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String Quartet: 2 violins, viola, cello
455
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156
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37
Cello
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Double Bass
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2 Harps (duet)
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4 Cellos
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Cello, Guitar (duet)
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String Quintet: 2 violins, 2 violas, cello
3
Piano Trio: Violin, Viola, Piano
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PERCUSSION & ORCHESTRA
Concert band
380
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168
Jazz Ensemble
134
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55
Jazz combo
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23
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16
Marching band
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9
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5
Marimba
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Orchestra, Violin
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Big band
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Xylophone
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Percussion
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Piano and Orchestra
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101
Three Cabins: I "If I Were You" for guitar solo
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1007294 Composed by Kevin S. Hart.…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1007294 Composed by Kevin S. Hart. Standards. Individual part. 2 pages. Kevin Hart #3096047. Published by Kevin Hart (A0.1007294). Part of the collection for guitar solo titled Three Cabins, along with Rustic Horses and Elegant Cows and Snow Falling On A Lantern. May be performed by itself, or as part of the collection.https://soundcloud.com/harvest-ink/cabins-i-if-i-were-you
$2.99
2.75 €
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Guitar
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Kevin S
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Three Cabins: I "If I Were You" for guitar solo
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Kevin Hart
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SheetMusicPlus
"Believe Me If All Those Endearing Young Charms" for Guitar (with Background Track)-Jazz/Pop Version
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.634000 Composed by Traditional. Ar…
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Solo Guitar - Level 3 - Digital Download SKU: A0.634000 Composed by Traditional. Arranged by Fishel Pustilnik. Film/TV,Jazz,Pop,World. Individual part. 2 pages. F & N Enterprise #3489413. Published by F & N Enterprise (A0.634000). An excellent arrangement of famous Irish Song Believe Me If All Those Endearing Young Charms for Guitar with Background Track-Jazz/Pop Version.The composition is easy to read, fun to play and sound professional when performed. Arranged by Fishel Pustilnik, very well known as Composer/Publisher. His books Jazz & Pop Piano Paradise (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia and UK markets. This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8. Lore Ruschiensky, Editor, (from review in The Canadian Music Teacher) Yesterday I spent at least two pleasure filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations. Review from Dr. Jack Behrens, B.Sc. (Julliard), PH.D (Harvard), Director of Academic Studies, The Glenn Gould School I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume. Mark Carlstein, Hal Leonard, Keyboard Publications.Additional Information regarding my arrangements at SheetMusicPlus: https://www.facebook.com/arrangementsofsheetmusic/
$1.99
1.83 €
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Guitar
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Traditional
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"Believe Me If All Those Endearing Young Charms" for Guitar
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F & N Enterprise
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SheetMusicPlus
If It's Magic
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1356930 Composed by Stevie Wonder.…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1356930 Composed by Stevie Wonder. Arranged by Alexander Elliott Miller. 20th Century,Contemporary,R & B,Singer/Songwriter,Soul. Individual part. 6 pages. Alexander Elliott Miller #941567. Published by Alexander Elliott Miller (A0.1356930). This arrangements aims to capture Stevie Wonder's If It's Magic on a solo guitar as a chord melody arrangement representing both Stevie Wonder's vocal melody and the original harp accompaniment.
$4.99
4.59 €
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Guitar
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Stevie Wonder
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If It's Magic
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Alexander Elliott Miller
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SheetMusicPlus
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfu…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670). This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!Objective:Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. What Scales/Modes are being harmonized? C Major (+jazz version) A (natural) minor (+jazz version) A harmonic minor (+jazz version) B Locrian D Dorian E Phyrigian F Lydian G Mixolydian Features: Slowly increases in physical and theoritcal difficulty at the same time. Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. These chord progressions are a great composition aid. Guitar chord diagrams Traditional notation with letter names on the note heads Roman numerals color coded Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. Tips: Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled! Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.
$1.99
1.83 €
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Guitar
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Brian Streckfus
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Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Brian Streckfus
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SheetMusicPlus
Tanguillo de Cádiz Guitar 2
Guitar
Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1262076 Composed by T…
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Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1262076 Composed by Traditional. Arranged by Richard Hirsch. Instructional,Multicultural,Traditional,World. 3 pages. Richard Hirsch #855138. Published by Richard Hirsch (A0.1262076). I offer an arrangement in D major of the traditional Flamenco Tanguillo de Cádiz as a second guitar to accompany my arrangement of the Tanguillo for solo guitar. The solo guitar arrangement is written in A major. To work as guitar 1 in the duet, the solo version must be played with the capo at the fifth fret to transpose the score to D major. This is normal practice in Flamenco guitar playing. The guitarist simply plays the score as if the capo were the nut. The tones/notes are then referred to as if they were being played in the first position, but they sound of course different.I created the arrangement in D major to accompany a student I taught to play the solo version so we could play and perform together. It was a lot of fun working on the arrangement and we had a great time playing the Tanguillo as a duet. It was also a big hit with audiences. I particularly recommend this arrangement for instructors teaching the solo version to intermediate students of Flamenco guitar, especially young students who will find it easier to play the Tanguillo at the fifth fret in D major. It is a great inspiration for  students to play along with their instructor, making music together. The arrangement also, of course, works just as well as a duet for two students or two experienced guitarists.The D minor section contains the typical Andalusian cadence found in the more â??jondoâ? styles of Flamenco and serves as a first introduction to these darker more serious â??sonidos negrosâ? as Manuel de Falla referred to them. The many taps or â??golpesâ? found in the score are, as I said in the description of the Tanguillo solo, not absolutely essential, but they definitely add more â??punchâ? to the performance and give the arrangement a more earthy Gitano Andaluz character.
$3.99
3.67 €
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Guitar
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Traditional
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Tanguillo de Cádiz Guitar 2
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Richard Hirsch
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SheetMusicPlus
KriyÄ (Direction, Goal) for 10-String Guitar
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1187094 By Julian Bertino. By Juli…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1187094 By Julian Bertino. By Julian Bertino. Classical,Contemporary. Individual part. 10 pages. Julian Bertino #786726. Published by Julian Bertino (A0.1187094). Kriyā is a Sanskrit word meaning to do, make, perform, accomplish, cause, effect, prepare, undertake†toward something specific. We often live our lives hiding from ourselves, usually because of an artificial sense of fear, embarassment, shame or guilt that we may have acquired because of social pressures. This is why we many people have a mid-life crisis and suddenly change the way they have lived their lives into how they wished to live all along. This piece represents the unraveling of previously held ideals into one which is synchronous with the world around us, beginning with a vision reminding us of mortality, progressing through the difficulties and cognitive dissonances which occur when we must change our lives to find happiness. Kriya began originally as a tremolo etude on the 2nd and 3rd strings, but quickly evolved into a musical composition. Practicing Tremolo on strings other than the first develops control and discipline in the right hand, which was my original intention in writing it- but I felt as if the material that was generated required more and more variation and contrast- and quite quickly I realized that I had to complete it with the intention of performing it as a piece of music rather than simply a technical exercise.**This version is for 10-string guitar. There is a 6-string guitar version available also.
$9.99
9.2 €
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Guitar
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Julian Bertino
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KriyÄ
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Julian Bertino
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SheetMusicPlus
Whimsical monologue [Guitar Solo]
Guitar
Solo Guitar - Level 5 - Digital Download SKU: A0.912064 By Masakazu YAMAMOTO. By Ma…
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Solo Guitar - Level 5 - Digital Download SKU: A0.912064 By Masakazu YAMAMOTO. By Masakazu YAMAMOTO. Contemporary,Contest,Festival,Film/TV,Holiday,Multicultural,World. Individual part. 6 pages. Motch Music #517992. Published by Motch Music (A0.912064). Original work by Masakazu Yamamoto.Work for guitar solo. Composed for guitarist Tatsuya Aikawa. Premiered at his solo concert on November 7, 2021. Various passage like muttering and rhythm appears whimsically, and music leads you gradually enters the delusional world. Fragments of improvised phrases are lined up in a guitar-specific playing style, as if to mutter a sudden idea.Duration : 8 minutes around ----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english
$20.00
18.42 €
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Guitar
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Masakazu YAMAMOTO
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Whimsical monologue [Guitar Solo]
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Motch Music
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SheetMusicPlus
Sonata No. 2
Guitar
Guitar - advanced - Digital Download SKU: S9.Q50413 For guitar. Composed by …
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Guitar - advanced - Digital Download SKU: S9.Q50413 For guitar. Composed by Olli Mustonen. This edition: single sheet. Guitar Archive. Für Gitarre. Downloadable, Separate edition. Duration 10 minutes. Schott Music - Digital #Q50413. Published by Schott Music - Digital (S9.Q50413). Unlike its predecessor Jehkin Iivana, which draws its inspiration from the world of Finnish myths and the ancient tradition of poet singers, the sources of the Sonata N° 2 are more abstract. The first movement starts with dissonant intervals, full of drama and conflict while the second has a dream-like atmosphere as if the guitar has been left alone in the forest. After a nightmarish episode, more hopeful music suddenly starts to appear. In the last movement the guitar returns to fight its tormentors from the first movement with renewed energy and takes its way heroically through all obstacles to a triumphant end. Olli Mustonen.
$7.99
7.36 €
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Guitar
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Olli Mustonen
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Sonata No. 2
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Schott Music - Digital
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SheetMusicPlus
Radal
Guitar
Solo Guitar - Level 1 - Digital Download SKU: A0.946874 By Federico Viel. By Federi…
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Solo Guitar - Level 1 - Digital Download SKU: A0.946874 By Federico Viel. By Federico Viel. Classical,Contemporary,Film/TV,Multicultural,World. Individual part. 3 pages. Federico Viel #552632. Published by Federico Viel (A0.946874). This is a composition part of siries The forests dance for guitar solo, is a series of compositions inspired by different types of trees or plants from the forests of Patagonia,magical place that saw me grow. The Radal is a tree that retains its appearance throughout the year with its evergreen leaf, watching us pass, always waiting for us as if time did not pass.
$3.00
2.76 €
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Guitar
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Federico Viel
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Radal
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Federico Viel
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SheetMusicPlus
Scenes From the Life of Death, Part 1
Guitar
Guitar - Digital Download SKU: A0.1070391 Composed by Apostolos Paraskevas. 20th Ce…
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Guitar - Digital Download SKU: A0.1070391 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Full Performance. Duration 389. Silver Sickle Publications #6103007. Published by Silver Sickle Publications (A0.1070391). Scenes from the Life of Death is the solo version of Apostolos Paraskevas' Fourth Guitar Concerto, The Life Of Death. A three-movement work which describes the life of Death. In this highly dramatic and sometimes humorous work, the composer portrays Death in a human attitude via twists, turns, variations, technical challenges and surprises. Death is a guitarist, a composer, and a disgruntled employee. He complains all the time and wants to retire. Death's only consolation is to go home to his soul mates, his friends, and with them perform his favorite pieces with them. I. Awakening of Mournful Feelings on Arrival at Work II. A Visit at the Playground, andIII. Sad and Ungrateful Feelings After the Visit - What A Life! Put down your beloved instrument Mr. Reaper! It's time to pay a visit to a fellow musician down the street as if he had all the time in the world!
$1.99
1.83 €
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Guitar
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Apostolos Paraskevas
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Scenes From the Life of Death, Part 1
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Silver Sickle Publications
#
SheetMusicPlus
Scenes From the Life of Death, Part 3
Guitar
Guitar - Digital Download SKU: A0.1070392 Composed by Apostolos Paraskevas. 20th Ce…
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Guitar - Digital Download SKU: A0.1070392 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Full Performance. Duration 264. Silver Sickle Publications #6103011. Published by Silver Sickle Publications (A0.1070392). Scenes from the Life of Death is the solo version of Apostolos Paraskevas' Fourth Guitar Concerto, The Life Of Death. A three-movement work which describes the life of Death. In this highly dramatic and sometimes humorous work, the composer portrays Death in a human attitude via twists, turns, variations, technical challenges and surprises. Death is a guitarist, a composer, and a disgruntled employee. He complains all the time and wants to retire. Death's only consolation is to go home to his soul mates, his friends, and with them perform his favorite pieces with them. I. Awakening of Mournful Feelings on Arrival at Work II. A Visit at the Playground, andIII. Sad and Ungrateful Feelings After the Visit - What A Life! Put down your beloved instrument Mr. Reaper! It's time to pay a visit to a fellow musician down the street as if he had all the time in the world!
$1.99
1.83 €
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Guitar
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Apostolos Paraskevas
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Scenes From the Life of Death, Part 3
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Silver Sickle Publications
#
SheetMusicPlus
Scenes From the Life of Death, Part 2
Guitar
Guitar - Digital Download SKU: A0.1070390 Composed by Apostolos Paraskevas. 20th Ce…
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Guitar - Digital Download SKU: A0.1070390 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Full Performance. Duration 205. Silver Sickle Publications #6103009. Published by Silver Sickle Publications (A0.1070390). Scenes from the Life of Death is the solo version of Apostolos Paraskevas' Fourth Guitar Concerto, The Life Of Death. A three-movement work which describes the life of Death. In this highly dramatic and sometimes humorous work, the composer portrays Death in a human attitude via twists, turns, variations, technical challenges and surprises. Death is a guitarist, a composer, and a disgruntled employee. He complains all the time and wants to retire. Death's only consolation is to go home to his soul mates, his friends, and with them perform his favorite pieces with them. I. Awakening of Mournful Feelings on Arrival at Work II. A Visit at the Playground, andIII. Sad and Ungrateful Feelings After the Visit - What A Life! Put down your beloved instrument Mr. Reaper! It's time to pay a visit to a fellow musician down the street as if he had all the time in the world!
$1.99
1.83 €
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Guitar
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Apostolos Paraskevas
#
 
#
Scenes From the Life of Death, Part 2
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Silver Sickle Publications
#
SheetMusicPlus
Excerpt from the Lyric Suite
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.6 €
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Guitar
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Alban Berg
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
'Change of scene' from Act III of Wozzeck
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.6 €
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Guitar
#
Alban Berg
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'Change of scene' from Act III of Wozzeck
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Maggie Creek Music
#
SheetMusicPlus
Excerpt from Lulu Suite
Guitar
Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by R…
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Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
4.6 €
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Guitar
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Alban Berg
#
(7 min
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Excerpt from Lulu Suite
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Maggie Creek Music
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.45 €
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Guitar
#
Richard Strauss
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.45 €
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Guitar
#
Richard Strauss
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.45 €
#
Guitar
#
Richard Strauss
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.45 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Raindrops Keep Fallin' On My Head
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1348275 By B.J. Thomas. By Burt Ba…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1348275 By B.J. Thomas. By Burt Bacharach and Hal David. Arranged by Christopher J. Malin. 20th Century,Film/TV,Pop,Standards. Individual part. 1 pages. Christopher J. Malin #933060. Published by Christopher J. Malin (A0.1348275). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable cheerful melody. One of Burt Bacharach's many fine pieces. This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars.I tend to play the triad chords using a little hand vibrato, makes them sing a bit. I also slide up to the single notes at times. The tag at the end, is a nice jam in itself if playing with another guitar or bass, if solo I play it 4 times. Listeners will love this tune! Hope you will too.
$4.99
4.59 €
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Guitar
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B
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Raindrops Keep Fallin' On My Head
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Christopher J. Malin
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SheetMusicPlus
I'm Beginning To See The Light
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1397472 Composed by Don George, Du…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1397472 Composed by Don George, Duke Ellington, Harry James, and Johnny Hodges. Arranged by Christopher J. Malin. 20th Century,Jazz,Standards. Individual part. 1 pages. Christopher J. Malin #980800. Published by Christopher J. Malin (A0.1397472). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable melody. I think of this one as Duke Ellington's signature piece. This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars. If someone asks you to play a swing jazz tune this is a archetypical piece. This is a jazz classic! Every jazz guitarist should have this in their repitore. I love this tune! Hope you will too.
$4.99
4.59 €
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Guitar
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Don George, Duke Ellington, Harry James, and Johnny Hodges
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I'm Beginning To See The Light
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Christopher J. Malin
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SheetMusicPlus
"More... Jazz Licks at Your Fingertips" for Guitar
Guitar
Solo Guitar - Level 5 - Digital Download SKU: A0.809110 Composed by Tony Benade. In…
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Solo Guitar - Level 5 - Digital Download SKU: A0.809110 Composed by Tony Benade. Instructional,Jazz,Latin. Individual part. 96 pages. Tony Benade #3573821. Published by Tony Benade (A0.809110). More… Jazz Licks at Your Fingertips is a sequel to Jazz Licks at your Fingertips This study contains over 80 jazz licks/phrases in several different keys. There are progressions on the ii7 - V7 in both major and minor keys. There are also major, minor 6th and 7ths as well as dominant, diminished and augmented chords. As you go on you will find licks on flatted and raised ninths, augmented 11ths and 13th chords. Most important however, are the Application Exercises. There are six jazz etudes which contain chord progressions found in many of the jazz standards. You will have the opportunity to use the licks in measures that deal with the chords that you have dealt with in the previous section. There are parts where you are asked to fill in your own licks in between the written melody. All the material that you have just worked on in the the last section can be used in each etude. By the end of the study, you can improve on the enitre song. It is a unique method that I have developed over the past 50 years. If you follow the method and work on all the exercises as directed, you will take your first steps in the Real way pros play jazz. There is even accompaniment provided for each etude. There are mp4s that are available at no extra cost if you have a device that will play them. There is also accompaniment provided at the end of the book if have musician friends play along with you. The process for obtaining the mp4s is explained at the beginning of the book under Application Exercises.
$29.95
27.58 €
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Guitar
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the end of the study, you can improve on the enitre song
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Tony Benade
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"More... Jazz Licks at Your Fingertips" for Guitar
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Tony Benade
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SheetMusicPlus
Michelle
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.1342617 By The Beatles. By John Le…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1342617 By The Beatles. By John Lennon and Paul McCartney. Arranged by Christopher J. Malin. 20th Century,Chamber,Contemporary,Pop,Standards. Individual part. 2 pages. Christopher J. Malin #928091. Published by Christopher J. Malin (A0.1342617). Solo jazz guitar chord/melody arrangement with tablature. Beautiful, instantly recognizable melody. One of The Beatles finer pieces. This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars.I realise there are many arrangments of this great song. Give mine a try...I tend to play this song as a ballad. It's such a beautiful melody no need to rush it. Better to relish it! I love this tune! Hope you will too.
$4.99
4.59 €
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Guitar
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The Beatles
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Michelle
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Christopher J. Malin
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SheetMusicPlus
Tremolo from the Regondi Nocturne (Op.19)
Guitar
Solo Guitar - Digital Download SKU: A0.899137 Composed by Giulio Regondi. Arranged …
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Solo Guitar - Digital Download SKU: A0.899137 Composed by Giulio Regondi. Arranged by Rod Whittle. Romantic Period. Individual part. 4 pages. Maggie Creek Music #4349081. Published by Maggie Creek Music (A0.899137). for solo classical guitar (tremolo) 4 pp (7 min.)GIULIO REGONDI (1823 - 72) Regondi was born in Switzerland, but lived in France and, mostly, the United Kingdom. He was a child prodigy of the guitar, with Fenando Sor dedicating a piece to him when he was just nine. He composed for the guitar and also the concertina. His works for solo guitar comprise etudes, a set of variations and some larger compositions. The tremolo section of the Nocturne (op.19) - subtitled 'Reverie' – must be some of the most wonderful music written for tremolo guitar. In the Nocturne it is split between sections of different style and content, but its effectiveness as a piece is fully satisfied without these interspersed parts, nice as they are, and its persuasive theme quite naturally repeats to end with a superb coda (which also finishes the actual Nocturne). The original score has no dynamics except for the end, and I have not added any. However, the piece is impossible to play without inferring some loudness, tempo and accentuation changes. There is that Romantic period element to it. I have added fingering. I like to settle into a barre position where possible – it often lets the bass accompaniment ring through (e.g. the D in the first few bars) and simplifies the playing. But it hardly needs saying that fingering, helpful if it is good, is a kind of curse if it is bad or just wrong, and it is never mandatory. It is always instructive with tremolo pieces to first play some of the top line (e.g. of the first few bars) without tremolo to properly reveal its melody. The style needs plenty of practice to achieve fidelity to this musical meaning; that is always the aim. Then listen carefully as the lower part is added. The bass is very important, as mentioned, but the harmonies of the broken chords are vital too. The Nocturne is brilliant counterpoint.
$5.00
4.6 €
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Guitar
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Giulio Regondi
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4 pp  
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Tremolo from the Regondi Nocturne
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Maggie Creek Music
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SheetMusicPlus
Satin Doll
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1348935 By Duke Ellington. By Bill…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1348935 By Duke Ellington. By Billy Strayhorn, Duke Ellington, and Johnny Mercer. Arranged by Christopher J. Malin. 20th Century,Broadway,Jazz,Musical/Show,Standards. Individual part. 2 pages. Christopher J. Malin #933670. Published by Christopher J. Malin (A0.1348935). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable melody. I think of this one as Duke Ellington's signature piece. This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. Sounds great on acoustic and electric guitars. This is a jazz classic! When I hear or play this song I think of my parents dancing to Satin Doll at Navy Pier in Chicago with the Duke's orchestra! His intro opening lick on the piano to that generation is like Clapton's Layla riff to my generation!I love this tune! Hope you will too.
$4.99
4.59 €
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Guitar
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Duke Ellington
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Satin Doll
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Christopher J. Malin
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SheetMusicPlus
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