Download Digital Sheet Music of Take the for Guitar

Take the
Guitar

Take The Coltrane

#Take The Coltrane

Take The A Train

#Take The A Train

March Of The Wooden Soldiers Guitar

Guitar - Level 1 - Digital Download SKU: A0.1149151 By (Various artists). By Peter …(+)

Guitar - Level 1 - Digital Download SKU: A0.1149151 By (Various artists). By Peter Ilyich Tchaikovsky. Arranged by Derek Hasted. 19th Century,Classical. 25 pages. Derek Hasted #749280. Published by Derek Hasted (A0.1149151). MARCH OF THE WOODEN SOLDIERS - EASY GUITAR QUARTETFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar. Derek Hasted writes This charming little piece makes a great concert item for a quartet or large ensemble with modest experience - itâ€™s perfect for a school ensembleâ€™s first concert! Itâ€™s playable entirely in the first position, and with the exception of an occasional 3rd string G#, works well in the second position. A more experienced quartet might like to take the higher notes further up the neck for a more rounded sound. There are two arrangements here...One is in traditional SATB style - the four lines playing at four different pitches.The second rotates the parts at every phrase boundary so that everyone plays the tune at some point - the line currently holding the tune has a slightly louder dynamic marking. I hope you enjoy these arrangements!
$1.99 1.82 € #Guitar #(Various artists) #March Of The Wooden Soldiers #Derek Hasted #SheetMusicPlus

Take The "a" Train

Take The "a" Train Guitar

Solo Guitar - Level 3 - Digital Download SKU: A0.1290005 By Duke Ellington. By Bill…(+)

Solo Guitar - Level 3 - Digital Download SKU: A0.1290005 By Duke Ellington. By Billy Strayhorn. Arranged by Michael J. Miles. Blues,Jazz. Individual part. 2 pages. Michael J Miles #877500. Published by Michael J Miles (A0.1290005). This is my fingerstyle guitar arrangement of Take The A Train.Â This amazing song can sound like it was written to be played on the guitar.Â Enjoy!
$4.99 4.57 € #Guitar #Duke Ellington #Take The "a" Train #Michael J Miles #SheetMusicPlus

#Take The "a" Train

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 compÃ¡s 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 compÃ¡s 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 compÃ¡s 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 compÃ¡s 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 compÃ¡s 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, alzapÃºa 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 â€œfalsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called â€œCaÃ±aâ€ that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compÃ¡s (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan GonzÃ¡lez â€œTriguitoâ€ introduced me to in my studies with him in Madrid in the late 1960â€™s and is considered to be the â€œmotherâ€ of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of CÃ³rdoba, home of the Flamenco palo Soleares.