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You Are Always With Me
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90
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7
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
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Vous avez sélectionné:
You Are Always With Me
Guitare
Partitions à imprimer
14 partitions trouvées
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1
Edwin Culver: a bridge a-way, exits within (for solo guitar)
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Edwin Culver
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Edwin Culver: a bridge a-way,
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Edwin Culver
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published ...
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Solo Guitar - Level 3 - 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
Larry Williams Compositions- The Guitar Book
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Larry Williams
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Larry Williams Compositions- T
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Larry Andrew Williams
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Pu...
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Solo Guitar - Level 4 - SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Published by Larry Andrew Williams (A0.1167528). A WORD FROM THE COMPOSER Is anyone interested in new reading material anymore? I know that when I was a kid in nineteen hundred and something, the quest for new musical pieces was always one of the funnest aspects of the whole musical journey. Of course I did learn that it would take a long time to  nd those few that would resonate with me for a lifetime, but it was always fun trying them all out. It still is, in fact. Well, times change and people change, but I’d still like to believe that same factor carries on. You know, the one about trying out all that music to get to the few you keep. And what about the few we do keep? For guitar players, was it always a classic from the usual suspects, like Albeniz, Sor, Tarrega,, Granados, Rodrigo, Brouwer, Barrios, Villa-Lobos, or anything by Bach?Was it something our band director or private instructor, one of our friends, or our parents wrote? Or – Heaven forbid- something that maybe we ourselves wrote? Or some “unknown guy.â€Â Consider this.Just how often did some unknown composer's piece greatly affect us as we waded through a daunting pile of the familiar from the known masters? And since some, if not most of these classics are required reading, how often did we even get around to giving this unknown guy's piece a try?And furthermore, was this unknown guy - shudder...alive? Let’s face it. In the composer arena, we the living, stand no chance against the deceased (God rest their souls) But by saying “they don’t write ‘em like that anymore,†are we denying ourselves new ground to be broken, doors to be opened, frontiers to be discovered? And isn’t that pioneering spirit just plain ol’ curiosity when it comes right down to it? Well I believe the key lies within the carrying out of these notions that curiosity places in us. It’s climbing the mountain simply because it is there. So, for right now, I’m that unknown guy and I would only urge you to break new ground every day. Lots of trends, ideas, and interests will come and go in your life, but always hang on to that curiosity. It’s what makes the world a smaller neighborhood. Larry Williams.
$20.00
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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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 Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
Guitar Tutor eBoox - Level 2 (Debut)
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Guitare
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DÉBUTANT
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Alison Jackson, Jonathan Eno B
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Guitar Tutor eBoox - Level 2
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Jonathan Eno
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.936705 Composed by Alison Jackson, Jonathan Eno BEM. Instructional. Individual part. 21 pages. Jonathan Eno #6077325. Pu...
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Solo Guitar - Level 1 - SKU: A0.936705 Composed by Alison Jackson, Jonathan Eno BEM. Instructional. Individual part. 21 pages. Jonathan Eno #6077325. Published by Jonathan Eno (A0.936705). This contemporary tutor book is part of the amazing Hot House eBOOX series. Featuring input from the international award-winning team at Hot House, the guitar BOOX were principally authored and curated by Alison Jackson. As an integral member of the Hot House team, Alison is currently the Director of ALL the Hot House Music Schools based in the West Midlands and is an expert pedagogist.Each BOOX has been designed to help you learn to play your instrument both individually and as part of a band. We want you to love playing both written music and improvising i.e. music without notes (making it up). Each level features band music, you can play this with your teacher on the same instrument or… even better your friends around the world on different instruments.Above all, remember that music should be fun, it is always more fun when you play with a friend. Why not record yourselves playing and post it on our social media platforms, we would love to hear you:https://www.facebook.com/bigbangsheet#joinourtribe #bbmusic #boox #eboox #hhmusicNeed help???Tel: 03303 200 880Email: info@bigbangsheetmusic.co.ukWeb: www.bbmusic.co.ukIf you enjoy this tutor boox, why not check out some of the other titles from the Big Bang Music including:Don’t Stop Me Now – QueenHold My Hand – Jess GlynneSuper Mario Theme – Nintendowww.twitter.com/hhyouthjazzwww.twitter.com/jonenowww.instagram.com/HHMusicSchoolwww.facebook.com/bigbangsheetwww.twitter.com/bigbangsheetwww.hhmusic.co.ukwww.bbmusic.co.uk
$9.99
Guitar Tutor eBoox - Level 4 (Debut)
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Guitare
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FACILE
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Alison Jackson & Jonathan Eno
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Guitar Tutor eBoox - Level 4
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Jonathan Eno
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.936703 Composed by Alison Jackson & Jonathan Eno BEM. Instructional. Individual part. 25 pages. Jonathan Eno #6077329. P...
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Solo Guitar - Level 2 - SKU: A0.936703 Composed by Alison Jackson & Jonathan Eno BEM. Instructional. Individual part. 25 pages. Jonathan Eno #6077329. Published by Jonathan Eno (A0.936703). This contemporary tutor book is part of the amazing Hot House eBOOX series. Featuring input from the international award-winning team at Hot House, the guitar BOOX were principally authored and curated by Alison Jackson. As an integral member of the Hot House team, Alison is currently the Director of ALL the Hot House Music Schools based in the West Midlands and is an expert pedagogist.Each BOOX has been designed to help you learn to play your instrument both individually and as part of a band. We want you to love playing both written music and improvising i.e. music without notes (making it up). Each level features band music, you can play this with your teacher on the same instrument or… even better your friends around the world on different instruments.Above all, remember that music should be fun, it is always more fun when you play with a friend. Why not record yourselves playing and post it on our social media platforms, we would love to hear you:https://www.facebook.com/bigbangsheet#joinourtribe #bbmusic #boox #eboox #hhmusicNeed help???Tel: 03303 200 880Email: info@bigbangsheetmusic.co.ukWeb: www.bbmusic.co.ukIf you enjoy this tutor boox, why not check out some of the other titles from the Big Bang Music including:Don’t Stop Me Now – QueenHold My Hand – Jess GlynneSuper Mario Theme – Nintendowww.twitter.com/hhyouthjazzwww.twitter.com/jonenowww.instagram.com/HHMusicSchoolwww.facebook.com/bigbangsheetwww.twitter.com/bigbangsheetwww.hhmusic.co.ukwww.bbmusic.co.uk
$9.99
Guitar Tutor eBoox - Level 3 (Debut)
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Guitare
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FACILE
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Methodes
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Alison Jackson, Jonathan Eno B
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Guitar Tutor eBoox - Level 3
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Jonathan Eno
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.936704 Composed by Alison Jackson, Jonathan Eno BEM. Instructional. Individual part. 25 pages. Jonathan Eno #6077327. Pu...
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Solo Guitar - Level 2 - SKU: A0.936704 Composed by Alison Jackson, Jonathan Eno BEM. Instructional. Individual part. 25 pages. Jonathan Eno #6077327. Published by Jonathan Eno (A0.936704). This contemporary tutor book is part of the amazing Hot House eBOOX series. Featuring input from the international award-winning team at Hot House, the guitar BOOX were principally authored and curated by Alison Jackson. As an integral member of the Hot House team, Alison is currently the Director of ALL the Hot House Music Schools based in the West Midlands and is an expert pedagogist.Each BOOX has been designed to help you learn to play your instrument both individually and as part of a band. We want you to love playing both written music and improvising i.e. music without notes (making it up). Each level features band music, you can play this with your teacher on the same instrument orâ?¦ even better your friends around the world on different instruments.Above all, remember that music should be fun, it is always more fun when you play with a friend. Why not record yourselves playing and post it on our social media platforms, we would love to hear you:https://www.facebook.com/bigbangsheet#joinourtribe #bbmusic #boox #eboox #hhmusicNeed help???Tel: 03303 200 880Email: info@bigbangsheetmusic.co.ukWeb: www.bbmusic.co.ukIf you enjoy this tutor boox, why not check out some of the other titles from the Big Bang Music including:Donâ??t Stop Me Now â?? QueenHold My Hand â?? Jess GlynneSuper Mario Theme â?? Nintendowww.twitter.com/hhyouthjazzwww.twitter.com/jonenowww.instagram.com/HHMusicSchoolwww.facebook.com/bigbangsheetwww.twitter.com/bigbangsheetwww.hhmusic.co.ukwww.bbmusic.co.uk
$9.99
Joe Satriani: Always With Me, Always With You for guitar
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Guitare
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INTERMÉDIAIRE
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Joe Satriani
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Virtualsheetmusic
Instantly downloadable sheet music by Joe Satriani for guitar of MEDIUM skill level.
Instantly downloadable sheet music by Joe Satriani for guitar of MEDIUM skill level.
$3.99
Joe Satriani: Always With Me, Always With You for guitar
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Guitare
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INTERMÉDIAIRE
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Joe Satriani
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Virtualsheetmusic
Instantly downloadable sheet music by Joe Satriani for guitar of MEDIUM skill level.
Instantly downloadable sheet music by Joe Satriani for guitar of MEDIUM skill level.
$3.99
FUGUE [ from BWV 998 by J.S.Bach ] solo guitar
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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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Cristiano Sousa
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FUGUE [ from BWV 998 by J.S.Ba
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Cristiano Sousa
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.941921 Composed by Johann Sebastian Bach. Arranged by Cristiano Sousa. Baroque,Concert,Graduation,Standards. Individual ...
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Solo Guitar - Level 5 - SKU: A0.941921 Composed by Johann Sebastian Bach. Arranged by Cristiano Sousa. Baroque,Concert,Graduation,Standards. Individual part. 7 pages. Cristiano Sousa #5793849. Published by Cristiano Sousa (A0.941921). J.S Bach composed Fugue, from Prelude, Fugue and Allegro (BWV 998), originally for lute or harpsichord in Eb major key.Transcription: D major key with a drop D tunning in sixth string is required.Level: Advanced guitar skills are required. Fugue is probably the most difficult movement among the set. Some devices are listed below:-- Embellishments: some of them are indicated;-- Full and half bars (barré or capotasto);-- Jumps;-- Guide fingers;-- Distencions;-- Contractions;-- Slurs (they can be dropped to keep control);-- Memorizing: the whole piece.Fingering: As a classical guitarist, I understand the fingering indication value. Despite I tried to mark clear and confortable fingerings, it is always possible to modify them.You can contact me at cristiano.sousa.santos@gmail.com
$12.00
PRELUDE [ from BWV 998 by J.S.Bach ] solo guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Cristiano Sousa
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PRELUDE [ from BWV 998 by J.S.
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Cristiano Sousa
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.941919 Composed by Johann Sebastian Bach. Arranged by Cristiano Sousa. Baroque,Instructional,Standards,World. Individual...
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Solo Guitar - Level 4 - SKU: A0.941919 Composed by Johann Sebastian Bach. Arranged by Cristiano Sousa. Baroque,Instructional,Standards,World. Individual part. 3 pages. Cristiano Sousa #5771565. Published by Cristiano Sousa (A0.941919). J.S Bach composed Prelude, from Prelude, Fugue and Allegro (BWV 998), originally for lute or harpsichord in Eb major key.Transcription: D major key with a drop D tunning in sixth string is required.Level: Advanced guitar skills are required, although Prelude is easier than Fugue and Allegro from the same set. Some devices are listed below:-- embellishments: some of them are indicated;-- Full and half bars (barré or capotasto);-- Jumps;-- Guide fingers;-- Distencions;-- Contractions;-- Slurs (they can be dropped to keep control);-- Memorizing: the whole piece.Fingering: As a classical guitarist, I understand the fingering indication value. Despite I tried to mark clear and confortable fingerings, it is always possible to modify them.You can contact me at cristiano.sousa.santos@gmail.com .
$8.99
ALLEGRO [ from BWV 998 by J.S.Bach ] solo guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Cristiano Sousa
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ALLEGRO [ from BWV 998 by J.S.
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Cristiano Sousa
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.941920 Composed by Johann Sebastian Bach. Arranged by Cristiano Sousa. Baroque,Concert,Standards,World. Individual part....
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Solo Guitar - Level 4 - SKU: A0.941920 Composed by Johann Sebastian Bach. Arranged by Cristiano Sousa. Baroque,Concert,Standards,World. Individual part. 3 pages. Cristiano Sousa #5772399. Published by Cristiano Sousa (A0.941920). J.S Bach composed Allegro, from Prelude, Fugue and Allegro (BWV 998), originally for lute or harpsichord in Eb major key.Transcription: D major key with a drop D tunning in sixth string is required.Level: Advanced guitar skills are required. Some devices are listed below:-- embellishments: some of them are indicated;-- Full and half bars (barré or capotasto);-- Jumps;-- Guide fingers;-- Distencions;-- Contractions;-- Slurs (they can be dropped to keep control);-- Memorizing: the whole piece.Fingering: As a classical guitarist, I understand the fingering indication value. Despite I tried to mark clear and confortable fingerings, it is always possible to modify them.You can contact me at cristiano.sousa.santos@gmail.com
$8.99
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