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He\\\'s Not Here
Guitar
Sheetmusic to print
40 sheet music found
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Something There
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1374708 Composed by Alan Menken an…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1374708 Composed by Alan Menken and Howard Ashman. Arranged by Brad Powell. Broadway,Classical,Film/TV,Musical/Show,Pop,Wedding. Individual part. 5 pages. Geofonica Artistworks #959262. Published by Geofonica Artistworks (A0.1374708). This is an instrumental solo arrangement of Something There created by Brad Powell for his performances in Disney's Princess Breakfast Adventure at the Disneyland Resort's Grand Californian hotel (Napa Rose restaurant), from 2019 to early 2024. It's an intermediate solo guitar arrangement, mixing jazz and classical techniques and chord voicings. You can hear the full arrangement performed in the YouTube link provided. NOTE: This instrumental arrangement is in standard notation (LYRICS are included for reference). It is also available as standard notation with TAB.ABOUT: Brad Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso, and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. When not making music, Brad is often out hiking with his four dogs. Brad also played as the solo guitarist for Disney's Princess Breakfast Adventure at Disney's Grand Californian Resort by Disneyland (March 2019-January 2024), providing music for the Disney Princesses (Belle, Tiana, Jasmine, Rapunzel, Mulan, Aurora, Ariel, Pocahontas, Cinderella, and their friends and guests).COMMENTS FROM LONG-ESTABLISHED REVIEWERS (for this and other Candlelight Guitarist recordings)...Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age RetailerThe Candleight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals.Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWERBradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart. ...  Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences.Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell.Bob McKillop, founder and publisher, MaineFolkMusic.com...perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation â?? the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender..
$4.99
4.6 €
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Guitar
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Alan Menken and Howard Ashman
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Something There
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Geofonica Artistworks
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SheetMusicPlus
Gigue From BWV 1006-Partita No.3 For Guitar-Standard Notation
Guitar
Solo Guitar - Digital Download SKU: A0.955377 Composed by Johann Sebastian Bach. Ar…
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Solo Guitar - Digital Download SKU: A0.955377 Composed by Johann Sebastian Bach. Arranged by Neal Fitzpatrick. Baroque,Classical,Standards,World. Individual part. 3 pages. Neal Fitzpatrick Editions #5718735. Published by Neal Fitzpatrick Editions (A0.955377). Gigue from BWV 1006-Partita No.3 This arrangement of the Gigue from BWV 1006-Partita No.3 is for guitar solo. This Gigue is the sixth and last movement from Johann Sebastian Bach's Partita No.3. This arrangement is in the key of E Major, also the original key for the violin. Of all of Bach's solo works for violin BWV 1006 in particular well for guitar. This edition has standard notation and accompanying tablature.This arrangement is by Neal Fitzpatrick. Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com.
$3.50
3.23 €
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Guitar
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Johann Sebastian Bach
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Gigue From BWV 1006-Partita No.3 For Guitar-Standard Notation
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Neal Fitzpatrick Editions
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SheetMusicPlus
"Barnsley's Garden" for solo classical fingerstyle guitar
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1478018 By Keith Gehle. By Keith W…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1478018 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 4 pages. Keith Gehle #1055382. Published by Keith Gehle (A0.1478018). British born Godfrey Barnsley was determined to construct his home on an acorn shaped hill in northwest Georgia despite being warned by his Cherokee neighbors that the land he chose to build on was sacred and that he would be cursed. He built the Italianate style house anyway and sadly many tragedies followed. One was the death of his close friend Col. Richard G. Earle who was killed by a Union sniper in May of 1864 as he rode in to warn the family of the approach of Sherman’s army. Col. Earle was laid to rest in the garden just steps from the back door. Years later the home was abandoned after the roof was torn off by a tornado… it quickly fell into ruins. Today, the lush English style garden and surroundings (but not the house) have been restored to their previous splendor and the site is frequently used for elegant weddings and social events. This musical impression of Godfrey Barnsley’s enchanted garden was released as a single on streaming platforms in July of 2024. The PDF includes detailed fingerings and interpretation in standard notation with tablature. There’s also a version with TAB available on this site. The accompanying English horn and cello parts are available by request at no charge by contacting the composer directly through his website: www.keithgehle.com
$1.99
1.83 €
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Guitar
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Keith Gehle
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"Barnsley's Garden" for solo classical fingerstyle guitar
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Keith Gehle
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SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
11.05 €
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Guitar
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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SheetMusicPlus
Chromatic Fantasia and Fugue in D Minor BWV 903 by J. S. Bach
Guitar
Composed by Johann Sebastian Bach (1685-1750). Solos. Style. E-book. Mel Bay Publica…
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Composed by Johann Sebastian Bach (1685-1750). Solos. Style. E-book. Mel Bay Publications - Digital Sheet Music #30631EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619118249.<br> <br> Johann Sebastian Bach most likely composed the Chromatic Fantasia and Fugue during his stay in Kothen between 1717 and 1723. Originally written for the harpsichord, the work was duly recognized as a masterpiece within its own era.Nestor Ausqui has taken extraordinary measures in creating a guitar transcription of this monumental piece. The fundamental tonality of D minor was retained to preserve the workas sonority, and the 6th string of the guitar had to be lowered to D to expand the guitaras range and adhere to the original key.The articulation of the piece often requires the use of the slur technique to maintain and enhance the legato effect in the melodic line. As the guitar has a more percussive character than the harpsichord, various inconveniences occur in the management or execution of the legato, but the transcriber has done his best to preserve the character of the original piece.Ausqui admits that the most arduous task was the fingering of the piece. He had to familiarize himself with Bachas intentions and avoid shortcuts and aberrations which would have depleted the original harmonies and melodies. In the process, he discovered that utilization of the open strings can subtly enhance the balance of right and left-hand duties to achieve the timbre the original score mandates.Written in standard notation only, with each line of music forming only one measure, this piece is meant for the classical guitarist willing to accept an interpretive challenge to reap enormous musical benefits.
$9.99
9.21 €
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Guitar
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Johann Sebastian Bach
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Chromatic Fantasia and Fugue in D Minor BWV 903 by J. S. Bach
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Élégie
Guitar
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey.…
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Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
3.64 €
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Guitar
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Francis Bebey
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
The William Bay Collection - Sacred Guitar Solo Anthology #2
Guitar
Guitar - Intermediate - Digital Download SKU: M0.WBM75MEB Folk. Ebook and online au…
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Guitar - Intermediate - Digital Download SKU: M0.WBM75MEB Folk. Ebook and online audio. 141 pages. Mel Bay Publications - Digital Sheet Music #WBM75MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.WBM75MEB). ISBN 9781513478005. 8.75X11.75 inches.This is a collection of 86 guitar solos in notation only from William Bay’s books, Solo Guitar in Worship, Communion, Psalms, Timeless Gospel Melodies and Spirituals. The solos work well as preludes, offertories, communion hymns, recessionals or they can be played for enjoyment. All 86 solos have been recorded and are available as online downloads with this book.
Song List
:
Adoro Devote
All My Trials
All the Way My Savior Leads Me Lowry CrosbyINeed Thee Every Hour Lowry Hawks
Balm in Gilead
Benediction
Bread of the World Eucharistic Hymn
Canticle #1
Canticle #2
Close to Thee Vail Crosby Every Day and Every Hour Doane Crosby
Come to the Feast
Compline
Consecration
Deep River
Evening Prayer
Gloria
God Unseen Yet Ever Near St Flavian
Have Thine Own Way, Lord Adelaide
He Hideth My Soul Kirkpatrick Crosby
Here, O My Lord, I See Thee Face to Face Penitentia
Higher Ground Gabriel Oatman
Hold to God’s Unchanging Hand Eiland
Holy Is The Lord
I Love to Tell the Story Fischer Hankey
At the Cross Hudson Watts
I Will Arise and Go to Jesus Arise
I Will Praise Him Harris More Love to Thee Doane Prentiss
Jesu, Joy of Man’s Desiring
Jesus Paid It All Grape HallI Am Coming, Lord Hartsough
Jesus Spreads His Banner O’er Us Autumn
Just As I Am Woodworth
Kyrie Eleison
Lamb Of God
Lenten Meditation
Let All Mortal Flesh Keep Silence Picardy
Let Us Break Bread Together
Light Of The World
Litany
Lonesome Valley
Look Down That Lonesome Road
Lord, I’m Coming Home Kirkpatrick Draw Me Nearer Kirkpatrick Crosby
Lord, Speak to Me Canonbury
Meditation on Psalm
My Faith Looks Up to Thee Olivet
My Lord, My God
My Shepherd Will Supply My Need
Resignation
Nearer, My God, to Thee Bethany
Never Alone Anon
Night Prayer
Nobody Knows The Trouble I’ve Seen
O Esca Viatorum
Pass Me Not Doane Crosby
Only Trust Him Stockton
Peace
Praxis Pietatis Melica
Prayer
Prayer of Simeon
Psalm 102:1 Hear My Prayer, O Lord
Psalm 118:24 This Is the Day That the Lord Hath Made
Psalm 119:28 My Soul Is Heavy with Sorrow
Psalm 126:6 They That Sow in Tears
Psalm 128:1 Blessed Are They That Fear the Lord
Psalm 139:7 Where Shall I Go From Thy Spirit
Psalm 142:3 When My Spirit Grows Faint Within Me
Psalm 144:3 Lord, What Is Man
Psalm 16:1 Keep Me Safe, O God
Psalm 19:1 The Heavens Declare the Glory of God
Psalm 34:18 The Lord Is Close to the Broken Hearted
Psalm 65:2 Thou That Hearest Prayer
Psalm 88:13 Unto Thee Have I Cried, O Lord
Rendez a Dieu
Sanctus
Shall We Gather at the River Lowry
Softly And Tenderly
Sometimes I Feel Like a Motherless Child
St Gregory Chorale
Steal Away
Sweet By and By Webster Bennett Leaning on the Everlasting Arms Showalter Hoffman
Sweet Hour of Prayer Showalter Hoffman Is Your All on the Altar Hoffman
Swing Low, Sweet Chariot
The Lord’s Supper Way
To God Be the Glory Doane Crosby
Turn Your Eyes Upon Jesus He Is Lord
Wade In The Water
Wayfaring Stranger
We Give Thee Thanks
Were You There
What a Friend We Have in Jesus Converse
When I Lay My Burdens Down
$24.99
23.04 €
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Guitar
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The William Bay Collection - Sacred Guitar Solo Anthology #2
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Excerpt from the Lyric Suite
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.61 €
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Guitar
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Alban Berg
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
'Change of scene' from Act III of Wozzeck
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.61 €
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Guitar
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Alban Berg
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'Change of scene' from Act III of Wozzeck
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Maggie Creek Music
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SheetMusicPlus
Excerpt from Lulu Suite
Guitar
Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by R…
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Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
4.61 €
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Guitar
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Alban Berg
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(7 min
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Gioco. Sonata for guitar
Guitar
Solo Guitar - Level 5 - Digital Download SKU: A0.1021517 Composed by Victor Rebulli…
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Solo Guitar - Level 5 - Digital Download SKU: A0.1021517 Composed by Victor Rebullida. 20th Century,Concert,Contemporary. Individual part. 14 pages. Victor Rebullida #6055667. Published by Victor Rebullida (A0.1021517). Recorded by Alberto Royo in CD Mistúra. Música para guitarra. Cuatro autores contemporáneos aragoneses. Edited by Delicias Discográficas 2001. Reference DCD-28. More information about the CD: alberto.guitarra@gmail.comGioco is a five part piece: Allegro leggiero; tpo. giusto Triste e intenso; poco rubato Scherzando Adagio meditativo Allegro agitato The author wrote:Gioco, an Italian word meaning game, is the title of this guitar work composed in 1994.Gioco is a work of current aesthetic, atonal, built however on a structure as classic as that of a Sonata, of great conciseness and clarity and brief duration. It consists of five movements in which the former has a simple, school sonata shape, with two well-identifiable themes, one ethereal based on sets of bells and harmonics and another choppy, contrasting, in parallel ninth intervals, which are developed and subsequently reexposed at the end of the movement.The second movement is a slow time when the resonance of arpeggiated sounds is important. As will happen in the fourth half, the music conveys a sense of freedom, almost improvisation resulting from its unsympted writing and the irregularity of the measure. The third is a Scherzo in which humorous character is accentuated by the rapid descending and ascending glissandi. No less grotesque is the contrasting quote of Gaspar Sanz's Spaniard played in a singular way as will be seen in the interpretation, suddenly interrupted by the glissandi. The fourth is another slow movement in which resonances are also the center. Here you resort to obtaining a particular, harmonic sound similar to the sound of a gong, by placing paper clip on the three boards of the guitar. The fifth and final time is live movement in the form of a purr in which the different episodes are quotes from the themes appeared in the previous movements. The player says about this work: Work dated in 1994, virtuoso and contrasting, of resounding accessibility, not intending to reach the audience using easy resources but an admirable capacity for communication, Gioco is divided into five movements in which varied colours and textures occur and almost all the abundant classical and contemporary timbric resources of the guitar are exploited with intelligence, (controlled challenges, blows on the board, metallic vibration of a clip...), In this work one of the outstanding findings of its author is the alternative use in the Scherzando of his contemporary language and two recognizable literal quotations of the Aragonese Baroque guitarist Gaspar Sanz, which appear softly in an ironic and evocative loudness. Justino Losada wrote this review:Gioco, represents a continuous game of sonorities of very rich timbric nuances as well as an exacerbated game of frets (such as in its 3rd movement Scherzando), and abundant contemporary resources such as the microtonal vicinity of the detuned passages or the blows on the box for our interpreter to show of his skills, a task that although complicated he knows how to perform perfectly coming out of all difficulties. Rebullida's language is not simple, but the composer is clearly aware of the difficulties to reach a large audience, and to do so he polishes his language by seeking an exchange between modern and ancient sonorities in a continuous game creating a climate of warm and direct communication. Justino Losada
$6.00
5.53 €
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Victor Rebullida
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tpo
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Gioco. Sonata for guitar
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Victor Rebullida
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SheetMusicPlus
Mauro Giuliani: Sonatina in C op.71 no.1
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1392100 Composed by Mauro Giuliani…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. Socrates Arvanitakis #975591. Published by Socrates Arvanitakis (A0.1392100). PREFACE AND BRIEF ANALYTICAL NOTESThe three sonatinas op.71 by Mauro Giuliani in C, G, and D were first published in 1816 in Vienna and were intended as student pieces of progressive difficulty. In parallel with this intention they are also fully developed three-movement works which reveal Giulianiâ??s technique as a composer with harmony, counterpoint, and structure.They certainly have the time length and the variety of full scale sonatas, but here Giuliani has chosen to use the supporting structures of sonatas met in movements other than the first, such as Menuetto and Trio, Rondo, Marcia and Trio, Scherzo and Trio, etc,  rather than sonata form itself.As it stands, this first sonatina in C has the following three movements:1 Maestoso (Moderato) which is a set of a theme and three variations, or better termed as a set of mathematical divisions reminiscent of an earlier era, as the accompaniment of the theme is given in crotchets, quavers, quaver triplets, and semi-quavers.2 Menuetto-Trio-Menuetto da capo written typically in the subdominant key of F and fully developed as per classical 19th century usage.3 Rondo. This movement is also written in a classical rondo style and form as an A-B-A-C-B-A-codetta  structure, with a typical tonal scheme of A in the tonic Key (C), B in the dominant key (G), and C in the relative minor key (Am).Therefore in this work we do not meet with structural innovations of any kind, but with strong affirmation of already existing and well established early 19th century structural norms, but the beautiful personal melodic and harmonic style of Giuliani and even his routine guitaristic nuances and formulas are present in all three movements and can be enjoyed as always.TECHNICALThis publication keeps each separate movement within the limit of two pages, thus avoiding page turns. It is published with two versions of the same pieces given in undecorated and decorated pages for the user to select which version he prefers to print out. Blank pages have been provided for insertion/deletion for the correct placement of left-right hand pages.Metronome marks are only editorial suggestions that need not be taken too literally.Sibelius Mp3 archive has been extracted for this publication using Note Performer playback engine.Socrates ArvanitakisLondon 2024.
$6.00
5.53 €
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Guitar
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Mauro Giuliani: Sonatina in C op.71 no.1
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Socrates Arvanitakis
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SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.45 €
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Guitar
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Richard Strauss
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for solo classical guitar
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Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.45 €
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Guitar
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Richard Strauss
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for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.45 €
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Guitar
#
Richard Strauss
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.45 €
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Guitar
#
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
#
SheetMusicPlus
Fly Me To The Moon (in Other Words)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1310263 By Tony Bennett. By Bart H…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1310263 By Tony Bennett. By Bart Howard. Arranged by Christopher J. Malin. 20th Century,Broadway,Jazz,Musical/Show,Pop,Standards. Individual part. 1 pages. Christopher J. Malin #899378. Published by Christopher J. Malin (A0.1310263). Solo jazz guitar chord/melody arrangement with tablature. Seldom heard standard in this style. Beautiful, instantly recognizable melody. One of Bart Howard's finer pieces. He's from Iowa! This piece makes you stand out as a solo jazz guitarist of all idioms. Some chords are played as triads or dyads or eliminated, and single notes are used. I draw a line over the note if it's the high note of a chord or I use a dot if it's played as a single note, the chord is then in parentheses. I tend to use a minimalist style that keeps the important parts of the music. There are many arrangements of this song. Give mine a go, it's a bit different. Sounds great on acoustic and electric guitars.
$4.99
4.6 €
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Guitar
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Tony Bennett
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Fly Me To The Moon
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Christopher J. Malin
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SheetMusicPlus
Recuerdos de la Alhanbra for Classical Guitar
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1441062 By Keith Terrett. By Franc…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1441062 By Keith Terrett. By Francisco Tarrega. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 12 pages. Keith Terrett #1021041. Published by Keith Terrett (A0.1441062). Recuerdos de la Alhambra (Memories of the Alhambra) is a classical guitar piece composed in Málaga by Spanish composer and guitarist Francisco Tárrega. It requires the tremolo technique and is often performed by advanced players.The piece was written for and dedicated to Tárrega's patron Concepción Gómez de Jacoby in 1899, commemorating their visit to the Alhambra palace and fortress complex in Granada, Spain. It was originally titled Improvisación ¡A Granada! Cantiga Árabe. It became known through an early 20th-century publication edited by Tárrega and dedicated as an homage to the French guitarist Alfred Cottin.Performance notesThe piece showcases a challenging guitar tremolo, wherein a single melody note is plucked consecutively by the ring, middle and index fingers in such rapid succession that the result is an illusion of one long sustained note. The thumb plays an arpeggio-pattern accompaniment simultaneously. Many who have heard the piece but not seen it performed mistake it for a duet.The A-section of the piece is written in A-minor and the B-section is written in the parallel major (A-major).Arrangements:Ruggiero Ricci arranged this piece for solo violin and often performed it as an encore.Chris Freeman and John Shaw recorded the song for their album Chris Freeman and John Shaw (May 1981, EMI Custom Records YPRX 1828, MAC 126).Nana Mouskouri recorded a vocal version for her 1989 album Classical. Sarah Brightman recorded a re-adapted vocal version for her album Classics.Alex Jacobowitz frequently performs a version of the song on his marimba and xylophone. He recorded it for several of his albums: Spanish Rosewood (1996), The Art of Xylos (2002), and Aria (2010).Luiza Borac arranged this piece for solo piano on her 2014 CD Chants Nostalgiques (Avie AV-2316).Xavi Ganjam made a special arrangement for sitar on his EP Soham (2019, Ganjam Records, Spain).Italian violist Marco Misciagna published the arrangement of this piece for solo viola.Soundtrack use:Recuerdos de la Alhambra has been used as title or incidental music in many films, including the soundtrack for René Clément's Forbidden Games (as played by Narciso Yepes), for The Killing Fields (under the title Étude as performed by Mike Oldfield), and in the films Sideways and Margaret.Performed and arranged by Jonathon Coudrille, it was used as the title music for the British television series Out of Town and a version performed by Pepe Romero was used as incidental music in The Sopranos episode Luxury Lounge. Gideon Coe on BBC Radio 6Music uses this tune as a musical background at approximately the half-way point of his evening weekday show. A sung version appears in the Studio Ghibli film When Marnie Was There.It is also the theme used for Philip II of Spain in the 4X strategy game Civilization VI, with the track progressing from a simple guitar arrangement to an entire orchestral performance as Spain advances through the ages.The theme was part of the soundtrack and storyline for the eponymous 2018 Korean television series Memories of the Alhambra.
$1.99
1.83 €
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Guitar
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Keith Terrett
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Recuerdos de la Alhanbra for Classical Guitar
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Keith Terrett
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SheetMusicPlus
O Mio Babbino Caro (guitar solo)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.948707 Composed by Giacomo Puccini…
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Solo Guitar - Level 3 - Digital Download SKU: A0.948707 Composed by Giacomo Puccini. Arranged by Bradley Powell (The Candlelight Guitarist). 20th Century,Concert,Holiday,Opera,Wedding. Individual part. 3 pages. Geofonica Artistworks #6794347. Published by Geofonica Artistworks (A0.948707). One of the most beloved arias by Giacomo Puccini, from the opera Gianni Schicchi (1918), in a new off-the-record classical guitar finger-style arrangement by Bradley Powell (The Candlelight Guitarist). NOTE: This sheet music is in Standard Notation--(a separate edition in both TABS and standard notation is also available here). This arrangement is from The Candlelight Guitarist album The Wedding of Dulcinea & Don Quixote. It's an Intermediate classical guitar level (similar to Sor, Carcassi and Giuliani etudes), an excellent piece for concert or recital, weddings, dinners, or general enjoyment.ABOUT: Bradley Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. Brad is also the classical guitarist for Disney's Princess Breakfast Adventuire at the Disneyland's Grand Californian Resort. When not making music, Brad is often out hiking with his dogs.
$3.99
3.68 €
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Guitar
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Giacomo Puccini
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Don Quixote
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O Mio Babbino Caro
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Geofonica Artistworks
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SheetMusicPlus
"Tone Poem No. 2 (Stars of the Desert Sky)" for solo classical fingerstyle guitar
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1375434 By Keith Gehle. By Keith W…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1375434 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #960008. Published by Keith Gehle (A0.1375434). “Tone Poem No. 2 (Stars of the Desert Sky)†is the closing track of Keith’s 2016 album entitled Space and Time and the second in a series of close to ten pieces he's written under the title of “tone poemâ€. An interesting feature of “Stars of the Desert Sky†is that it incorporates an altered tuning of the 5th string (down to G) and the 3rd string (down to F#). This “open†tuning gives the piece a droning effect and is relatively easy to play. The title refers to Keith’s late brother Ken’s many photos of the landscape of the desert southwest and the particular beauty of the night sky far from city lights. While the recorded version of this piece features additional instruments including percussion, the music also works well as a guitar solo. This PDF includes detailed fingerings in standard notation. There’s also a version available with TAB on this site.
$2.99
2.76 €
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Guitar
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Keith Gehle
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"Tone Poem No. 2
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Keith Gehle
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SheetMusicPlus
"Girl on a Swing" for solo classical fingerstyle guitar
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.1368030 By Keith Gehle. By Keith W…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1368030 By Keith Gehle. By Keith W. Gehle. New Age. Individual part. 2 pages. Keith Gehle #952383. Published by Keith Gehle (A0.1368030). â??Girl on a Swingâ? was recorded as part of Keithâ??s 2016 album Space and Time. The title of this piece was inspired by the lyrics of the 2005 song â??Simpleâ? by Glen Phillips when he compared his wifeâ??s love to the gentle beauty of a little girl on a playground swing. The lyrics are as follows:I'm complicationLive wire downI'm agitationDistorted soundYou're celebrationGirl on a swingPassion and patienceUnbroken ringYou're simple, simpleYou're simpleSimply all I needWhile the album version features additional instruments, the piece works well as a guitar solo. This PDF includes detailed fingerings in standard notation. Thereâ??s also a version available with TAB on this site.
$1.99
1.83 €
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Guitar
#
Keith Gehle
#
"Girl on a Swing" for solo classical fingerstyle guitar
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Keith Gehle
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SheetMusicPlus
Nadir
Guitar
Solo Guitar - Digital Download SKU: A0.942099 Composed by Apostolos Paraskevas. 20t…
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Solo Guitar - Digital Download SKU: A0.942099 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Individual part. 9 pages. Silver Sickle Publications #6227369. Published by Silver Sickle Publications (A0.942099). Nadir (1994) is written for prepared guitar, a term usually associated with a piano in which certain objects have been placed on the strings in order to alter the conventional sound of the instrument. Many composers have written music for prepared piano, among them John Cage, who, according to Mr. Paraskevas, was the inspiration for his transferring of the same technique to the guitar. It is quite possible that nobody has used this kind of technique on the guitar before. After experimenting with various materials, he decided on the use of two metal paper clips, which he puts at specific locations on the fingerboard, so that they best produce the desired sound effect, a sound both harmonic and percussive. Nadir suggests the lowest point, here associated with the notion of death. The piece bears many programmatic references to the struggle between good and evil, life and death, musically portrayed in the persistent ostinato rhythms and the fragmented melodic phrases. Death cuts through in the form of an abrupt strike on the wood, the fingers continue to play but no sound is heard, until two more strikes make their movement stop. Little by little life and sound start again, but the final strike brings about the pessimistic message that fate and death predominate in the end. The piece ends with the inscription ...but sooner or later we live forever - a final optimistic touch. Nadir was the outcome of continuous experimentation on the capabilities of the guitar as an instrument, and all the potential sound effects that one can draw from it. ...Dr. Paraskevas, is an amazingly versatile guitarist. He conquers the many technical challenges of this repertoire with ease, he can sing with the purest tone (try the opening work, Alfonsina y el Mar, and see). What makes Visions of Azure a wonderful guitar CD rather than simply a good one is the last 18 minutes. The guitarist saves his own compositions for last, and if the ear is fatigued at this point in the recital. Paraskevas gives it good reason to wake up....I am sold on Paraskevas's playing, and do not think hunting down the alternatives is necessary. In short, this is an essential CD for those interested in modern classical guitar.
$8.99
8.29 €
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Guitar
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Apostolos Paraskevas
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Nadir
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Silver Sickle Publications
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SheetMusicPlus
"December" for solo classical fingerstyle guitar
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1412489 By Keith Gehle. By Keith W…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1412489 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 2 pages. Keith Gehle #994584. Published by Keith Gehle (A0.1412489). â??Decemberâ? was recorded as part of Keithâ??s album of 20 original guitar solos entitled Wintersong released in 2002. Inspired by George Winstonâ??s 1982 album of the same name, â??Decemberâ? is actually the very first piece Keith wrote for the guitar. Around the same time he wrote â??Peaceâ? and sections two and three of his composition entitled â??Montanaâ? both of which are part of the Wintersong album. The PDF includes standard notation with detailed fingerings. Thereâ??s also a version available with TAB on this site.Hereâ??s what one listener wrote of the Wintersong recording:I have purchased almost 200 Cd's from CD Baby over the last few years, most recently were acoustic guitar. This is certainly in the top three, if not the best, of ALL the CD's I've boughtâ?¦ very pure acoustic sound. .. beautiful, flowing sound from the heart. I could listen to it over and over every day. I can't wait to hear more from this splendid artist.- Bob S.
$1.99
1.83 €
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Guitar
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Keith Gehle
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"December" for solo classical fingerstyle guitar
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Keith Gehle
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SheetMusicPlus
Stars and Stripes Forever
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1080715 By The Candlelight Guitari…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1080715 By The Candlelight Guitarist. By John Philip Sousa. Arranged by Bradley Powell. Classical,Contest,Festival,Holiday,Patriotic,Traditional. Individual part. 6 pages. Geofonica Artistworks #684944. Published by Geofonica Artistworks (A0.1080715). The very popular official march of the United States, composed by John Philip Sousa, arranged for solo classical guitar (in standard notation) by Bradley Powell, aka The Candlelight Guitarist. It is an advanced intermediate to advanced level of finger-style classical guitar. NOTE: This same arrangement is also available in Standard Notation WITH TAB). ABOUT: Bradley Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. Brad is also the classical guitarist for Disney's Princess Breakfast Adventure at Disneyland's Grand Californian Resort. When not making music, Brad is often out hiking with his dogs. COMMENTS FROM ESTABLISHED REVIEWERS... Dr. Beth - Amazon.com #1 Hall of Fame reviewer Brad has a knack for putting together gentle, soothing guitar medleys which provide the perfect background or relaxation soundtrack. Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age Retailer The Candlelight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals. Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWER Bradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart. ... Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences. Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell. Jana L. Perskie Ceruleana (New York, NY USA) ~ Amazon.com TOP 50 Reviewer. The talented and creative Bradley Powell is the Candlelight Guitarist. His music is original and some of the most soul soothing I have ever heard. Bob McKillop, founder and publisher, MaineFolkMusic.com Brad Powell is a talented and highly trained California guitarist and composer who calls himself The Candlelight Guitarist, and for good reason. His music is perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation – the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender. Grady Harp - HALL OF FAME TOP 100 REVIEWER music to soothe and calm and enrich the psyche. Would that there were more Brad Powells out there to help us all through these times. The world would be a saner place!.
$3.76
3.47 €
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Guitar
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The Candlelight Guitarist
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Stars and Stripes Forever
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Geofonica Artistworks
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SheetMusicPlus
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