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--INSTRUMENTS--
ACCORDION
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BASSOON
BOOKS
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CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
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GUITAR
HANDBELLS
HARMONICA
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HARPSICHORD
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MUSIC COURSE
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OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
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UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
How Can It Be - Percussion
Not classified
778
Piano & keyboards
Piano solo
1,006
Easy Piano
466
Piano, Voice
155
Piano, Vocal and Guitar
99
C Instruments
66
Organ
40
2 Pianos, 4 hands
31
Big Note Piano
10
Piano Accompaniment
7
Piano Trio: piano, violin, cello
5
1 Piano, 4 hands
4
Organ, Trumpet (duet)
3
Piano Quartet: piano, violin, viola, cello
2
2 Pianos, 8 hands
2
Piano Quartet: piano, 2 violins, cello
1
Piano Quintet: piano, 2 violins, viola, cello
1
+ 11 instrumentations
-
Retract
Guitars
Guitar
49
Guitar notes and tablatures
38
Ukulele
28
Mandolin
6
Bass guitar
5
4 Guitars (Quartet)
5
Melody line, (Lyrics) and Chords
5
Banjo
4
Guitar Ensemble
3
2 Guitars (duet)
3
Piano, Guitar (duet)
2
Dulcimer
2
3 Guitars (trio)
1
Lyrics and Chords
1
+ 9 instrumentations
-
Retract
Voice
Choral SATB
198
Choral 3-part
57
Choral 2-part
39
Choral Unison
36
Choral TTBB
32
Choral SSAA
21
Choral Instrumental Pak
19
Alto voice, Piano
12
Vocal duet
6
High voice
4
Vocal duet, Piano
3
Soprano voice, Piano
2
Tenor voice
2
Choral SSATTB
1
Baritone voice, Piano
1
Choral
1
+ 11 instrumentations
-
Retract
Woodwind
Saxophone Quartet: 4 saxophones
61
Flute
48
Clarinet
47
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
42
Flute and Piano
41
Saxophone Quintet: 5 Saxophones
39
2 Flutes (duet)
36
Clarinet and Piano
35
2 Saxophones (duet)
34
Oboe, Piano (duet)
33
Oboe (band part)
32
Flute, Oboe, Clarinet, Bassoon
31
3 Saxophones (trio)
30
Saxophone (band part)
29
Alto Saxophone and Piano
29
Tenor Saxophone and Piano
27
Clarinet Quartet: 4 clarinets
26
Alto Saxophone
25
Baritone Saxophone, Piano
23
Tenor Saxophone
21
Soprano Saxophone and Piano
19
Saxophone
19
2 Clarinets (duet)
15
Clarinet Ensemble
14
Flute ensemble
14
English horn, Piano
12
English Horn
11
2 Recorders (duet)
11
Descant (Soprano) Recorder
10
Flute Quintet : 5 flutes
9
Saxophone ensemble
9
Flute Quartet: 4 flutes
8
Flute, Oboe, Clarinet (trio)
7
3 Clarinets (trio)
7
Flute Trio: 3 flutes
7
Oboe, Clarinet, Bassoon (trio)
6
2 Oboes (duet)
6
Flute and Guitar
6
Clarinet, Violin (duet)
5
5 Recorders
5
Clarinet Quintet: 5 clarinets
5
Saxophone, Clarinet (duet)
5
Recorder Quartet
5
Clarinet, Bassoon (duet)
5
Flute, Clarinet (duet)
5
3 Recorders (trio)
4
Treble (Alto) Recorder
4
Clarinet, Trumpet (duet)
4
Flute, Violin
3
Clarinet (band part)
3
Ocarina
3
Flute (band part)
3
Clarinet and Viola
3
Treble (Alto) Recorder, Piano
2
Soprano Saxophone
2
Oboe
2
Flute, Clarinet and Bassoon.
2
Oboe, Flute
2
Flute, Viola (duet)
2
Oboe, Guitar (duet)
2
Flute, Saxophone (duet)
2
Bass Clarinet, Piano
2
Baritone Saxophone
2
Oboe ensemble
2
Oboe, Bassoon (duet)
2
Flute, Trumpet (duet)
2
Flute and Strings Trio
1
Recorder, Piano
1
Descent (Soprano) Recorder, Piano
1
Recorder
1
Flute, Oboe, Bassoon
1
Clarinet Quartet: Clarinet, Violin, Viola, Cello
1
4 Oboes
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
Clarinet, Cello, Piano (trio)
1
2 Flutes, Piano
1
Tenor Recorder
1
Flute, Violin, Piano
1
Oboe, Clarinet (duet)
1
Harmonica
1
Clarinet, Trombone (duet)
1
Saxophone and Guitar
1
2 Clarinets, Piano
1
Flute, Oboe (duet)
1
Saxophone and Organ
1
+ 80 instrumentations
-
Retract
Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba
56
Trumpet
41
Trombone
35
Trombone and Piano
35
French Horn and Piano
32
Trumpet, Piano
30
French horn
27
Tuba
23
Brass quartet : 2 trumpets, trombone, tuba
20
Tuba and Piano
15
2 Trumpets (duet)
12
English horn, Piano
12
English Horn
11
Brass Quartet: 2 trumpets, horn, trombone
11
2 Trombones (duet)
10
Trumpet, Trombone (duet)
10
Brass Quartet: 4 trombones
9
Euphonium, Piano (duet)
7
2 French horns (duet)
7
Trumpet (band part)
6
Trombone ensemble
6
2 Tubas (duet)
6
Horn Ensemble
5
Brass Quartet: 4 horns
5
Trumpet, Saxophone (duet)
4
Trumpet ensemble
4
Trumpet, Horn (duert)
4
Brass Quartet: 4 trumpets
4
Tuba and Organ
3
3 Trombones (trio)
3
2 Euphoniums and 2 Tubas
3
3 French horns (trio)
3
3 Tubas (trio)
3
4 Tubas
2
Brass Quartet
2
Brass Trio
2
Trumpet, Tuba (duet)
1
Tuba (band part)
1
Trombone, Horn (duet)
1
2 Euphoniums (duet)
1
Cornet and Orchestra
1
French horn (band part)
1
2 Trumpets, Keyboard (piano or organ)
1
Trombone (band part)
1
Tuba ensemble
1
+ 40 instrumentations
-
Retract
Strings
String Quartet: 2 violins, viola, cello
321
Violin, Cello (duet)
236
Violin
192
String Trio: violin, viola, cello
140
Cello
83
Violin and Piano
67
String Trio: 2 violins, cello
57
Harp
46
Viola, Piano
39
Cello, Piano
38
Violin, Viola (duet)
31
String Quintet: 2 violins, viola, cello, bass
25
2 Violins (duet)
25
Double Bass
20
Viola
20
2 Cellos (duet)
19
Double bass, Piano (duet)
18
2 Violas (duet)
15
Viola (band part)
12
Violin, Guitar (duet)
10
2 Harps (duet)
9
String Trio: 3 violins
8
Cello, Guitar (duet)
6
Violin (band part)
6
Harp, Flute (duet)
4
Viola, Cello (duet)
4
String Trio: 3 cellos
4
Cello, String Bass (duet)
3
4 Cellos
3
String quartet: 4 violins
3
String Quartet : 4 violas
3
Violin ensemble
3
String Trio: 3 violas
3
5 Harps
1
4 Harps
1
Doublebass (band part)
1
Violin, Clarinet, Piano (trio)
1
2 Double basses (duet)
1
Violin, Bassoon (duet)
1
Violoncello, Basso continuo
1
Viola ensemble
1
Viola and Harp
1
String Quintet: 2 violins, 2 violas, cello
1
String Trio: 2 violins, viola
1
Harp, Voice
1
+ 40 instrumentations
-
Retract
Orchestra & Percussion
String Orchestra
143
Concert band
97
Jazz Ensemble
56
Orchestra
51
Handbells
47
Brass ensemble
41
Jazz combo
24
Chamber Orchestra
11
Marching band
5
Drums
4
Vibraphone
1
+ 6 instrumentations
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Retract
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49 sheet music found
<
1
26
Be Our Guest
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Rock
#
Alan Menken and Howard Ashman
#
Brad Powell
#
Be Our Guest
#
Geofonica Artistworks
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1369887 Composed by Alan Menken and Howard Ashman. Arranged by Brad Powell. Broadway,Children,Classical,...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1369887 Composed by Alan Menken and Howard Ashman. Arranged by Brad Powell. Broadway,Children,Classical,Film/TV,Jazz,Musical/Show. Individual part. 5 pages. Geofonica Artistworks #954257. Published by Geofonica Artistworks (A0.1369887). This is the solo arrangement of Be Our Guest 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-to-advanced solo arrangement, mixing jazz and classical techniques and chord voicings. You can hear the full arrangement performed in the YouTube link provided. NOTE: This arrangement is in standard notation. 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 – 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
They Can't Take That Away From Me
#
Guitar
#
INTERMEDIATE
#
Frank Sinatra
#
Bill Swick
#
They Can't Take That Away From
#
Bill Swick
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1298780 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by Bill Swick. 20th Century,Broa...
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1298780 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by Bill Swick. 20th Century,Broadway,Film/TV,Jazz,Musical/Show,Standards. Individual part. 4 pages. Bill Swick #888648. Published by Bill Swick (A0.1298780). This arrangement of They Can’t Take That Away from Me is written for solo guitar and may be performed on an electric guitar, steel string acoustic, or nylon string guitar.  It is written in both standard notation with chord symbols as well as tablature.
$4.99
Chorus and Aria from Ariadne auf Naxos
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
#
Guitar
#
INTERMEDIATE
#
Classical
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
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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
Overture from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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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
The William Bay Collection - Sacred Guitar Solo Anthology #2
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Guitar
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INTERMEDIATE
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Sacred music
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The William Bay Collection - S
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Intermediate - Digital Download SKU: M0.WBM75MEB Folk. Ebook and online audio. 141 pages. Mel Bay Publications - Digital Sheet Music #WBM75MEB. ...
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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
Prelude in D minor - BWV 999
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Guitar
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INTERMEDIATE
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Bach, JS
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Nick Mordal
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Prelude in D minor - BWV 999
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Nick Mordal
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1150599 Composed by Bach, JS. Arranged by Nick Mordal. Baroque,Classical,Early Music,Folk,Renaissance. I...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1150599 Composed by Bach, JS. Arranged by Nick Mordal. Baroque,Classical,Early Music,Folk,Renaissance. Individual part. 2 pages. Nick Mordal #750778. Published by Nick Mordal (A0.1150599). Bach's Prelude in C Minor for lute has been transposed to D minor and is arranged for the classical guitar. This is a great piece to learn arpeggio technique and familiarity with the higher notes on the fretboard. It is common in the guitar repertoire; a version of it can also be found in the Modern Approach to Classical Guitar book 2 by Charles Duncan. However, I have made my arrangement of this piece by staying slightly truer to the original. It is very similar to Duncan's version, but a little more advanced.
$4.00
The Color of Fire is
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Guitar
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David Lucas Frith
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The Color of Fire is
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David Frith
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SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.904118 Composed by David Lucas Frith. Concert,Contemporary. Individual part. 17 pages. David Frith #33299. Publish...
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Solo Guitar - Digital Download SKU: A0.904118 Composed by David Lucas Frith. Concert,Contemporary. Individual part. 17 pages. David Frith #33299. Published by David Frith (A0.904118). The Color of Fire is, for guitar and piano, paints a picture of a fire in various scenes. This piece was written for Jacob Cypranowski. It's three movements, I. Brilliant, II. Changing, and III. Renewed are all inspired by fire. The first movement is all about the brilliance of color in a flame, and how calming it can be to just watch a fire. The second movement is about how quickly a fire can change, and how dangerous it can become. The final movement is about how the color of a flame is constantly renewed and fresh, even as the flame dies.
$1.99
The Last Of Us
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Guitar
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INTERMEDIATE
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Gustavo Santaolalla
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Danilo Daca Alves
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The Last Of Us
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Mezzo Pop
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1174711 Composed by Gustavo Santaolalla. Arranged by Danilo Daca Alves. Blues,Film/TV,Folk,Pop,Thriller....
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Solo Guitar - Level 3 - Digital Download SKU: A0.1174711 Composed by Gustavo Santaolalla. Arranged by Danilo Daca Alves. Blues,Film/TV,Folk,Pop,Thriller. Individual part. 3 pages. Mezzo Pop #774863. Published by Mezzo Pop (A0.1174711). A Guitar Sheet Music to read and play The Last of Us Theme Song!CHORD SYMBOLS INCLUDEDWe also have other versions of sheet music for this song, so you can choose what fits best for you to practice! Search and check out our Publisher or Arranger Profile! For all those who search for a beautiful arrangement within a clean score!We know how harsh can be to play a song with poor sheet music... So we decide to make it different and better!The Mezzo Pop's score editions want to help you to play your favorite songs on any instrument!So let us know: How can we help you to play your favorite songs?
$4.99
The Last Of Us
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Guitar
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INTERMEDIATE
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Gustavo Santaolalla
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Danilo Daca Alves
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The Last Of Us
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Mezzo Pop
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1174717 Composed by Gustavo Santaolalla. Arranged by Danilo Daca Alves. Blues,Film/TV,Folk,Pop,Thriller....
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Solo Guitar - Level 3 - Digital Download SKU: A0.1174717 Composed by Gustavo Santaolalla. Arranged by Danilo Daca Alves. Blues,Film/TV,Folk,Pop,Thriller. Individual part. 3 pages. Mezzo Pop #774869. Published by Mezzo Pop (A0.1174717). A Guitar Tablature to read and play The Last of Us Theme Song!We also have other versions of sheet music for this song, so you can choose what fits best for you to practice! Search and check out our Publisher or Arranger Profile! For all those who search for a beautiful arrangement within a clean score!We know how harsh can be to play a song with poor sheet music... So we decide to make it different and better!The Mezzo Pop's score editions want to help you to play your favorite songs on any instrument!So let us know: How can we help you to play your favorite songs?
$4.99
The Last Of Us
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Guitar
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INTERMEDIATE
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Gustavo Santaolalla
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Danilo Daca Alves
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The Last Of Us
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Mezzo Pop
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1174710 Composed by Gustavo Santaolalla. Arranged by Danilo Daca Alves. Blues,Film/TV,Folk,Pop,Thriller....
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Solo Guitar - Level 3 - Digital Download SKU: A0.1174710 Composed by Gustavo Santaolalla. Arranged by Danilo Daca Alves. Blues,Film/TV,Folk,Pop,Thriller. Individual part. 3 pages. Mezzo Pop #774862. Published by Mezzo Pop (A0.1174710). A Guitar Sheet Music to read and play The Last of Us Theme Song!We also have other versions of sheet music for this song, so you can choose what fits best for you to practice! Search and check out our Publisher or Arranger Profile! For all those who search for a beautiful arrangement within a clean score!We know how harsh can be to play a song with poor sheet music... So we decide to make it different and better!The Mezzo Pop's score editions want to help you to play your favorite songs on any instrument!So let us know: How can we help you to play your favorite songs?
$4.99
Every Breath You Take
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Guitar
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EASY
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Rock
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The Police
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Pablo Alcázar
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Every Breath You Take
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Pablo Alcázar
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1264075 By The Police. By Sting. Arranged by Pablo Alcázar. Pop,Rock,Singer/Songwriter. Individual pa...
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Solo Guitar - Level 2 - Digital Download SKU: A0.1264075 By The Police. By Sting. Arranged by Pablo Alcázar. Pop,Rock,Singer/Songwriter. Individual part. 3 pages. Pablo Alcázar #856983. Published by Pablo Alcázar (A0.1264075). This arrangement of Every Breath you Take (for solo guitar) fits perfectly for Classical (spanish) and acoustic guitars because every chord sounds fully along with the melody and the bass gives a unique feeling of the rhythm. It's made for solo guitar and it's appropiate for begginers that look for a challenge or intermediate guitarist that want something fresh and new to play. Also is a very good arrangement for professional players that need repertoire for wedding events.Every Breath You Take is a song by the English rock band the Police from their album Synchronicity (1983). Written by Sting, the single was the biggest US and Canadian hit of 1983, topping the Billboard Hot 100 singles chart for eight weeks (the band's only No. 1 hit on that chart), and the Canadian RPM Chart for four weeks. Their fifth UK No. 1, it topped the UK Singles Chart for four weeks. The song also reached the Top 10 in numerous other countries.Sting wrote the song in 1982 in the aftermath of his separation from Frances Tomelty and the beginning of his relationship with Trudie Styler. Their split was controversial. As The Independent reported in 2006, The problem was, he was already married – to actress Frances Tomelty, who just happened to be Trudie's best friend. Sting and Frances lived next door to Trudie in Bayswater, West London, for several years before the two of them became lovers. The affair was widely condemned.To escape the public eye, Sting retreated to the Caribbean. He started writing the song at Ian Fleming's writing desk on the Goldeneye estate in Oracabessa, Jamaica. The lyrics are the words of a possessive lover who is watching every breath you take; every move you make. Sting recalled:I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn't realise at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control..
$4.99
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Guitar
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EASY
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Brian Streckfus
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Guitar Chord Progression Gener
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Brian Streckfus
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Br...
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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
Horizons
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Guitar
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Genesis
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Greg Eaton
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Horizons
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Greg Eaton
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SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.1104812 By Genesis. By Anthony Banks, Mike Rutherford, Peter Gabriel, Steve Hackett, and phillip collins. Arranged...
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Solo Guitar - Digital Download SKU: A0.1104812 By Genesis. By Anthony Banks, Mike Rutherford, Peter Gabriel, Steve Hackett, and phillip collins. Arranged by Greg Eaton. Classical,Early Music,Medieval,Pop,Rock. Individual part. 3 pages. Greg Eaton #708049. Published by Greg Eaton (A0.1104812). This quaint little guitar piece by Steve Hackett was clearly inspired by the famous Bach cello suite no. 1, and I have notated it in semiquavers to emphasize this link. The time signatures I have used represent how I feel the music can best be written down, but can largely be ignored as a source of information. This piece was mused and recorded, not notated, and so this is, in my opinion, the best interpretation of the recording. The chords are for reference only.
$4.99
Excerpt from the Lyric Suite
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Alban Berg
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Rod Whittle
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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
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie C...
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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
'Change of scene' from Act III of Wozzeck
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie C...
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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
Excerpt from Lulu Suite
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Guitar
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Contemporary
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music...
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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
Partita II (BWV1004) in d minor transcribed for guitar
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Guitar
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ADVANCED
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Classical
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Johann Sebastian Bach
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Daniel Clark
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Partita II
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Daniel Clark
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.982523 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 26 pages. ...
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Solo Guitar - Level 5 - Digital Download SKU: A0.982523 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 26 pages. Daniel Clark #6435265. Published by Daniel Clark (A0.982523). This is a full transcription of Bach’s second violin partita for classical guitar, including the Allemanda, Corrente, Sarabanda, Giga, and the Ciaccona. The transcription is authentic to the original has been made strictly to the original violin manuscript. The partita has been arranged in D-tuning to take advantage of the resonance of the guitar, though the lower D on the guitar is never played since it is below the dynamic range of the violin, (taking into account the octave difference). Bach’s Ciaccona, or Chaconne, in d-minor for solo violin from the second partita is well known on the guitar thanks to Segovia’s arrangement. However, Segovia’s version takes a number of liberties in his arrangement that have the effect of blurring the contrapuntal voices through his decision to harmonise the chords into 6-strings wherever possible. This current arrangement takes the contrary position that it is better to clearly retain the different voices. The working dynamic range of the classical guitar and violin are similar, albeit with an octave difference in pitch. The fact that the classical guitar notation is written an octave higher than it is in relation to the notation for other instruments makes transcribing the violin work for guitar relatively straightforward.  Consequently, I have made no changes to the violin version. This transcription is exact, in the sense that the manuscript for the violin has been used as a basis for the transcription. The articulation of the arpeggios is suggested at the beginning of these sections, which are arranged to be idiomatic to the violin. These realisations can also be adopted on the guitar, though I have not written these out and leave it to the performer to interpret these passages.  Â
$8.00
La Caroline by CPE Bach
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Guitar
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INTERMEDIATE
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Classical
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Carl Philipp Emanuel Bach
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Eric J Roth
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La Caroline by CPE Bach
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.914748 Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Eric J Roth. Baroque,Classical. In...
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Solo Guitar - Level 3 - Digital Download SKU: A0.914748 Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Eric J Roth. Baroque,Classical. Individual part. 2 pages. Eric J Roth #6017047. Published by Eric J Roth (A0.914748). La Caroline, H. 98 (Wq. 117/36) is one of dozens of short character pieces of great charm written by the Carl Philipp Emanuel Bach (1714-1788), oldest son of Johann Sebastian Bach. As a composer, CPE Bach occupied an interesting transitional space between baroque and classical music and certainly helped to usher in the stylistic traits of the latter into general popular usage. The piece here is arranged for classical guitar solo at an intermediate level. It is more a transcription than a true arrangement, and every attempt has been made to keep the music as close to the original as possible. All fingerings are editorial, and most ornaments, except for trills, have been written out rather than notated with a symbol. However, many expert pianists embellish these ornaments (sometimes very lavishly), particularly on repeats, and expert guitarists will likely want to do the same. Since the original music was written an octave higher and to be played on the delicate-sounding keyboard instruments of the 18th century, some guitarists may want to experiment with using a capo to better create a more period-appropriate sound.Bach marks the tempo as Allegro ma con tenerezza (fast but with tenderness) and most keyboardists take it a moderate to quick tempo. On the guitar, which has a different resonance, the piece can also be convincing played at somewhat slower tempos, but certainly nothing slower than a true andante.
$2.99
The Vampire: A Dramatic Theme
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Guitar
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INTERMEDIATE/ADVANCED
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Sol Paul Levy
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Eric J Roth
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The Vampire: A Dramatic Theme
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Ind...
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Solo Guitar - Level 4 - Digital Download SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 pages. Eric J Roth #4593125. Published by Eric J Roth (A0.914739). 6 pages (2 pages of music) formatted for 8.5x11 printing.Sol Paul Levy, born in Chicago, Illinois in 1881, was a composer, arranger and performer of silent film music. He attended All Hallows College in Dublin, Ireland and served as first clarinetist in bands led by John Philip Sousa and Arthur Pryor. Levy led the foreign orchestrating department for Victor Records – which was the first music company to produce the disc record – and was a founder of Belwin Music. Levy compiled a series of photoplay cues for piano that was published in H.S. Gordon’s 1914 Motion Picture Collection. He also wrote songs, the most famous of which was That Naughty Waltz. Sol Paul Levy died in New York in 1920. During the Silent Film Era (1896-1936), showings usually featured live music, which helped to provide dramatic and emotional cues for the audience. The first public silent film shown in 1895 was accompanied by a guitarist. Soon after, films were commonly accompanied by either a pianist, organist, or chamber orchestra. Accompanists often improvised or compiled music from the classical, theatrical or popular repertories using a cue sheet identifying the effects or moods to be conveyed. While some films produced full scores or detailed cue sheets containing excerpts of music unique to that film, a repertoire of generic music soon developed to provide accompanists with music that they could adapt as needed. With titles such as Dramatic Conflict, Dramatic Tension, Heavy Mysterioso, and Weird Oriental Theme, Sol Paul Levy’s scores clearly served this purpose. The Vampire: A Dramatic Theme, composed in 1917, could have been easily adapted to any of the more than twenty films about vampires that appeared between 1909 and 1930. The score exists in three versions: one for small orchestra with piano conductor, one for chamber orchestra without piano, and one for chamber orchestra without timpani. Instruments included piano, flute, clarinet, two cornets, trombone, two timpani, two violins, viola, cello, and bass. Despite being composed for small orchestra, the piece, composed in A minor, is well suited to the guitar once instrumental and octave doublings are removed. While a solo guitar cannot produce the power and volume of a chamber orchestra, it certainly can evoke the intended mood. Except in a few instances owing to the limitations of the guitar, all original dynamic markings have been retained. All fingerings, of course, are editorial. Please note that some of the fingerings in the score may differ than those used in the linked YouTube Video.
$3.99
Missing You (for solo guitar)
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Guitar
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Contemporary
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Rick Alexander
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Missing You
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Rick Alexander
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SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.915031 Composed by Rick Alexander. Contemporary. Individual part. 3 pages. Rick Alexander #6323697. Published by R...
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Solo Guitar - Digital Download SKU: A0.915031 Composed by Rick Alexander. Contemporary. Individual part. 3 pages. Rick Alexander #6323697. Published by Rick Alexander (A0.915031). Missing You is from my 2013 album Fine Light. I wrote Missing You in 2000 the morning after my wife left on an overseas trip. The piece is played on the Fine Light album with the A string tuned to G. However it can also be played in standard tuning and is notated that way here.
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Shallow
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Guitar
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INTERMEDIATE
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Lady Gaga
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Barry McCormick
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Shallow
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B. McCormick
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1372204 By Lady Gaga. By Andrew Wyatt, Anthony Rossomando, Mark Ronson, and Stefani Germanotta. Arranged...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1372204 By Lady Gaga. By Andrew Wyatt, Anthony Rossomando, Mark Ronson, and Stefani Germanotta. Arranged by Barry McCormick. Film/TV,Pop,Wedding. Individual part. 7 pages. B. McCormick #956465. Published by B. McCormick (A0.1372204). Shallow is a hit song by Lady Gaga and Bradley Cooper from the 2018 musical drama film A Star is Born. The song won several awards, including an Oscar, a Golden Globe, and four Grammys. It is a powerful duet that showcases the vocal talents and emotional connection of the two singers. Lady Gaga is one of the most influential and versatile artists of our time, with a range of genres and styles in her repertoire.This guitar fingerstyle sheet music arrangement of Shallow captures the essence and beauty of the original song, while adding some unique touches and embellishments. It is a higher intermediate level guitar piece that requires some technical skills and expressive playing. The arrangement closely follows the structure of the original song. The performance markings indicate the dynamics, tempo, articulation, and other aspects of how to play the piece. The piece also comes with a performance note that provides more details and tips on how to interpret the arrangement.This sheet music is perfect for guitarists who want to impress their audience with a stunning rendition of this popular song. It can be used as a solo piece or as part of a set list for various occasions. Whether you are a fan of Lady Gaga, A Star is Born, or just love beautiful music, this guitar fingerstyle sheet music arrangement of Shallow will make you feel the emotions and depth of this masterpiece.
$5.99
Variations on Bach's Bourrée (for Guitar)
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Guitar
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INTERMEDIATE
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Classical
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Johann Sebastian Bach
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Emiliano Brunetti
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Variations on Bach's Bourrée
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Emiliano Brunetti
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1371168 Composed by Johann Sebastian Bach. Arranged by Emiliano Brunetti. Baroque,Chamber. Individual pa...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1371168 Composed by Johann Sebastian Bach. Arranged by Emiliano Brunetti. Baroque,Chamber. Individual part. 5 pages. Emiliano Brunetti #955419. Published by Emiliano Brunetti (A0.1371168). Variations on Bach’s Bourrée (5th movement) of BWV 996 reflects the importance of time and place in which we do and say things. How change, as little as it may be, can lead us to a completely different future. This piece was my first conscious decision to explore my Argentinian and Latin American heritage, and intersect it with Western Classical Music, through the modification of the rhythm and duration of the notes from the original score by Bach.
$2.00
FAQ: Types and Uses of the Capo
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Guitar
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BEGINNER
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Tom Rasely
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FAQ: Types and Uses of the Cap
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (all) - Beginning - Digital Download SKU: M0.21002EB Composed by Tom Rasely. FAQ. All styles. E-book. Mel Bay Publications - Digital Sheet Music #...
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Guitar (all) - Beginning - Digital Download SKU: M0.21002EB Composed by Tom Rasely. FAQ. All styles. E-book. Mel Bay Publications - Digital Sheet Music #21002EB. Published by Mel Bay Publications - Digital Sheet Music (M0.21002EB). ISBN 9781609742089. 8.75x11.75 inches.The capo is a tool of the trade. This will guide you through an understanding of how it works, and how to select the one that is right for you and your guitar. It is a theoretically correct method that relies mainly on an understanding of the fingerboard of the guitar; and which can be employed with any notational system. Lots of photos, examples, charts, and exercises are included. The author has created a systematic method that aids your understanding of note relationships, offers a practical application of Circle of Fifths, and works it all from the orientation of the guitar itself, so you also gain valuable knowledge about note relationships and chord shapes all over the fretboard.Since not all capos are created equal, a complete gallery of capos is presented to make your selection process that much easier.,• Guides you through an understanding of how the capo works., ;• Teaches how to select the one that is right for you and your guitar. • Lots of photos, examples, charts, and exercises are included.   • A theoretically correct method of capo use that relies mainly on an understanding of the fingerboard of the guitar; from note relationships to the Circle of Fifths to valuable knowledge about chord shapes all over the fretboard.
$3.99
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