and chorus of the famous Christmas Carol 'The First Nowell'.This piece is just perfect as a special item in a Christmas concert, because the title conceals the surprise in the piece - each phase brings in another guitar part, making the piece build slowly before the final guitar launches into the well-known carol. The parts are easy and suitable for an ensemble with limited experience or one with limited chances to rehearse. In a mixed ability ensemble, there’s something for everyone; in a school guitar group, the teacher can take the Guitar 6 part if no-one in the group is comfortable in fifth position - all the other parts are first position.I hope you enjoy playing this piece!
$2.99
2.7 €
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Guitare
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Johann Pachelbel + Traditional Cornish
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Derek Hasted
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Pachelbel's Carol - Easy Guitar Sextet
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Derek Hasted
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SheetMusicPlus
Pachelbel's Carol - Easy Guitar Quintet
Guitare
Guitar - Level 1 - Digital Download SKU: A0.797758 Composed by Johann Pachelbel + T…
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Guitar - Level 1 - Digital Download SKU: A0.797758 Composed by Johann Pachelbel + Traditional Cornish. Arranged by Derek Hasted. Baroque,Christmas,Classical. 12 pages. Derek Hasted #4848031. Published by Derek Hasted (A0.797758). PACHELBEL'S CAROL - a piece with a twist in the tail - 5 GUITARS/LARGE ENSEMBLE For Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes Pachelbel's Carol - a piece for 5 guitars (or a large ensemble) with a twist in the tail!Before you purchase - please note that I have also arranged this piece in 6 parts - the additional part is suitable for a complete beginner. You can find it most easily from my website (below) - select the sextet page.It was quite a few years ago that I conceived and arranged this fun little Christmas piece. Since then I’ve performed it many times in concert with my Guitar Workshop, and it’s always particularly well received.The arpeggios and countermelodies are inspired by the repeating sequences in Pachelbel’s Canon, and they end up providing a rich and totally unexpected accompaniment to a verse and chorus of the famous Christmas Carol 'The First Nowell'.This piece is just perfect as a special item in a Christmas concert, because the title conceals the surprise in the piece - each phase brings in another guitar part, making the piece build slowly before the final guitar launches into the well-known carol. The parts are easy and suitable for an ensemble with limited experience or one with limited chances to rehearse. In a mixed ability ensemble, there’s something for everyone; in a school guitar group, the teacher can take the Guitar 5 part if no-one in the group is comfortable in fifth position - all the other parts are first position.I hope you enjoy playing this piece!
$2.99
2.7 €
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Guitare
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Johann Pachelbel + Traditional Cornish
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Derek Hasted
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Pachelbel's Carol - Easy Guitar Quintet
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Derek Hasted
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SheetMusicPlus
Beginning Rock/Pop Guitar Etudes
Guitare
Guitar (rock & blues) - Beginning-Intermediate - Digital Download Composed by Ada…
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Guitar (rock & blues) - Beginning-Intermediate - Digital Download Composed by Adam Douglass. Rock. E-book and online video. 32 pages. Mel Bay Publications - Digital Sheet Music #30648MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619117679.<br> <br> Is the beginning stage of learning the guitar proving to be a frustrating experience? Do you lack songs which you can play from start to finish? Do the ones that you can play all the way through not sound much like their original versions? I have been teaching these pieces to my beginner students for quite some time now, and the success rate has been remarkable. Most methods start by having the student slowly move back and forth between basic chords using only down strokes, playing chords one note at a time to make sure all the notes ring clear. This book offers something much differentaplaying music! The pieces are designed to target trouble areas often experienced by beginners of the instrument: arching the fingers enough in order to let all the notes of a chord ring clearly. Rather than just droning on through a series of chords, musical patterns are created so that as you learn proper technique youare also playing something musical. The results have been better than expected. Focusing on figures that demand proper technique and some of the most common strumming patterns found in popular music, many of my students are able to execute beginner and intermediate level songs within a few weeks of picking up the instrument rather than a few months. Additionally, the dreaded F chord, or root 6 major barre chord, often rings clearly with all 6 notes being heard upon the first attempt. This book will help you achieve your guitar related goals quickly, more efficiently, and most importantly, more enjoyably. Includes access to online video.
$12.99
11.72 €
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Guitare
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Adam Douglass
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Beginning Rock/Pop Guitar Etudes
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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