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--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
Change the Key
Not classified
1,034
Piano & keyboards
Piano solo
644
Piano, Voice
221
Easy Piano
136
Piano, Vocal and Guitar
89
Organ
39
C Instruments
26
Piano Accompaniment
23
1 Piano, 4 hands
14
Piano Trio: piano, violin, cello
11
Big Note Piano
7
Organ, Piano (duet)
4
2 Pianos, 4 hands
4
Piano (band part)
4
Keyboard
3
1 Piano, 6 hands
1
Harpsichord
1
Accordion
1
Piano Quartet: piano, violin, viola, cello
1
Piano Quintet: piano, 2 violins, viola, cello
1
+ 14 instrumentations
-
Retract
Guitars
Guitar notes and tablatures
38
Guitar
36
Melody line, (Lyrics) and Chords
10
Guitar (band part)
6
2 Guitars (duet)
5
Piano, Guitar (duet)
4
4 Guitars (Quartet)
4
Ukulele
4
Bass guitar
3
3 Guitars (trio)
3
Mandolin
1
Banjo
1
Dulcimer
1
+ 8 instrumentations
-
Retract
Voice
Choral SATB
299
Voice solo
240
Choral TTBB
94
Choral 2-part
92
Choral 3-part
78
Choral SSAA
73
Choral Unison
30
Vocal duet
16
Vocal duet, Piano
9
Soprano voice, Piano
4
High voice
4
Medium voice, Piano
3
Tenor voice, Piano
2
Low voice
1
Mezzo-Soprano voice, Piano
1
Choral SSATB
1
Low voice, Piano
1
Choral SSAATTBB
1
+ 13 instrumentations
-
Retract
Woodwind
Saxophone Quartet: 4 saxophones
113
Flute, Oboe, Clarinet, Bassoon
79
Flute and Piano
59
2 Saxophones (duet)
53
Alto Saxophone and Piano
45
Clarinet and Piano
37
Clarinet Quartet: 4 clarinets
34
Oboe, Piano (duet)
33
2 Flutes (duet)
31
2 Clarinets (duet)
30
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
28
Saxophone, Clarinet (duet)
20
Flute
17
Soprano Saxophone and Piano
17
Saxophone (band part)
16
3 Saxophones (trio)
15
Clarinet
15
Clarinet Ensemble
15
Clarinet, Trumpet (duet)
14
Saxophone Quintet: 5 Saxophones
14
Alto Saxophone
14
Tenor Saxophone and Piano
13
Clarinet, Violin (duet)
12
Flute, Clarinet (duet)
12
Oboe, Flute
12
Flute and Guitar
11
Tenor Saxophone
11
Flute Trio: 3 flutes
10
2 Oboes (duet)
10
Oboe, Bassoon (duet)
9
Flute Quartet: 4 flutes
9
Flute ensemble
9
Saxophone ensemble
8
3 Clarinets (trio)
8
Oboe, Clarinet (duet)
7
Clarinet and Viola
7
English horn, Piano
6
Clarinet Quintet: 5 clarinets
6
Flute, Viola (duet)
6
Baritone Saxophone, Piano
6
Flute, Saxophone (duet)
5
Flute, harp and violin
5
Flute, Trumpet (duet)
5
Flute, Violin
4
Oboe, Clarinet, Bassoon (trio)
4
Flute, Clarinet, Piano (trio)
4
Recorder
4
2 Recorders (duet)
4
Oboe (band part)
4
Flute, Violin, Violoncello and Piano
3
Flute, Oboe, Clarinet (trio)
3
Clarinet, Bassoon (duet)
3
Bass Clarinet, Piano
3
Flute, Oboe, Piano (trio)
3
Clarinet, Harp (duet)
3
Flute, Clarinet and Bassoon.
3
Flute, Violin and Violoncello
2
3 Recorders (trio)
2
Oboe
2
5 Recorders
2
Recorder Quartet
2
Flute, Clarinet, Horn and Bassoon (Quartet)
2
Treble (Alto) Recorder
2
2 Clarinets, Piano
2
Flute Quintet : 5 flutes
2
Bagpipe
1
Flute, Oboe (duet)
1
2 Clarinets, Bassoon
1
Descant (Soprano) Recorder
1
Oboe and viola (duet)
1
Saxophone and Guitar
1
Flute (band part)
1
Flute, Cello, Piano (trio)
1
Flute, Violoncello
1
2 Flutes, Piano
1
Clarinet, trumpet and piano
1
English Horn
1
Flute, Viola and Piano
1
Flute, Cello, Guitar
1
Clarinet, Cello (duet)
1
Clarinet, Guitar (duet)
1
Flute, Bassoon, and Piano
1
Harmonica
1
Flute, Violin, Piano
1
Clarinet (band part)
1
+ 80 instrumentations
-
Retract
Woodbrass
Brass quartet : 2 trumpets, trombone, tuba
63
Brass Quintet: 2 trumpets, horn, trombone, tuba
38
Trumpet, Piano
31
Trombone and Piano
21
Brass Quartet
21
2 Trumpets (duet)
20
Trumpet (band part)
18
French Horn and Piano
18
Trumpet
15
2 Trombones (duet)
14
Trumpet, Saxophone (duet)
13
Trombone
13
Trombone (band part)
12
Brass Quartet: 2 trumpets, horn, trombone
10
Brass Quartet: 4 trombones
9
Trumpet, Trombone (duet)
9
English horn, Piano
6
Brass Quartet: 4 horns
6
French horn
6
2 French horns (duet)
5
Euphonium, Tuba (duet)
4
Tuba and Piano
4
Brass Quartet: 4 trumpets
4
3 Tubas (trio)
3
3 Trombones (trio)
3
French horn (band part)
3
Trumpet, Horn (duert)
2
Horn Ensemble
2
Euphonium, Piano (duet)
2
Tuba (band part)
2
Tuba
2
3 French horns (trio)
2
Brass Trio
2
Trombone, Horn (duet)
2
4 Tubas
2
Trumpet, Tuba (duet)
1
Trumpet ensemble
1
French Horn and Harp
1
Trombone, Tuba (duet)
1
Euphonium
1
English Horn
1
2 Tubas (duet)
1
2 French horns, Piano
1
Trumpet, Harp
1
Trumpet, Euphonium (duet)
1
+ 40 instrumentations
-
Retract
Strings
Harp
406
String Quartet: 2 violins, viola, cello
191
Violin and Piano
51
Cello, Piano
41
Violin
38
Viola, Piano
36
2 Harps (duet)
28
Violin, Cello (duet)
25
String Trio: violin, viola, cello
24
Violin, Viola (duet)
24
2 Violins (duet)
23
Cello
21
2 Violas (duet)
17
2 Cellos (duet)
15
Viola
11
Harp, Violin (duet)
11
Violin (band part)
9
String Trio: 2 violins, cello
8
4 Cellos
7
Doublebass (band part)
6
String Trio: 3 cellos
6
Viola, Cello (duet)
6
Harp, Voice
5
Harp, Flute (duet)
4
String quartet: 4 violins
4
String Trio: 3 violins
4
Double bass, Piano (duet)
3
Double Bass
3
Viola and Harp
3
Viola (band part)
2
Cello, Guitar (duet)
2
String Trio: 3 violas
2
String Trio: 2 violins, viola
2
String Quintet: 2 violins, 2 violas, cello
2
Cello (band part)
2
String Quartet : 4 violas
2
String Quintet: 2 violins, viola, cello, bass
2
Piano Trio: Violin, Viola, Piano
2
Autoharp
1
Harp, Cello (duet)
1
Harp, Violin, Violoncello
1
2 Double basses (duet)
1
Harp, Trombone (duet)
1
4 Harps
1
+ 39 instrumentations
-
Retract
Orchestra & Percussion
Concert band
141
Jazz Ensemble
116
Handbells
81
Orchestra
79
String Orchestra
61
Chamber Orchestra
45
Brass ensemble
29
Jazz combo
20
Percussion Ensemble
11
Marching band
6
Drum (band part)
3
Piano and Orchestra
2
Marimba
2
Xylophone
1
Percussion (band part)
1
Vibraphone
1
Percussion
1
Drums
1
+ 13 instrumentations
-
Retract
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36 sheet music found
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1
26
Larry Williams Compositions- The Guitar Book
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Guitar
#
INTERMEDIATE/ADVANCED
#
Larry Williams
#
Larry Williams Compositions- T
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Larry Andrew Williams
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Will...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Published by Larry Andrew Williams (A0.1167528). A WORD FROM THE COMPOSER Is anyone interested in new reading material anymore? I know that when I was a kid in nineteen hundred and something, the quest for new musical pieces was always one of the funnest aspects of the whole musical journey. Of course I did learn that it would take a long time to  nd those few that would resonate with me for a lifetime, but it was always fun trying them all out. It still is, in fact. Well, times change and people change, but I’d still like to believe that same factor carries on. You know, the one about trying out all that music to get to the few you keep. And what about the few we do keep? For guitar players, was it always a classic from the usual suspects, like Albeniz, Sor, Tarrega,, Granados, Rodrigo, Brouwer, Barrios, Villa-Lobos, or anything by Bach?Was it something our band director or private instructor, one of our friends, or our parents wrote? Or – Heaven forbid- something that maybe we ourselves wrote? Or some “unknown guy.â€Â Consider this.Just how often did some unknown composer's piece greatly affect us as we waded through a daunting pile of the familiar from the known masters? And since some, if not most of these classics are required reading, how often did we even get around to giving this unknown guy's piece a try?And furthermore, was this unknown guy - shudder...alive? Let’s face it. In the composer arena, we the living, stand no chance against the deceased (God rest their souls) But by saying “they don’t write ‘em like that anymore,†are we denying ourselves new ground to be broken, doors to be opened, frontiers to be discovered? And isn’t that pioneering spirit just plain ol’ curiosity when it comes right down to it? Well I believe the key lies within the carrying out of these notions that curiosity places in us. It’s climbing the mountain simply because it is there. So, for right now, I’m that unknown guy and I would only urge you to break new ground every day. Lots of trends, ideas, and interests will come and go in your life, but always hang on to that curiosity. It’s what makes the world a smaller neighborhood. Larry Williams.
$20.00
Six Guitar Duets for the development of Sight Reading Intermediate Level
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Guitar
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EASY
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Dennis Greensmith
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Dennis Greensmith
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Six Guitar Duets for the devel
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Dennis Greensmith
#
SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.954714 Composed by Dennis Greensmith. Arranged by Dennis Greensmith. Latin,World. Individual part. 7 pag...
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Solo Guitar - Level 2 - Digital Download SKU: A0.954714 Composed by Dennis Greensmith. Arranged by Dennis Greensmith. Latin,World. Individual part. 7 pages. Dennis Greensmith #4361477. Published by Dennis Greensmith (A0.954714). Six Spanish and Latin American duets written for finger style guitar for sight reading development at Intermediate level (Trinity College London Grade 3 to 5). I have arranged and written a number of popular Spanish and Latin American songs specifically to help the development of Sight Reading at Intermediate Level - this means you should be able to read and play finger style guitar from Early intermediate levee (Grade 3 Trinity College) or above. In the range Grade 3 to 5 the keys used in sight reading exams are C major/A minor, G Major /E minor (one sharp) and F Major/D Minor (one flat) and this book contains songs using these keys. This verison of the book contains no marking on the music at all except the key and time signature in order to develop sight reading and note recognition skills. Both parts of the duet are written at the same level so you can interchange which part you wish to play. This book will also be made available on the SMP with full supporting information for those players who wish to play the songs as normal notation reading.The audio tracks to listen to the songs can be found at https://www.greensmith.info/duet-and-ensemble-materials/six-duets-for-sight-reading/and further information about other fingers style duets I have written and arranged can be found at https://www.guitarfingers.co.uk
$16.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
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INTERMEDIATE
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Classical
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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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
The Entertainer (Excerpt)
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Guitar
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BEGINNER
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Ragtime
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Scott Joplin
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Brian Streckfus
#
The Entertainer
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Brian Streckfus
#
SheetMusicPlus
Solo Guitar - Level 1 - Digital Download SKU: A0.1171119 Composed by Scott Joplin. Arranged by Brian Streckfus. 20th Century,Barbershop,Blues,Folk,Ragtim...
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Solo Guitar - Level 1 - Digital Download SKU: A0.1171119 Composed by Scott Joplin. Arranged by Brian Streckfus. 20th Century,Barbershop,Blues,Folk,Ragtime. Individual part. 2 pages. Brian Streckfus #771449. Published by Brian Streckfus (A0.1171119). 1. 2 page arrangement for guitar. I'm sorry to say this is not the full version, but a 16 page version is long winded for my purposes.2. Guitar Tab added. 3. Slurs and slides added. 4. Re-harmonized to be idiomatic for guitar, be less cliche,  and to emphasize the main melody more. 5. Some composers indications added when really necessary.  6. Left hand fingerings added.7. Chord nomenclature added.8. Overly excessive ties removed.9. Some octaves changes to better suit guitar.Tips:1. Be very careful of the difference between slurs and ties! Sometimes I don't show slurs on the tab, but this time I had to.2. The rests are real and they are suggested because they lead to a jazzier rag time sound. I feel like it goes without saying that sustain is ultimately up to the performer, which is why I removed a lot of pedantic ties; they seem to add confusion half the time. 3. The D7 is a slight key change because it has an F# in the chord. It's a secodary dominace chord, V7/V, and often a vii7b5 can replace it. In other words, the F# goes gravitates into the next chord, a G Major chord.4. G6 is really just the 3 thinnest strings of the guitar open. It's a great transition chord.5. The D# is part of the C major blues scale.6. Adding more 7th chords than originally there is almost always an interesting pursuit. Going from G to G7 can certainly aid in helping things sound more goofy.
$1.99
The Parlement / Volt
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Guitar
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BEGINNER
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John Dowland
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Bisdré Santos
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The Parlement / Volt
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Soul - Musical Creations
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SheetMusicPlus
Solo Guitar - Level 1 - Digital Download SKU: A0.948978 By John Dowland. By Anonymous. Arranged by Bisdré Santos. Instructional,Multicultural,Renaissa...
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Solo Guitar - Level 1 - Digital Download SKU: A0.948978 By John Dowland. By Anonymous. Arranged by Bisdré Santos. Instructional,Multicultural,Renaissance,Standards,Traditional,World. Individual part. 3 pages. Soul - Musical Creations #6353761. Published by Soul - Musical Creations (A0.948978). From the Dowland manuscript, this piece seems to te based on Kemp's Jig, a popular tune of the time, associated with Will Kemp, the famous English comic actor and dancer. Suggest tempo is brisk. * On the measure 8 is important to release the third finger from the low C at this point to avoid an ugly clash with the upper C#. The change of key is somewhat sudden, but it is helped by stressing the C#. Volt: This very popular piece was untitled in the Dowland manuscript but apears elsewere under the title of Volt or La Volta. It Appears frequently in Italian lute sources and was probably originally Italian. * The only technical problem lies the first two measures, where the change from the second to fifth position should be made evenly and without hurry.
$1.99
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Guitar
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EASY
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Brian Streckfus
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Guitar Chord Progression Gener
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Brian Streckfus
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Br...
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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
Touch The Sky
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Guitar
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INTERMEDIATE
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Julie Fowlis
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Davide Bizzarri
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Touch The Sky
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Davide Bizzarri
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1105814 By Julie Fowlis. By Alexander L. Mandel and Mark Andrews. Arranged by Davide Bizzarri. Celtic,Ch...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1105814 By Julie Fowlis. By Alexander L. Mandel and Mark Andrews. Arranged by Davide Bizzarri. Celtic,Children,Film/TV,Irish,Medieval. Individual part. 3 pages. Davide Bizzarri #709042. Published by Davide Bizzarri (A0.1105814). Here you have the guitar part of this piece. This arrangement comes with three part of violin, the third very easy. The key after the introduction has been changed to G major, so it's more suitable for children vocal range, and I think it works very well. You can find Score and other instrumental part of this arrangement.
$4.99
Patios de Córdoba
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Guitar
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EASY
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional...
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
Common Chord Changes of Jazz Standards for Guitar
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Guitar
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INTERMEDIATE/ADVANCED
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Jazz
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Tony Benade
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Common Chord Changes of Jazz S
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Tony Benade
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.809097 Composed by Tony Benade. Instructional,Jazz. Individual part. 56 pages. Tony Benade #3480701. Pub...
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Solo Guitar - Level 4 - Digital Download SKU: A0.809097 Composed by Tony Benade. Instructional,Jazz. Individual part. 56 pages. Tony Benade #3480701. Published by Tony Benade (A0.809097). The Common Chord Progressions of Jazz Standards is part two of the study, Jazz, The Language of Music. Once a student has mastered their basic mechanics of the scales, chords and chord functions, it becomes important to become familiar with the normal chord progressions that are used in many of the jazz standards. There are many chord patterns that are repeated over and over again. Being able to recognize them quickly in any key becomes a very valuable tool.
$24.95
My Old Kentucky Home
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Guitar
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EASY
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Stephen Foster
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Brian Streckfus
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My Old Kentucky Home
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwr...
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Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. Tips:1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.
$1.99
The Evening Bell - Granados - for Classical Guitar
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Enrique Granados
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Derek Hasted
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The Evening Bell - Granados -
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Derek Hasted
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.797675 Composed by Enrique Granados. Arranged by Derek Hasted. Romantic Period. Individual part. 5 pages...
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Solo Guitar - Level 4 - Digital Download SKU: A0.797675 Composed by Enrique Granados. Arranged by Derek Hasted. Romantic Period. Individual part. 5 pages. Derek Hasted #2881539. Published by Derek Hasted (A0.797675). THE EVENING BELL (Granados) - CLASSICAL GUITAR SOLODerek Hasted writes Enrique Granados is well-known amongst guitarists for his Danzas Españolas, but this piece is seldom heard on guitar, and it really deserves to be!This is number 4 in his Bocetos or Sketches.Originally set in F for piano this arrangement is in D with the bottom string tuned down to give a wonderful sustain over which the gentle music slowly meanders. The piece has wonderful key changes and fits the guitar well.I hope you enjoy playing this piece! This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$2.99
The Rider
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Shaun Elder
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The Rider
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Shaun Elder
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.928353 Composed by Shaun Elder. 20th Century,Contemporary. Individual part. 7 pages. Shaun Elder #574750...
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Solo Guitar - Level 4 - Digital Download SKU: A0.928353 Composed by Shaun Elder. 20th Century,Contemporary. Individual part. 7 pages. Shaun Elder #5747501. Published by Shaun Elder (A0.928353). From the CD Desert Blooms featuring Jeffrey McFadden, classical guitar. A rider on horseback crosses different terrain, interior and exterior. Features a repeating lower figure and subtle changes of texture and meter. Includes the original key from the CD plus an easier to play transposition.
$4.95
Love Of My Life
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Guitar
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INTERMEDIATE
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Queen
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Derek Hasted
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Love Of My Life
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Derek Hasted
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1299289 By Queen. By Freddie Mercury. Arranged by Derek Hasted. 20th Century,Film/TV,Pop. 14 pages. Derek Has...
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Guitar - Level 3 - Digital Download SKU: A0.1299289 By Queen. By Freddie Mercury. Arranged by Derek Hasted. 20th Century,Film/TV,Pop. 14 pages. Derek Hasted #889151. Published by Derek Hasted (A0.1299289). LOVE OF MY LIFE (Queen) - GUITAR DUETFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric GuitarDerek Hasted writes This delightful melody fits classical guitar like a glove.There are two arrangements in this one edition - one for “solo and accompaniment†and one where the roles swap over at each verse. The versions are otherwise identical. The first of these arrangements is ideal for a duo in which the abilities are slightly unequal.My arrangement is based on Queen’s Official Video and includes all the key changes and phrases except for one little piece of quasi-improvisation I have removed (which would otherwise leave one player looking at the floor in a duet performance!)There is an amount of fingering and slurring which may help to get the smoothest performance, but there are plenty of places where the music needs to breathe, so please don’t rush... I hope you enjoy playing this lovely and moving piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
Rock My Soul
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Guitar
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INTERMEDIATE/ADVANCED
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Traditional
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Richard Hirsch
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Rock My Soul
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1444613 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Ragtime,Sp...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1444613 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Ragtime,Spiritual,World. Individual part. 13 pages. Richard Hirsch #1024507. Published by Richard Hirsch (A0.1444613). I offer an arrangement of the Spiritual “Rock My Soul in the Bosom of Abraham” for acoustic fingerstyle guitar. The arrangement is in the ragtime style of guitar playing reminiscent of Reverend Gary Davis. The melody is played with alternating middle, index, and ring fingers over alternating bases played by the thumb. The melody is repeated in different major keys starting in the key of D and moving through the keys of A , G, and C, returning at the end to D.The arrangement is intended as a fun instructional introduction to the various keys that are good for fingerstyle guitar with alternating bases in normal tuning. There are lots of little ornamentations like pulls-offs, slurs, and trills that liven up the piece and are good practice for the intermediate to advanced student of fingerstyle guitar.I have given Presto as the tempo as that is the tempo in which I first conceived of the arrangement, but the piece can also be played at a slower tempo, i.e. Allegro.In a number of instances in the notation harmonics are marked as sounding one or two octaves higher than notated. These notes are notated and tabulated at the position they are to be found on the fretboard. When played as harmonics they will sound one or two octaves higher.The piece would I think work well also in contexts where the guitarist might like to have some audience participation in the way of hand-clapping of the beat while moving through the various key changes. The piece also works well as a warm-up. I really enjoy playing the piece. It makes my day!
$6.99
Bach to Africa
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Guitar
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ADVANCED
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Classical
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Johann Sebastian Bach
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Richard Hirsch
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Bach to Africa
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.1237543 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Multicultural,S...
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Solo Guitar - Level 5 - Digital Download SKU: A0.1237543 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Multicultural,Spiritual,World. Individual part. 11 pages. Richard Hirsch #833059. Published by Richard Hirsch (A0.1237543). I offer an arrangement of Bach’s all-time favourite Jesus, Joy of Man’s Desiring in an African inspired rendering for solo classical or acoustic guitar. The arrangement uses lots of natural harmonics in an attempt to mimic the African kalimba style of music. The arrangement goes in 4/4 time in polyrhythm with a second tier of accents at 2, 2&, and 4 with a slight swing. The polyrhythm makes the final chord sound like an upbeat! The low bases are notated as quarter notes and should be played so that they do not ring out. They are not muted (staccato), except where notated, but they should be kept short to give the piece a bouncy character.The arrangement contains the main melody and chorus sections of the original in G major, although I have changed the original in a number of ways. The first melody and chorus section in G major is prefaced by several bars of natural harmonics and is repeated only after the melody and chorus section in the key of A minor. Natural harmonics appear in many places in the piece interwoven with Bach’s original melody and chorus. I think the natural harmonics give the piece a really glorious ring. The present arrangement incorporates many sections of a sister arrangement of the piece that I published recently that follows the original more closely and works as an introduction to the music with extensive left and right hand fingerings and tablature for intermediate students of guitar. This arrangement, considering the many natural harmonics, staccatos, tempo, and swing, is perhaps better suited for advanced intermediate students of classical or acoustic guitar. With that in mind, I therefore refrain from any extensive left and right hand fingerings for the present arrangement. The piece is a real joy to play and listen to! The tempo for the present arrangement has been set to 140 bpm. I think the pace gives a real swing to the music. The piece may however be played at a faster tempo, e.g. Presto, or somewhere in between. With this great music you can hardly go wrong.The title I have chosen for the arrangement aims to be a play on words as in many English speaking parts of the world the name Bach often rhymes with the word ‘back’ as in a return to some place or time. ‘Bach to Africa’ is then an allusion to humanity’s primordial roots in Africa. Rejoice!
$4.99
Grand Vals Franciso Tarrega for easy intermediate guitar
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Guitar
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INTERMEDIATE
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Classical
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Francisco Tarrega
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Dennis Greensmith
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Grand Vals Franciso Tarrega fo
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Dennis Greensmith
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.954709 Composed by Francisco Tarrega. Arranged by Dennis Greensmith. Romantic Period. Individual part. 8...
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Solo Guitar - Level 3 - Digital Download SKU: A0.954709 Composed by Francisco Tarrega. Arranged by Dennis Greensmith. Romantic Period. Individual part. 8 pages. Dennis Greensmith #3664221. Published by Dennis Greensmith (A0.954709). Grand Vals by Francisco Tarrega. Guitar.Arrangement for easy intermediate guitar by Dennis Greensmith. This arrangement is for early intermediate level though keeping the complete full structure, melody and harmony content by transposing the song to G major and the other key changes within the piece (rather that there original A major). This allows more use of open bass notes though the arrangement still requires where appropriate the use of Barres.The original song is often listed as intermediate level thought it is a well known as a Trinity College Grade 8 piece which clearly falls in to an advance category. This arrangement is around the Grade 4 to 5 and much more suited to those players not yet at advanced level.The piece is presented in standard notation for those who like just read music and separately standard notation and TAB for those who like to have TAB as well.A full tutorial video of the arrangement can be found at the Guitarfingers Youtube channel which goes through there whole piece and offer many helpful tips in playing the song and options to help you through the more tricky passages.
$6.00
'A golden time ...' 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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'A golden time ...' from Ariad
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Maggie Creek Music
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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...
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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
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
Chorus and Aria 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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Chorus and Aria from Ariadne a
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Maggie Creek Music
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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...
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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
Study: Secondary Dominance
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Guitar
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BEGINNER
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Brian Streckfus
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Study: Secondary Dominance
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Brian Streckfus
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SheetMusicPlus
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1163714 Composed by Brian Streckfus. Classical,Contemporary,Instructional,Romantic Period. Scor...
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Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1163714 Composed by Brian Streckfus. Classical,Contemporary,Instructional,Romantic Period. Score. 1 pages. Brian Streckfus #764059. Published by Brian Streckfus (A0.1163714). This piece gives practice in understanding sophisticated chord progressions that use secondary dominance (temporary key changes). For Example:Key of E minor:G E7 Am The E7 chord does not belong (diatonic) in the key of E minor. However, it is the V7 chord of the A minor chord. Therefor, the E7 chord is a dominant chord, it is just not the primary dominant 7th chord in the key of e minor, it's a secondary one. In measure 13 of this piece there is a G#dim7 chord that leads steretypically to A minor. This is the same trick explained earlier, just the chords are ever so slightly different by one note, drastically changing the name of the chord. G#dim7 does not belong (diatonic) in the key of E minor. Tips:1. Secondary dominance allows a composer to get to any chord and key in a seamless sounding way.2. Secondary dominance is a common way to incorporate more chromaticism in compositions.
$1.99
Daydream
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Guitar
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ADVANCED
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Tim Rushworth
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Daydream
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Tim Rushworth
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.943114 Composed by Tim Rushworth. 20th Century,Contemporary,Instructional. Individual part. 4 pages. Tim...
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Solo Guitar - Level 5 - Digital Download SKU: A0.943114 Composed by Tim Rushworth. 20th Century,Contemporary,Instructional. Individual part. 4 pages. Tim Rushworth #4298149. Published by Tim Rushworth (A0.943114). This piece uses tremelo, an effect created by the repetition of notes to give the impression of a sustained melody line. The opening (in A minor) is chordal and also gives a taste of the melody to come in the main section. In the central section there is a change of key to E major with natural harmonics, giving a different texture to the music here. The tremelo melody returns, now in the new key, before moving to E minor, The dream returns to the original melody in A minor and ends with the same opening chords.
$7.50
Lyric Piece
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Guitar
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INTERMEDIATE/ADVANCED
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Doug Smith
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Lyric Piece
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1170228 Composed by Doug Smith. 20th Century,Classical,Contemporary,Jazz. Individual part. 6 pages. Doug...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1170228 Composed by Doug Smith. 20th Century,Classical,Contemporary,Jazz. Individual part. 6 pages. Doug Smith Guitar Studio #770593. Published by Doug Smith Guitar Studio (A0.1170228). Lyric Piece is melodeic light jazz music that uses the 1st through 5th Positions in the key of A major. There are harmonized melodic runs, connecting bass melodies, slurs with left hand fingers, pizzicato articulations and key changes.
$2.99
Prelude (BWV1006) in E major transcribed for guitar
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Guitar
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ADVANCED
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Classical
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Johann Sebastian Bach
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Daniel Clark
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Prelude
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Daniel Clark
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.982528 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 8 pages. D...
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Solo Guitar - Level 5 - Digital Download SKU: A0.982528 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 8 pages. Daniel Clark #6437311. Published by Daniel Clark (A0.982528). This is a transcription of the prelude from Bach's third solo violin partita. The transcription has been made to be as close to the original violin partita as possible while still being playable (taking into account the octave difference between the instruments). The key changes made are transposition by an octave of pedal notes, similar to lute versions.The main difference between this violin transcription version and the arrangements from lute is that the bass notes are not present. However, there are also some minor differences in melody which may be unfamiliar to guitarists familiar with the lute arrangements.
$2.00
Solfeggietto in E minor
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Guitar
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ADVANCED
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Classical
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Carl Philipp Emanuel Bach
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Joseph Dávila
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Solfeggietto in E minor
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JaGlo Music
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.1164642 Composed by Carl Philipp Emanuel Bach. Arranged by Joseph Dávila. Baroque,Classical,Film/TV,M...
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Solo Guitar - Level 5 - Digital Download SKU: A0.1164642 Composed by Carl Philipp Emanuel Bach. Arranged by Joseph Dávila. Baroque,Classical,Film/TV,Multicultural,Video Game,World. Individual part. 2 pages. JaGlo Music #764975. Published by JaGlo Music (A0.1164642). Solfeggietto in C minor has been played by accomplished pianists worldwide and is considered one of C.P.E. Bach's most famous compositions. This study is challenging but beneficial for the left and right-hand techniques on the piano and the guitar. The key has been changed to E minor which allows the guitarist to use the full range of the guitar while maintaining the challenging aspects of this study. This is a great solo piece for advanced students.
$4.99
Lament In Tremolo Form
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Guitar
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INTERMEDIATE/ADVANCED
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Laurindo Almeida
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Popnroll 1976
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Lament In Tremolo Form
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Popnroll 1976
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1300023 By Laurindo Almeida. By Laurindo Almeida. Arranged by Popnroll 1976. 20th Century,Classical,Jazz...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1300023 By Laurindo Almeida. By Laurindo Almeida. Arranged by Popnroll 1976. 20th Century,Classical,Jazz,Latin. Individual part. 4 pages. Popnroll 1976 #889791. Published by Popnroll 1976 (A0.1300023). Lament In Tremolo Form - Laurindo Almeida (for Classical Guitar)Laurindo Almeida is a jazz classical guitarist from Brazil.This is a complete transcription of his guitar performance.It is included in the album Guitar Player released in 1977, which is a collection of performances by guitarists of the time.Discog link:https://www.discogs.com/ja/master/336045-Various-Guitar-PlayerIt is a romantic piece with Am-based tremolo technique reminiscent of the famous Memories of the Alhambra by Spanish composer/guitarist Francisco Talega. From the chorus of the latter half of the song, the key changes to F major, creating a bright but melancholic atmosphere.Composed and performed by Laurindo AlmeidaPDF format, 4 pages.
$19.99
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