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VOIX
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VENTS
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73
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61
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50
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44
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42
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40
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36
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34
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32
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32
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28
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26
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25
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24
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21
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19
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17
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13
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10
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1
Flûte, Clarinette, Piano (trio)
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5 Flûtes à bec
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
46
Trompette
42
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33
Cor et Piano
31
Trombone
31
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31
Cor
26
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23
Quatuor de Cuivres : 2 trompettes, trombone, tuba
21
Tuba
18
Quatuor de Cuivres: 2 trompettes, Cor, trombone
17
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14
2 Trombones (duo)
14
2 Trompettes (duo)
12
2 Cors (duo)
11
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10
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10
Cor anglais, Piano
9
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8
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Quatuor de cuivres: 4 trombones
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Euphonium, Piano (duo)
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Euphonium
4
2 Tubas (duo)
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3
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Cor et Basson (duo)
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Cor Anglais
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Ensemble de Cors
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2 Euphoniums (duo)
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2 Euphoniums et 2 Tubas
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Trio de Cuivres
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3 Trompettes (trio)
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Ensemble de Trombones
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Quatuor de cuivres: 4 cors
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
124
Violon et Piano
64
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57
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48
Alto, Piano
46
Violon
38
Alto seul
25
2 Violoncelles (duo)
23
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22
2 Violons (duo)
20
Violon (partie séparée)
19
Alto (partie séparée)
16
Contre Basse
15
Quintette à cordes: 2 violons, alto, violoncelle, basse
15
Violon, Violoncelle (duo)
14
2 Altos (duo)
13
Trio à Cordes: violon, alto, violoncelle
12
Contrebasse (partie séparée)
12
Harpe
10
Violon, Alto (duo)
10
Trio à Cordes: 2 violons, violoncelle
9
4 Violoncelles
6
2 Contrebasses (duo)
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Alto, Violoncelle (duo)
4
Trio à cordes: 3 violins
3
Violoncelle (partie séparée)
3
Quatuor à cordes: 4 violons
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Alto et Basson
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Violoncelle , Guitare (duo)
2
Quatuor à cordes : 4 altos
2
Trio à Cordes: 2 violons, alto
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Piano Trio: Violon, Alto, Piano
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Violon, Clarinette, Piano (trio)
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Harpe, Trombone (duo)
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Trio à cordes: 3 altos
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
661
Orchestre
99
Orchestre à Cordes
94
Ensemble Jazz
42
Ensemble de cuivres
20
Orchestre de chambre
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Percussion (partie séparée)
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Cloches
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Jazz combo
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Batterie (partie séparée)
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Ensemble de Percussions
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Xylophone, Piano
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Fanfare
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Batterie
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Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Orchestre, Violon
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Xylophone
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Quintette de Cuivres: autres combinaisons
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Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.32 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Patios de Córdoba
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Ar…
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
3.6 €
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Guitare
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Élégie
Guitare
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey.…
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Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
3.56 €
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Guitare
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Seven Kinds of Loneliness
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.969875 Composed by Amy Dunker. Con…
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Solo Guitar - Level 5 - Digital Download SKU: A0.969875 Composed by Amy Dunker. Concert,Contemporary. Individual part. 11 pages. Amy Dunker #6083313. Published by Amy Dunker (A0.969875). Seven Kinds of Loneliness is an exploration of the feelings that accompany loneliness, fear, anger, calm, hopeful, reminiscent and frustrated. The work is designed so that it can be performed in several ways: 1) A Single soloist performing from the concert stage 2) Multiple soloists performing individual movements from the stage 3) Multiple soloists located around the concert venue performing individual movements Some movements are significantly easier to perform then others allowing for a performance by a teacher/master performer and student soloists. Duration: 12:45
$12.00
10.83 €
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Guitare
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Amy Dunker
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Seven Kinds of Loneliness
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Amy Dunker
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.32 €
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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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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.32 €
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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
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.32 €
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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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Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
You've Got A Friend In Me
Guitare
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1044225 By Randy Newman A…
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Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1044225 By Randy Newman And Lyle Lovett. By Randy Newman. Arranged by Toni Lindgren. Broadway,Children,Film/TV,Musical/Show. Score. 5 pages. Toni Lindgren #648968. Published by Toni Lindgren (A0.1044225). This is a simplified arrangement of the chords to Disney's Toy Story theme by Randy Newman. It's intended for players who are still in the earlier stages of rhythm technique development and are currently focusing on expanding their knowledge of basic open chords. There are no barre chords (with the exception of a small one string barre for the basic F chord) and all the extended voicings of the original song have been removed, but these chords will still function over the original song melody. The score includes these basic open chords, their relevant diagrams, the song lyrics, and notation of the melody, which can be sung over the guitar or played by another instrument.
$4.99
4.5 €
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Guitare
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Randy Newman And Lyle Lovett
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Toni Lindgren
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You've Got A Friend In Me
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Toni Lindgren
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SheetMusicPlus
Where Is Love?
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.797701 Composed by Lionel Bart. Ar…
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Solo Guitar - Level 3 - Digital Download SKU: A0.797701 Composed by Lionel Bart. Arranged by Derek Hasted. Broadway,Contemporary,Musical/Show. Individual part. 4 pages. Derek Hasted #3561145. Published by Derek Hasted (A0.797701). WHERE IS LOVE (from Oliver) - SOLO GUITARFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This beautiful piece from the Stage Show Oliver is a perfect fit for Classical Guitar. Many of the shapes will seem instantly familiar, and the arrangement is not tricky to play, meaning the sound is gentle and effortless.My arrangement is in 3 voices. The middle voice, which provides support for the sustained tune, needs to be subdued so the tune stays audible. Some of the rests in the middle voice are absent, so as not to crowd the page.I hope you enjoy playing this piece!
$4.99
4.5 €
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Guitare
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Lionel Bart
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Derek Hasted
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Where Is Love?
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Derek Hasted
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SheetMusicPlus
So Amazing- Guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.885366 Composed by Richard W. Youn…
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Solo Guitar - Level 4 - Digital Download SKU: A0.885366 Composed by Richard W. Young. Christian,Film/TV,Jazz,Pop. Individual part. 2 pages. Richard Young #2021909. Published by Richard Young (A0.885366). Title: So AmazingÂ- Guitar by Richard Wellington Wan Young. So Amazing is a mix between Smooth Jazz and House or Club music. The melody really grooves. The bridge takes it up a notch and really sets the stage for an incredible solo as demonstrated by the audio demo. Get your groove on because this tune will set the house on fire. mp3 demo available.
$6.95
6.27 €
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Guitare
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Richard W
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So Amazing- Guitar
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Richard Young
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SheetMusicPlus
Winona Music #5 Etude #1
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1152640 Composed by Doug Smith. 20…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1152640 Composed by Doug Smith. 20th Century,Classical,Jazz. Individual part. 6 pages. Doug Smith Guitar Studio #752870. Published by Doug Smith Guitar Studio (A0.1152640). Winona music: Doug Smith's first set of guitar compositions, a unique blend of classical, jazz and blues styles from 1969-1971. Etude #1 is an arpeggio study with unusual harmony and changing meters that sets the stage for the series of six etudes.
$2.99
2.7 €
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Guitare
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Doug Smith
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Winona Music #5 Etude #1
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Doug Smith Guitar Studio
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SheetMusicPlus
Blind Joe Death
Guitare
Guitar (fingerpicking) - Intermediate - Digital Download SKU: M0.30599EB Composed b…
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Guitar (fingerpicking) - Intermediate - Digital Download SKU: M0.30599EB Composed by Andrew Lardner. Adult Contemporary. Contemporary. E-book. Mel Bay Publications - Digital Sheet Music #30599EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30599EB). ISBN 9781619117198. 8.75x11.75 inches.John Fahey transformed the world of acoustic flat-top steel-string guitar by bringing it to the concert stage as a respected, solo instrument. Blind Joe Death: Volume 1 looks at the important people and genres that shaped him as a composer. This volume focuses on Side 1 of the original 1967 Blind Joe Death LP, a collection of mostly traditional music that was adapted for solo guitar. Hints of Fahey's early influences endured throughout his career as a composer, yet early on, and in Blind Joe Death, a unique voice is coming into focus-one that is not afraid to explore the avant-garde with journeys into collage and expressionism. Six extensively edited solos from Blind Joe Death are included in Volume 1: On Doing an Evil Deed Blues, St. Louis Blues, Poor Boy a Long Ways from Home, Uncloudy Day, John Henry and In Christ There Is No East or West. Within these transcriptions, Andrew Lardner has provided admirers of John Fahey's body of work with the essential keys to launch their own journeys into replicating the sounds and style of Fahey's landmark solos from Blind Joe Death.
$17.99
16.23 €
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Guitare
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Andrew Lardner
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Blind Joe Death
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Unusual Studies
Guitare
Guitar - Intermediate - Digital Download Composed by Oleg Boyko. 21st Century, Method…
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Guitar - Intermediate - Digital Download Composed by Oleg Boyko. 21st Century, Method, Etudes and Exercises, Repertoire, Classroom. Solo Part. 45 pages. Published by Oleg Boyko
There is plenty of music sheet for classical guitar of various styles, directions and levels of difficulty. There is also enough methodical literature for all tastes. However, every year there are appearing new schools, methodical collections and exercises. That’s why the art of playing classical guitar is not standing still.<br> <br> During my pedagogical activity rather often I faced the problem of searching or creating small exercises for a particular technique and solution of a particular problem. What didn’t suit me in the existing studies? First of all, the monotony of technical material (the accent only on the left hand technique of a performer, while the concentration of sound control is mostly in the right hand; a limited quantity of technical methods: arpeggios, chords, passagework technique). Secondly, it’s an amount of musical material. As a rule, the main efforts were aimed to memorize the text, which distracted from the very purpose of etudes, the work on a certain type of technical difficulties.<br> That is how the collection «Unusual Studies» appeared.<br> What is their «singularity»?<br> The collection is conditionally divided into several sections in the order of increasing the complexity of material, and it concludes with three «Concert Studies». They are distinguished by a more developed emotional atmosphere and rather high level of complexity and size. These studies require a certain level of preparation and can diversify a performer’s concert program. Nevertheless, they are only an addition to the basic material, which is focused primarily on the elementary and intermediate levels of training.<br> When it comes to the “singularity”, focus is shifted to the right hand, with the detailed fingering of the right hand. The fingers «p» and «a» are introduced more actively, paying attention to the alignment of their sound, attack power. It is necessary to strive for full equality of all fingers of the right hand, using fingers «p» and «a» not only when playing bass and melody, but also in arpeggio, passaggio technique (in the middle of an arpeggio or passaggio).<br> - learning to use touches in a high contrast while playing: staccato/legato. This, in my opinion, is extremely necessary to already assimilate at the initial stage of training.<br> - active use of the alternation in the musical material of open and closed strings. Control over the strength of the sound of open strings, timbre ratio.<br> - using the high positions of the guitar’s fingerboard with open strings without excessive physical effort .<br> - rather small size of studies. This allows to concentrate directly on the technical difficulties, rather than on memorizing.<br> <br> I hope that this collection will help you to achieve the desired result faster and more effectively, will bring not only methodical benefit, but also aesthetic pleasure.
$15.00
13.53 €
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Guitare
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Oleg Boyko
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Unusual Studies
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Oleg Boyko
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SheetMusicPlus
Playing Easy Guitar Christmas Carols Book 2
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.954708 Arranged by Dennis Greensmi…
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Solo Guitar - Level 3 - Digital Download SKU: A0.954708 Arranged by Dennis Greensmith. Christmas. Individual part. 16 pages. Dennis Greensmith #3637775. Published by Dennis Greensmith (A0.954708). Playing Easy Guitar Christmas Carols Book 2. Solo Guitar Intermediate level.Playing Easy Guitar Christmas Carols Book 2 is the second book in the series with Eleven popular Christmas songs that have been arranged at intermediate stage guitar players (who are playing at around Grades 3 and 4 level) who can already read music who wish to widen their repertoire. For those who already play to a higher level this book will provide enjoyable sight reading material. The book follows on from my Christmas Carols Book 1 and demonstrates how the introduction of harmony notes, chords and barre chords start to offer a wider choice of playing options to improve the depth of sound in a composition.This book is part of a series of books that are designed for finger style playing on a guitar suited to the nylon string classical guitar thought can also be played on the steel string acoustic guitar. Each book has been carefully developed so that each piece of music complements the standard syllabuses such as Trinity College London. Book 2 has the same musical standard as Grades 3 and 4 in terms of composition arrangement and moving higher up the guitar neck to give a greater range of notes that can be played.Please visit www.greensmith.info Christmas Carols Book 2 to see demonstrations and tuition vides on the songs . Further songs and teaching material can be found at www.guitarfingers.co.uk
$12.99
11.72 €
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Guitare
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Dennis Greensmith
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Playing Easy Guitar Christmas Carols Book 2
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Dennis Greensmith
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SheetMusicPlus
Playing Easy Guitar Christmas Carols Book 1
Guitare
Solo Guitar - Level 1 - Digital Download SKU: A0.954707 Arranged by Dennis Greensmi…
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Solo Guitar - Level 1 - Digital Download SKU: A0.954707 Arranged by Dennis Greensmith. Christmas. Individual part. 16 pages. Dennis Greensmith #3637209. Published by Dennis Greensmith (A0.954707). Playing Easy Guitar Christmas Carols Book 1 is for Fingerstyle guitar playing on the nylon string classical or steel string acoustic guitar.Eleven popular Christmas Carols have been arranged specifically at beginner or early stage guitar players (who are playing at around Grades 1 and 2 level) who can already read music who wish to widen their repertoire. For those who already play to a higher level this book will provide enjoyable sight reading material.This book is part of a series of books that are designed for finger style playing on a guitar. Each book has been carefully developed so that each piece of music complements the standard as syllabuses such as Trinity College London. Book 1 has the same musical standard as Grades 1 and 2 so the melody is supported by an easy bass line arrangement to give an enjoyable performance of the song.Please visit www.greensmith.info Christmas Carols Book 1 to see video tutorials and demonstrations of the songs and more about other teaching materials at www.guitarfingers.co.uk
$12.99
11.72 €
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Guitare
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Dennis Greensmith
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Playing Easy Guitar Christmas Carols Book 1
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Dennis Greensmith
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SheetMusicPlus
Homenaje a Tárrega
Guitare
Guitar - intermediate to advanced - Digital Download SKU: S9.Q11370 Urtext. …
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Guitar - intermediate to advanced - Digital Download SKU: S9.Q11370 Urtext. Composed by Joaquin Turina. This edition: Sheet music. Guitar Archive. Downloadable. Op. 69. Duration 5:30. Schott Music - Digital #Q11370. Published by Schott Music - Digital (S9.Q11370). The Spaniard Joaquin Turina (1882-1949) was one of the first contemporary composers who, addressed by the outstanding guitarist Andrés Segovia, wrote contemporary original works for the guitar, thus paving the way for this instrument onto the international concert stages in the 20th century. Meanwhile, it is a known fact that Segovia often edited the musical text of the compositions written for him and arranged it according to his personal style of interpretation. Our new editions of Turina's most important works are therefore based on both the first editions and the original autograph versions, thus presenting for the first time the original text. Today, no performer can get around these new editions if he/she wants to deal with Turina's artistic legacy in a responsible manner.
$9.99
9.01 €
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Guitare
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Joaquin Turina
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Homenaje a Tárrega
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Schott Music - Digital
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SheetMusicPlus
Fandanguillo
Guitare
Guitar - intermediate to advanced - Digital Download SKU: S9.Q11366 Urtext. …
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Guitar - intermediate to advanced - Digital Download SKU: S9.Q11366 Urtext. Composed by Joaquin Turina. This edition: Sheet music. Guitar Archive. Downloadable. Op. 36. Duration 3 minutes. Schott Music - Digital #Q11366. Published by Schott Music - Digital (S9.Q11366). The Spaniard Joaquin Turina (1882-1949) was one of the first contemporary composers who, addressed by the outstanding guitarist Andrés Segovia, wrote contemporary original works for the guitar, thus paving the way for this instrument onto the international concert stages in the 20th century. Meanwhile, it is a known fact that Segovia often edited the musical text of the compositions written for him and arranged it according to his personal style of interpretation. Our new editions of Turina's most important works are therefore based on both the first editions and the original autograph versions, thus presenting for the first time the original text. Today, no performer can get around these new editions if he/she wants to deal with Turina's artistic legacy in a responsible manner.
$9.99
9.01 €
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Guitare
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Joaquin Turina
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Fandanguillo
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Schott Music - Digital
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SheetMusicPlus
Marry Me
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1232287 By Train. By David Katz, P…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1232287 By Train. By David Katz, Pat Monahan, and Sam Hollander. Arranged by Walter Nascimento. Folk,Pop,Wedding. Individual part. 2 pages. Walter Nascimento #827973. Published by Walter Nascimento (A0.1232287). Walter Nascimento's musical arrangement for guitar of Train's Marry Me is a beautiful interpretation of this romantic ballad. Nascimento's arrangement captures the essence of the song while adding his own unique style and flair to the guitar accompaniment. The arrangement is accessible for intermediate-level guitar players, with clear and easy-to-read notation. Whether you're playing for your loved one or performing on stage, this arrangement will surely captivate the audience with its heartfelt expression. Check out Walter Nascimento's arrangement of Marry Me for guitar and add it to your repertoire today!
$4.99
4.5 €
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Guitare
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Train
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Walter Nascimento
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Marry Me
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Walter Nascimento
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SheetMusicPlus
Cool Pieces for Beginners
Guitare
Solo Guitar - Level 1 - Digital Download SKU: A0.1313871 Composed by Timothy Royal.…
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Solo Guitar - Level 1 - Digital Download SKU: A0.1313871 Composed by Timothy Royal. 21st Century,Blues,Classical,Folk,Instructional. Individual part. 8 pages. Guitaroffice #902593. Published by guitaroffice (A0.1313871).       Cool Pieces for Beginners by Timothy RoyalThese pieces are written in what one might term as ‘the easy keys’for the guitar.  Using these keys will promote a broader range of soundand sustain for pupils in their early stages of learning using theavailable open strings.
$3.99
3.6 €
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Guitare
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Timothy Royal
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Cool Pieces for Beginners
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guitaroffice
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SheetMusicPlus
Lua para o Epilogo de Verão (Août)
Guitare
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4088 Composed by Louis Trépanier. …
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4088 Composed by Louis Trépanier. Score. 9 pages. Les Productions d'OZ - Digital #DZ 4088. Published by Les Productions d'OZ - Digital (ZZ.DZ-4088). ISBN 9782898522055.August nights can be tinged with a bit of melancholy because the end of the summer approaches. The moon softly glows with nostalgia for a season passing us by. This mood seems to me folded into the Brazilian Bossa Nova, and the Brazilians? term ?saudade?; in this piece I offer up my tribute to one of my favourite composers, Radamés Gnattali (1906-1988), who wrote for every musical situation in his era in Brazil ? from the concert stage to the back alley, and everything in between. Lua para Epilogo de Verão, is dedicated to the Brazilian guitarist Fabio Zanon, who is both a great friend and a tremendous inspiration.This étude tackles solid chords and contrary motion in the left hand, and, like all the études in this collection, voice separation and phrasing. In measure 24 the guitarist must execute a diagonal barré, where the first finger covers position IV at the first string, and position V at the fifth string, hence the V/IV indication after the barré symbol. The practicalities of navigating through the different chord shapes and rhythms in the piece mean that not all notes can be held for their full, written value. Such discrepancies between the text and the playing are common in this style of music.Les nuits du mois d?août peuvent contenir une douce mélancolie, à savoir que la fin de l?été approche. La lune luit alors avec une nostalgie pour la saison qui est déjà en train de passer. Cette saveur me semble parfaitement miroitée dans les couleurs de la bossa nova brésilienne et le terme brésilien « saudade » ; dans cette pièce je vous offre mon hommage au style d?un de mes compositeurs préféré, Radamés Gnattali (1906-1988), qui a su créer des musiques pour tous les différents musiciens de ses années au Brésil, de la salle de concert, jusqu?à la ruelle. Lua para Epilogo de Verão est dédié au guitariste brésilien Fabio Zanon, un bon ami, et une grande inspiration.Cette étude travaille les accords plaqués et divers mouvements contraires à la main gauche, et, comme toutes les études de cette collection, la séparation de voix et le phrasé. À la mesure 24, on doit exécuter un barré en diagonal, où le premier doigt un est à la position IV à la première corde, et à la position V à la cinquième corde, d?où l?indication V/IV suivant le symbole du barré. Pour des raisons pratiques à naviguer les accords et les rythmes de cette pièce, vous verrez qu?il n?est pas toujours possible de tenir toutes les notes pour leur durée complète. Ces différences entre l?écriture et l?exécution sont courantes dans ce style de musique.
$5.95
5.37 €
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Guitare
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Louis Trépanier
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Lua para o Epilogo de Verão
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Les Productions d'OZ - Digital
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SheetMusicPlus
Handbook of Guitar and Lute Composers
Guitare
By Hanna Annala. For Guitar (Classical). Classic. 172 pages. Published by Mel Bay Publicat…
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By Hanna Annala. For Guitar (Classical). Classic. 172 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743536. In compiling this landmark sourcebook, Finnish guitarists Hannu Annala and Heiki Matlik consulted more than 70 music texts as well as dozens of composer resumes acquired from the musical information centers of several countries. During the writing process, which lasted for more than three years, they received additional information from many modern composers, including Leo Brouwer and Reginald Smith Brindle among others. In addition, several internationally renowned performing guitarists provided valuable information; these include Magnus Andersson (Sweden), Remi Boucher (Canada), Margarita Escarpa (Spain), Aleksander Frauchi (Russia) and David Tanenbaum (USA) among others.The authors' aim was to write a well-structured book with separate chapters for each instrument, such as the Renaissance and Baroque guitar, the Renaissance and Baroque lute, the vihuela, etc. This unique structure enables the reader to easily discover which composers wrote for a certain instrument during any given period. In addition to the composers one would expect to find in such a comprehensive listing, the book documents several historical and modern composers for whom little previous information has been available. The book's list of more than 400 guitar and lute concertos dating from the Baroque era to the present day is a totally unprecedented. Short introductions regarding guitar and lute-like instruments as well as their basic histories are provided at the beginning of the book. The authors hope that the Handbook of Guitar and Lute Composers will serve as a practical guide for both amateurs and professionals, encouraging further study of the history of these instruments and expanding the repertoire heard on today's concert stage.
$19.99
18.04 €
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Guitare
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Hanna Annala
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Handbook of Guitar and Lute Composers
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Mr. Brightside
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1309239 By The Killers. By Brandon…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1309239 By The Killers. By Brandon Flowers, Dave Keuning, Mark Stoermer, and Ronnie Vannucci. Arranged by Jon Kubis. Pop,Punk,Rock. Individual part. 7 pages. Hollywood Charts #898415. Published by Hollywood Charts (A0.1309239). Delve deep into the iconic guitar parts of The Killers' anthemic hit, Mr. Brightside. This meticulously transcribed sheet music captures the essence and energy that underpins one of the defining tracks of the 21st century. Recognized worldwide for its catchy melodies and unforgettable hooks, this song has been a staple on playlists, radio stations, and stages across the globe.Unleash the rhythm and pulse of Mr. Brightside on guitar, and immerse yourself in one of the most influential sounds in modern rock. Grab your copy today and step into the spotlight as the backbone of this timeless track!
$4.99
4.5 €
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Guitare
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The Killers
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Jon Kubis
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Mr. Brightside
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Hollywood Charts
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SheetMusicPlus
[Cameron-Wolfe] Heretic
Guitare
Solo Guitar - Digital Download SKU: A0.952203 Composed by Richard Cameron-Wolfe. 20…
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Solo Guitar - Digital Download SKU: A0.952203 Composed by Richard Cameron-Wolfe. 20th Century,Contemporary,Opera. Individual part. 19 pages. American Composers Alliance Inc. #4569677. Published by American Composers Alliance Inc. (A0.952203). A micro-opera for solo guitar embedded in an intense psycho-drama of disillusionment and alienation. All texts are by the composer, except for brief quote from Arthur Machen’s 1907 novel, The Hill of Dreams. The guitarist is frequently called-upon to speak (rhythmically or freely) and there is a brief passage of singing. This micro-opera is intended to be staged, and it is strongly recommended that the guitarist collaborate with an adventurous drama coach.
$17.95
16.19 €
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Guitare
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Richard Cameron-Wolfe
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[Cameron-Wolfe] Heretic
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American Composers Alliance Inc.
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SheetMusicPlus
Recuerdos de la Alhambra
Guitare
Guitar - Level 1 - Digital Download SKU: A0.1315543 Composed by Francisco Tarrega. …
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Guitar - Level 1 - Digital Download SKU: A0.1315543 Composed by Francisco Tarrega. Arranged by Simon Davies. Classical. 8 pages. Simon Davies #904282. Published by Simon Davies (A0.1315543). A transcription of the beautiful and famous solo guitar piece by Tárrega. The tremelo has been removed to simplify the melody for early stage guitarists. Suitable for players up to approx. Grade 3. Most parts are manageable for up to Grade 1/2.
$4.99
4.5 €
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Guitare
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Francisco Tarrega
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Simon Davies
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Recuerdos de la Alhambra
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Simon Davies
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SheetMusicPlus
Prelude #9
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.647591 Composed by Nick Lacanski. …
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Solo Guitar - Level 4 - Digital Download SKU: A0.647591 Composed by Nick Lacanski. 20th Century,Concert,Instructional,Standards. Individual part. 2 pages. Theupperstaff #2075601. Published by theupperstaff (A0.647591). This is at home in the teaching studio, the recital stage or as techniqie work.
$3.99
3.6 €
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Guitare
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Nick Lacanski
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Prelude #9
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theupperstaff
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SheetMusicPlus
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