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E Minor Pentatonic Scale
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E Minor Pentatonic Scale (Five Positions)
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.1169366 Composed by Traditional. Arrang…
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Guitar - Level 1 - Digital Download SKU: A0.1169366 Composed by Traditional. Arranged by Danny Crocome. 19th Century,20th Century,Contemporary,Instructional,Rock. Guitar Tab. 1 pages. Danny Crocome Music #769721. Published by Danny Crocome Music (A0.1169366). This info sheet shows guitarists five separate positions for playing the notes of the E Minor Pentatonic Scale.1. Starting from the root note (E)2. Starting from the flattened 3rd (G)3. Starting from the 4th (A)4. Starting from the 5th (B)5. Starting from the flattened 7th (D).
$2.99
2.74 €
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Guitare notes et tablatures
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Traditional
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Danny Crocome
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E Minor Pentatonic Scale
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Danny Crocome Music
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SheetMusicPlus
The Big Book of Pentatonics & Fourths
Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,Flute,Guitar,Horn,Oboe,P…
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,Flute,Guitar,Horn,Oboe,Piano,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Violin - Level 4 - Digital Download SKU: A0.829078 Composed by Eric Bolvin. Blues,Instructional,Jazz. Score and parts. 92 pages. ERIC V BOLVIN #3580507. Published by ERIC V BOLVIN (A0.829078). The Big Book of Pentatonics & Fourths is a series of four and six note groups that are developed into chromatic and diatonic lines. The concept of note groups was presented to me by the great pianist Hal Galper at the Jamey Aebersold clinic in 1980. I was young at the time but was hip to pentatonics so his ideas stayed with me and I’ve expanded on them in my own fashion.DescriptionA pentatonic scale is any group of five notes that cover the span of an octave. There are literally hundreds of pentatonic scales in Western music, and hundreds more that use alternate tunings.The Big Book of Pentatonics & Fourths will focus on the most common pentatonic scale, the major pentatonic and its relative minor. In the key of C the notes of the major pentatonic are: C D E G A. If you start on C and go up in perfect 5ths, you will get all the notes of the major pentatonic. The relative minor scale in A minor is A C D E G. If you start on E and go up in perfect 4ths, you will get the minor pentatonic in A.This book is a series of four and six note groups that are developed into chromatic and diatonic lines. The concept of note groups was presented to me by the great pianist Hal Galper at the Jamey Aebersold clinic in 1980. I was young at the time but was hip to pentatonics so his ideas stayed with me and I’ve expanded on them in my own fashion. You should watch the video that goes with this book for more detailed instruction on how to properly practice the exercises.
$19.95
18.3 €
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Eric Bolvin
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The Big Book of Pentatonics & Fourths
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ERIC V BOLVIN
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SheetMusicPlus
C Minor Pentatonic Scale (Five Positions)
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.1169760 Composed by Traditional. Arrang…
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Guitar - Level 1 - Digital Download SKU: A0.1169760 Composed by Traditional. Arranged by Danny Crocome. 20th Century,Contemporary,Instructional,Rock,Traditional. Guitar Tab. 1 pages. Danny Crocome Music #770124. Published by Danny Crocome Music (A0.1169760). This info sheet shows guitarists five separate positions for playing the notes of the C Minor Pentatonic Scale.1. Starting from the root note (C)2. Starting from the flattened 3rd (Eâ™)3. Starting from the 4th (F)4. Starting from the 5th (G)5. Starting from the flattened 7th (Bâ™).
$2.99
2.74 €
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Guitare notes et tablatures
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Traditional
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Danny Crocome
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C Minor Pentatonic Scale
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Danny Crocome Music
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SheetMusicPlus
A Minor Pentatonic Scale (Five Positions)
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.1169319 Composed by Traditional. Arrang…
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Guitar - Level 1 - Digital Download SKU: A0.1169319 Composed by Traditional. Arranged by Danny Crocome. 19th Century,20th Century,Contemporary,Instructional,Traditional. Guitar Tab. 1 pages. Danny Crocome Music #769673. Published by Danny Crocome Music (A0.1169319). This info sheet shows guitarists five separate positions for playing the notes of the A Minor Pentatonic Scale.1. Starting from the root note (A)2. Starting from the flattened 3rd (C)3. Starting from the 4th (D)4. Starting from the 5th (E)5. Starting from the flattened 7th (G).
$2.99
2.74 €
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Guitare notes et tablatures
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Traditional
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Danny Crocome
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A Minor Pentatonic Scale
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Danny Crocome Music
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SheetMusicPlus
A# Minor Pentatonic Scale (Five Positions)
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.1169661 Composed by Traditional. Arrang…
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Guitar - Level 1 - Digital Download SKU: A0.1169661 Composed by Traditional. Arranged by Danny Crocome. 20th Century,Contemporary,Instructional,Rock,Traditional. Guitar Tab. 1 pages. Danny Crocome Music #770023. Published by Danny Crocome Music (A0.1169661). This info sheet shows guitarists five separate positions for playing the notes of the A# Minor Pentatonic Scale.1. Starting from the root note (A#)2. Starting from the flattened 3rd (C#)3. Starting from the 4th (D#)4. Starting from the 5th (E#)5. Starting from the flattened 7th (G#).
$2.99
2.74 €
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Guitare notes et tablatures
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Traditional
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Danny Crocome
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A# Minor Pentatonic Scale
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Danny Crocome Music
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SheetMusicPlus
C# Minor Pentatonic Scale (Five Positions)
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.1169428 Composed by Traditional. Arrang…
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Guitar - Level 1 - Digital Download SKU: A0.1169428 Composed by Traditional. Arranged by Danny Crocome. 20th Century,Contemporary,Instructional,Rock,Traditional. Guitar Tab. 1 pages. Danny Crocome Music #769785. Published by Danny Crocome Music (A0.1169428). This info sheet shows guitarists five separate positions for playing the notes of the C# Minor Pentatonic Scale.1. Starting from the root note (C#)2. Starting from the flattened 3rd (E)3. Starting from the 4th (F#)4. Starting from the 5th (G#)5. Starting from the flattened 7th (B).
$2.99
2.74 €
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Guitare notes et tablatures
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Traditional
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Danny Crocome
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C# Minor Pentatonic Scale
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Danny Crocome Music
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SheetMusicPlus
F# Minor Pentatonic Scale (Five Positions)
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.1169410 Composed by Traditional. Arrang…
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Guitar - Level 1 - Digital Download SKU: A0.1169410 Composed by Traditional. Arranged by Danny Crocome. 20th Century,Contemporary,Instructional,Rock,Traditional. Guitar Tab. 1 pages. Danny Crocome Music #769767. Published by Danny Crocome Music (A0.1169410). This info sheet shows guitarists five separate positions for playing the notes of the F# Minor Pentatonic Scale.1. Starting from the root note (F#)2. Starting from the flattened 3rd (A)3. Starting from the 4th (B)4. Starting from the 5th (C#)5. Starting from the flattened 7th (E).
$2.99
2.74 €
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Guitare notes et tablatures
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Traditional
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Danny Crocome
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F# Minor Pentatonic Scale
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Danny Crocome Music
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SheetMusicPlus
Complete Guitar Scale Dictionary
Guitare notes et tablatures
Guitar (flatpicking) - Multiple Levels - Digital Download Composed by Mike Christiansen…
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Guitar (flatpicking) - Multiple Levels - Digital Download Composed by Mike Christiansen. Complete. Jazz and Contemporary. E-book and online video. 60 pages. Mel Bay Publications - Digital Sheet Music #94756EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619117044. Absolutely a landmark text! Author Mike Christiansen spent countless hours researching the scale forms used in all major musical idioms and also those found in other non-Western musical cultures. In addition to a myriad of scale forms (both conventional and rare) for major, minor, pentatonic, and blues, in-depth sections are contained on modes symmetrical altered scales, exotic scales and Japanese scales. Among the scale forms presented are Byzantine, Persian, East Indian Purvi, enigmatic, eight-tone Spanish, Prometheus, Gagaku, Zokugaku, In Sen Pou, Arabian and Balinese!! Scales are shown in notation, tablature, and diagram form. Also, rules are given for each scale showing construction and appropriate usage in relation to chordal structure and harmony. Includes access to online video demonstrating improvisational applications of each scale.
$17.99
16.5 €
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Guitare notes et tablatures
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Mike Christiansen
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Complete Guitar Scale Dictionary
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar Scale Dictionary Qwikguide
Guitare
Composed by Mike Christiansen. Qwik Guide. All styles. E-book. 56 pages. Mel Bay Public…
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Composed by Mike Christiansen. Qwik Guide. All styles. E-book. 56 pages. Mel Bay Publications - Digital Sheet Music #98696EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743000. A price-conscious Qwikguide edition of Mike Christiansen's definitive book on guitar scales. Includes all variants of major and minor scales plus pentatonic and blues scales, modes, symmetrical/altered scales, exotic scales, and Japanese scales. All scales are shown in standard notation and tab plus grid and fretboard diagrams. Includes tips on scale construction and use with appropriate chords.
$9.99
9.16 €
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Guitare
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Mike Christiansen
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Guitar Scale Dictionary Qwikguide
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Matteo Di Prospero - Le scale per fisarmonica diatonica
Accordéon
Accordion - Level 3 - Digital Download SKU: A0.1465923 By Matteo Di Prospero. By Ma…
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Accordion - Level 3 - Digital Download SKU: A0.1465923 By Matteo Di Prospero. By Matteo Di Prospero. Arranged by Matteo Di Prospero. 21st Century,Instructional. Educational Method. 88 pages. Matteo Di Prospero #1044523. Published by Matteo Di Prospero (A0.1465923). Matteo Di Prospero - Le scale per fisarmonica diatonicaMetodo per organetto 18 bassi.In questo volume sono raccolte: Le scale maggiori e minori (compresi gli intervalli); La scala cromatica; Le scale pentatoniche; Le scale blues. Disponibile nelle seguenti lingue: Italiano/Francese/Inglese.
$33.00
30.27 €
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Accordéon
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Matteo Di Prospero
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Matteo Di Prospero
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Matteo Di Prospero - Le scale per fisarmonica diatonica
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Matteo Di Prospero
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SheetMusicPlus
Baritone Ukulele Scales
Ukulele Baryton
Composed by Lee Drew Andrews. For Ukulele (Baritone). All Styles. Beginning. E-book. 16 pa…
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Composed by Lee Drew Andrews. For Ukulele (Baritone). All Styles. Beginning. E-book. 16 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609746162. This book offer scales and modes for the baritone uke. Each scale is shown in multiple fingers with roots on the fourth, third and second string. Scales and modes shown include Major, Minor, Harmonic Minor, Pentatonic, Dorian, Phrygian, and Mixolydian. Each scale is shown in fretboard diagrams.
$9.99
9.16 €
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Ukulele Baryton
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Lee Drew Andrews
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Baritone Ukulele Scales
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Where the Cherry Blossoms Fall - Flute & Piano
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.572691 Composed by James Michael S…
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Flute,Piano - Level 3 - Digital Download SKU: A0.572691 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Folk,Wedding,World. Score and part. 8 pages. James M Stevens Music ASCAP #3904027. Published by James M Stevens Music ASCAP (A0.572691). This is an original composition for Flute and Piano in a relaxed and folk like oriental style emphasizing the notes of the E minor pentatonic scale. There is a separate flute part in the score and the track as heard is available under Where the Cherry Blossoms Fall Piano Track. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the music department chairman of Welch College. https://www.youtube.com/watch?v=VpiQKEAnGjE
$6.99
6.41 €
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Flûte traversière et Piano
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James Michael Stevens
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James Michael Stevens
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Where the Cherry Blossoms Fall - Flute & Piano
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James M Stevens Music ASCAP
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SheetMusicPlus
Slap - up (Electric Bass Etude)
Basse electrique
Bass Guitar - Level 5 - Digital Download SKU: A0.788486 Composed by Antonius Agung …
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Bass Guitar - Level 5 - Digital Download SKU: A0.788486 Composed by Antonius Agung Setiawan. Contemporary. Score. 13 pages. Antonius Agung Setiawan #6201829. Published by Antonius Agung Setiawan (A0.788486). Slap - up Composed by Antonius Agung Setiawan Electric Bass Etude composition in E minor pentatonic scale Slap & Left Handed Tapping Technique Electric Bass composition to see more of my work, please visit https://linktr.ee/pakagung.
$6.99
6.41 €
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Basse electrique
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Antonius Agung Setiawan
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Slap - up
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Antonius Agung Setiawan
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SheetMusicPlus
Where the Cherry Blossoms Fall - Oboe & Piano
Hautbois, Piano (duo)
Oboe,Piano - Level 3 - Digital Download SKU: A0.572692 Composed by James Michael St…
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Oboe,Piano - Level 3 - Digital Download SKU: A0.572692 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Wedding,World. Score and part. 8 pages. James M Stevens Music ASCAP #3904039. Published by James M Stevens Music ASCAP (A0.572692). This is an original composition for Oboe and Piano in a relaxed and folk like oriental style emphasizing the notes of the E minor pentatonic scale. There is a separate oboe part in the score and the track as heard is available under Where the Cherry Blossoms Fall Piano Track. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the music department chairman of Welch College. https://www.youtube.com/watch?v=og88iTnkLq8
$6.99
6.41 €
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Hautbois, Piano (duo)
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James Michael Stevens
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James Michael Stevens
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Where the Cherry Blossoms Fall - Oboe & Piano
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James M Stevens Music ASCAP
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SheetMusicPlus
Where the Cherry Blossoms Fall - Violin & Piano
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.572690 Composed by James Michael …
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Piano,Violin - Level 3 - Digital Download SKU: A0.572690 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Folk,Wedding,World. 8 pages. James M Stevens Music ASCAP #3899339. Published by James M Stevens Music ASCAP (A0.572690). This is an original composition for Violin and Piano in a relaxed and folk like oriental style emphasizing the notes of the E minor pentatonic scale. There is a separate violin part in the score and the track as heard is available under Where the Cherry Blossoms Fall Piano Track. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the music department chairman of Welch College. https://www.youtube.com/watch?v=USrzqlSm28M
$6.99
6.41 €
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Violon et Piano
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James Michael Stevens
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James Michael Stevens
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Where the Cherry Blossoms Fall - Violin & Piano
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James M Stevens Music ASCAP
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SheetMusicPlus
Fingerboard Mastery, Book One
Guitare
(Scales and Arpeggios (USC)). Composed by Frank Potenza. For Guitar (All). USC. All Styles…
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(Scales and Arpeggios (USC)). Composed by Frank Potenza. For Guitar (All). USC. All Styles. Beginning. E-book. 32 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781610659413. This in-depth scale and arpeggio text is core curriculum at the University of Southern California's Studio Guitar Department, which is part of the prestigious Flora L. Thornton School of Music, located in Los Angeles, California. Using a comprehensive approach that includes three different organizational systems, it covers the technical foundation that is necessary for playing any style of music. The CAGED system (five positions), the Finger Stretch system (all twelve keys in one position) and the Three-Note Per String system (seven patterns) are examined. Although each of these three systems is examined, the CAGED system serves as the basis for much of the material covered in this book.Instead of traditional musical notation, the book uses fingerboard diagrams to focus on the visual aspect of the patterns. The goal is to present an approach to understanding and mastering the fingerboard by outlining the best and most practical elements of these different systems. Book One presents patterns for the major scale and its relative modes, the major pentatonic scale, the minor pentatonic scale, and the blues scale. Along with these scale forms, patterns for arpeggios that are for the most part diatonic to (in the key of) the major scale are presented. These include major, minor, diminished and augmented triads, and also major 7, dominant 7, minor 7 , and diminished 7 chords.
$12.99
11.92 €
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Guitare
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Frank Potenza
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Fingerboard Mastery, Book One
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Soloing for All Bass-Clef Instruments
Basse electrique
Electric bass guitar - Intermediate - Digital Download SKU: M0.21074BCDEB A Look…
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Electric bass guitar - Intermediate - Digital Download SKU: M0.21074BCDEB A Look Inside Scales. Composed by Earl Gately. Adult Contemporary. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #21074BCDEB. Published by Mel Bay Publications - Digital Sheet Music (M0.21074BCDEB). ISBN 9781610653107. 8.75x11.75 inches.Although there are many fine scale books on the market, none of them really go INSIDE scales to explore the various intervals, harmonized scales in triads and diatonic 7ths, neighbor tones to achieve some chromaticism and how to employ multiple uses of the scales (modes) by superimposing them over the given chords to expand and color them. A variety of chord progressions, taken from various forms, are used in the Ideas for Soloing, with complete analysis. The book covers the Harmonized scales of the Major, Ascending melodic Minor and the Harmonic Minor. Also covered are the Symmetrical scales: the Half-Step/Whole-Step Diminished scale, Whole Step Half Diminished scale, Whole Tone and the Chromatic scales, plus the Major, Minor, Altered major and Blues Minor Pentatonics and the Harmonic Major III scale. Includes access to online audio.
$19.99
18.34 €
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Basse electrique
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Earl Gately
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Soloing for All Bass-Clef Instruments
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Mastering the Guitar 2A
Guitar - Beginning-Intermediate - Digital Download SKU: M0.97195MEB A Comprehens…
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Guitar - Beginning-Intermediate - Digital Download SKU: M0.97195MEB A Comprehensive Method for Today's Guitarist!. Composed by William Bay. Arranged by Lily Afshar. Mastering the Guitar. General/Note Reading & Chording. E-book and online audio. Mel Bay Publications - Digital Sheet Music #97195MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.97195MEB). ISBN 9781619115934. UPC: 161911593X. 8.75x11.75 inches.Absolutely the best, most comprehensive new method available for guitar. Introducing the innovative new Zone Concept for learning position playing. Over 150 solos and duets in the keys of C, G, D, and B minor. Musical styles: bossa nova, Latin, fiddle/tunes/ hornpipes/reels, Celtic music, ragtime, baroque, jazz, swing jazz ballads, American folk ballads, rock, early-American hymnody, be-bop, blues, samba, and tango. Concepts presented: basic improvisation, rhythmic variation, velocity studies, sight-reading, passing tone studies , chord progression studies, arpeggio studies, dropped-D tuning, blues, blues turn-arounds, licks/fills/ breaks, bass runs, principles of memorization, chord studies, minor pentatonic scale, principles of successful practice, priciples of successful performance, movable power chords, and rock comping. New Composers featured: J.S. Bach,Carcassi, Moaazni, Giuliani, Carulli, Vivaldi, Handel, Sor, Galilei, Tarrega, Debussy, H.L. Clark, St. Jacome, Corelli, Johann Krieger, Wohlfahrt, Jeremiah Clarke, plus guitar duos on selections from Handel's Water Music, Vivaldi's Four Seasons, and selected Bach cantatas. Includes access to extensive online audio.
$19.99
18.34 €
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William Bay
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Lily Afshar
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Mastering the Guitar 2A
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
MBGU Rock Curriculum: Rock Guitar Masterclass, Vol. 2
Guitare notes et tablatures
60 Sweep Picking Licks for Contemporary Electric Guitar. Composed by Ioannis Anastas…
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60 Sweep Picking Licks for Contemporary Electric Guitar. Composed by Ioannis Anastassakis. Mel Bay Guitar University. Improvising/Licks. E-book and online audio/video. Mel Bay Publications - Digital Sheet Music #20927MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619118201.<br> <br> A collection of 60 of the best sweep picking ideas, concepts and licks based on 20 years of electric guitar playing experience. This book includes licks from and inspired by Frank Gambale, Steve Vai, Joe Satriani, George Lynch, Zakk Wylde, Yngwie Malmsteen, John Petrucci, Randy Rhoads, Paul Gilbert, Richie Kotzen, Mathias Eklundh, Rusty Cooley, Michael Fath and more! Builds musical vocabulary - a veritable dictionary of licks, or rather a lick-tionary! Most of these licks are in the key of A minor, since this is a key most guitarists are familiar with.Many are presented in either minor pentatonic, natural minor, Harmonic minor or Dorian scales, since these are the most often-used scales in rock improvising.Encourages substitution with other modes by changing the appropriate intervals. Examples in notation and tablature. Includes access to online audio and video.
$19.99
18.34 €
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Guitare notes et tablatures
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Ioannis Anastassakis
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MBGU Rock Curriculum: Rock Guitar Masterclass, Vol. 2
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
THE DEEP for solo DOUBLE BASS
Contre Basse
Double Bass,String Bass Solo - Digital Download SKU: A0.1347908 Composed by Alan Ed…
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Double Bass,String Bass Solo - Digital Download SKU: A0.1347908 Composed by Alan Edgar. 21st Century. Individual part. 10 pages. Alan Edgar Ted Moon #932722. Published by Alan Edgar Ted Moon (A0.1347908). Jacques Cousteau, Father of the Aqualung, wrote: The sea, once it casts its spell, holds one in its net of wonder for ever.This piece, for virtuoso double bass, imagines a scuba-diver encountering large animals, and consists of a suite of short depictions of animals in the form of variations on a melody plus a recurrent new melody representing the diver's smooth movements and bubbles. The variations are: Lobster Jazz Waltz, Sea-anemone Belly-dance, Tuna Tune, Luminous Light Show, Dolphin Fling, Jaws Serial and Blues Whale Pavane.The piece lasts about eight minutes with repeats.TECHNICAL NOTE The C harmonics will be a pip flat--they are only bursting bubbles anyway!Scuba Fins tries to feel the quiet calmness and agelessness of the underwater world, using the ancient and universal major pentatonic scale C,D,E, G,A ,C. The rhythm is mostly steady and simple, but triplets indicate the occasional extra effort. Now and again, he glances down at the infinite depths. Tintinnabulation and soft staccatissimo arpeggios represent the bubbles. Lobster Waltz is a jazz waltz with many staccato notes and leaps representing the many appendages and the tangle of lively giant crustaceans.Sea-anemone Belly-Dance pictures the soft body and tentacles swaying under the waves, using the Arabic scale Shad 'Araban, roughly G,Ab, B,C,D,Eb,F#,G and influenced by a dance to the folk tune known as Bint El-Salabiya.Tuna Tune is a quick moto perpetuo in the cheerful major mode, septuple time, the rapid rise and fall of the phrases and of volume reflecting the powerful shoal's unpredictable, ceaseless movements, approaching and retreating.Dolphin Fling is a stathspey, or highland fling, using the major mode and typical dance rhythms including the Scotch snap to depict the weighty but intelligent dolphins enjoying their leisure time and perhaps dancing with the diver.Jaws Serial reminds us of the fear a shark generates, using the dissonant 12-note serial mode and unpredictable leaps and pauses. The opening slow trill will chill you as it invokes the Jaws film theme by John Williams. You might even hear the diver's heart sink and the snap pizzicato of the teeth snapping. The prime row is the nearest possible to the original theme: Bb, Ab, F, Eb, B, C, E, G, Db, D, Gb.A, but I have followed the contours of the main themes. Blues Whale is a pavane, a slow, stately processional incorporating the typical renaissance drum rhythm. and using a blues scale, G, A, Bb, C, C#, D, F, G, and an implied 12-bar minor blues harmony.
$20.00
18.35 €
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Contre Basse
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Alan Edgar
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THE DEEP for solo DOUBLE BASS
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Alan Edgar Ted Moon
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.01 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Largo (from "Symphony No. 9") ("From the New World") (Db) (Clarinet Quintet)
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Digital Download SKU: A0.813826 Composed by Antonin Dv…
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Woodwind Ensemble Clarinet - Digital Download SKU: A0.813826 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. 18 pages. Regis Bookshar #6533907. Published by Regis Bookshar (A0.813826). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Clarinet Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Clarinet Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instrumenta.
$15.00
13.76 €
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Ensemble de Clarinettes
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Largo (from "Symphony No. 9") (From the New World") (Db) (Bassoon Quintet)
Ensemble de Bassons
Woodwind Ensemble Bassoon - Level 3 - Digital Download SKU: A0.813822 Composed by A…
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Woodwind Ensemble Bassoon - Level 3 - Digital Download SKU: A0.813822 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. 18 pages. Regis Bookshar #6533893. Published by Regis Bookshar (A0.813822). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Bassoon Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Bassoon Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instrumental.
$15.00
13.76 €
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Ensemble de Bassons
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
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