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You've selected:
Composed by Richard S
Guitar
Sheetmusic to print
29 sheet music found
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1
26
The Guitarist's Prayer
Guitar
Solo Guitar - Digital Download SKU: A0.1007204 Composed by Richard Storry. Contempo…
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Solo Guitar - Digital Download SKU: A0.1007204 Composed by Richard Storry. Contemporary. Individual part. 6 pages. Richard Storry #3007849. Published by Richard Storry (A0.1007204). An evocative tremolo piece for solo classical guitar - to rival 'Requerdos'!
$4.50
4.08 €
#
Guitar
#
Richard Storry
#
The Guitarist's Prayer
#
Richard Storry
#
SheetMusicPlus
Jesus, Joy of Man's Desiring
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1234273 Composed by Johann Sebasti…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1234273 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Classical,Country,Folk. Individual part. 7 pages. Richard Hirsch #829813. Published by Richard Hirsch (A0.1234273). I offer an arrangement of Bach’s all-time favourite Jesus, Joy of Man’s Desiring for solo acoustic or classical guitar. I have arranged the piece in 4/4 time in a folk-fingerpicking style giving it something of an American folk-country character, perhaps verging on a gospel. The arrangement follows the original as faithfully as possible with the melody and choral sections interwoven. I think the piece survives the time-change operation beautifully, retaining the joyful and praiseful character of Bach’s original. The piece is a joy to play and to listen to.The arrangement is accessible to intermediate to advanced students of acoustic or classical guitar. Any student of guitar who has mastered the basics of thumb-index-middle fingerpicking  (thumb, thumb, index, middle, thumb, index) will have fun with the piece.I give extensive left hand fingering accompanied by tabs as a guide to the intermediate students of guitar. Right hand fingering is given for the first playing of the repetitive passages and in passages where it might be difficult for the performer to find appropriate  fingering. Otherwise I expect the fingering to be more or less self-evident, leaving it to the individual taste and style of the interpreting guitarist.I have set the tempo to Presto for the arrangement to keep close to lively nature of the original, but the arrangement can also be played much slower, somewhere around Metronome 130. This results in a shift in mood towards a ragtime blues, verging on a spiritual. This great music is a never-ending source of inspiration.The piece is a nice follow-up to my folk-fingerpicking arrangements for Freight Train and The Entertainer.
$4.99
4.52 €
#
Guitar
#
Johann Sebastian Bach
#
Jesus, Joy of Man's Desiring
#
Richard Hirsch
#
SheetMusicPlus
Jessica's Theme (Breaking In The Colt)
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.1396746 Composed by Bruce Rowland.…
(+)
Solo Guitar - Level 2 - Digital Download SKU: A0.1396746 Composed by Bruce Rowland. Arranged by Richard Charlton. Film/TV,Instructional,Pop. Individual part. 1 pages. Richard Charlton #980088. Published by Richard Charlton (A0.1396746). A short solo for classical guitar.
$4.99
4.52 €
#
Guitar
#
Bruce Rowland
#
Jessica's Theme
#
Richard Charlton
#
SheetMusicPlus
Octopus's Garden
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.765859 Composed by John Lennon, Pa…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.765859 Composed by John Lennon, Paul McCartney, and Richard Starkey. Arranged by Jorge Juárez. Contemporary. Individual part. 5 pages. Georgie Guitar #5030235. Published by Georgie Guitar (A0.765859). By The Beatles. Guitar TAB & Backing Vocals.
$4.99
4.52 €
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Guitar
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The Beatles
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John Lennon, Paul McCartney, and Richard Starkey
#
Backing Vocals.
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Octopus's Garden
#
Georgie Guitar
#
SheetMusicPlus
Hernando's Hideaway
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1257055 Composed by Jerry Ross and…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1257055 Composed by Jerry Ross and Richard Adler. Arranged by Viktoriia Kulykovska. Film/TV,Folk,Multicultural,World. Individual part. 2 pages. Viktoriia Kulykovska #850390. Published by Viktoriia Kulykovska (A0.1257055).
$5.00
4.53 €
#
Guitar
#
Jerry Ross and Richard Adler
#
Hernando's Hideaway
#
Viktoriia Kulykovska
#
SheetMusicPlus
It's A Small World
Guitar
Solo Guitar - Digital Download SKU: HX.403829 Composed by Robert & Richard Sherman.…
(+)
Solo Guitar - Digital Download SKU: HX.403829 Composed by Robert & Richard Sherman. This edition: scorch. Children,Disney. Individual part. 2 pages. Hal Leonard - Digital #411270. Published by Hal Leonard - Digital (HX.403829).
$4.99
4.52 €
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Guitar
#
Robert & Richard Sherman
#
It's A Small World
#
Hal Leonard - Digital
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
(+)
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
6.35 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
(+)
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
6.35 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.35 €
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Guitar
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Richard Strauss
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for solo classical guitar
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Overture 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
6.35 €
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Guitar
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Richard Strauss
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Fandango de Huelva
Guitar
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditiona…
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Published by Richard Hirsch
A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, Málaga, Almería) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a compás, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the compás falling on the third beat of the first 4/4 measure. The first accented beat in the compás falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms’ Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan González “Triguito” in Madrid in the late 1960’s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mesón de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzapúa, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzapúa and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.
$4.99
4.52 €
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Guitar
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Traditional
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Fandango de Huelva
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Richard Hirsch
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SheetMusicPlus
Tientos
Guitar
Composed by Traditional. Arranged by Richard Hirsch. Folk, Instructional, Multicultu…
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Instructional, Multicultural, Traditional, World. Individual part. 8 pages. Richard Hirsch #222095. Published by Richard Hirsch
An arrangement of the Flamenco style (palo) Tientos for solo acoustic guitar. The piece is based on traditional themes for the Tientos that I have expanded and elaborated on to weave together a self-contained composition that lies somewhere between Brahms’ Hungarian Dances and Dvorak’s Slavic Dances. The composition is inspired by my studies with Juan González “Triguito” in Madrid in the late 1960s. The Tientos belongs to the Tango family of Flamenco styles and is a slow majestic Flamenco rhythm that can reach great emotional depth in the hands of skilled guitarists. The Tientos is notated in standard 4/4 measures that although seemly simple can be deceptively complex because of the nearly inexhaustible possibilities for rhythmic variation. Lots of tapping can be found in the notation together with melody and chords, but also alone at rests which I leave in the notation. The tapping is perhaps a vestige of the African origin attributed to the Tango family of Flamenco palos. The arrangement ends with a finale (macho) that moves from the Tientos through a few bars of Tango to a finish in Rumba Gitana, the fastest and liveliest member of the Tango family.The Tientos is played in a Phrygian modal that moves from D minor through C and B-flat to A or A7. This variant of the so-called Andalusian cadence is typical for gitano Flamenco palos.The piece can be played by students of Flamenco guitar at the intermediate to advanced levels and contains many essential elements of serious (jondo) Flamenco guitar playing.
$4.99
4.52 €
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Guitar
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Traditional
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Tientos
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Richard Hirsch
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SheetMusicPlus
Acoustic Music Source Book
Guitar
Guitar (all) - Beginning - Digital Download SKU: M0.21665EB Over 200 Old-Time So…
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Guitar (all) - Beginning - Digital Download SKU: M0.21665EB Over 200 Old-Time Songs With Melody Line, Lyrics & Guitar Chords. Composed by Richard L. Matteson, Jr. American Music. Acoustic Music. E-book. Mel Bay Publications - Digital Sheet Music #21665EB. Published by Mel Bay Publications - Digital Sheet Music (M0.21665EB). ISBN 9781619110991. 8.75x11.75 inches.Bill Bay asked me to write a follow up book to my last book, The Bluegrass Pickers Tune Book (20233). If you like Bluegrass music (232 songs) I'd recommend getting that book to add to your collection. The focus of this book, The Acoustic Source Book is on roots and old-time music. The book is focused on the time period from late 1800's until 1940's.There are a few songs from The Bluegrass Book that were too important to be left out. I decided not to use any patriotic and Christmas songs and came up with a list of about 400 songs which eventually was cut down to over 200. During the late 1800's and early 1900's there was an important evolution in American music; the birth of jazz, ragtime, and blues. This was also the period of the phonograph and early commercial recordings. Music from the Minstrel period as well as traditional songs were used as staple for the roots musicians. In the early 1900's there were rags, blues, gospel, Tin-Pan Alley, jug band, spiritual, old-time country and popular songs. I've tried to include some of the well-known songs from every genre to give you a big slice of Americana.There are some great songs that are popular roots, bluegrass and old-time songs today that have never been published. There are also great songs that are not well known that should be played and enjoyed.
$29.99
27.19 €
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Guitar
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Richard L
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Acoustic Music Source Book
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
"Bridal Chorus (Here Comes the Bride) from Lohengrin" for solo classical fingerstyle guitar
Guitar
Solo Guitar - Level 1 - Digital Download SKU: A0.1416125 Composed by Richard Wagner…
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Solo Guitar - Level 1 - Digital Download SKU: A0.1416125 Composed by Richard Wagner. Arranged by Keith W. Gehle. Classical,March,Wedding. Individual part. 2 pages. Keith Gehle #997811. Published by Keith Gehle (A0.1416125). Love it or hate it, “Bridal Chorus†(also known as “here comes the brideâ€) is a time tested classic for wedding ceremonies and this version is sure to please players and listeners alike. Easy and straight forward, this arrangement includes detailed fingerings and interpretation in standard notation. There's also a version with TAB available on this site. Classical and acoustic wedding guitarists will get many miles out of this useful piece of music.
$1.99
1.8 €
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Guitar
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Richard Wagner
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"Bridal Chorus
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Keith Gehle
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SheetMusicPlus
[Cameron-Wolfe] Heretic
Guitar
Solo Guitar - Digital Download SKU: A0.952203 Composed by Richard Cameron-Wolfe. 20…
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Solo Guitar - Digital Download SKU: A0.952203 Composed by Richard Cameron-Wolfe. 20th Century,Contemporary,Opera. Individual part. 19 pages. American Composers Alliance Inc. #4569677. Published by American Composers Alliance Inc. (A0.952203). A micro-opera for solo guitar embedded in an intense psycho-drama of disillusionment and alienation. All texts are by the composer, except for brief quote from Arthur Machen’s 1907 novel, The Hill of Dreams. The guitarist is frequently called-upon to speak (rhythmically or freely) and there is a brief passage of singing. This micro-opera is intended to be staged, and it is strongly recommended that the guitarist collaborate with an adventurous drama coach.
$17.95
16.27 €
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Guitar
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Richard Cameron-Wolfe
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[Cameron-Wolfe] Heretic
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American Composers Alliance Inc.
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SheetMusicPlus
Flatpicking Guitar Festival
Guitar
Composed by Stefan Grossman. Solos. Style. E-book and online audio. Mel Bay Publicat…
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Composed by Stefan Grossman. Solos. Style. E-book and online audio. Mel Bay Publications - Digital Sheet Music #98559BCDEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781610656894.<br> <br> A collection of 16 hot, intermediate-level flatpicking guitar solos from five of the leading exponents of this technique. David Bromberg is known as the leader of one of the most successful acoustic bands of the 1970's and 1980's. The Kitchen Girl, a fine Kentucky tune, is an example of Bromberg's good taste in choosing material. Dick Fegy is a master picker of fiddle tunes and is the most heavily-featured player in the collection. San Francisco Bay area favorite Eric Thompson crosses old-time with traditional Irish playing. Michael Aumen contributes three tunes associated with Clarence White and a very interesting version of Soldier's Joy, with a flair that pushes the limits of the hot country style. Richard Lieberson is a fine bluegrass picker who has developed a convincing swing jazz style with exciting results, and a touch of humor. Written in notation and tablature. Includes access to online audio featuring performances of all the tunes in the book.
$14.99
13.59 €
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Guitar
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Stefan Grossman
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Flatpicking Guitar Festival
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SheetMusicPlus
Royal Winter Music
Guitar
Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Compo…
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Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Composed by Hans Werner Henze (1926-). This edition: Sheet music. Guitar Archive. Downloadable. Duration 25 minutes. Schott Music - Digital #Q4978. Published by Schott Music - Digital
My idea of developing music from Richard of Gloucester's monologue 'Now is the winter of our discontent', and of generating more music from that material, was conceived during the 1960s. Ten years later it took a more concrete form, when Julian Bream suggested to me that I should write a substanial new guitar work for him. More time went by, and only having finished 'We Come to the River' could I begin to realise our plan. Then began a collaboration with the instrumentalist that went through various phases, from which I gained a more profound knowledge of the technicalities and of the sound-world of the guitar. I would even go so far as to say that this collaboration gave me a new concept of how to write for an instrument with a rich tradition. The guitar is a 'knowing' or 'knowledgeable' instrument, with many limitations but also many unexplored spaces and depths within these limits. It possesses a richness of sound capable of embracing everything one might find in a gigantic contemporary orchestra. but one has to start from silence in order to notice this: one has to pause, and completely exclude noise.<br> The dramatis personae of this piece enter through the sound of the guitar as if it were curtain. Through masks, voices and gestures, they speak to us of great passion, of tenderness, sadness and comedy: strange events in people's lives. Into this, the whispering voices of spirits are mingled. The epilogue is spoken by Oberon, pacified and reconciled, as though Nature had been subjected to Man.<br> - Hans Werner Henze.
$19.99
18.12 €
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Guitar
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Hans Werner Henze
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Royal Winter Music
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Schott Music - Digital
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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
3.62 €
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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
Bach to Africa
Guitar
Solo Guitar - Level 5 - Digital Download SKU: A0.1237543 Composed by Johann Sebasti…
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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
4.52 €
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Guitar
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Johann Sebastian Bach
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Bach to Africa
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Richard Hirsch
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SheetMusicPlus
Bourrée in E MInor
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1340077 Composed by Johann Sebasti…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1340077 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Classical,Instructional,Standards. Individual part. 3 pages. Richard Hirsch #925741. Published by Richard Hirsch (A0.1340077). I offer the famous Bourrée from Bach’s First Suite for Lute in E minor notated for solo acoustic guitar. The notation is accompanied by tablature and extensive left and right hand fingering as an aid to the student. The fingering aims to be as economical and as ergonomic as possible. If played according to the tablature and left hand fingering, the left hand flows smoothly from one position to another over the fretboard. This is especially important in the second part of the piece where Bach takes us on a tour of the harmonic space related to the key of E minor. The piece is a good introduction to the full potential of the fretboard as there are many alternative left hand fingerings, among which I have chosen those I feel fit together and enable flow best. Notice especially how the little finger plays an important role in guiding the left hand from one position to another. The fingering for the right hand is also good for the practice of alternating the index and middle fingers in the melody while the thumb plays the bases.This piece has become part of the standard repertoire for classical guitar, but is also a piece that sounds equally good on a steel string acoustic guitar. The steel strings make the piece sound like it is being played on a harpsichord. I first heard the piece as a boy of 15 back in 1960 in a recording by Chet Atkins playing on a steel string electric guitar!The piece has been transcribed from the original score for Lute and notated for guitar by many guitarists over the years. I hope my version contributes to its continued popularity, making the piece even more accessible and relevant to intermediate students of acoustic guitar.I have chosen a tempo of 130bpm for the notation which I think gives the piece a lively but not overly stressed quickness appropriate for a courtly dance.
$4.99
4.52 €
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Guitar
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Johann Sebastian Bach
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Bourrée in E MInor
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Richard Hirsch
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SheetMusicPlus
RENAISSANCE GUITAR MUSIC - Volume 4 INTERMEDIATE
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1327548 Composed by Various. Arran…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1327548 Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. 83 pages. Socrates Arvanitakis #915591. Published by Socrates Arvanitakis (A0.1327548). FROM THE PREFACEThe fourth volume of Renaissance music for classical guitar contains twenty mostly well-known and a few more rare intermediate Renaissance pieces taken mainly from lute and vihuela sources. I have tried to keep the upper level of technical difficulty to the contemporary grade VI level of the A.B.R.S.M. which takes the student to the advanced level (grades VII-VIII).The pieces are given in two versions, first as decorated pages in ordinary notation, and then the same pieces are again given in undecorated pages of notation and tablature. Therefore each volume contains two books in one and the choice is left to the user whether to keep the volume as presented, or to construct his own book by inclusion or deletion of unwanted pages, blank pages, etc, for use either as a printed or a tablet-screen book version. The addition of tablature of course results in increasing the number of pages needed for the presentation of the pieces, therefore the staff sizes are here reduced to an appropriate degree which can maintain the two-page view principle of any piece without need for automatic or manual page turners, foot pedals etc.THEMATIC INDEX OF THIS VOLUME  & NAVIGATION BY ACTIVE LINKSThe thematic index following the cover page of this volume contains active links to the decorated pages of the pieces.The titles of the pieces are also active links interconnecting decorated and tablature pages of the same piece.The header in pages containing  the title of a piece is an active link bringing back to the thematic index. The YOUTUBE logo icons in the thematic index are external links to particular performances of these pieces by various artists.Socrates ArvanitakisLondon 2023CONTENTSPavana 1 Luys MilanPavana 2 L. MilanPavana 3 L. MilanPavana 4 L. MilanPavana 5 L. MilanPavana 6 L. MilanGallarda - Alonso de MudarraGuardame las Vacas I - Luis de NarvaezGuárdame las vacas II - Luis de NarvaezDance Of The Washerwomen - Hans NeusidlerTedesca - AnonymousAlmain - Richard AllisonGreensleeves 1-traditional/AnonymousGreensleeves 2- Francis CuttingAlman in Am - Robert Johnson The Round Battle Galliard - John DowlandThe King of Danemark's Galliard - John DowlandThe Night Watch - Anthony HolborneThe Cobbler - AnonymousGo From My Window - Anonymous.
$15.00
13.6 €
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Guitar
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Various
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RENAISSANCE GUITAR MUSIC - Volume 4 INTERMEDIATE
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Socrates Arvanitakis
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SheetMusicPlus
Greensleeves - Guitar Solo - W/Chords (Full Score)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1187201 Composed by Traditional. A…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1187201 Composed by Traditional. Arranged by César Madeira. Children,Film/TV,Folk,Medieval,Multicultural,World. Individual part. 2 pages. Sheet Music To Play Editions #786831. Published by Sheet Music To Play Editions (A0.1187201). Greensleeves for Guitar Solo. Full Score with Chords. Enjoy it!Greensleeves is a traditional English folk song. A broadside ballad by the name A Newe Northen Dittye of ye Ladye Greene Sleves was registered by Richard Jones at the London Stationer's Company in September 1580, and the tune is found in several late-16th-century and early-17th-century sources, such as Ballet's MS Lute Book and Het Luitboek van Thysius, as well as various manuscripts preserved in the Seeley Historical Library in the University of Cambridge.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$6.99
6.34 €
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Guitar
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Traditional
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Greensleeves - Guitar Solo - W/Chords
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Sheet Music To Play Editions
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SheetMusicPlus
Greensleeves - Easy Guitar (Full Score)
Guitar
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1187190 Composed by Tradi…
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Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1187190 Composed by Traditional. Arranged by César Madeira. Children,Early Music,Folk,Medieval,Traditional. Score. 2 pages. Sheet Music To Play Editions #786823. Published by Sheet Music To Play Editions (A0.1187190). Greensleeves for Beginner Guitar. With Full Score. Enjoy it!Greensleeves is a traditional English folk song. A broadside ballad by the name A Newe Northen Dittye of ye Ladye Greene Sleves was registered by Richard Jones at the London Stationer's Company in September 1580, and the tune is found in several late-16th-century and early-17th-century sources, such as Ballet's MS Lute Book and Het Luitboek van Thysius, as well as various manuscripts preserved in the Seeley Historical Library in the University of Cambridge.For Tutorials, Play Alongs or request New Arrangements, visit my YouTube Channel: Sheet Music To Play
$4.99
4.52 €
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Guitar
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Traditional
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Greensleeves - Easy Guitar
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Sheet Music To Play Editions
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SheetMusicPlus
Greensleeves - Easy Guitar - W/Chords (Full Score)
Guitar
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1187189 Composed by Tradi…
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Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1187189 Composed by Traditional. Arranged by César Madeira. Children,Early Music,Folk,Medieval,Traditional. Score. 2 pages. Sheet Music To Play Editions #786821. Published by Sheet Music To Play Editions (A0.1187189). Greensleeves for Beginner Guitar. Full Score with Chords. Enjoy it!Greensleeves is a traditional English folk song. A broadside ballad by the name A Newe Northen Dittye of ye Ladye Greene Sleves was registered by Richard Jones at the London Stationer's Company in September 1580, and the tune is found in several late-16th-century and early-17th-century sources, such as Ballet's MS Lute Book and Het Luitboek van Thysius, as well as various manuscripts preserved in the Seeley Historical Library in the University of Cambridge.For Tutorials, Play Alongs or request New Arrangements, visit my YouTube Channel: Sheet Music To Play
$5.99
5.43 €
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Guitar
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Traditional
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Greensleeves - Easy Guitar - W/Chords
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Sheet Music To Play Editions
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SheetMusicPlus
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