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Suite for guitar in E minor by J. A. de Logy
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1453811 Composed by Jan Antonin de…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1453811 Composed by Jan Antonin de Logy (1650-1721). Arranged by Socrates Arvanitakis. Baroque. Individual part. 34 pages. Socrates Arvanitakis #1033060. Published by Socrates Arvanitakis (A0.1453811). Jan Antonin de Logy, count of Rosinthal (1650-1721) was an aristocrat of Bohemia and official of the Austrian empire. As a musician he was a lute player of professional level and seems to have been a refined and prolific composer of single pieces and suites in the French style for his instrument. His compositions are becoming known to us today through important academic research but a lot more work has to be made in this field. The present suite in Em has the following eight movements:1 Allemande2 Courante3 Sarabande La Favorita4 Double5 Gavotte I6 Gavotte II & (Gavotte I da capo)7 Menuett8 GigueNone of these dance movements is too difficult to play, but they are all musically rewarding and the compositional standard is kept high in all of them maintaining a two-part contrapuntal writing throughout the suite.In these editions I prefer not to add any fingerings because I consider that they obscure the optical result rather than clarifying any particular way of playing the music. Especially if tablatures are provided as is the case with this volume the suggested left hand fingerings become quite clear, but Instrumentalists can disregard these suggestions and provide their own fingering and choice of positions.Interactive thematic index has been provided for easy navigation to individual movements either in decorated or in tablature pages and back to the index.If a printed copy is desired, blank pages have been provided for insertion at will and for correct order of left and right side pages.MP3 of the music has been created using the Note Performer playback engine.
$8.00
7.34 €
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Guitar
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Jan Antonin de Logy
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Suite for guitar in E minor by J. A. de Logy
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Socrates Arvanitakis
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SheetMusicPlus
Minuet in G (BWV Anh. 114)
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.1269356 Composed by Christian Petz…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1269356 Composed by Christian Petzold. Arranged by Pedro Abreu. Baroque. Individual part. 1 pages. All Music #861876. Published by All Music (A0.1269356). This is a guitar arrangement of the first minuet (BWV Anh. 114) from a suite for harpsichord by Christian Petzold (1677 - 1733), which was included in the 1725 Notebook for Anna Magdalena Bach and previously attributed to Johann Sebastian Bach (1685 - 1750). The arrangement was meticulously transcribed for the guitar by Pedro Abreu in 2013, and features the same ornaments as the ones included in the 1725 Notebook for Anna Magdalena Bach.Abreu's attention to detail is reflected in the carefully crafted fingering, which balances the stylistic expectations of the era with the technical possibilities of the guitar. The written score showcases the delicate nuances of this arrangement, which highlights the guitar's ability to convey the richness and depth of Baroque music.When played together with the Minuet in G minor (BWV Anh. 115), this arrangement offers a glimpse into the suite's elegant and charming character, which is emblematic of the Baroque era.
$3.00
2.75 €
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Guitar
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Christian Petzold
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Minuet in G
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All Music
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SheetMusicPlus
Minuet in G minor (BWV Anh. 115)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1269357 Composed by Christian Petz…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1269357 Composed by Christian Petzold. Arranged by Pedro Abreu. Baroque. Individual part. 1 pages. All Music #861877. Published by All Music (A0.1269357). This is a guitar arrangement of one of the two minuets (BWV Anh. 114 and 115) from a suite for harpsichord by Christian Petzold (1677 - 1733), which were included in the 1725 Notebook for Anna Magdalena Bach and thus previously attributed to Johann Sebastian Bach (1685 - 1750).The minuet has been meticulously transcribed for the guitar by Pedro Abreu (b. 1977) in 2022, and features the same ornaments as the ones included in the 1725 Notebook for Anna Magdalena Bach. Abreu's attention to detail is reflected in the carefully crafted fingering, which balances the stylistic expectations of the era with the technical possibilities of the guitar.The written score showcases the delicate nuances of this arrangement, which highlights the guitar's ability to convey the richness and depth of Baroque music.
$3.00
2.75 €
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Guitar
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Christian Petzold
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Minuet in G minor
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All Music
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SheetMusicPlus
Heartbeats
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1268428 By Jose Gonzalez. By Karin…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1268428 By Jose Gonzalez. By Karin Dreijer Andersson and Olof Dreijer. Arranged by Pablo Alcázar. 21st Century,Pop,Singer/Songwriter,Wedding. Individual part. 6 pages. Pablo Alcázar #860970. Published by Pablo Alcázar (A0.1268428). Arrangement for solo guitar of the famous song Heartbeats. This arrange by Pablo Alcázar, professional guitarist arranger and composer, is for intermediate players that want a challenge to play or for professional guitarist that want some new repertoire for wedding gigs or concerts. It includes the full voice melody line aswell as the full guitar line from the original song. This arrangement uses the 3º string on F# and the 6º string on D and the reading doesn't include the real notes you are playing but the translation of a normal tuning reading to make things easier. Also you can check the strings on the tablature in case you need to play in different positions.This is the Lyrics of the song:One night to be confusedOne night to speed up truthWe had a promise, babeFour hands and then awayBoth under influenceWe had divine senseTo know what to sayMind is a razor bladeTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noOne night of magic rushThe start a simple touchOne night to push and screamAnd then reliefTen days of perfect huesThe colors red and blueWe had a promise, babeWe were in loveTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enoughAnd youYou knew the hand of the devilAnd youKept us awake with wolves teethSharing different heartbeatsIn one nightTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enough.
$4.99
4.58 €
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Guitar
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Jose Gonzalez
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Heartbeats
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Pablo Alcázar
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SheetMusicPlus
Deck the Halls - ELECTRIC GUITAR & PIANO - D Major
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.834548 By MAJOR SCORE PUBLISHING T…
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Solo Guitar - Level 3 - Digital Download SKU: A0.834548 By MAJOR SCORE PUBLISHING TM. By Thomas Oliphant. Arranged by MAJOR SCORE PUBLISHING TM. Christmas,Contemporary,Jazz,Pop. Individual part. 25 pages. Major Score Publishing #6101991. Published by Major Score Publishing (A0.834548). Adapted with beautifully satisfying & tasteful jazz harmony with original melody, this holiday classic has never sounded more pleasing to the listener and performer. Designed for students, teachers and performers of all ages this sheet music download is a must have for your holiday enjoyment. You will receive a fully written out part for Guitar & Piano, Concert Lead sheet (with chords & lyrics for small jazz groups, and a lyrics page in case your listeners wish to sing along! Full performance demo on the Youtube link (performed in concert Eb Major for demo purpose). Check out all of our Holiday Sheet music available on our website such as Let it Go, All I Want for Christmas is You, Silent Night, Joy to the World, O Christmas Tree, You're a mean one Mr Grinch. Buy Deck the halls sheet music today! Stop by on our IG page as well @majorscorepublishing. Happy Holidays!
$5.99
5.5 €
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Guitar
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MAJOR SCORE PUBLISHING TM
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Deck the Halls - ELECTRIC GUITAR & PIANO - D Major
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Major Score Publishing
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SheetMusicPlus
Love Begins
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1000128 Composed by Denny Dlabal. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1000128 Composed by Denny Dlabal. Baroque,Contemporary,Folk,Jazz,Pop. Individual part. 3 pages. Denny Dlabal #6492291. Published by Denny Dlabal (A0.1000128). This is a song composed for solo pick style guitar. The song has chords included in case other instruments want to accompany the melody like the piano or another guitar. The song can be played with one instrument and the melody flows well because the chords are outlined in the melody. The melody follows the chord changes. This would be a good song to help show someone how chord changes work within a melody.
$2.99
2.74 €
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Guitar
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Denny Dlabal
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Love Begins
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Denny Dlabal
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SheetMusicPlus
Morenita Do Brazil
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1469463 Composed by Giuseppe Farra…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1469463 Composed by Giuseppe Farrauto. Arranged by Andrew Howes. 20th Century,Latin. Individual part. 2 pages. Andrew Howes #1047491. Published by Andrew Howes (A0.1469463). A reduction of this catchy Latin-American guitar duet for solo classical guitar in case you'd like to play it on your own. I arranged it for myself as a busking/café number for an upcoming gig.
$5.00
4.59 €
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Guitar
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Giuseppe Farrauto
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Morenita Do Brazil
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Andrew Howes
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SheetMusicPlus
Another Suitcase In Another Hall (from Evita)
Guitar
Solo Guitar - Digital Download SKU: HX.403893 This edition: scorch. Broadway. Indiv…
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Solo Guitar - Digital Download SKU: HX.403893 This edition: scorch. Broadway. Individual part. 3 pages. Published by Hal Leonard - Digital (HX.403893).
$4.99
4.58 €
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Guitar
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Another Suitcase In Another Hall
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Hal Leonard - Digital
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SheetMusicPlus
My Old Kentucky Home
Guitar
Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arr…
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Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. Tips:1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.
$1.99
1.83 €
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Guitar
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Stephen Foster
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My Old Kentucky Home
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Brian Streckfus
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SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.42 €
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Guitar
#
Richard Strauss
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.42 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
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
6.42 €
#
Guitar
#
Richard Strauss
#
Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.42 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Lyric Suite
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.59 €
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Guitar
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Alban Berg
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
#
SheetMusicPlus
'Change of scene' from Act III of Wozzeck
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arr…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.59 €
#
Guitar
#
Alban Berg
#
'Change of scene' from Act III of Wozzeck
#
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
4.59 €
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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
#
SheetMusicPlus
Instant Guitar Chord Finder
Guitar
Guitar (flatpicking) - Beginning; Intermediate; Advanced - Digital Download SKU: M0.947…
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Guitar (flatpicking) - Beginning; Intermediate; Advanced - Digital Download SKU: M0.94794EB Composed by William Bay. Rock & Blues. E-book. Mel Bay Publications - Digital Sheet Music #94794EB. Published by Mel Bay Publications - Digital Sheet Music (M0.94794EB). ISBN 9781609741907. 8.75x11.75 inches.Here’s a quick reference guide to essential guitar chord forms. Every chord is spelled out in notation indicating each note’s position or function within the chord (Root, 3rd, 5th, 7th, etc.). The three most popular forms of each particular chord are shown in three different locations on the guitar fretboard. A diagram of the entire fretboard reveals the location of every tonic or root tone for each chord. In addition, handy side tabs help you locate the exact chord form needed in seconds. This book is available in full-size (94794) or reduced case-size (94824) editions. From each tonic note, the following chords are presented in multiple forms: Major, Minor, Dominant 7th, Diminished, Augmented, Minor Seventh, Sixth, 7#5, 7b5, Major 7th, Major 7b3, Minor 7b5, 7sus4, Minor 6th, 9th, Major 9th, 9#5, 9b5, 7b9, 7#9, 6 add 9, 7#9, 11th, Augmented 11th, 13th, 13 b9, 13 b9 b5. That’s some 324 chords in all. Just imagine what you might do with them!
$12.99
11.92 €
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Guitar
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William Bay
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Intermediate
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Instant Guitar Chord Finder
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Sons De Carrilhoes
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.1009135 Composed by Joao Teixeira …
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Solo Guitar - Level 2 - Digital Download SKU: A0.1009135 Composed by Joao Teixeira Guimaraes. Arranged by Kayo Oliver. Contemporary. Individual part. 2 pages. Kayo Oliver #6360567. Published by Kayo Oliver (A0.1009135). JOÃO PERNAMBUCO (João Teixeira Guimarães) died in 1947. Brazilian, son of an indigenous mother and Portuguese father, he started playing the country guitar in childhood, due to the influence of local singers and guitarists. He began to compose regionally inspired songs, based on folk songs. This is the case of the hymn Luar do Sertão (Moonlight of the Hinterland), composed in 1911, his greatest success, not credited by the lyricist partner Catulo da Paixão, who remained as the only author. He was also part of the Caxangá Group, which was dressed in typical clothes and was quite successful in the 10's. He also participated in Turunas Pernambucanos and Oito Batutas, alongside Pixinguinha. He composed several instrumental pieces for guitar, among which Sons De Carrilhoes (Chimes Sounds) stands out. Her work is a reference for guitarists who constantly re-record it.
$4.99
4.58 €
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Guitar
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Joao Teixeira Guimaraes
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Sons De Carrilhoes
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Kayo Oliver
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SheetMusicPlus
Professor Burble's 2nd Invention for guitar solo (mp3)
Guitar
Guitar - Level 4 - Digital Download SKU: A0.1267923 By David Warin Solomons. By Dav…
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Guitar - Level 4 - Digital Download SKU: A0.1267923 By David Warin Solomons. By David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 296. David Warin Solomons #860474. Published by David Warin Solomons (A0.1267923). This is the second in the series of Inventions by my fictitious character Professor Burble whom I created back in the 1970s to cover my more adventurous compositions.In this case the original idea for the tune came from a scrap of paper given to me by the Princess of Pembroke Collegein Oxford in 1972.It appears in various subsequent compositions including a tuba quartet and a short story called the Duchess' Tune.
$4.50
4.13 €
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Guitar
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David Warin Solomons
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Professor Burble's 2nd Invention for guitar solo
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David Warin Solomons
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SheetMusicPlus
Wonderful Tonight
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.854409 By Eric Clapton. By Eric Cl…
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Solo Guitar - Level 3 - Digital Download SKU: A0.854409 By Eric Clapton. By Eric Clapton. Arranged by Albrecht Kuch-Weidenbrück. Contemporary. Individual part. 3 pages. Albrecht Kuch-Weidenbrück #6329429. Published by Albrecht Kuch-Weidenbrück (A0.854409). Here is an arrangement for guitar solo. It sounds good on nylon string guitar, but also on steel string guitar. If you want you can add some percussion effects in the intro and in the interludes. In this case, the left hand does the tones and the right hand does the percussive part. It's not easy, but very fun. Check it out.Hier ist ein Arrangement für Gitarre Solo. Es klingt gut auf der Nylonsaiten gitarre, aber auch auf der Stahlsaitengitarre . Wenn Sie möchten können sie im Intro und in den Zwischenspielen einige Percussioneffekte dazu fügen. In diesem Fall macht die linke Hand die Töne und die rechte Hand den percussiven Teil. Das ist nicht einfach, macht aber Spaß. Probieren Sie es aus.
$4.99
4.58 €
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Guitar
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Eric Clapton
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Wonderful Tonight
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Albrecht Kuch-Weidenbrück
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SheetMusicPlus
Spring
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1236977 By Andrew Howes. By Andrew…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1236977 By Andrew Howes. By Andrew Howes. 21st Century,Classical,Contemporary. Individual part. 2 pages. Andrew Howes #832513. Published by Andrew Howes (A0.1236977). Spring: The fourth movement from my suite for classical guitar, written as a response to a seasonal cycle of poems by my friend David Dayson, centred on Eyeworth Pond at Fritham in the New Forest.This movement is energetic and capricious, episodic in nature, juxtaposing wind and rain, storm and quietude. It makes use of quartal and triadic harmonies, note-clusters. the remaining movements are available as single-sheet publications or as the complete work, in this case with or without tab.
$4.00
3.67 €
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Guitar
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Andrew Howes
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Spring
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Andrew Howes
#
SheetMusicPlus
RAMEAU - Nouvelles Suites de Pièces de Clavecin | Guitar | Hard
Guitar
Solo Guitar - Level 5 - Digital Download SKU: A0.1458187 Composed by Jean-Philippe …
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Solo Guitar - Level 5 - Digital Download SKU: A0.1458187 Composed by Jean-Philippe Rameau. Arranged by Maël Fauvy. Baroque,Classical. Individual part. 20 pages. Mfp Éditions #1037163. Published by Mfp Éditions (A0.1458187). Composer : Jean-Philippe RameauArrangement & fingerings : Maël FauvyLevel : Advanced - Grades III & highter4 pieces for guitar : Sarabande, Les Trois Mains, L’Enharmonique, L’Égyptienne — 8 pages […] The effect that we experience in the twelfth measure of the reprise of the Enharmonic will perhaps not initially be to everyone's taste; However, we become accustomed to it as long as we give ourselves to it, and we even feel all the beauty of it when we have overcome the first repugnance that the lack of habit can cause in this case. The harmonic which causes this effect is not thrown at random; it is founded on reasons, and authorized by nature itself: for connoisseurs it is the most piquant thing; but the execution must support the intention of the Author, by softening the touch, and by suspending the Coulés more and more as we approach the striking feature, where we must stop for a moment. moment, […] ” Jean-Philippe Rameau, Preface, New Suites of Harpsichord Pieces.
$30.00
27.53 €
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Guitar
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Jean-Philippe Rameau
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RAMEAU - Nouvelles Suites de Pièces de Clavecin | Guitar | Hard
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Mfp Éditions
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SheetMusicPlus
Carson Cooman: Dionis Dreaming (2002) for mandolin and guitar
Guitar
Solo Guitar - Level 5 - Digital Download SKU: A0.533634 Composed by Carson Cooman. …
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Solo Guitar - Level 5 - Digital Download SKU: A0.533634 Composed by Carson Cooman. Concert,Contemporary,Standards. Individual part. 18 pages. Musik Fabrik Music Publishing #3034035. Published by Musik Fabrik Music Publishing (A0.533634). Dionis Dreaming (2002) for mandolin and guitar was commissioned by Duo Ahlert andSchwab.The title refers to Dionis, a beach region on the north shore of Nantucket Island,Massachusetts USA. This work is one of a variety of pieces deeply connected to thelandscape of Nantucket. In this case, the work is about memory and psychological journeys,using the landscape of Dionis as a starting point. The material is one score for two players. Two copies should be printed.I. Obsessions and MemoriesII. Dune Dream (Fragment in the Sand)III. North Shore (Cantilena)IV. Spirit and Release
$25.95
23.81 €
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Guitar
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Carson Cooman
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Carson Cooman: Dionis Dreaming
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Musik Fabrik Music Publishing
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SheetMusicPlus
Fledgling Blackbird
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1142470 By Dan Jones. By Dan Jones…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1142470 By Dan Jones. By Dan Jones www.danjonesguitarist.com. Classical,Country,Folk,Instructional. Individual part. 4 pages. DanJonesGuitarist #742837. Published by DanJonesGuitarist (A0.1142470). Fledgling Blackbird by Dan Jones www.danjonesguitarist.com As a guitarist and teacher with nearly 30 years of experience, one piece which many guitarists of all styles are keen to play is Paul McCartney's beautiful acoustic ballad, 'Blackbird'. The key to mastering this particular song is to learn the right hand (or left hand in McCartney's case!) picking pattern. It is based on a repeated thumb movement which alternates rapidly, on the beat, between two bass notes on different strings. Once this is mastered, the player can tackle the considerable fretting-hand challenges of the song. I wanted to compose a piece which could hold its own musically in a performance, but also give the learner the chance to master the country-inspired 'Blackbird' picking pattern, with fewer challenges for the fretting hand. I hope that 'Fledgling Blackbird' achieves these aims. For a wealth of compositions, arrangements, writings, teaching materials and much more, please visit www.danjonesguitarist.com Dan Jones, December 2022.
$3.50
3.21 €
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Guitar
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Dan Jones
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Fledgling Blackbird
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DanJonesGuitarist
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SheetMusicPlus
Tombeau de Sébastien I for guitar solo
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.958530 Composed by Joseph Dillon F…
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Solo Guitar - Level 2 - Digital Download SKU: A0.958530 Composed by Joseph Dillon Ford. 20th Century,Contemporary. Individual part. 1 pages. David Warin Solomons2 #3925253. Published by David Warin Solomons2 (A0.958530). The title of this solo-Tombeau-literally means tomb, in a musical sense similar to that used by composers from the seventeenth through the twentieth centuries for pieces intended to honor the memory of distinguished personages. From early times, it has been customary for the creators of tombeaux and similar works to make at least some allusion to the styles of those composers they have chosen to commemorate musically. In this case, the baroque style is vividly evoked, with particular reference to the sonatas of J. S. Bach.
$6.00
5.51 €
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Guitar
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Joseph Dillon Ford
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Tombeau de Sébastien I for guitar solo
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David Warin Solomons2
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SheetMusicPlus
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