| Three pieces for guitar solo Guitar Classical guitar Oxford University Press
Composed by Howard Skempton (1947-). 4 pages. Duration 4'. Oxford University Pre...(+)
Composed by Howard Skempton (1947-). 4 pages. Duration 4'. Oxford University Press #9780193588684. Published by Oxford University Press (OU.9780193588684).
$7.99 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Guitar Images Book Guitar Classical guitar [Sheet music] Mel Bay
By William Bay. For Guitar (Classical). Solos. Bill's Music Shelf. Baroque. Inte...(+)
By William Bay. For Guitar (Classical). Solos. Bill's Music Shelf. Baroque. Intermediate. Book. 80 pages. Published by Mel Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Classic Guitar Collection, Vol. 3 Guitar Classical guitar Music Sales
Guitar solo book for guitar. With standard notation (no tablature) and fingering...(+)
Guitar solo book for guitar. With standard notation (no tablature) and fingerings. 95 pages. Published by Music Sales.
$21.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Three Pieces for Guitar Solo Guitar Handwerks Music
Chamber Music guitar SKU: PR.494032140 Cooper Lake, Romantic Etude, an...(+)
Chamber Music guitar SKU: PR.494032140 Cooper Lake, Romantic Etude, and The Water is Wide. Composed by Frederic Hand. Collection - Full. Handwerks Music #494-03214. Published by Handwerks Music (PR.494032140). ISBN 9781491122174. UPC: 680160688234. $9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classic Ragtime Guitar, Volume 2 Guitar notes and tablatures [Sheet music + CD] - Intermediate Grossman's Guitar Workshop
(Arranged for Fingerstyle Guitar). By David Laibman. For Guitar (Fingerpicking)....(+)
(Arranged for Fingerstyle Guitar). By David Laibman. For Guitar (Fingerpicking). Solos. Grossman Audio. Ragtime. Intermediate. Book and 3-CD Set. 44 pages. Published by Grossman's Guitar Workshop
$26.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classic Ragtime Guitar, Volume 1 Guitar notes and tablatures [Sheet music + CD] - Easy Grossman's Guitar Workshop
(Arranged for Fingerstyle Guitar). By David Laibman. For Guitar (Fingerpicking)....(+)
(Arranged for Fingerstyle Guitar). By David Laibman. For Guitar (Fingerpicking). Solos. Grossman Audio. Ragtime. Intermediate. Book and 3-CD Set. 48 pages. Duration 180 minutes. Published by Grossman's Guitar Workshop
$26.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Suite No. 1 Guitar Classical guitar [Score] - Advanced Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. Les Productions d'OZ #DZ 4308. Published by Les Productions d'OZ (DZ.DZ-4308). ISBN 9782898522253. Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.
FRANCESCO BIRAGHI
Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture àlaquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'Ã
Âuvre m'a amené àtrouver des titres qui invitaient l'interprète àapprofondir l'inspiration esthétique de l'Ã
Âuvre. J'ai donc suggéré àGiorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu àquatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée àla Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue àla manière de Buxtehude (qui vivait àLübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né àHalle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait àMagdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'Ã
Âuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'Ã
Âil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des Ã
Âuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'àcelle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'Ã
Âuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'àla fin de la Chaconne de Magdebourg. Je souhaite àGiorgio et àë notre û Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.
FRANCESCO BIRAGHI. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jorge Morel: Three Pieces For Solo Guitar Guitar [Singles] Hal Leonard
Composed by Jorge Morel. For solo guitar. Format: guitar solo single. With stand...(+)
Composed by Jorge Morel. For solo guitar. Format: guitar solo single. With standard guitar notation (no tablature). 20th century. 14 pages. 9x12 inches. Published by Hal Leonard.
(1)$10.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Collected Works for Guitar Vol. 10 Vol. 10 Guitar - Intermediate Music Distribution Services
Guitar - intermediate to advanced SKU: M7.GHE-810 16 Guitar Solos with...(+)
Guitar - intermediate to advanced SKU: M7.GHE-810 16 Guitar Solos without Opus Numbers. Composed by Fernando Sor. Edited by Erik Stenstadvold. This edition: Saddle-wire stitching. Sheet music. New Critical Edition. 48 pages. MDS (Music Distribution Services) #GHE 810. Published by MDS (Music Distribution Services) (M7.GHE-810). ISBN 9783890448107. English. This new critical edition by leading guitar researcher Erik Stenstadvold contains thematic indexes, comprehensive critical commentaries based on sound and transparent editorial practice, copious historical notes, publishing history, and some previously unpublished repertoire. It has been thoroughly researched and is produced to the highest standards. $23.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Classical Guitar Solos - Favorite Sonatinas Guitar - Intermediate Mel Bay
Guitar - Intermediate SKU: MB.30989 Saddle-stitched, Solos. Sonatinas. Bo...(+)
Guitar - Intermediate SKU: MB.30989 Saddle-stitched, Solos. Sonatinas. Book. 152 pages. Mel Bay Publications, Inc #30989. Published by Mel Bay Publications, Inc (MB.30989). ISBN 9781513466705. 8.75x11.75 inches. In this book, guitarist and music historian David Grimes presents 20 â??small sonatasâ? or sonatinas, complete with detailed performance notes and bio sketches of each of the contributing composers: Leonhard von Call, Matteo Carcassi, Ferdinando Carulli, Mauro Giuliani, Francesco Molino, and Antonio Nava. While flexible, the early 19th-century sonatina form usually consists of 2 - 4 contrasting movements, here in guitar-friendly keys, making these pieces ideal for performance by intermediate-level students.Â
In all but the most challenging passages, Grimes has intentionally kept fingering to a minimum to allow students to form their own concept of this critical skill. Then, as many bass notes in these pieces are played on open strings, the player must develop a sense of when to selectively damp dissonant tones or observe a restâ?? exposing and overcoming yet another shortcoming in the education of many guitarists. Â
Most classic guitar teachers are familiar with the easy didactic studies by Carcassi, Carulli and Giuliani; Favorite Sonatinas offers more highly developed, but not yet virtuoso pieces by the same Italian triumvirateâ?? plus three more composers in a similar veinâ?? promoting confident, enjoyable sight-reading by guitarists of all levels. . $22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Celtic Music For Guitar Guitar notes and tablatures [Sheet music + CD] - Easy ADG productions
By Allan Alexander. For Guitar. This edition: Guitar. Celtic guitar solos in not...(+)
By Allan Alexander. For Guitar. This edition: Guitar. Celtic guitar solos in notation and tablature. Celtic. Level: Beginner. Book With Cd. 80 pages. Published by ADG productions.
(1)$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Élégie Guitar Classical guitar [Score] - Intermediate Doberman
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. Les Editions Doberman-Yppan #DO 1522. Published by Les Editions Doberman-Yppan (DY.DO-1522). ISBN 9782897963026. 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 �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. � 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. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Music (Arranged for Guitar) Guitar [Score] Peters
Solo guitar SKU: PE.EP68585 5 Pieces. Composed by John Cage. Arran...(+)
Solo guitar SKU: PE.EP68585 5 Pieces. Composed by John Cage. Arranged by Aaron Larget-Caplan. Guitar/Plucked Instruments (solo). Edition Peters. 20th Century. Score. 24 pages. Edition Peters #98-EP68585. Published by Edition Peters (PE.EP68585). ISBN 9790300759852. 232 x 303mm inches. Piano Music Arranged for Guitar features five early and mid-career compositions by John Cage, dating from 1933 through 1948, all arranged for solo guitar by Aaron Larget-Caplan. The compositions required little adjustment from the originals, mainly in the form of register modifications, and fit very well on the guitar. All phrase and dynamic markings follow the published originals. Very few left and right hand fingerings are included in the publication to allow the performers their own realizations. All of the works retain their original keys and are presented in chronological order: Three Easy Pieces (Round, Duo, Infinite Cannon) A Room Chess Pieces Dream In A Landscape Cage’s exploration of contrapuntal music and simple forms are found early on in works for two voices and the use of unusual phrases lengths. The later works explore modes, resonance, and begin to show influences of Far East aesthetics in their spaciousness and dealings with time. The collection is only the second work in the Cage Oeuvre to be published featuring the guitar, the first being Larget-Caplan’s arrangement of ‘Six Melodies’ for violin & guitar issued in 2015. A recording dedicated to John Cage on guitar will be released in 2018 on Stone Records Limited (UK). $22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Latin Pieces Guitar - Intermediate Productions OZ
By Mark Houghton. For guitar solo. Level: 3. 12 pages. Published by Les Producti...(+)
By Mark Houghton. For guitar solo. Level: 3. 12 pages. Published by Les Productions d'OZ. (DZ 713)
$7.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| GFA Spotlight Series, Three Pieces Guitar [Score] - Intermediate Productions OZ
Guitar solo - Intermediate SKU: DZ.DZ-3757 Composed by Ignatius Sancho. A...(+)
Guitar solo - Intermediate SKU: DZ.DZ-3757 Composed by Ignatius Sancho. Arranged by Ethan Lodics. GFA Spotlight Series. Score. Les Productions d'OZ #DZ 3757. Published by Les Productions d'OZ (DZ.DZ-3757). ISBN 9782897956745. The Guitar Foundation of America (GFA) is committed to cultivating Inclusion, Diversity, Equity and Access in the international guitar community and in the repertoire published for the instrument. Many factors, including a composer's race, gender, and sexual orientation, have historically created a narrow representation of our community in the classical music canon. For this first volume of the GFA Spotlight Series, the GFA commissioned seven new works by composers of color. The second volume of this series will follow with seven transcriptions of existing pieces by composers of color. These commissioned pieces and transcriptions were premiered by students in the GFA Mentorship Program in 2021. With this collection, the guitar takes a step towards a more inclusive and representative repertoire that nurtures creativity and inclusion for generations of guitarists to come. Growing the canon enriches the musical experiences of our entire international guitar community through exposure to diverse perspectives and voices, complementing the invaluable lessons we learn from the existing contributions of pieces that form the canon. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonatina No. 1 Guitar [Score] Productions OZ
Guitar solo SKU: DZ.DZ-4272 Composed by Mark Anthony Cruz. Score. Les Pro...(+)
Guitar solo SKU: DZ.DZ-4272 Composed by Mark Anthony Cruz. Score. Les Productions d'OZ #DZ 4272. Published by Les Productions d'OZ (DZ.DZ-4272). ISBN 9782898521898. En septembre 2018, le guitariste Toby McWilliams a commandé à Cruz lâécriture dâune pièce solo en trois mouvements après avoir entendu ses Five Pieces in C dans lâémission de radio internationale Classical Guitar Alive. McWilliams a demandé que le premier mouvement soit en forme sonate-allegro, suivi de deux autres pièces reflétant les choix de tempo dâune sonatine en trois mouvements typique. Comme câest le cas pour la plupart des Åuvres de Cruz, cette Sonatine a été achevée en tant que musique pure, sans programme sous-jacent. Cependant, dans sa quête de trouver des titres autres que des indications de tempo, Cruz a extrait trois mots de la correspondance entre lui-même et McWilliams qui, ensemble, ajoutent une touche personnelle à la collection tout en suggérant une progression des événements dâune journée imaginaire.
Un point dâintérêt dans le premier mouvement, le thème A : Cruz commence sur lâaccord IV et évite intentionnellement dâutiliser un accord I tout au long de la pièce. Bien que la section B commence dans la tonalité de dominante, elle se dirige rapidement vers un centre tonal de ré majeur.
Festival (3ème mouvement) utilise un thème dâouverture bitonal : mi majeur dans la voix supérieure tandis que la ligne de basse utilise mi mineur.
In September of 2018, guitarist, Toby McWilliams commissioned Cruz to write a three-movement guitar solo after hearing his Five Pieces in C on the internationally syndicated radio show, Classical Guitar Alive. McWilliams requested the first movement to be in sonata-allegro form followed by two other pieces that reflect the tempo choices of a typical three-movement sonatina. As is the case with most of Cruzâs music, this Sonatina was completed as music written for musicâs sake. However, in his quest to find titles other than tempo markings, Cruz plucked three words from the correspondence between himself and McWilliams that together, add a personal touch to the collection while suggesting a progression of an imaginary dayâs events.
A point of interest in the first movement, A theme: Cruz begins on the IV chord and intentionally avoids using a proper I chord throughout. While the B section does begin in the dominant key, it moves quickly towards a D major tonal center.
Festival (3rd movement) uses a bitonal opening theme: E major in the top voice while the bass line uses E minor. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Pieces For The Adult Student Piano solo [Sheet music] Music Sales
Edited by Maxwell Eckstein. For piano. Format: piano solo book. With fingerings....(+)
Edited by Maxwell Eckstein. For piano. Format: piano solo book. With fingerings. Baroque, classical period and romantic period. Series: Everybody's Favorite Series #4. 192 pages. 9x12 inches. Published by Music Sales.
(6)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dediche for Guitar (1991) Guitar Ut Orpheus
Guitar SKU: UT.CH-321 Composed by Chiara Benati. Edited by Piero Bonaguri...(+)
Guitar SKU: UT.CH-321 Composed by Chiara Benati. Edited by Piero Bonaguri. Saddle stitching. Piero Bonaguri Collection. Classical. Ut Orpheus #CH 321. Published by Ut Orpheus (UT.CH-321). ISBN 9790215326293. 9 x 12 inches. Dediche is a series of short miniature pieces for solo guitar written in 1991 by Chiara Benati, an authoritative exponent of what can be called the School of Bologna, and who has devoted many pages of her catalogue to the guitar (Chiara won a first prize in 1986 at the Competition for Guitar Composition organized by the historic magazine Il Fronimo). From the point of view of the guitar idiom, it is striking how the compositional research of Chiara Benati (who does not play the guitar) has penetrated deeply into the nature of the instrument. In my job of adding the fingering to the pieces, I started from the precise indications concerning the strings already provided by the Composer, who meticulously imagined the instrumental result created by the play of resonances and the consequent precise distribution of the parts on different strings (let us think of the tremolos superimposed on different strings in the second Dedica and the counterpoint in three parts each written on its own musical stave), with a skilful use of glissandos and other instrumental effects. From the musical point of view, a similar meticulousness in writing is evident, shown, for example, by indicating the temporal separation between the figures by means of their spatial distance indicated in the score. The result is an instrumentally and musically rigorous writing which also helps the performer by appealing to his ability to empathize, following the indications written in the score and in the key, with the expressive atmosphere of the work, and through that specific aspect of controlled performance flexibility and sound sensitivity necessary to render it properly. These delicate miniatures, suffused with mystery and melancholy, and so masterfully written for the guitar, are in my opinion an important addition to the contemporary repertoire of the instrument. (Piero Bonaguri). $13.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Solo Guitar in Worship Guitar notes and tablatures [Sheet music + Audio access] - Intermediate Mel Bay
Hymns, Saddle-stitched. Folk. Book and online audio. Mel Bay Publications, I...(+)
Hymns, Saddle-stitched. Folk.
Book and online audio. Mel Bay
Publications, Inc #WBM80M.
Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Moritz Moszkowski : Spanish Dances, Opus 12 Flute and Guitar - Intermediate Mel Bay
(for Flute and Guitar). By Moritz Moszkowski (1854-1925). Arranged by Garth Baxt...(+)
(for Flute and Guitar). By Moritz Moszkowski (1854-1925). Arranged by Garth Baxter. For Guitar & Flute. Ensemble (Mixed). Bill's Music Shelf. Classic. Intermediate. Book + Online Audio & PDF. 24 pages. Published by Mel Bay Publications, Inc
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| From Jewish Life Cello, Piano Classical guitar Carl Fischer
Chamber Music Cello, Piano SKU: CF.BF141 Composed by Ernest Bloch. Edited...(+)
Chamber Music Cello, Piano SKU: CF.BF141 Composed by Ernest Bloch. Edited by Julian Schwarz. 12+8 pages. Carl Fischer Music #BF141. Published by Carl Fischer Music (CF.BF141). ISBN 9781491159989. UPC: 680160918584. The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.
The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.
The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.
The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917.
Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music. The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance. The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos. The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience. The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917. Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music. The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, “Prayerâ€, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, “The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski’s (1912–1991) now well-known setting of the High Holyday prayer Avinu Malkenu.†This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both “Prayer†and Janowski’s Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, “Supplication†(the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, “Jewish Songâ€, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch’s most celebrated work, Schelomo in 1917.Though the popularity of Bloch’s oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America’s composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| J.S. Bach for Electric Bass Bass guitar [Sheet music + Audio access] Hal Leonard
Music - Instruction - Historical Analysis. Composed by Johann Sebastian Bach (16...(+)
Music - Instruction - Historical Analysis. Composed by Johann Sebastian Bach (1685-1750). Bass Instruction. Classical, Instruction. Softcover Audio Online. With guitar tablature. 40 pages. Published by Hal Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 3 Pieces for Solo Guitar Guitar Metropolis Music Publishers
Guitar Solo SKU: IS.G7364EM Composed by Norbert Leclercq. Plucked - Guita...(+)
Guitar Solo SKU: IS.G7364EM Composed by Norbert Leclercq. Plucked - Guitar. Metropolis Music Publishers #G7364EM. Published by Metropolis Music Publishers (IS.G7364EM). ISBN 9790365073641. Belgian composer Norbert Leclercq (1944 - ) was born in Brussels. The three compositions included in this volume are: 6 Nuances pour Guitare, Geometrie, and Trois Dimensions. $22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Sketches (Tres Apuntes) Guitar Schott
Guitar - advanced to difficult SKU: HL.49010840 Guitar Solo. Compo...(+)
Guitar - advanced to difficult SKU: HL.49010840 Guitar Solo. Composed by Leo Brouwer. This edition: Saddle stitching. Sheet music. Gitarren-Archiv (Guitar Archive). Classical. Composed 1959. 8 pages. Schott Music #GA426. Published by Schott Music (HL.49010840). ISBN 9783795798352. UPC: 073999663662. 9.0x12.0x0.075 inches. Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians.Edition Schott ranges from Renaissance to Contemporary solo instruments to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Guitar-Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder.Edition Schott publications share the highest production values and a distinct house style with clear notations, practical page-turns and high-quality paper.Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music. $13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Three Pieces for Flute Solo Flute - Intermediate OR-TAV Music Publications
Flute - Grade 4 SKU: OT.23054 Composed by Daniel Akiva. Published by OR-T...(+)
Flute - Grade 4 SKU: OT.23054 Composed by Daniel Akiva. Published by OR-TAV Music Publications (OT.23054). ISBN 9789655050042. Daniel Akiva is an internationally known composer and guitar artist. Like many of his works, the Three Pieces for Solo Flute relates to music of the Sephardic (Spanish) Jewish tradition. $9.94 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Dave Flynn Complete Works for Solo Guitar Guitar - Intermediate Mel Bay
Adult Contemporary, Saddle- stitched. Classical. Book. 100 pages. Mel Bay Publi...(+)
Adult Contemporary, Saddle-
stitched. Classical. Book. 100
pages. Mel Bay Publications,
Inc #30581. Published by Mel
Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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