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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
Words: E
Non classifié
319
Piano & claviers
Piano grosses notes
3 296
Orgue
1 535
Piano, Voix
201
Piano seul
112
Piano Facile
109
Clavier
59
Piano, Voix et Guitare
36
Instruments en Do
6
1 Piano, 4 mains
4
Accompagnement Piano
3
2 Pianos, 4 mains
2
Piano Trio: piano, violon, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano (partie séparée)
1
+ 9 instrumentations
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Guitares
Guitare notes et tablatures
9
Guitare
6
Guitare (partie séparée)
4
Banjo
2
Basse electrique
2
Ligne De Mélodie, (Paroles) et Accords
1
Ukulele
1
+ 2 instrumentations
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Voix
Chorale SATB
239
Chorale 3 parties
37
Chorale 2 parties
22
Chorale SSAA
18
Chorale TTBB
16
Voix Soprano, Piano
7
Voix duo, Piano
4
Chorale Unison
4
Voix Mezzo-Soprano, Piano
2
Chorale SSATB
2
Voix duo
2
Chorale SSAATTBB
2
Voix haute
1
Voix Tenor, Piano
1
Chorale
1
Chorale SSATTB
1
Voix seule
1
+ 12 instrumentations
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Vents
Saxophone (partie séparée)
61
Hautbois (partie séparée)
27
Clarinette (partie séparée)
19
Clarinette et Piano
15
Flûte, Hautbois, Clarinette, Basson
14
Flûte et Guitare
14
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
Quintette de Saxophone: 5 saxophones
11
Quatuor de Saxophones: 4 saxophones
10
Flute (partie séparée)
10
Flûte traversière et Piano
7
Clarinette
7
Clarinette, Guitare (duo)
6
Quatuor de Clarinettes: 4 clarinettes
6
2 Flûtes traversières (duo)
6
2 Clarinettes (duo)
6
Flûte traversière
5
Cor anglais, Guitare (duo)
5
Quatuor de Flûtes : 4 flûtes
5
Cor anglais, Piano
4
Quintette de Clarinettes: 5 clarinettes
4
Ensemble de Clarinettes
3
Saxophone Alto et Piano
3
Saxophone Alto
3
3 Saxophones (trio)
2
3 Clarinettes (trio)
2
Saxophone Tenor
2
Quintette de Flûte : 5 flûtes
2
Hautbois, Piano (duo)
2
2 Saxophones (duo)
2
2 Flûtes traversières, Piano
1
Ensemble de saxophones
1
Saxophone Soprano
1
2 Clarinettes, Piano
1
Saxophone et Guitare
1
Saxophone et Orgue
1
Saxophone Tenor et Piano
1
+ 32 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
41
Trompette (partie séparée)
35
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
20
Quatuor de Cuivres : 2 trompettes, trombone, tuba
13
Cor (partie séparée)
9
Tuba (partie séparée)
5
Cor anglais, Guitare (duo)
5
Cor anglais, Piano
4
Quatuor de Cuivres
4
Trompette
4
Tuba
2
Trombone
2
Trombone et Piano
1
Trompette, Piano
1
2 Cors (duo)
1
Ensemble de Trombones
1
Tuba et Piano
1
Quatuor de cuivres: 4 trombones
1
+ 13 instrumentations
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Cordes
Violon (partie séparée)
25
Quatuor à cordes: 2 violons, alto, violoncelle
17
Alto (partie séparée)
11
Quintette à cordes: 2 violons, alto, violoncelle, basse
11
Violoncelle (partie séparée)
9
Contrebasse (partie séparée)
8
Harpe
6
Violon et Piano
4
2 Harpes (duo)
3
Violoncelle, Piano
2
Violon, Guitare (duo)
2
Alto, Guitare (duo)
1
2 Violons (duo)
1
2 Violoncelles (duo)
1
Harpe, Voix
1
Violon
1
+ 11 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
88
Cloches
18
Orchestre à Cordes
14
Orchestre
14
Percussion (partie séparée)
6
Ensemble de cuivres
4
Orchestre de chambre
3
Timbales (partie séparée)
3
Ensemble Jazz
3
Batterie (partie séparée)
3
Jazz combo
2
Fanfare
2
Xylophone
1
+ 8 instrumentations
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Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
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TRI ET FILTRES
TRI ET FILTRES
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
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GOSPEL - SPIRITUEL -…
HALLOWEEN
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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PUNK
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Vous avez sélectionné:
Words: E
Guitare
Partitions à imprimer
6 partitions trouvées
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Fly Me To The Moon (in Other Words)
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Guitare
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INTERMÉDIAIRE
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Latin/Musique du monde
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Jazz
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Tony Bennett
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MARCIO ROBERTO AMARAL
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Fly Me To The Moon
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Marcio Amaral
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1226026 By Tony Bennett. By Bart Howard. Arranged by MARCIO ROBERTO AMARAL. Folk,Jazz,Latin,Standards. Individual part. ...
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Solo Guitar - Level 3 - SKU: A0.1226026 By Tony Bennett. By Bart Howard. Arranged by MARCIO ROBERTO AMARAL. Folk,Jazz,Latin,Standards. Individual part. 4 pages. Marcio Amaral #822052. Published by Marcio Amaral (A0.1226026). Arranjo do estilo fingerstyle.IntermediárioArquivo pdf com 4 páginas. Contém partitura, cifras, tablatura e diagramas do braço do violão.
$6.99
My Old Kentucky Home
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Guitare
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FACILE
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Stephen Foster
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Brian Streckfus
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My Old Kentucky Home
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyr...
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Guitar - Level 2 - SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. Tips:1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.
$1.99
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Guitare
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FACILE
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Brian Streckfus
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Guitar Chord Progression Gener
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Brian Streckfus
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #7...
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Solo Guitar - Level 2 - SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670). This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!Objective:Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. What Scales/Modes are being harmonized? C Major (+jazz version) A (natural) minor (+jazz version) A harmonic minor (+jazz version) B Locrian D Dorian E Phyrigian F Lydian G Mixolydian Features: Slowly increases in physical and theoritcal difficulty at the same time. Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. These chord progressions are a great composition aid. Guitar chord diagrams Traditional notation with letter names on the note heads Roman numerals color coded Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. Tips: Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled! Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.
$1.99
Timeless Solos for Guitar
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Guitare
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INTERMÉDIAIRE
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Contemporain
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William Bay
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Timeless Solos for Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (fingerpicking) - Intermediate-Advanced - SKU: M0.22041EB Seven Contemplative Guitar Solos Written in Free-Form Style. Composed by William...
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Guitar (fingerpicking) - Intermediate-Advanced - SKU: M0.22041EB Seven Contemplative Guitar Solos Written in Free-Form Style. Composed by William Bay. Style. Contemporary. E-book and online audio. Mel Bay Publications - Digital Sheet Music #22041EB. Published by Mel Bay Publications - Digital Sheet Music (M0.22041EB). ISBN 9781619111653. 8.75x11.75 inches.Timeless Solos is a play on words. The solos in this volume contain no time signatures or bar lines. I did this because I wanted the solos to be very expressive in interpretation yet free-form in structure. The companion recording presents my interpretation of these works. You may interpret them differently and that is fine! All solos are in notation and tablature. When writing these solos I first envisioned the form as an extended cadenza. However, from my earlier trumpet playing days I recalled that, especially in the 19th century, a cadenza was a momentary break in a solo which gave the performer a chance to dazzle the audience with his or her virtuosity. These solos are not about that. Rather, they are a vehicle to give the guitarist an opportunity to move the listener with the performer's expressive ability. I also thought of these solos in the form of a chant. However, most chants are monophonic in form and these solos in various parts present a fairly lush harmonic structure. While the solos were written for a 7 string guitar, they may be played successfully on a 6 string guitar. Alternate notes for those found on the 7th string are shown in the tablature part. Also, the solo, Peace, is written in Dropped D tuning and makes little use of the 7th string pedal tones. The solos are contemplative in nature and provide ample opportunity for individual expression and interpretation. I hope you enjoy playing and performing these works.
$9.99
Bach to Africa
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Guitare
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Richard Hirsch
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Bach to Africa
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1237543 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Multicultural,Spiritual,World. ...
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Solo Guitar - Level 5 - SKU: A0.1237543 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Multicultural,Spiritual,World. Individual part. 11 pages. Richard Hirsch #833059. Published by Richard Hirsch (A0.1237543). I offer an arrangement of Bach’s all-time favourite Jesus, Joy of Man’s Desiring in an African inspired rendering for solo classical or acoustic guitar. The arrangement uses lots of natural harmonics in an attempt to mimic the African kalimba style of music. The arrangement goes in 4/4 time in polyrhythm with a second tier of accents at 2, 2&, and 4 with a slight swing. The polyrhythm makes the final chord sound like an upbeat! The low bases are notated as quarter notes and should be played so that they do not ring out. They are not muted (staccato), except where notated, but they should be kept short to give the piece a bouncy character.The arrangement contains the main melody and chorus sections of the original in G major, although I have changed the original in a number of ways. The first melody and chorus section in G major is prefaced by several bars of natural harmonics and is repeated only after the melody and chorus section in the key of A minor. Natural harmonics appear in many places in the piece interwoven with Bach’s original melody and chorus. I think the natural harmonics give the piece a really glorious ring. The present arrangement incorporates many sections of a sister arrangement of the piece that I published recently that follows the original more closely and works as an introduction to the music with extensive left and right hand fingerings and tablature for intermediate students of guitar. This arrangement, considering the many natural harmonics, staccatos, tempo, and swing, is perhaps better suited for advanced intermediate students of classical or acoustic guitar. With that in mind, I therefore refrain from any extensive left and right hand fingerings for the present arrangement. The piece is a real joy to play and listen to! The tempo for the present arrangement has been set to 140 bpm. I think the pace gives a real swing to the music. The piece may however be played at a faster tempo, e.g. Presto, or somewhere in between. With this great music you can hardly go wrong.The title I have chosen for the arrangement aims to be a play on words as in many English speaking parts of the world the name Bach often rhymes with the word ‘back’ as in a return to some place or time. ‘Bach to Africa’ is then an allusion to humanity’s primordial roots in Africa. Rejoice!
$4.99
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