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Being Me!
Guitar
Sheetmusic to print
9 sheet music found
<
1
Fly Me To The Moon (in Other Words)
#
Guitar
#
EASY
#
Tony Bennett
#
FERNANDO LUIZ NEVES
#
Fly Me To The Moon
#
Fernando Neves
#
SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1305660 By Tony Bennett. By Bart Howard. Arranged by FERNANDO LUIZ NEVES. 20th Century,Contemporary,Film...
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Solo Guitar - Level 2 - Digital Download SKU: A0.1305660 By Tony Bennett. By Bart Howard. Arranged by FERNANDO LUIZ NEVES. 20th Century,Contemporary,Film/TV,Jazz,Pop. Individual part. 3 pages. Fernando Neves #895115. Published by Fernando Neves (A0.1305660). “Fly Me to the Moonâ€, originally titled “In Other Wordsâ€, is a timeless classic that has captured the hearts of many music lovers. The song was written in 1954 by the talented American composer Bart Howard. The first recording of the song was made in the same year by Kaye Ballard. However, it was Frank Sinatra’s 1964 version that became closely associated with the Apollo missions to the Moon. Sinatra’s rendition elevated the song to new heights and it has since been covered by numerous artists including Tony Bennett, Ella Fitzgerald, Diana Krall, and Astrud Gilberto.Now, imagine this enchanting melody being interpreted through fingerstyle guitar. The intricate fingerpicking technique could beautifully express the nuances of this timeless tune.Whether you’re a seasoned musician or a beginner, playing “Fly Me to the Moon†on these instruments would be a delightful experience. Enjoy your musical journey! PDF file contains score with and without tablature and also includes chords and fingering. 3 pages.
$19.97
Chorus and Aria from Ariadne auf Naxos
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
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
'A golden time ...' from Ariadne auf Naxos
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
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
Excerpt from the Last Part of Ariadne Auf Naxos
#
Guitar
#
INTERMEDIATE
#
Classical
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
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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
Overture from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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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
STUDY nº 2 op. 60 [ by Matteo Carcassi ]: guitar solo (No fingerings, neither marks)
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Guitar
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EASY
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Matteo Carcassi
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Cristiano Sousa
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STUDY nº 2 op. 60 [ by Matteo
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Cristiano Sousa
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.941926 Composed by Matteo Carcassi. Arranged by Cristiano Sousa. Classical,Concert,Instructional,Standar...
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Solo Guitar - Level 2 - Digital Download SKU: A0.941926 Composed by Matteo Carcassi. Arranged by Cristiano Sousa. Classical,Concert,Instructional,Standards. Individual part. 2 pages. Cristiano Sousa #6444017. Published by Cristiano Sousa (A0.941926). Study n°2 (Moderato con Espressivo) is focused arppeggiation. To left hand, the main concern is centered on the connection between the chords. There is little room for alternative fingerings because attention is focused on the right hand. In it, a fixed typing in p-i-m-a-m-i-m-i is reiterated throughout the piece. This edition DOES NOT feature detailled fingerings, being useful as blank material for scratches. You can contact me at cristiano.sousa.santos@gmail.com
$2.99
STUDY nº 1 op. 60 [ by Matteo Carcassi ]: guitar solo (No fingerings, neither marks)
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Guitar
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EASY
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Matteo Carcassi
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Cristiano Sousa
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STUDY nº 1 op. 60 [ by Matteo
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Cristiano Sousa
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.941923 Composed by Matteo Carcassi. Arranged by Cristiano Sousa. Instructional,Romantic Period,Standards...
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Solo Guitar - Level 2 - Digital Download SKU: A0.941923 Composed by Matteo Carcassi. Arranged by Cristiano Sousa. Instructional,Romantic Period,Standards. Individual part. 2 pages. Cristiano Sousa #6330449. Published by Cristiano Sousa (A0.941923). Study n°1 (Allegro) is focused at scales, although there is a segment with chord arpeggiation. To left hand, different scales can be set for different fingerings. Devices such as position's changes, guide-finger and open strings are recurrent. On the other hand, right hand is trained in index and middle fingers' alternation (scales), as well as thumb, index, middle and ring fingers' arpeggiation (chords).This edition DOES NOT feature detailled fingerings, being useful as blank material for scratches.You can contact me at cristiano.sousa.santos@gmail.com .
$2.99
White Christmas
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Guitar
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INTERMEDIATE/ADVANCED
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Christmas
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Bing Crosby
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John Fries
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White Christmas
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John Fries
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1271656 By Bing Crosby. By Irving Berlin. Arranged by John Fries. 20th Century,Christmas,Film/TV,Holiday...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1271656 By Bing Crosby. By Irving Berlin. Arranged by John Fries. 20th Century,Christmas,Film/TV,Holiday,Standards. Individual part. 2 pages. John Fries #864048. Published by John Fries (A0.1271656). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. White Christmas is an Irving Berlin song reminiscing about an old-fashioned Christmas setting. The song was written by Berlin for the musical film Holiday Inn, released in 1942. The composition won the Academy Award for Best Original Song at the 15th Academy Awards. Since its release, White Christmas has been covered by multiple artists, with the version sung by Bing Crosby being the world's best-selling single (in terms of sales of physical media) with estimated sales in excess of 50 million copies worldwide. When the figures for other versions of the song are added to Crosby's, sales of the song exceed 100 million. A must have in your repertoire!
$4.99
10 Sketches
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Guitar
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INTERMEDIATE
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Contemporary
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José Mora-Jiménez
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10 Sketches
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Intermediate - Digital Download SKU: ZZ.DZ-4261 Composed by José Mora-Jiménez. Score. 21 pages. Les Productions d'OZ - Digital #DZ 4261. Published b...
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Guitar - Intermediate - Digital Download SKU: ZZ.DZ-4261 Composed by José Mora-Jiménez. Score. 21 pages. Les Productions d'OZ - Digital #DZ 4261. Published by Les Productions d'OZ - Digital
Après avoir été quelque temps éloigné de la composition classique, j'ai décidé de me lancer un défi et d'écrire un court morceau de guitare par jour. Je l'ai fait pendant un mois et j'ai fini avec une vingtaine de "Sketches". L'idée de départ était de réaliser des pièces courtes pour les enfants. Certaines se sont révélées trop difficiles pour les étudiants et pourraient donc devenir des pièces plus longues à l'avenir. D?autres, je n?ai tout simplement pas beaucoup aimé. Au final, j'ai sélectionné les 10 Sketches qui m'ont le plus plu. Ces 10 morceaux sont destinés à des joueurs de niveau intermédiaire et chacun d'entre eux se concentre sur un aspect technique ou musical. After being some time away from classical composition I decided to challenge myself and write one short guitar piece daily. I did it for a month and ended up with around 20 "Sketches". The original idea was to make short pieces for children. Some turned out to be too difficult for students, so they might become longer pieces in the future. Some others I just didn't like that much. In the end I selected the 10 Sketches that I liked the most. These 10 pieces are intended for intermediate level players and each of them focuses on a technical or musical aspect.
$10.95
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