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'Change of scene' from Act III of Wozzeck
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arr…
(+)
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
4.57 €
#
Guitar
#
Alban Berg
#
'Change of scene' from Act III of Wozzeck
#
Maggie Creek Music
#
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
6.4 €
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Guitar
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Richard Strauss
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Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
The Third Man (the Harry Lime Theme)
Guitar
Solo Guitar - Digital Download SKU: A0.961492 By Anton Karas. By Anton Karas. Arran…
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Solo Guitar - Digital Download SKU: A0.961492 By Anton Karas. By Anton Karas. Arranged by Colin Tommis. Contemporary. Individual part. 3 pages. Colin Tommis #4632137. Published by Colin Tommis (A0.961492). This is just one of a large collection of arrangements of popular tunes for advanced classical or acoustic guitar players - or very good intermediate-standard players. In some cases, ideas from the original are developed so that the piece can sustain interest as an instrumental piece. There is no tablature and no chords, just music notation.
$4.99
4.56 €
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Guitar
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Anton Karas
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The Third Man
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Colin Tommis
#
SheetMusicPlus
Top Gun Anthem
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1120530 Composed by Harold Falterm…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1120530 Composed by Harold Faltermeyer. Arranged by MAJOR SCORE PUBLISHING TM. Film/TV,Instructional,Rock. Individual part. 9 pages. Major Score Publishing #721773. Published by Major Score Publishing (A0.1120530). Top Gun Anthem | Top Gun Movie Guitarists look no further! This epic guitar feature as performed by Steve Stevens in the original Top Gun movie sound track is here - including the entire epic solo! We have also included notation for the guitar tapping technique used to crush this solo! We have added a few bars to the end for a custom ending as the original recording fades out as an option for you. This chart is written out for guitar but does not contain tabs. Perfect for seasoned professionals, cover bands, music teachers, students & performers of all ages! Guitar tabs (Available on Hal Leonard Platforms) Back in Black (AC/DC)Battle Without Honor (Kill Bill)Blackbird (The Beatles)Bohemian Rhapsody (Queen)Dust in The Wind (Kansas)I'm Tore Down (Eric Clapton)Easy (The Commodores)Hotel California (Eagles)I'm Tore Down (Eric Clapton)Old Time Rock N' Roll G (Bob Seger)Old Time Rock N' Roll gb (Bob Seger)Seven Nation Army (White Stripes)Smoke on the Water (Deep Purple)Sweet Child O Mine Db Guns N' Roses)Sweet Child O' Mine D (Guns N' Roses)Sweet Home Alabama (Lynyrd Skynyrd)Tears in Heaven (Eric Clapton)Uptown Funk (Bruno Mars) Follow us today! Instagram @majorscorepublishingYouTube @majorscorepublishingWebsite https://www.majorscorepublishing.com/guitartabsheetmusic
$6.99
6.39 €
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Guitar
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Harold Faltermeyer
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Top Gun Anthem
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Major Score Publishing
#
SheetMusicPlus
Someone To Light Up My Life
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1489839 Composed by Antonio Carlos…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1489839 Composed by Antonio Carlos Jobim, Carlos Eduardo Lyra Barbosa, Gene Lees, and Vinicius De Moraes. Arranged by Rod Whittle. 20th Century,Jazz,Latin. Individual part. 3 pages. Maggie Creek Music #1066711. Published by Maggie Creek Music (A0.1489839). This arrangement is faithful to the feel and progression of the guitar arrangement in 'The Brazilian Masters' (TRO Hollis Music Inc. 1958) except that it returns to the main theme (stated right at the start) before ending with its beautiful coda. To me it seems almost inevitable that the theme be restated at the end. The marvelous Jobin chords and passing modulations are all there and the reaarranged structure give the piece a feeling of completion.
$6.00
5.49 €
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Guitar
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Antonio Carlos Jobim, Carlos Eduardo Lyra Barbosa, Gene Lees, and Vinicius De Moraes
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Someone To Light Up My Life
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Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Lyric Suite
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
(+)
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
4.57 €
#
Guitar
#
Alban Berg
#
4 pp
#
Excerpt from the Lyric Suite
#
Maggie Creek Music
#
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
4.57 €
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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
Larry Williams Compositions- The Guitar Book
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Published by Larry Andrew Williams (A0.1167528). A WORD FROM THE COMPOSER Is anyone interested in new reading material anymore? I know that when I was a kid in nineteen hundred and something, the quest for new musical pieces was always one of the funnest aspects of the whole musical journey. Of course I did learn that it would take a long time to  nd those few that would resonate with me for a lifetime, but it was always fun trying them all out. It still is, in fact. Well, times change and people change, but I’d still like to believe that same factor carries on. You know, the one about trying out all that music to get to the few you keep. And what about the few we do keep? For guitar players, was it always a classic from the usual suspects, like Albeniz, Sor, Tarrega,, Granados, Rodrigo, Brouwer, Barrios, Villa-Lobos, or anything by Bach?Was it something our band director or private instructor, one of our friends, or our parents wrote? Or – Heaven forbid- something that maybe we ourselves wrote? Or some “unknown guy.â€Â Consider this.Just how often did some unknown composer's piece greatly affect us as we waded through a daunting pile of the familiar from the known masters? And since some, if not most of these classics are required reading, how often did we even get around to giving this unknown guy's piece a try?And furthermore, was this unknown guy - shudder...alive? Let’s face it. In the composer arena, we the living, stand no chance against the deceased (God rest their souls) But by saying “they don’t write ‘em like that anymore,†are we denying ourselves new ground to be broken, doors to be opened, frontiers to be discovered? And isn’t that pioneering spirit just plain ol’ curiosity when it comes right down to it? Well I believe the key lies within the carrying out of these notions that curiosity places in us. It’s climbing the mountain simply because it is there. So, for right now, I’m that unknown guy and I would only urge you to break new ground every day. Lots of trends, ideas, and interests will come and go in your life, but always hang on to that curiosity. It’s what makes the world a smaller neighborhood. Larry Williams.
$20.00
18.28 €
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Guitar
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Larry Williams
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Larry Williams Compositions- The Guitar Book
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Larry Andrew Williams
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SheetMusicPlus
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfu…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670). This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!Objective:Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. What Scales/Modes are being harmonized? C Major (+jazz version) A (natural) minor (+jazz version) A harmonic minor (+jazz version) B Locrian D Dorian E Phyrigian F Lydian G Mixolydian Features: Slowly increases in physical and theoritcal difficulty at the same time. Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. These chord progressions are a great composition aid. Guitar chord diagrams Traditional notation with letter names on the note heads Roman numerals color coded Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. Tips: Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled! Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.
$1.99
1.82 €
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Guitar
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Brian Streckfus
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Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Brian Streckfus
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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
5.49 €
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Guitar
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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
Variations on God Rest Ye Merry, Gentlemen
Guitar
Guitar - Level 3 - Digital Download SKU: A0.1310190 By Traditional. By Anonymous. A…
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Guitar - Level 3 - Digital Download SKU: A0.1310190 By Traditional. By Anonymous. Arranged by Derek Hasted. Christmas,Comedy,Traditional. 17 pages. Derek Hasted #899328. Published by Derek Hasted (A0.1310190). Variations on GOD REST YE MERRY, GENTLEMEN - 3+ GuitarsFor 3 or more Classical or Acoustic Guitars - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes Running for almost four minutes, these four variations on “God Rest Ye Merry, Gentlemen†present this well-known Christmas carol in 4 styles, with nods to well-known composers and themes, mixing hints of Bach (amongst others) with Tango and Pop, all underpinning the familiar Carol.The variations can be played singly, but as presented they run seamlessly from one to another to make a continuous performance piece ideal for school and adult Christmas concerts.I hope you enjoy playing this quirky Christmas arrangement!For another quirky Christmas piece, look out for my “Pachelbel’s Carol†- find it using the link below.This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$3.99
3.65 €
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Guitar
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Traditional
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Variations on God Rest Ye Merry, Gentlemen
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Derek Hasted
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SheetMusicPlus
Sonata No. 6 "Kharkiv", Op. 48
Guitar
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh.…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95
7.27 €
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Guitar
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Konstantin Bliokh
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Sonata No. 6 "Kharkiv", Op. 48
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Les Productions d'OZ - Digital
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SheetMusicPlus
"Hark!", the Herald Angels Sing
Guitar
Solo Guitar - Digital Download SKU: A0.483404 Composed by Felix Bartholdy Mendelsso…
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Solo Guitar - Digital Download SKU: A0.483404 Composed by Felix Bartholdy Mendelssohn. Arranged by Robert McCormack. Christmas,Classical,Holiday,Sacred,Traditional. Individual part. 1 pages. Published by Robert McCormak (A0.483404). The hymn that is this Christmas carol has gone through many iterations before popularly settling on this most commonly sung Mendelssohn melody. The arrangement is well within the intermediate level with the possible exception of the first two measures of the last two lines. There is a stretch here between fingers one and four, frets one and five with the additional challenge of a middle voice. Another carol offered by this arranger is, Once In Royal David's City, which has the same stretch but without the inner voice with which to contend. These two pieces are frequently performed together due to other similarities between them.
$3.99
3.65 €
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Guitar
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Felix Bartholdy Mendelssohn
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"Hark!", the Herald Angels Sing
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Robert McCormak
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SheetMusicPlus
Spanish Guitar Study
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1444500 By Keith Terrett. By Isaac…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1444500 By Keith Terrett. By Isaac Manuel Francisco Albéniz y Pascual. Arranged by Keith Terrett. 19th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 3 pages. Keith Terrett #1024393. Published by Keith Terrett (A0.1444500). Isaac Manuel Francisco Albéniz y Pascual (Spanish pronunciation: [iˈsak alˈβeniθ]; 29 May 1860 – 18 May 1909) was a Spanish virtuoso pianist, composer, and conductor. He is one of the foremost composers of the Post-Romantic era who also had a significant influence on his contemporaries and younger composers. He is best known for his piano works based on Spanish folk music idioms. Isaac Albéniz was close to the Generation of '98.Transcriptions of many of his pieces, such as Asturias (Leyenda), Granada, Sevilla, Cadiz, Córdoba, Cataluña, Mallorca, and Tango in D, are important pieces for classical guitar, though he never composed for the guitar. Some of Albéniz's personal papers are held in the Library of Catalonia.As one of the leading composers of his era, Albéniz's influences on both contemporary composers and on the future of Spanish music are profound. As a result of his extended stay in France and the friendship he formed with numerous composers there, his composition technique and harmonic language influenced aspiring younger composers such as Claude Debussy and Maurice Ravel. His activities as conductor, performer and composer significantly raised the profile of Spanish music abroad and encouraged Spanish music and musicians in his own country.Albéniz's works have become an important part of the repertoire of the classical guitar, many of which have been transcribed by Francisco Tárrega, Miguel Llobet and others. Asturias (Leyenda) in particular is heard most often on the guitar, as are Granada, Sevilla, Cadiz, Cataluña, Córdoba, Mallorca, and Tango in D. Gordon Crosskey and Cuban-born guitarist Manuel Barrueco have both made solo guitar arrangements of all the eight-movements in Suite española. Selections from Iberia have rarely been attempted on solo guitar but have been very effectively performed by guitar ensembles, such as the performance by John Williams and Julian Bream of Iberia's opening Evocation. The Doors incorporated Asturias into their song Spanish Caravan; also, Iron Maiden's To Tame a Land uses the introduction of the piece for the song bridge. More recently, a guitar version of Granada functions as something of a love theme in Woody Allen's 2008 film Vicky Cristina Barcelona.The theme from Asturias was incorporated or adapted in several soundtracks including the 2008 horror film Mirrors, composed by Javier Navarrete, and the Netflix TV show Godless, composed by Carlos Rafael Rivera.In 1997 the Fundación Isaac Albéniz was founded to promote Spanish music and musicians and to act as a research centre for Albéniz and Spanish music in general.A street in Quito, Ecuador, is named after him.
$1.99
1.82 €
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Guitar
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Keith Terrett
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Spanish Guitar Study
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Keith Terrett
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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
3.65 €
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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
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
1.82 €
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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
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
8.22 €
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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
Prelude No. 1 in C Major by J.S. Bach for Guitar (Arranged by Aaron Larget-Caplan)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1377888 By Aaron Larget-Caplan. By…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1377888 By Aaron Larget-Caplan. By Johann Sebastian Bach. Arranged by Aaron Larget-Caplan. Baroque,Christian,Christmas,Classical,Early Music. Individual part. 5 pages. Aaron Larget-Caplan #962501. Published by Aaron Larget-Caplan (A0.1377888). Prelude N. 1 in C Major, BWV 846 by J.S. Bach (1685-1750) arranged by Aaron Larget-Caplan Includes: 2 pages of music, 1 page of notes, 1 page of alternate fingering. It is recommended to print double-sided so no page turns are required while playing.About this Arrangement â?? The regular arpeggio gesture is straightforward on piano, but on guitar the performer may have to do a few adjustments to keep this gesture clear. The performer should play the arpeggios over multiple strings as much as possible allowing the notes to ring beyond their notated values. The music can be realized in various ways; hence the fingerings are suggestions and some measures can be played without a Barre. For an ethereal conclusion, I raised the octave of the last measures.Prelude N. 1 in C Major (no sharps or flats) is the first of 44 preludes and fugues written by Bach for keyboard. It follows a progression of arpeggiated chords touching multiple keys as it climaxes on an exquisite pedal point in the Dominant before returning to C-major. One of the most often arranged of Bachâ??s compositions, it was most famously the basis of Ave Maria by Charles Gunoud.This arrangement of Prelude No. 1 in C major, WTC Book I, BWV 846 is featured on the 2022 album â??Godâ??s Time: Music of J.S. Bach on Guitarâ?? by Aaron Larget-Caplan on Tiger Turn (888-09) and streams worldwide. Online lessons are also available.The arrangements of Aaron Larget-Caplan have been called â??very importantâ? and â??a must haveâ?, with Soundboard â??strongly advocatingâ? for them â??to be performed by young guitaristsâ? and include music by J.S. Bach, John Cage, Isaac Albéniz, Franz Schubert, Reynaldo Hahn, and Alan Hovhaness.Â
$5.00
4.57 €
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Guitar
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Aaron Larget-Caplan
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Prelude No. 1 in C Major by J.S. Bach for Guitar
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Aaron Larget-Caplan
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SheetMusicPlus
Scoring The Blues
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1313078 Composed by Timothy Royal.…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1313078 Composed by Timothy Royal. 21st Century,Blues,Classical. Individual part. 18 pages. Guitaroffice #901914. Published by guitaroffice (A0.1313078). Scoring the Blues by Timothy RoyalThe book is titled ‘Blues’ although one of the pieces may be close to the rock genre.My first Blues book was titled 5 Blues for Classical Guitar (Hampton Music Publishers). ‘Blues No.1’ from that book became popular in the Trinity College of Music Exam Syllabus (Grade Three) for a number of years and to this day is very popular on You Tube. The pieces herein are intended as a follow up to that book.Much time has been spent deliberating the tempo, dynamics and interpretation of these pieces with (note bending, staccato riffs etc). In the end much of these skills must be down to the players’ unique idea of groove.The last two bars of ‘Drum’ may initially present a challenge, however isolating them and with slow practice, you’ll win!
$8.99
8.22 €
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Guitar
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Timothy Royal
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Scoring The Blues
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guitaroffice
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SheetMusicPlus
Tremolo from the Regondi Nocturne (Op.19)
Guitar
Solo Guitar - Digital Download SKU: A0.899137 Composed by Giulio Regondi. Arranged …
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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
4.57 €
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Guitar
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Giulio Regondi
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4 pp
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Tremolo from the Regondi Nocturne
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Maggie Creek Music
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SheetMusicPlus
Mary Blane for Classical Guitar
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1444395 By Keith Terrett. By Catha…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1444395 By Keith Terrett. By Catharina Josepha Pratten (15 November 1824 – 10 October 1895. Arranged by Keith Terrett. 19th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 5 pages. Keith Terrett #1022785. Published by Keith Terrett (A0.1444395). Catharina Josepha Pratten (15 November 1824 – 10 October 1895) was a German guitar virtuoso, composer, and teacher, also known as Madame Sidney Pratten.She was born Catharina Josepha Pelzer in Mülheim on 15 November 1824, the daughter of the German guitarist and music teacher Ferdinand Pelzer. Her family moved to England in 1829. On 24 September 1854, she married the English flautist Robert Sidney Pratten.Catharina began touring in Europe from the age of eight, and by 1844 was well known in England as a composer and guitar teacher. She soon established her school - Madame Sidney Pratten's Guitar School - and published tutorials, including Guitar School: a Book of Methods (1859) and Learning the Guitar: Simplified (1874), which advocated the use of alternative tuning in E major. Her pupils included Queen Victoria’s daughters Louise, Princess of Wales and Beatrice, and the actor, singer, guitarist, and composer Ernest Shand.She composed some 250 works, most of them for solo guitar or voice and guitar. Heike Matthiesen has recorded some of the guitar pieces, including the variations on Carnaval de Venise, the two Fairy Sketches, and the Serenade.Her residence in London was 22 Dorset Street, Portman Square, where she lived after the death of her husband in 1868, and where she died on 10 October 1895. Her sister, Giulia Pelzer (also a teacher), continued to run the guitar school after Catharina’s death. Catharina is buried at Brompton Cemetery, London.She owned many guitars herself and selected others for her pupils, often with her label inside. One - in splendid condition - was advertised for sale in The Times in 1939.
$1.99
1.82 €
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Guitar
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Keith Terrett
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Mary Blane for Classical Guitar
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Keith Terrett
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SheetMusicPlus
Study for M
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.940528 Composed by Nick Clow. Cont…
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Solo Guitar - Level 2 - Digital Download SKU: A0.940528 Composed by Nick Clow. Contemporary,Instructional,Standards,Wedding. Individual part. 2 pages. Nick Clow #3379963. Published by Nick Clow (A0.940528). This is an intermediate level solo guitar study that might be a worthwhile addition to a student's or intermediate guitarist's study materials or repertoire. It's not too hard - maybe Trinity Grade 3/4. You will be able to find a performance on YouTube.My scores are intentionally devoid of expressive and dynamic markings (even tempo indications). Dynamics and other markings are not only crude, but imply there is only one interpretation of the piece. There should be significant development of dynamics, tempo and colour within my pieces, but I leave this to the interpretation of the player.Notwithstanding the above, the fingerings are important. My pieces are 'guitaristic' in that certain notes need to be played at specific places on the fretboard in order to exploit resonances or harmonies only available when playing them there.
$2.99
2.73 €
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Guitar
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Nick Clow
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Study for M
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Nick Clow
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SheetMusicPlus
Hey Man Take Me With You
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.940535 Composed by Nick Clow. Conc…
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Solo Guitar - Level 4 - Digital Download SKU: A0.940535 Composed by Nick Clow. Concert,Contemporary,Instructional,Standards,Wedding. Individual part. 2 pages. Nick Clow #3383785. Published by Nick Clow (A0.940535). This is an advanced intermediate piece for solo guitar. It's around Trinity Grade 7. You can find a performance on YouTube.My scores are intentionally devoid of expressive and dynamic markings (even tempo indications). Dynamics and other markings not only seem crude to me, but also imply there is just one interpretation of the piece. There should be significant development of dynamics, tempo and colour within my pieces, but I leave this up to the interpretation of the player.Notwithstanding the above, my fingerings are important. My pieces are 'guitaristic' in that certain notes need to be played at specific places on the fretboard in order to exploit resonances or harmonies only available when playing them there.
$2.99
2.73 €
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Guitar
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Nick Clow
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Hey Man Take Me With You
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Nick Clow
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SheetMusicPlus
The Guitar
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.940536 Composed by Nick Clow. Cont…
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Solo Guitar - Level 4 - Digital Download SKU: A0.940536 Composed by Nick Clow. Contemporary,Instructional,Standards. Individual part. 2 pages. Nick Clow #3383783. Published by Nick Clow (A0.940536). This is an advanced intermediate solo guitar piece - around Trinity Grade 6. You can find a performance on YouTube.My scores are intentionally devoid of expressive and dynamic markings (even tempo indications). Dynamics and other markings not only seem crude to me, but also imply there is only one interpretation of the piece. There should be significant development of dynamics, tempo and colour within my pieces, but I leave this to the interpretation of the player.Notwithstanding the above, my fingerings are important. My pieces are 'guitaristic' in that certain notes need to be played at specific places on the fretboard in order to exploit resonances or harmonies only available when playing them there.
$2.99
2.73 €
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Guitar
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Nick Clow
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The Guitar
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Nick Clow
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SheetMusicPlus
Selected Operatic Fantasies of Mertz
Guitar
By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published b…
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By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743260. This collection is drawn from the Portefeuille Guitarre-Spieler series and is intended for intermediate to advanced guitarists.The works in this collection:Fantasy on themes from Don Giovanni, Op. 28Don Giovanni has long been famous among enthusiasts of fretted instruments for Mozart's sublime use of the mandolin in Don Juans' aria Deh, vieni alla finestra. Mertz himself took note of Mozart's 'mandolin serenade' for he employed as a catalyst a brief quote of the mandolin introduction in his Op. 28 for a modulatory transition based upon the theme. Mertz also included a simple arrangement of the aria as number 76 in his Kukuk, a 'musical panorama' of 136 short pieces.Martha, Op. 16Martha, oder Der Markt zu Richmond by German composer Friedrich Flotow (1812-1883) was first produced in Vienna in 1847. In the second act of Martha Flotow incorporates 'Tis the Last Rose of Summer (Qui sola, verginrosa), a traditional Irish melody to which the poet Thomas Moore wrote lyrics. It was one of the most popular songs of the nineteenth century. In addition to Beethoven, Mendelssohn, and Thalberg, guitar composers to produce works based upon the famous song include Giuliani, Ferranti, Holland, and Foden. Preceding Ah! che a voi perdoni Iddio in his Op. 16, Mertz quotes a brief passage from his Elegie.The Prophet, Op. 21Giacomo Meyerbeer was the leading composer of French grand opera during Mertz's professional career. Following studies in Italy, the German composer was chiefly active in Paris and Berlin, although he traveled Europe extensively producing his operas. Le prophete premiered in Paris in 1849 after a long delay due to casting problems. Mertz's Op. 21 was published shortly thereafter.Nabucco, Op. 62 and Rigoletto, Op. 63Giuseppe Verdi's first major triumph as an opera composer was with the biblical opera Nabucodonosor (more commonly known as Nabucco). The opera was premiered in Milan in 1842 and its subsequent revivals throughout Europe spread Verdi?s fame at an astounding rate. Consequently, Verdi was commissioned to compose 14 operas in the following decade. Among these operas was Rigoletto, first produced in Venice in 1851. Mertz frequently turned to the music of Verdi for his operatic fantasies, producing no fewer than four distinct works based on themes from Rigoletto alone.
$14.99
13.7 €
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Guitar
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Johann Kaspar Mertz
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Selected Operatic Fantasies of Mertz
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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