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You've selected:
Counterpoint 4 -3
Guitar
Sheetmusic to print
16 sheet music found
<
1
Counterpoint I for Classical Guitar
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Esteban Peretz
#
Counterpoint I for Classical G
#
Esteban Peretz
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1094838 Composed by Esteban Peretz. 20th Century,Baroque,Classical,Contemporary. Individual part. 2 page...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1094838 Composed by Esteban Peretz. 20th Century,Baroque,Classical,Contemporary. Individual part. 2 pages. Esteban Peretz #698905. Published by Esteban Peretz (A0.1094838). Youth composition by Esteban Peretz for Classical Guitar, it's a plain free counterpoint.
$5.99
4 Estudios en Imitaciones
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Guitar
#
INTERMEDIATE
#
Classical
#
Antonio Lauro
#
4 Estudios en Imitaciones
#
Chanterelle
#
SheetMusicPlus
Guitar - intermediate - Digital Download Composed by Antonio Lauro (1917-1986). This edition: Sheet music. Downloadable. Chanterelle #Q54760. Publish...
(+)
Guitar - intermediate - Digital Download Composed by Antonio Lauro (1917-1986). This edition: Sheet music. Downloadable. Chanterelle #Q54760. Published by Chanterelle
English - German.
Dedicated to his pupil Batholome Diaz, these studies are exercises in counterpoint, and very useful in school work.
$9.99
Chorus and Aria from Ariadne auf Naxos
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Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Overture from Ariadne auf Naxos
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
#
Maggie Creek Music
#
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...
(+)
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
Tremolo from the Regondi Nocturne (Op.19)
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Guitar
#
Classical
#
Giulio Regondi
#
Rod Whittle
#
4 pp
#
Tremolo from the Regondi Noctu
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.899137 Composed by Giulio Regondi. Arranged by Rod Whittle. Romantic Period. Individual part. 4 pages. Maggie Cree...
(+)
Solo Guitar - Digital Download SKU: A0.899137 Composed by Giulio Regondi. Arranged by Rod Whittle. Romantic Period. Individual part. 4 pages. Maggie Creek Music #4349081. Published by Maggie Creek Music (A0.899137). for solo classical guitar (tremolo) 4 pp (7 min.)GIULIO REGONDI (1823 - 72) Regondi was born in Switzerland, but lived in France and, mostly, the United Kingdom. He was a child prodigy of the guitar, with Fenando Sor dedicating a piece to him when he was just nine. He composed for the guitar and also the concertina. His works for solo guitar comprise etudes, a set of variations and some larger compositions. The tremolo section of the Nocturne (op.19) - subtitled 'Reverie' – must be some of the most wonderful music written for tremolo guitar. In the Nocturne it is split between sections of different style and content, but its effectiveness as a piece is fully satisfied without these interspersed parts, nice as they are, and its persuasive theme quite naturally repeats to end with a superb coda (which also finishes the actual Nocturne). The original score has no dynamics except for the end, and I have not added any. However, the piece is impossible to play without inferring some loudness, tempo and accentuation changes. There is that Romantic period element to it. I have added fingering. I like to settle into a barre position where possible – it often lets the bass accompaniment ring through (e.g. the D in the first few bars) and simplifies the playing. But it hardly needs saying that fingering, helpful if it is good, is a kind of curse if it is bad or just wrong, and it is never mandatory. It is always instructive with tremolo pieces to first play some of the top line (e.g. of the first few bars) without tremolo to properly reveal its melody. The style needs plenty of practice to achieve fidelity to this musical meaning; that is always the aim. Then listen carefully as the lower part is added. The bass is very important, as mentioned, but the harmonies of the broken chords are vital too. The Nocturne is brilliant counterpoint.
$5.00
Polonaise "Les adieux à la Patrie"
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Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Michal Kleofas Oginski
#
Pasquale Di Caro
#
Polonaise "Les adieux à la Pa
#
Pasquale Di Caro
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1433200 Composed by Michal Kleofas Oginski. Arranged by Pasquale Di Caro. 19th Century,Romantic Period. ...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1433200 Composed by Michal Kleofas Oginski. Arranged by Pasquale Di Caro. 19th Century,Romantic Period. Individual part. 5 pages. Pasquale Di Caro #1013110. Published by Pasquale Di Caro (A0.1433200). The arrangement was written in counterpoint and with added variations for the repeated phrases.
$5.00
Mystical Landscape
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Guitar
#
ADVANCED
#
Nick Elliott
#
Mystical Landscape
#
Nick Elliott
#
SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.997510 Composed by Nick Elliott. Concert,Contemporary. Individual part. 4 pages. Nick Elliott #5723915. ...
(+)
Solo Guitar - Level 5 - Digital Download SKU: A0.997510 Composed by Nick Elliott. Concert,Contemporary. Individual part. 4 pages. Nick Elliott #5723915. Published by Nick Elliott (A0.997510). A piece for guitar inspired by the pieces of Toru Takemitsu. A piece filled with vast harmonic and contrapuntal colors. It is also inspired by fantasy literature and philosophical topics such as mysticism as well as abstract paintings. This piece paints a landscape in the listener’s mind of a Tolkienesque type world set in a dreary mystical landscape. I found the guitar was the perfect instrument to shape the kinds of harmony, counterpoint and colors needed to illustrate this mystical landscape.
$1.99
Blinding Lights
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Guitar
#
INTERMEDIATE/ADVANCED
#
The Weeknd
#
Renato Sousa
#
Blinding Lights
#
Renato Sousa
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.997409 By The Weeknd. By Abel Tesfaye, Ahmad Balshe, Jason Quenneville, Max Martin, and Oscar Holter. Ar...
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Solo Guitar - Level 4 - Digital Download SKU: A0.997409 By The Weeknd. By Abel Tesfaye, Ahmad Balshe, Jason Quenneville, Max Martin, and Oscar Holter. Arranged by Renato Sousa. Pop,R & B. Individual part. 6 pages. Renato Sousa #5320837. Published by Renato Sousa (A0.997409). Arrangement of the pop hit Blinding Lights for solo classical guitar. It starts as a simple fingerstyle ballad and it evolves into a rhythm pattern similar to bossanova. Includes some interesting counterpoint and melodic lines. Great for classical students and professional players who want to add some modern pop to their repertoire.
$4.99
And So It Goes
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Guitar
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INTERMEDIATE/ADVANCED
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Billy Joel
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Nick Mordal
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And So It Goes
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Nick Mordal
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.946418 By Billy Joel. By Billy Joel. Arranged by Nick Mordal. Classical,Folk,Pop,Rock,Singer/Songwriter....
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Solo Guitar - Level 4 - Digital Download SKU: A0.946418 By Billy Joel. By Billy Joel. Arranged by Nick Mordal. Classical,Folk,Pop,Rock,Singer/Songwriter. Individual part. 1 pages. Nick Mordal #6294925. Published by Nick Mordal (A0.946418). Transposed from C to D. Billy's piano chord voicings and counterpoint are preserved in this guitar arrangement. Techniques include a precise right hand for string selection of the thick chord voicings, barre and bringing out melodies amidst the chords. It works as accompaniment with a singer or by itself as a solo performance.
$15.00
Two Sides of Laurie
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Guitar
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INTERMEDIATE/ADVANCED
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Doug Smith
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Two Sides of Laurie
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1171575 Composed by Doug Smith. 20th Century,Classical,Contemporary,Instructional,Jazz. Individual part....
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Solo Guitar - Level 4 - Digital Download SKU: A0.1171575 Composed by Doug Smith. 20th Century,Classical,Contemporary,Instructional,Jazz. Individual part. 6 pages. Doug Smith Guitar Studio #771882. Published by Doug Smith Guitar Studio (A0.1171575). Two Sides of Laurie is played in the 1st through 9th positions. The melodies are in the treble and the bass strings that are played out as a reply or counterpoint to each other. The mood created is one of melancholy. Guitar techniques include arpeggios, slurs with left hand fingers over four notes, playing chords lightly, and plentiful dynamics.
$2.99
TIENTO PARA UN PENSADOR for guitar
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Guitar
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INTERMEDIATE/ADVANCED
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Daniel Cueto
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TIENTO PARA UN PENSADOR for gu
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Daniel Cueto
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel...
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Solo Guitar - Level 4 - Digital Download SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401. Published by Daniel Cueto (A0.876582). To write Tiento para un pensador, I found inspiration in an experience that I had many years ago, when I was a student in Dusseldorf, Germany. I was spending time one night with my friend Rafael Aguirre, a virtuoso classical guitarist, as he was casually playing through some of his repertoire. He asked me if I thought that it was possible to play a Baroque fugue - one of the most complex of musical genres - on the guitar. Before I had time to think about the question, he started playing his own arrangement of a fugue by J.S. Bach, talking me through it as the fugue theme appeared in different registers and the counterpoint got more and more intricate.The effectiveness and beauty of the contrapuntal sounds I experienced that night stayed with me. So in 2020, when I was invited to attend the Twisted Spruce Symposium and had a chance to compose my first piece for the guitar, I quickly decided that I would take up the challenge of writing my own fugue for the instrument. Looking to find a more specific context for the new work, I discovered the early Spanish genre of the tiento, essentially an early Hispanic form of the fugue. I came up with a melody which, I sensed, featured elements of that early style combined with a touch of Andean melancholy. As I composed, I strived to follow this basic affect throughout, letting the lines evolve organically as the piece seemed to engage in a long, continued search for its cultural and temporal identity.Para un pensador means for a thinker in Spanish. It is my homage to the intellectual guitarist, to the reflective and discerning performer of intricate contrapuntal music.I would like to extend special thanks to Nathan Fischer for producing this valuable edition of Tiento para un pensador.
$9.99
Ricordi di Bari (sonata per chitarra sola)
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Classical
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Socrates Arvanitakis
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Ricordi di Bari
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1453812 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arv...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1453812 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arvanitakis #1033061. Published by Socrates Arvanitakis (A0.1453812). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata, written in chromatic minor and Lydian chromatic modes, refers to the port of Bari, a city in eastern coast of Italy.
$3.00
Ricordi di Napoli
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Classical
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Socrates Arvanitakis
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Ricordi di Napoli
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1431508 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arv...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1431508 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arvanitakis #1011983. Published by Socrates Arvanitakis (A0.1431508). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata, written in A minor & major modes, refers to the port of Napoli, a city in the western coast of Italy.
$3.00
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