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Call On Me
Guitar
Sheetmusic to print
19 sheet music found
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1
Crazy Little Thing Called Love
Guitar
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1269176 By Queen. By Fred…
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Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1269176 By Queen. By Freddie Mercury. Arranged by Igor Sardi Bass. Pop,Rock. Score. 3 pages. Igor Sardi Bass #861713. Published by Igor Sardi Bass (A0.1269176). For version without tab, please contact me - igorsardi@gmail.comI transcribed about 1,000 songs, especially the bass and double bass lines. I will gradually publish them all on this site. My transcriptions are professional, done using only my skills and my ear. There is nothing copied. On my site (www.igorsardi.com) you can also find various collections (Queen, Jaco Pastorius, Flea, etc) and many teaching methods at unbelievable prices!Email:  igorsardi@gmail.comWebsite:  https://www.igorsardi.comInstagram: https://www.instagram.com/igor_sardi_bass/Facebook page:  https://www.facebook.com/igorsardibassFacebook: https://www.facebook.com/igor.sardiYoutube (Over 500 videos): https://www.youtube.com/c/IgorSardiBass36My didactic books:John Deacon: complete study - https://www.igorsardi.com/johndeacon-completestudy        Jaco Pastorius: complete study (volume 1 & 2) - https://www.igorsardi.com/jaco-pastoriusHarmony course - https://www.igorsardi.com/corso-armonia-applicata-per-bassisti  -Walking Bass: Progressive course - https://www.igorsardi.com/walking-bass-course 500 exercises for bass - https://www.igorsardi.com/500-exercises-for-bass Electric bass theory and practice - https://www.igorsardi.com/theory-and-practice-of-bass Setup: complete guide -  https://www.igorsardi.com/theelectricbassworkshop The Fretless Bass - https://www.igorsardi.com/fretless-bass-bookProfession Bass Player - https://www.igorsardi.com/profession-bassplayer Studying classical music on bass - https://www.igorsardi.com/studyingclassicalmusiconbass.
$7.99
7.33 €
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Guitar
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Queen
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2) - https://www
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Crazy Little Thing Called Love
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Igor Sardi Bass
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SheetMusicPlus
Don't You Want Me
Guitar
Solo Guitar - Digital Download SKU: A0.1002012 By The Human League. By Adrian Wrigh…
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Solo Guitar - Digital Download SKU: A0.1002012 By The Human League. By Adrian Wright, Jo Callis, and Phil Oakey. Arranged by Theo Lawrence / TL Music Lessons. Film/TV. Individual part. 3 pages. Theo Lawrence / TL Music Lessons #6346835. Published by Theo Lawrence / TL Music Lessons (A0.1002012). This easy guitar part follows the same key and structure as the original song and adds an ending as an alternative to the song's fade out. Some of the part has been simplified on the main hook section and the chord strumming has been kept very simple so that beginners can play along with the song.
$4.99
4.58 €
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Guitar
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The Human League
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Don't You Want Me
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Theo Lawrence / TL Music Lessons
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SheetMusicPlus
Give Me Jesus (For Fingerstyle Guitar Tuned CGDGAD)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.806143 Composed by Public Domain. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.806143 Composed by Public Domain. Arranged by Ellsworth McMeen. Christian,Folk,Spiritual. Individual part. 5 pages. Ellsworth McMeen #4348999. Published by Ellsworth McMeen (A0.806143). Evocative, harplike arrangement of a Christian spiritual song for solo fingerstyle guitar in CGDGAD tuning. El McMeen is included in the Digitaldreamdoor listing of the 100 Greatest Acoustic Guitarists. https://tinyurl.com/GreatestGuitaristsThis tune is on El's recording called Gospel Guitar Treasures. https://store.cdbaby.com/cd/elmcmeen7
$3.99
3.66 €
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Guitar
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Public Domain
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Give Me Jesus
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Ellsworth McMeen
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SheetMusicPlus
Patios de Córdoba
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Ar…
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
3.66 €
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Guitar
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Traditional
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Deuxiéme Sonata by Benjamin Godard (1849-1895)
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.914747 Composed by Benjamin Godard…
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Solo Guitar - Level 4 - Digital Download SKU: A0.914747 Composed by Benjamin Godard (1849-1895). Arranged by Eric J Roth. Romantic Period. Individual part. 14 pages. Eric J Roth #5867073. Published by Eric J Roth (A0.914747). Benjamin Godard (1849-1895) was a French violinist and composer of Jewish heritage. He wrote hundreds of works, including symphonies, operas, concertos, chamber and solo pieces, and songs. Today he is most remembered for his five symphonies and the Berceuse from his opera, Jocelyn. In style, Godard's music is reminiscent of the early Romantic period rather than the more grandiose style of Wagner. Godard wrote two sonatas for solo violin. The first dates from the 1870s. The second was composed in the 1890s and published after his death. Both sonatas contain four movements and employ baroque dance forms. The Deuxiéme (second) Sonata, arranged here for guitar solo, opens with a Sarabande in A minor, marked molto moderato e pompasamente (very moderately and pompously). The following Rigodon in C major is quick and convivial, although a contrasting section in C minor tempers the mood. The third movement, Adagio non ma troppo, begins in a tranquil F major. The texture soon thickens and makes striking use of the instrument’s lower register. A sudden modulation to F minor provides the sonata's most introspective moment. The piece returns to A minor and ends in a dramatic cliffhanger on the dominant. The rhythmic Bourrée serves as a true finale and includes a frenetic contrapuntal section recalling the violin sonatas of J. S. Bach.
$9.99
9.17 €
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Guitar
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Benjamin Godard
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Deuxiéme Sonata by Benjamin Godard
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Eric J Roth
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SheetMusicPlus
Heartbeats
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1268428 By Jose Gonzalez. By Karin…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1268428 By Jose Gonzalez. By Karin Dreijer Andersson and Olof Dreijer. Arranged by Pablo Alcázar. 21st Century,Pop,Singer/Songwriter,Wedding. Individual part. 6 pages. Pablo Alcázar #860970. Published by Pablo Alcázar (A0.1268428). Arrangement for solo guitar of the famous song Heartbeats. This arrange by Pablo Alcázar, professional guitarist arranger and composer, is for intermediate players that want a challenge to play or for professional guitarist that want some new repertoire for wedding gigs or concerts. It includes the full voice melody line aswell as the full guitar line from the original song. This arrangement uses the 3º string on F# and the 6º string on D and the reading doesn't include the real notes you are playing but the translation of a normal tuning reading to make things easier. Also you can check the strings on the tablature in case you need to play in different positions.This is the Lyrics of the song:One night to be confusedOne night to speed up truthWe had a promise, babeFour hands and then awayBoth under influenceWe had divine senseTo know what to sayMind is a razor bladeTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noOne night of magic rushThe start a simple touchOne night to push and screamAnd then reliefTen days of perfect huesThe colors red and blueWe had a promise, babeWe were in loveTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enoughAnd youYou knew the hand of the devilAnd youKept us awake with wolves teethSharing different heartbeatsIn one nightTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enough.
$4.99
4.58 €
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Guitar
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Jose Gonzalez
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Heartbeats
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Pablo Alcázar
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SheetMusicPlus
Black Falcon
Guitar
Solo Guitar - Digital Download SKU: A0.1015930 Composed by Frank A. Wallace. 20th C…
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Solo Guitar - Digital Download SKU: A0.1015930 Composed by Frank A. Wallace. 20th Century,Contemporary. Individual part. 8 pages. Gyre Music #5022343. Published by Gyre Music (A0.1015930). Black Falconby Frank A. Wallaceguitar soloDuration: 9 minutes; 7 pagesSkill level: large stretches and fast scalesWritten: March, 2013, for Edel MuñozInstrumentation: classical guitar soloRecording: on Elemental CD by Frank Wallace for Gyre, 2014; and a single FLAC file also by Frank Wallace on GyreBlack Falcon is a guitar solo written for Cuban guitarist Edel Muñoz, who I first met at the 2011 St. Joseph Guitar Festival. Edel had returned to St. Joseph to perform his competition winner’s concert. We met again at Classical Minds in Houston in June 2012 at which point we got to hear each others’ concerts. Edel is one of the most suave and subtle yet powerful players I have ever heard. I was thrilled that he asked me to write a piece for him.At the time of composition I generally used various techniques for generating musical ideas developed over the previous years. But I tossed those ideas out the door and wrote from pure inspiration. The result is my first piece that uses the octatonic, or diminished scale. It alternates between dramatic chordal outbursts and flowing bass melodies. Black Falcon is in two sections: Larghissimo in 4/2 and Allegro in 12/8. This is a pattern I have used in several solo works and one duo that I call my Raptor Series.All Gyre Publications are ASCAPGyre PublicationsCopyright ©2013 Frank A. WallaceCover photography and design by Nancy KnowlesAll rights reserved.
$10.95
10.05 €
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Guitar
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Frank A
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Black Falcon
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Gyre Music
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SheetMusicPlus
Big Drum
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1202804 Composed by Richard Hirsch…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
4.58 €
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Guitar
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Richard Hirsch
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Big Drum
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Richard Hirsch
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SheetMusicPlus
So This Is Love
Guitar
Solo Guitar - Digital Download SKU: A0.1348480 By James Ingram. By Al Hoffman, Jerr…
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Solo Guitar - Digital Download SKU: A0.1348480 By James Ingram. By Al Hoffman, Jerry Livingston, and Mack David. Arranged by Austin Weyand. Broadway,Children,Film/TV,Jazz,Musical/Show,Standards. Individual part. 9 pages. Austin Weyand #933257. Published by Austin Weyand (A0.1348480). Solo fingerstyle guitar arrangement of So This Is Love from Cinderella by Austin Weyand. Also found on his album They Call Me Dad. www.austinweyand.com.
$5.99
5.5 €
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Guitar
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James Ingram
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So This Is Love
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Austin Weyand
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SheetMusicPlus
The Time Between Genesis 1:1 and 1:2
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1028595 Composed by J.S. Jacques. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1028595 Composed by J.S. Jacques. Christian,Contemporary,Instructional,Jewish,Sacred. Individual part. 1 pages. J.S. Jacques #3586003. Published by J.S. Jacques (A0.1028595). This piece was composed for solo classical guitar, but it could be performed on a variety of instruments. Excellent for guitar students, especially those seeking to learn the higher regions of the fret board. A choice piece for guitarists of all levels wishing to improve their a ( p), m, i right hand pattern. An excellent piece for church services, especially as it centers on a cryptic chapter of Bible history.If you would like to know how I play it, I'll be happy to make a YouTube tutorial. If so, or if you have questions about the title or anything else, feel free to email me at jerjacques@gmail.com.A performance would typically be around 80 BPM and last 1:40 to 2 minutes.
$2.60
2.39 €
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Guitar
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J
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The Time Between Genesis 1:1 and 1:2
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J.S. Jacques
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SheetMusicPlus
Peated Waltzes
Guitar
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4303 Composed by Luciano Lima. Scor…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4303 Composed by Luciano Lima. Score. 8 pages. Les Productions d'OZ - Digital #DZ 4303. Published by Les Productions d'OZ - Digital (ZZ.DZ-4303). Dedicated to world renowned guitarist David Russell, Peated Waltzes is a three-movement piece that pays homage to the peated whiskies of Islay, the southernmost island of the Inner Hebrides of Scotland. The opening movement, Earthy Smoke, Sea Salt and Iodine, attempts to portray the distinctive character of the single malts of that region. Based on the Gaelic folk song The Praise of Islay (Moladh na Landaidh), the second movement’s title comes from one the song’s last verses, O, may long their wild notes flow. The third movement’s theme was extracted from the letters of Laphroaig, one of the most iconic Scotch whiskies, whose name’s meaning inspired the title, By the Broad Bay. In the second part, the traditional Celtic melody, An Islay Pipe Reel, is quoted. At the end, themes of the previous movements are recalled and intertwined, as if trying to emulate the long and lingering finish of an Islay dram.Dédié au guitariste de renommée mondiale David Russell, « Peated Waltzes » est une pièce en trois mouvements qui rend hommage aux whiskies tourbés d’Islay, l’île la plus méridionale des Hébrides intérieures d’Écosse. Le mouvement d'ouverture, « Earthy Smoke, Sea Salt and Iodine », tente de dépeindre le caractère distinctif des single malts de cette région. Basé sur la chanson folklorique gaélique « L'éloge d'Islay » (Moladh na Landaidh), le titre du deuxième mouvement vient de l'un des derniers couplets de la chanson, « O, que leurs notes sauvages coulent longtemps ». Le thème du troisième mouvement est extrait des lettres de Laphroaig, l’un des whiskies écossais les plus emblématiques, dont la signification du nom a inspiré le titre « By the Broad Bay ». Dans la deuxième partie, la mélodie celtique traditionnelle « An Islay Pipe Reel » est citée. À la fin, les thèmes des mouvements précédents sont rappelés et entrelacés, comme pour tenter d'imiter la finale longue et persistante d'un drame d'Islay.
$5.95
5.46 €
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Guitar
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the Broad Bay
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Luciano Lima
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Peated Waltzes
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Les Productions d'OZ - Digital
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SheetMusicPlus
TIENTO PARA UN PENSADOR for guitar
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.876582 Composed by Daniel Cueto. 2…
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Solo Guitar - Level 4 - Digital Download SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401. Published by Daniel Cueto (A0.876582). To write Tiento para un pensador, I found inspiration in an experience that I had many years ago, when I was a student in Dusseldorf, Germany. I was spending time one night with my friend Rafael Aguirre, a virtuoso classical guitarist, as he was casually playing through some of his repertoire. He asked me if I thought that it was possible to play a Baroque fugue - one of the most complex of musical genres - on the guitar. Before I had time to think about the question, he started playing his own arrangement of a fugue by J.S. Bach, talking me through it as the fugue theme appeared in different registers and the counterpoint got more and more intricate.The effectiveness and beauty of the contrapuntal sounds I experienced that night stayed with me. So in 2020, when I was invited to attend the Twisted Spruce Symposium and had a chance to compose my first piece for the guitar, I quickly decided that I would take up the challenge of writing my own fugue for the instrument. Looking to find a more specific context for the new work, I discovered the early Spanish genre of the tiento, essentially an early Hispanic form of the fugue. I came up with a melody which, I sensed, featured elements of that early style combined with a touch of Andean melancholy. As I composed, I strived to follow this basic affect throughout, letting the lines evolve organically as the piece seemed to engage in a long, continued search for its cultural and temporal identity.Para un pensador means for a thinker in Spanish. It is my homage to the intellectual guitarist, to the reflective and discerning performer of intricate contrapuntal music.I would like to extend special thanks to Nathan Fischer for producing this valuable edition of Tiento para un pensador.
$9.99
9.17 €
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Guitar
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Daniel Cueto
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TIENTO PARA UN PENSADOR for guitar
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Daniel Cueto
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SheetMusicPlus
Trois Beaux Oiseaux du Paradis
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.899132 Composed by Maurice Ravel. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.899132 Composed by Maurice Ravel. Arranged by Rod Whittle. Contemporary. Individual part. 2 pages. Maggie Creek Music #3868243. Published by Maggie Creek Music (A0.899132). For solo classical guitar; 2 pp; intermediate difficulty.Maurice Ravel (1875 -1937) Ravel was born in the Basque region of France and much of his work shows a Spanish influence (this, together with his interest in jazz has produced some exceptional guitar transcriptions). He was a pupil of Faure and at first fell, like many contemporary composers, under Debussy's spell. However, his ascetic and intellectual bents produced from the start a refinement of composition and orchestration, and development of melody, all his own. Later music, including the Concerto, shows his love of the rhythmic features of jazz, and thoughtful incorporation of the innovations of modern music – strong dissonance, atonality etc. Ravel wrote both music and lyrics for a number of songs including Trois Beaux Oiseaux du Paradis (Three Lovely Birds from Paradise - see below), composed in 1916 while he was posted in the French army during WW1, this at significant physical and mental cost (ref. Wikipedia). Thus the tragic lyrics arise from experience, and the music (Ravel was 40) is typically expressive and uncomplicated with the usual harmonic surprises.Three Lovely Birds from Paradise (English translation)Three lovely birds from Paradise(My beloved has to the fighting gone)Three lovely birds from ParadiseHave flown along this way.The first was bluer than Heaven's blue,(My beloved has to the fighting gone)The second white as the fallen snow,The third was wrapped in bright red glow.'Ye lovely birds from Paradise(My beloved has to the fighting gone)Ye lovely birds from ParadiseWhat bring ye then this way?''I bring to thee a glance of azure(Thy beloved has to the fighting gone)And I on fairest snow white browA fond kiss must leave, yet purer still.''Thou bright red bird from Paradise(My beloved has to the fighting gone)Thou bright red bird from Paradise,What brings thou to me?''A faithful heart all crimson red,(Thy beloved has to the fighting gone)''Ah! I feel my heart glowing cold…Take it also with thee.' Maurice Ravel (1914)
$4.00
3.67 €
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Guitar
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Maurice Ravel
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2 pp
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Trois Beaux Oiseaux du Paradis
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Maggie Creek Music
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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
6.42 €
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Guitar
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Richard Strauss
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for solo classical guitar
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Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
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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
6.42 €
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Guitar
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Richard Strauss
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for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
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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
6.42 €
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Guitar
#
Richard Strauss
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Excerpt from the Last Part of Ariadne Auf Naxos
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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
6.42 €
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Guitar
#
Richard Strauss
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for solo classical guitar
#
Overture from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Verde Selva
Guitar
Composed by Juan Serrano. Arranged by Brian Hayes. Contemporary. Individual part. 8 …
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Composed by Juan Serrano. Arranged by Brian Hayes. Contemporary. Individual part. 8 pages. Brian Hayes #6702893. Published by Brian Hayes
I hope you will enjoy this note-for-note transcription of the wonderful Verde Selva by the great Flamenco guitarist, Juan Serrano, from his 1965 RCA Victor recording Popular Music of Spain and the Old World. Verde Selva is a rumba, a rhythmic dance that has its origins in Cuba, becoming a part of the flamenco tradition in the 19th century in Andalusia, Spain. The playing technique used by Serrano in Verde Selva is often referred to as Rumba Melodica due to its use of arpeggiated chords rather than the rhythmic strumming that is typically associated with rumbas. As it is typical for Flamenco guitarists to improvise and change their pieces with subsequent performances, Juan Serrano\'s Verde Selva evolved over the span of his career, resulting in two versions of the piece; the first, featured on the 1965 vinyl LP Popular Music of Spain and the Old World (the basis for this transcription) and the second, in the 1981 Mel Bay publication Juan Serrano - Flamenco Concert Selections, which included Juan Serrano\'s own transcription of his then current version of the piece, along with the recorded track on the included audio CD. Although it is this 1981 version that is performed by guitarists, today, it is my fondness of the 1965 Popular Music of Spain and the Old World recording that inspired me to transcribe this rendition of Serrano\'s Verde Selva, a transcription which had not before been released to the public. Although this transcription is note-for-note to the original recording, liberties were taken only in one regard in that repeats were added in some sections to give more length to this beautiful piece.
$7.99
7.33 €
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Guitar
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Juan Serrano
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Verde Selva
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Brian Hayes
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SheetMusicPlus
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