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5 sheet music found
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1
Etude no 1- With False Optimism
Guitar
Guitar - Digital Download SKU: A0.1070396 Composed by Apostolos Paraskevas. Contemp…
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Guitar - Digital Download SKU: A0.1070396 Composed by Apostolos Paraskevas. Contemporary,Instructional. Full Performance. Duration 98. Silver Sickle Publications #6373419. Published by Silver Sickle Publications (A0.1070396). Etude 1-With False Optimism
$1.99
1.79 €
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Guitar
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Apostolos Paraskevas
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Etude no 1- With False Optimism
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Silver Sickle Publications
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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
3.6 €
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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
The Guitar Études
Guitar
Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and…
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Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and Exercises, Repertoire, World. Score. 37 pages. Published by Silver Sickle Publications
Études for Solo Guitar<br> The subject of creating an educational aid for guitar students of an intermediate level that will serve also as a similar aid for theory and composition students fascinates me and motivates my compositional thought for quite a while. The objective was to create miniature complete works for the guitar, as J. S. Bach did with his fifteen inventions, in the “manner” of an Étude that deals with specific aspects of guitar techniques and musicianship in general.<br> <br> <br> These Études are gradually graded based on their difficulty and style. They cover all the positions of the guitar and explore known and some unfamiliar techniques for the contemporary guitarist.<br> I used a compositional language more familiar for the level of the intermediate guitarist but without sacrificing my original compositional voice so these pieces could be used as concert works by the advanced musicians as well. My intention is to educate students in a multilevel study environment and to be able to promote the music of our time. During my teaching years I found that students become better musicians when they have been taught to adapt certain performance difficulties and compositional techniques at an earlier level of their training.<br> Titles:<br> <br> 1 with false optimism<br> <br> 2 with moderate sadness<br> <br> 3 with just the two of you<br> <br> 4 with a touch of impatience<br> <br> 5 with a touch of grandeur<br> <br> 6 with a counterpoint attitude<br> <br> 7 with a touch of shame<br> <br> 8 with a touch of boredom<br> <br> 9 going and never coming back<br> <br> 10 with a peaceful anger<br> <br> 11 without the heavy ones<br> <br> 12 without hope<br> <br> 13 without sense of humor<br> <br> 14 with a masculine attitude<br> <br> 15 with two little bears in mind<br> <br> 16 without hesitation<br> <br> 17 with shameless vibrato<br> <br> 18 with a touch of distress<br> <br> 19 without fear of failure<br> <br> 20 with this and that<br> <br> 21 with a kind motion<br> <br> 22 with a rondo attitude<br> <br> 23 with suspense<br> <br> 24 with everything you may have
$22.00
19.83 €
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Guitar
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Apostolos Paraskevas
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The Guitar Études
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Silver Sickle Publications
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SheetMusicPlus
Flamenco Studies: Falsetas de mi Padre
Guitar
By Juan Serrano. For Guitar (Classical). Flamenco. 262 pages. Published by Mel Bay Publica…
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By Juan Serrano. For Guitar (Classical). Flamenco. 262 pages. Published by Mel Bay Publications - Digital Sheet Music
$29.99
27.03 €
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Guitar
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Juan Serrano
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Flamenco Studies: Falsetas de mi Padre
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Sonidos Negros
Guitar
Composed by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part…
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Composed by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 13 pages. Richard Hirsch #695686. Published by Richard Hirsch
A Flamenco guitar solo in the Tarantas style. The Tarantas is a free-flowing slow moving Fandango from the region of Almeria which was earlier a principal mining region of Spain. The style is therefore sometimes called Mineras. Tarantas has long been one of my favorite Flamenco pieces for the guitar. It is notated in the key of B minor, based on a so-called “Andalusian” cadence consisting of the chords B minor - A major (open B and E) - G major (open B and E) - F# major (with open G, B, and E). These dark and indefinite sounding chords allow plenty of room for the guitarist to open up emotionally with the audience.The material for the piece consists mostly of traditional themes that I have woven into a compositional whole along with a few of my own creations (falsetas). Songs for Tarantas are often expressions of loss of a loved-one in some mining tragedy. The long legato passages demand a complete mastery of the technique and should be played as fluidly as possible. The fanning (abanico) rasqueados in the finish of the piece can be new to guitarists coming to Flamenco from classical guitar. Demonstrations of this type of rasqueado can be found at my YouTube sites: https://youtu.be/sB-rDGtXK34 and https://youtu.be/OVBbUZFIj2s. Another type of rasqueado used frequently in the piece is a soft four finger rasqueado (cami) preceded by and followed by a brush up and down over the strings with the thumb (p-camip), accompanied by legatos on the base strings.The piece is accessible for advanced intermediate to advanced guitarists. As the Tarantas is played sens mesure, not demanding any competence of special flamenco rhythms, it is also a flamenco piece readily playable by classical guitarists. Classical guitarists should however be aware that the thumb plays the dominant role even in the more melodic passages.
$6.99
6.3 €
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Guitar
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Richard Hirsch
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Sonidos Negros
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Richard Hirsch
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SheetMusicPlus
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