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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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CLARINETTE
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FORMATION MUSI…
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57
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Guitare
11
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3
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2
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VOIX
Chorale SATB
103
Chorale TTBB
23
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16
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15
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14
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7
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6
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5
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4
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3
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3
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1
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1
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1
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VENTS
Saxophone Alto
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
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5
Saxophone Tenor
4
2 Flûtes traversières (duo)
3
Clarinette
3
Flûte traversière
3
Saxophone Soprano
2
Clarinette, Trompette (duo)
2
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2
Hautbois
2
Saxophone (partie séparée)
2
Saxophone, Clarinette (duo)
2
Quatuor de Flûtes à bec
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2
Flûte et Guitare
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2
Saxophone Baryton
2
Saxophone Alto et Piano
1
Hautbois (partie séparée)
1
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1
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1
2 Hautbois (duo)
1
Flûte, Clarinette (duo)
1
Saxophone et Orgue
1
Clarinette et Alto
1
Ensemble de Flûtes
1
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1
3 Saxophones (trio)
1
Hautbois, Basson (duo)
1
Clarinette et Piano
1
Hautbois, Clarinette (duo)
1
Saxophone Tenor et Piano
1
Quatuor de Flûtes : 4 flûtes
1
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1
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CUIVRES
Quatuor de cuivres: 4 trombones
13
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
8
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Trombone
4
Trompette
4
Cor
2
Tuba
2
Trompette, Saxophone (duo)
2
2 Trompettes (duo)
2
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Quatuor de Cuivres
1
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1
2 Trombones (duo)
1
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1
Trombone basse et Piano
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
17
Violon
7
Harpe
5
Alto seul
3
Violoncelle
3
Contre Basse
2
Violon, Alto (duo)
2
Violon et Piano
2
Violon, Violoncelle (duo)
2
Trio à Cordes: violon, alto, violoncelle
2
2 Violoncelles (duo)
1
2 Violons (duo)
1
4 Harpes
1
2 Altos (duo)
1
Piano Trio: Violon, Alto, Piano
1
Trio à Cordes: 2 violons, violoncelle
1
Violoncelle, Piano
1
Alto, Piano
1
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PERCUSSIONS & ORCHESTRES
Orchestre
10
Orchestre à Cordes
10
Orchestre de chambre
8
Orchestre d'harmonie
6
Ensemble Jazz
5
Cloches
4
Ensemble de cuivres
3
Jazz combo
2
Xylophone
2
Batterie
1
Marimba
1
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AUTRES
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Eric Clapton : Blues Before Sunrise (niveau intermédiaire, lead guitar) - Sans slide
Guitare
Téléchargez la tablature et la partition Guitare Blues Before Sunrise (nivea…
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Téléchargez la tablature et la partition Guitare Blues Before Sunrise (niveau intermédiaire, lead guitar) - Sans slide de Eric Clapton. Tab pour Lead Guitar -- Pop/rock
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Tomplay
Banjo Picking Tunes - Beautiful American Airs & Ballads
Guitare
Guitar - Intermediate - Digital Download SKU: M0.30906MEB Country. Folk. Ebook and …
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Guitar - Intermediate - Digital Download SKU: M0.30906MEB Country. Folk. Ebook and online audio. 41 pages. Mel Bay Publications - Digital Sheet Music #30906MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30906MEB). ISBN 9781513476667. 8.75X11.75 inches.This solo collection presents 19 iconic melodies from the American traditional song book plus 6 modern original compositions by William Bay, president of Mel Bay Publications; all selections have been arranged in tablature for the 5-string banjo in gDGBD tuning by Catalonian multi-instrumentalist and bluegrass specialist, Llu?s G?mez.Any collection of American ballads would be incomplete without settings of the beautiful melodies penned by Stephen Foster, several of which appear here including Beautiful Dreamer, Darling Nellie Gray, I Dream of Jeanie with the Light Brown Hair, and Hard Times, Come Again No More. Some of these tunes are arranged in uncommon banjo keys, all without retuning the banjo or using a capo. These keys may be challenging at first but will teach you a lot about the banjo fretboard.The authorÆs generous preface offers tips on practice, performance and interpretation rarely found in tablature collections such as these, but this book has it all, including online recordings of each arrangement.
Song List: Aura Lee Beautiful Dreamer Black is the Color of My True Love's Hair Black Sunday Darling Nellie Gray Hard Times, Come Again No More I Dream of Jeanie With the Light Brown Hair In The Pines Johnny Has Gone For a Soldier Just A-Wearyn' for You Just Before The Battle, Mother Land of Rest Lorena Mighty Lak' A Rose Paper Of Pins Prairie Sunset Pretty Peggy û O Shady Grove Shenandoah The Lonesome Dove The Long Road The Old Country The Old Homestead TO a Wild Rose Trail Of Tears
Song List
: Aura Lee Beautiful Dreamer Black is the Color of My True Love's Hair Black Sunday Darling Nellie Gray Hard Times, Come Again No More I Dream of Jeanie With the Light Brown Hair In The Pines Johnny Has Gone For a Soldier Just A-Wearyn' for You Just Before The Battle, Mother Land of Rest Lorena Mighty Lak' A Rose Paper Of Pins Prairie Sunset Pretty Peggy û O Shady Grove Shenandoah The Lonesome Dove The Long Road The Old Country The Old Homestead TO a Wild Rose Trail Of Tears
$14.99
13.59 €
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Guitare
#
Banjo Picking Tunes - Beautiful American Airs & Ballads
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Sweet Caroline
Guitare
Guitar - Level 3 - Digital Download SKU: A0.1214983 By Neil Diamond. By Neil Diamon…
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Guitar - Level 3 - Digital Download SKU: A0.1214983 By Neil Diamond. By Neil Diamond. Arranged by Dan Jones www.danjonesguitarist.com. Classical,Pop,Singer/Songwriter. 55 pages. DanJonesGuitarist #811570. Published by DanJonesGuitarist (A0.1214983). Sweet Caroline - by Neil DiamondArranged for Guitar Quartet (with Optional Bass Guitar) by Dan Joneswww.danjonesguitarist.comThis arrangement is designed for advanced-intermediate ensembles, but could also be used by professional groups seeking something original and popular for repertoire or encore works.Your download provides you with:⦠  A score showing notes and TAB⦠  A score with only notes (to facilitate page turns)⦠  All parts in notes only⦠  All parts in notes and TAB⦠  A bass guitar part is provided, but the arrangement will work effectively with or without this part.Sweet Caroline was released as a single by Neil Diamond in 1969. It enjoyed immediate chart success in the US, and further success in the UK in 1971. In recent years, it has had a resurgence in popularity, as it has been sung by supporters at sporting events due to its epic, stadium-rock quality. It is therefore much-known and loved by audiences of all generations.This arrangement is designed for advanced-intermediate ensembles, but could also be used by professional groups seeking something original and popular for repertoire or encore works.Your download provides you with:⦠  A score showing notes and TAB⦠  A score with only notes (to facilitate page turns)⦠  All parts in notes only⦠  All parts in notes and TAB⦠  A bass guitar part is provided, but the arrangement will work effectively with or without this part.For a wealth of arrangements for guitar in ensemble or solo, writings, original works, teaching material, compositions and much more, please visit www.danjonesguitarist.com
$7.95
7.21 €
#
Guitare
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Neil Diamond
#
Dan Jones www
#
Sweet Caroline
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DanJonesGuitarist
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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…
(+)
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
6.35 €
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Guitare
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Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
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…
(+)
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
6.35 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
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…
(+)
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
6.35 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.35 €
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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
"Hark!", the Herald Angels Sing
Guitare
Solo Guitar - Digital Download SKU: A0.483404 Composed by Felix Bartholdy Mendelsso…
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Solo Guitar - Digital Download SKU: A0.483404 Composed by Felix Bartholdy Mendelssohn. Arranged by Robert McCormack. Christmas,Classical,Holiday,Sacred,Traditional. Individual part. 1 pages. Published by Robert McCormak (A0.483404). The hymn that is this Christmas carol has gone through many iterations before popularly settling on this most commonly sung Mendelssohn melody. The arrangement is well within the intermediate level with the possible exception of the first two measures of the last two lines. There is a stretch here between fingers one and four, frets one and five with the additional challenge of a middle voice. Another carol offered by this arranger is, Once In Royal David's City, which has the same stretch but without the inner voice with which to contend. These two pieces are frequently performed together due to other similarities between them.
$3.99
3.62 €
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Guitare
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Felix Bartholdy Mendelssohn
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Robert McCormack
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"Hark!", the Herald Angels Sing
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Robert McCormak
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SheetMusicPlus
ASTURIAS by Albéniz - Transcr. for guitar by Flavio SALA
Guitare
Guitar, Classical guitar - Advanced Intermediate - Digital Download Composed by Isaac…
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Guitar, Classical guitar - Advanced Intermediate - Digital Download Composed by Isaac Albeniz (1860-1909). Arranged by Flavio Sala. Impressionistic, Post-Romantic, Repertoire. Score. 7 pages. Published by Flavio Sala
Isaac Albéniz (1860– 1909) è, senza dubbio, il vero fondatore della musica spagnola moderna.<br> <br> Bambino prodigioe instancabile viaggiatore, la sua opera è impregnata dei colori e dei saporidella Spagna, paese che ha amato profondamente per tutta la vita. L’influenzadel Flamenco è accertata: Albéniz era un habitué delle taverne dove si cantavae suonava questo genere. ASTURIAS, ispirato dalla Granaína (stile flamenco di Granada) è uno di quei brani che ha superato i confinidella musica prettamente classica, raggiungendo un pubblico planetario.<br> <br> Questatrascrizione, pur conservando alcune idee geniali di Andrés Segovia (latonalità di Mi minore, le terzine a partire dalla terza frase, gli armonicinella sezione centrale), presenta una scrittura chitarristica più precisa, curatanei minimi particolari e una maggiore coerenza con l’originale. Diteggiature esoluzioni nuove per la mano sinistra danno vita a una partitura fresca, riccadi sonorità inedite.<br> <br> Bojano, 16 Settembre 2020.<br> <br> Flavio Sala.<br> <br> * * *<br> <br> Isaac Albéniz (1860 - 1909) is, without doubt, the truefounder of modern Spanish music.<br> <br> Child prodigy and tireless traveler, his works are full of colorsand flavors of Spain, a country he has deeply loved all his life. The influenceof Flamenco is proven: Albéniz was a regular in taverns where this genre wassung and played. ASTURIAS, inspired by the Granaína(flamenco style of Granada) is one of those pieces that went beyond theboundaries of purely classical music, reaching a global audience.<br> <br> This transcription, while retaining some brilliant ideas ofAndrés Segovia (the key of E minor, the triplets starting from the third phrase,the harmonics in the central section), presents a more precise guitar writing,with attention to the smallest details and greater coherence with the original.New fingerings and solutions for the left hand give life to a fresh score, fullof new sounds.<br> <br> Bojano, September 16,2020.<br> <br> Flavio Sala.Isaac Albéniz (1860– 1909) è, senza dubbio, il vero fondatore della musica spagnola moderna.<br> <br> Bambino prodigioe instancabile viaggiatore, la sua opera è impregnata dei colori e dei saporidella Spagna, paese che ha amato profondamente per tutta la vita. L’influenzadel Flamenco è accertata: Albéniz era un habitué delle taverne dove si cantavae suonava questo genere. ASTURIAS, ispirato dalla Granaína (stile flamenco di Granada) è uno di quei brani che ha superato i confinidella musica prettamente classica, raggiungendo un pubblico planetario.<br> <br> Questatrascrizione, pur conservando alcune idee geniali di Andrés Segovia (latonalità di Mi minore, le terzine a partire dalla terza frase, gli armonicinella sezione centrale), presenta una scrittura chitarristica più precisa, curatanei minimi particolari e una maggiore coerenza con l’originale. Diteggiature esoluzioni nuove per la mano sinistra danno vita a una partitura fresca, riccadi sonorità inedite.<br> <br> Bojano, 16 Settembre 2020.<br> <br> Flavio Sala.<br> <br> * * *<br> <br> Isaac Albéniz (1860 - 1909) is, without doubt, the truefounder of modern Spanish music.<br> <br> Child prodigy and tireless traveler, his works are full of colorsand flavors of Spain, a country he has deeply loved all his life. The influenceof Flamenco is proven: Albéniz was a regular in taverns where this genre wassung and played. ASTURIAS, inspired by the Granaína(flamenco style of Granada) is one of those pieces that went beyond theboundaries of purely classical music, reaching a global audience.<br> <br> This transcription, while retaining some brilliant ideas ofAndrés Segovia (the key of E minor, the triplets starting from the third phrase,the harmonics in the central section), presents a more precise guitar writing,with attention to the smallest details and greater coherence with the original.New fingerings and solutions for the left hand give life to a fresh score, fullof new sounds.<br> <br> Bojano, September 16,2020.<br> <br> Flavio Sala.
$10.00
9.07 €
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Guitare
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Isaac Albeniz (1860-1909)
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Flavio Sala
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ASTURIAS by Albéniz - Transcr. for guitar by Flavio SALA
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Flavio Sala
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SheetMusicPlus
CLASSICAL GUITAR TUNES - ENGLISH FOLK SONGS
Guitare
Guitar - Intermediate - Digital Download Classical. E-book. 49 pages. Mel Bay Publica…
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Guitar - Intermediate - Digital Download Classical. E-book. 49 pages. Mel Bay Publications - Digital Sheet Music #30947EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459844. 8.75x11.75 inches.<br> <br> This book presents 42 English folk songs arranged for the intermediate classic guitarist in standard notation with phrase and dynamic markings plus light fingering. The collection includes popular melodies like Sprig of Thyme, Seventeen Come Sunday, and Blow the Wind Southerly, but also lesser known but no less beautiful tunes like Cupid the Pretty Ploughboy, Dabbling in the Dew and Saucy Sailor. All the arrangements present the basic tune faithfully and simply before offering more elaborate and sophisticated variations suitable for concert performance. Without compromising their sophistication, these polyphonic arrangements are elegant and idiomatic to the guitar, all but devoid of excessive physical demands; even barre chords are kept to a minimum so the player can relax and focus on tone and interpretation. The primary objective of this collection is to draw attention to these deserving melodies, some of which are now rarely heard. Longtime fans of the genre will recognize a few songs once performed by folk-rock groups like Steeleye Span and The Fairport Convention, here presented anew for the solo classic guitar. Its an excellent collection - good to play for pleasure, good for learning and consolidating rhythm, good for sight-reading. Just marvelous. It should meet a lot of needs. Gilbert Biberian These are very accessible arrangements of 42 English folk tunes, some of which are familiar and many others which deserve to be better known. They are all tuneful and have interesting harmonies and rhythms in arrangements which will be well within the reach of intermediate guitarists. These fine settings would be useful pieces for a teacher looking for supplementary material and also for the performer looking for unhackneyed repertoire. They are thoughtfully presented with good fingering and phrasing, with idiomatic guitar writing and interesting harmonies. Congratulations to Peter Worley for presenting this compendium of gems from a lesser known tradition. Gerald Garcia.ISBN 9781513459844. 8.75x11.75 inches.<br> <br> This book presents 42 English folk songs arranged for the intermediate classic guitarist in standard notation with phrase and dynamic markings plus light fingering. The collection includes popular melodies like Sprig of Thyme, Seventeen Come Sunday, and Blow the Wind Southerly, but also lesser known but no less beautiful tunes like Cupid the Pretty Ploughboy, Dabbling in the Dew and Saucy Sailor. All the arrangements present the basic tune faithfully and simply before offering more elaborate and sophisticated variations suitable for concert performance. Without compromising their sophistication, these polyphonic arrangements are elegant and idiomatic to the guitar, all but devoid of excessive physical demands; even barre chords are kept to a minimum so the player can relax and focus on tone and interpretation. The primary objective of this collection is to draw attention to these deserving melodies, some of which are now rarely heard. Longtime fans of the genre will recognize a few songs once performed by folk-rock groups like Steeleye Span and The Fairport Convention, here presented anew for the solo classic guitar. Its an excellent collection - good to play for pleasure, good for learning and consolidating rhythm, good for sight-reading. Just marvelous. It should meet a lot of needs. Gilbert Biberian These are very accessible arrangements of 42 English folk tunes, some of which are familiar and many others which deserve to be better known. They are all tuneful and have interesting harmonies and rhythms in arrangements which will be well within the reach of intermediate guitarists. These fine settings would be useful pieces for a teacher looking for supplementary material and also for the performer looking for unhackneyed repertoire. They are thoughtfully presented with good fingering and phrasing, with idiomatic guitar writing and interesting harmonies. Congratulations to Peter Worley for presenting this compendium of gems from a lesser known tradition. Gerald Garcia.
$12.99
11.78 €
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Guitare
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CLASSICAL GUITAR TUNES - ENGLISH FOLK SONGS
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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