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5 sheet music found
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1
My Old Kentucky Home
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Guitar
#
EASY
#
Stephen Foster
#
Brian Streckfus
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My Old Kentucky Home
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Brian Streckfus
#
SheetMusicPlus
Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwr...
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Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. Tips:1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.
$1.99
Sussudio
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Guitar
#
EASY
#
Phil Collins
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Hollywood Charts
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Sussudio
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Hollywood Charts
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1492312 By Phil Collins. By Philip Collins. Arranged by Hollywood Charts. Pop,R & B. Individual part. 5 ...
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Solo Guitar - Level 2 - Digital Download SKU: A0.1492312 By Phil Collins. By Philip Collins. Arranged by Hollywood Charts. Pop,R & B. Individual part. 5 pages. Hollywood Charts #1068978. Published by Hollywood Charts (A0.1492312). Unlock the energetic groove of Phil Collins' classic hit Sussudio with this meticulously crafted guitar transcription. Perfect for guitarists of all levels, this arrangement captures the infectious rhythm and vibrant melody that made Sussudio an iconic 80s anthem. Whether you're looking to bring this timeless tune to life on stage, enhance your repertoire, or simply enjoy playing it at home, this transcription delivers the essence of the original track while being accessible and enjoyable to play. With clear notation and precise chord diagrams, you'll be able to replicate the driving beat and funky feel that defines this unforgettable song. Get ready to experience the upbeat spirit of Sussudio through your guitar and captivate your audience with every note.
$5.99
An IROY Nga Tuna
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Guitar
#
EASY
#
Miles Lopez
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Miles Lopez
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An IROY Nga Tuna
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Miles Lopez
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1076966 By Miles Lopez. By Miles Lopez. Arranged by Miles Lopez. Classical,Contemporary,Country,Standard...
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Solo Guitar - Level 2 - Digital Download SKU: A0.1076966 By Miles Lopez. By Miles Lopez. Arranged by Miles Lopez. Classical,Contemporary,Country,Standards,Traditional. Individual part. 1 pages. Miles Lopez #681091. Published by Miles Lopez (A0.1076966). The lyrics describe my innermost feelings to seek justice of bombing incident at home & when Mayor Pel loss the election 2022 due to vote buying.
$180.00
O mio babbino caro - for Guitar (TAB) and Piano accompaniment - orchestral play along
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Guitar
#
EASY
#
Giacomo Puccini
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Samuel Sequeira
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O mio babbino caro - for Guita
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Samuel Sequeira
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1145420 Composed by Giacomo Puccini. Arranged by Samuel Sequeira. 20th Century,Classical,Opera. Individu...
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Solo Guitar - Level 2 - Digital Download SKU: A0.1145420 Composed by Giacomo Puccini. Arranged by Samuel Sequeira. 20th Century,Classical,Opera. Individual part. 5 pages. Samuel Sequeira #745649. Published by Samuel Sequeira (A0.1145420). O mio babbino caro -  Giacomo Puccini - ScorePlay it at home, with friends, on class, for your teacher or studentPlay it on a public presentation. More arrangements on the link: Sam'S arrangementsO mio babbino caro -  for Guitar (TAB) and Piano accompaniment.Play it with a pianist or with a orchestral play along on the youtube video.Full score and guitar (TAB) avaiable on this saleContact the Arranger:Youtube: @SamuelseqInstagram: @SamuelseqEmail: samyseq@gmail.com
$1.99
Patios de Córdoba
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Guitar
#
EASY
#
Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional...
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
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