Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
17
Digital
Sheet Music
68
Sheet Music
Books
164
Music
Equipment
1,057
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
1570
PIANO & KEYBOARDS
Piano solo
467
Easy Piano
106
1 Piano, 4 hands
105
Piano Accompaniment
90
Piano, Voice
78
Piano, Vocal and Guitar
55
Organ
40
C Instruments
38
Piano Trio: piano, violin, cello
37
2 Pianos, 4 hands
20
Piano (band part)
6
Piano Quartet: piano, violin, viola, cello
4
Piano Quintet: piano, 2 violins, viola, cello
3
Piano Quartet: piano, 2 violins, cello
3
2 Pianos, 8 hands
2
Accordion
1
Organ, Piano (duet)
1
Instrumentations suivantes
Retracter
GUITARS
Guitar
68
Guitar notes and tablatures
59
Ukulele
25
2 Guitars (duet)
15
Melody line, (Lyrics) and Chords
15
Guitar (band part)
14
Lyrics and Chords
3
4 Guitars (Quartet)
3
2 Dulcimers (duet)
3
Mandolin
3
2 Ukuleles
2
Mandolin, Guitar (duet)
2
Piano, Guitar (duet)
2
3 Guitars (trio)
2
Bass guitar
2
Guitar Ensemble
1
Lap Steel Guitar
1
Baritone Ukulele
1
Banjo
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
265
Choral TTBB
79
Choral SSAA
53
Choral 2-part
49
Choral 3-part
48
Choral Unison
42
Soprano voice, Piano
11
Baritone voice, Piano
7
Vocal duet
6
Vocal duet, Piano
6
High voice
5
Tenor voice, Piano
4
Medium voice, Piano
3
Tenor voice
2
Choral SSAATTBB
2
Voice solo
1
Soprano voice, Orchestra
1
Choral SSATB
1
Low voice, Piano
1
Alto voice, Piano
1
Choral SSAB, Piano
1
Instrumentations suivantes
Retracter
WOODWIND
Saxophone Quartet: 4 saxophones
156
2 Saxophones (duet)
109
Alto Saxophone and Piano
91
Saxophone (band part)
89
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
80
Flute and Piano
71
Saxophone Quintet: 5 Saxophones
63
Tenor Saxophone and Piano
58
Clarinet and Piano
43
2 Clarinets (duet)
42
2 Flutes (duet)
41
Oboe, Piano (duet)
38
3 Saxophones (trio)
35
Alto Saxophone
34
Clarinet Quartet: 4 clarinets
32
Saxophone ensemble
31
Saxophone, Clarinet (duet)
30
Clarinet
29
Flute
27
Baritone Saxophone, Piano
27
Flute, Oboe, Clarinet, Bassoon
25
2 Flutes, Piano
25
Tenor Saxophone
24
Soprano Saxophone and Piano
22
Clarinet Ensemble
19
Clarinet, Violin (duet)
18
Flute ensemble
17
2 Oboes (duet)
15
Clarinet, Trumpet (duet)
14
Oboe, Bassoon (duet)
14
Flute Quartet: 4 flutes
14
Clarinet Quintet: 5 clarinets
14
Flute, Clarinet (duet)
14
Oboe (band part)
13
Flute, Saxophone (duet)
12
Flute and Guitar
11
Oboe, Clarinet (duet)
11
Flute Quintet : 5 flutes
10
English horn, Piano
10
Flute, Violin
9
Flute, Trumpet (duet)
9
Clarinet and Viola
9
Oboe, Flute
8
Flute Trio: 3 flutes
8
Bass Clarinet, Piano
7
3 Clarinets (trio)
7
Recorder Quartet
7
Flute, Viola (duet)
6
2 Recorders (duet)
6
Soprano Saxophone
5
Oboe, Clarinet, Bassoon (trio)
5
Clarinet, Bassoon (duet)
5
Clarinet (band part)
4
Treble (Alto) Recorder
4
3 Recorders (trio)
4
Saxophone
3
Flute, Oboe (duet)
3
Flute, Oboe, Clarinet (trio)
3
Oboe, Guitar (duet)
3
Flute (band part)
3
5 Recorders
3
Flute, Clarinet and Bassoon.
3
Saxophone and Guitar
2
Clarinet, Harp (duet)
2
Oboe
2
Recorder
2
Baritone Saxophone
2
Flute, Oboe, Bassoon
2
Flute, Bassoon, and Piano
2
Clarinet, Cello (duet)
2
Flute, Viola and harp
1
Flute, Oboe, Piano (trio)
1
Flute, Harp and Cello
1
2 Clarinets, Piano
1
Descant (Soprano) Recorder
1
3 Oboes
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
Flute, Violin and Violoncello
1
Flute, Violoncello
1
Oboe, Bassoon and Piano
1
English Horn
1
Recorder, Piano
1
Oboe, Harp
1
Piccolo, Piano
1
Clarinet, Guitar (duet)
1
Oboe ensemble
1
Oboe, Violin (duet)
1
Flute, harp and violin
1
Recorder Ensemble
1
Clarinet, Trombone (duet)
1
Harmonica
1
Oboe, Cello
1
Flute, Clarinet, Piano (trio)
1
Tenor Recorder
1
Clarinet Quintet: Clarinet, String Quartet
1
2 Saxophones, Piano
1
Instrumentations suivantes
Retracter
WOODBRASS
Brass Quintet: 2 trumpets, horn, trombone, tuba
205
Brass quartet : 2 trumpets, trombone, tuba
99
Trombone (band part)
80
Trombone and Piano
78
Trombone
41
Trumpet
38
2 Trombones (duet)
32
Brass Quartet: 4 trombones
30
Brass Quartet
27
French Horn and Piano
27
Trumpet, Trombone (duet)
26
Trumpet (band part)
24
Trumpet, Piano
23
Trumpet, Saxophone (duet)
21
2 Trumpets (duet)
21
Euphonium, Piano (duet)
18
Brass Quartet: 2 trumpets, horn, trombone
17
Trombone ensemble
14
French horn
12
Tuba and Piano
11
Tuba
10
English horn, Piano
10
2 French horns (duet)
9
Trumpet, Horn (duert)
8
Trumpet ensemble
8
3 Trombones (trio)
7
Brass Quartet: 4 horns
7
Brass Trio
6
Horn Ensemble
5
4 Tubas
5
French horn (band part)
4
2 Tubas (duet)
4
Brass Quartet: 4 trumpets
4
2 Euphoniums and 2 Tubas
3
3 Tubas (trio)
3
Tuba (band part)
3
Trombone, Horn (duet)
2
Tuba and Organ
2
Bass Trombone and Piano
2
Bass Trombone
2
Brass Quartet: 2 trumpets, 2 trombones
1
Clarinet, Horn (duet)
1
Bass Clef Instruments
1
English Horn
1
3 Trumpets (trio)
1
Trumpet, Trombone, Piano
1
3 French horns (trio)
1
Euphonium, Tuba (duet)
1
Trombone, Organ
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
283
Violin, Cello (duet)
167
Violin
156
String Trio: violin, viola, cello
149
Violin and Piano
131
Cello, Piano
80
2 Violins (duet)
47
Viola, Piano
43
Harp
33
String Quintet: 2 violins, viola, cello, bass
26
2 Cellos (duet)
26
Cello
26
Violin, Viola (duet)
20
2 Violas (duet)
19
String Trio: 2 violins, cello
16
Doublebass (band part)
11
Viola
11
Double Bass
10
Viola (band part)
9
Viola, Cello (duet)
8
String Trio: 3 cellos
7
Double bass, Piano (duet)
7
4 Cellos
7
String quartet: 4 violins
7
Violin (band part)
5
String Trio: 3 violas
4
String Trio: 3 violins
4
2 Double basses (duet)
4
Piano Trio: Violin, Viola, Piano
4
String Quartet : 4 violas
4
Harp, Flute (duet)
3
Violin ensemble
3
Violin, Guitar (duet)
3
String Quintet: 2 violins, 2 violas, cello
3
Cello, String Bass (duet)
2
Harp, Violin (duet)
2
3 Harps
2
5 Harps
2
Cello, Organ
1
2 Harps (duet)
1
Cello (band part)
1
Violin, Clarinet, Piano (trio)
1
Viola ensemble
1
Cello, Guitar (duet)
1
Harp, Trombone (duet)
1
Flute, Doublebass (duet)
1
Harp, Voice
1
String Trio: 2 violins, viola
1
Harp and Piano
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
395
String Orchestra
164
Brass ensemble
109
Orchestra
108
Jazz Ensemble
55
Chamber Orchestra
45
Handbells
29
Jazz combo
24
Percussion Ensemble
22
Marching band
11
Drum (band part)
6
Xylophone, Piano
6
Drums
4
Percussion (band part)
2
Percussion
2
Orchestra, Violin
2
Piano and Orchestra
1
Marimba
1
2 Xylophones
1
Marimba, Piano (duet)
1
Xylophone
1
School Ensemble
1
Instrumentations suivantes
Retracter
OTHERS
You've selected:
Second To One
Guitar
Sheetmusic to print
68 sheet music found
<
1
26
51
Study: Secondary Dominance
Guitar
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1163714 Composed by Brian…
(+)
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1163714 Composed by Brian Streckfus. Classical,Contemporary,Instructional,Romantic Period. Score. 1 pages. Brian Streckfus #764059. Published by Brian Streckfus (A0.1163714). This piece gives practice in understanding sophisticated chord progressions that use secondary dominance (temporary key changes). For Example:Key of E minor:G E7 Am The E7 chord does not belong (diatonic) in the key of E minor. However, it is the V7 chord of the A minor chord. Therefor, the E7 chord is a dominant chord, it is just not the primary dominant 7th chord in the key of e minor, it's a secondary one. In measure 13 of this piece there is a G#dim7 chord that leads steretypically to A minor. This is the same trick explained earlier, just the chords are ever so slightly different by one note, drastically changing the name of the chord. G#dim7 does not belong (diatonic) in the key of E minor. Tips:1. Secondary dominance allows a composer to get to any chord and key in a seamless sounding way.2. Secondary dominance is a common way to incorporate more chromaticism in compositions.
$1.99
1.78 €
#
Guitar
#
Brian Streckfus
#
Study: Secondary Dominance
#
Brian Streckfus
#
SheetMusicPlus
"Tone Poem No. 2 (Stars of the Desert Sky)" for solo classical fingerstyle guitar
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1375434 By Keith Gehle. By Keith W…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1375434 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #960008. Published by Keith Gehle (A0.1375434). “Tone Poem No. 2 (Stars of the Desert Sky)†is the closing track of Keith’s 2016 album entitled Space and Time and the second in a series of close to ten pieces he's written under the title of “tone poemâ€. An interesting feature of “Stars of the Desert Sky†is that it incorporates an altered tuning of the 5th string (down to G) and the 3rd string (down to F#). This “open†tuning gives the piece a droning effect and is relatively easy to play. The title refers to Keith’s late brother Ken’s many photos of the landscape of the desert southwest and the particular beauty of the night sky far from city lights. While the recorded version of this piece features additional instruments including percussion, the music also works well as a guitar solo. This PDF includes detailed fingerings in standard notation. There’s also a version available with TAB on this site.
$2.99
2.68 €
#
Guitar
#
Keith Gehle
#
"Tone Poem No. 2
#
Keith Gehle
#
SheetMusicPlus
Understanding How to Build Guitar Chords and Arpeggios
Guitar
Guitar (jazz and contemporary) - Multiple Levels - Digital Download Composed by Micha…
(+)
Guitar (jazz and contemporary) - Multiple Levels - Digital Download Composed by Michael Policastro. Theory and Reference. Style. E-book. 232 pages. Mel Bay Publications - Digital Sheet Music #98287EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609742324.<br> <br> The first part of this edition teaches a very specific portion of music theory with the goal of providing a thorough foundation for building chords and arpeggios. The second part reveals the unique fingerboard patterns arising from the nature of the guitar's six-string tuning and applies these essential patterns to teaching every aspect of building chords and arpeggios for the guitar. Clear illustrations are abundant throughout this text, making its wealth of information easier to learn and apply. This book is accessible to those who have never learned to read music notation, presenting ideas that anyone can understand and utilize. Self-tests are featured at the end of each chapter facilitating complete and thorough comprehension. Even though this text accelerates rapidly through intermediate and advanced levels, it will also benefit the beginner with no previous musical experience.
$27.99
25.09 €
#
Guitar
#
Michael Policastro
#
Understanding How to Build Guitar Chords and Arpeggios
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Sonata No. 6 "Kharkiv", Op. 48
Guitar
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh.…
(+)
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95
7.12 €
#
Guitar
#
Konstantin Bliokh
#
Sonata No. 6 "Kharkiv", Op. 48
#
Les Productions d'OZ - Digital
#
SheetMusicPlus
Preludio
Guitar
Guitar - easy to intermediate - Digital Download SKU: S9.Q46314 130 Easy Concert…
(+)
Guitar - easy to intermediate - Digital Download SKU: S9.Q46314 130 Easy Concert Pieces from 6 Centuries for Guitar (easy). This edition: Sheet music. Guitar - classical music - original pieces. Guitarissimo. 130 leichte Vortragsstücke aus 6 Jahrhunderten für Gitarre. Downloadable. Schott Music - Digital #Q46314. Published by Schott Music - Digital (S9.Q46314). Preludio contains 130 easy attractive performance pieces from six centuries, thus offering the most important pieces for beginners' guitar lessons in one comprehensive volume. The repertoire is ideal for first performances at music schools, as pieces for competitions and examinations or just as a 'treasure trove' for teachers, pupils, students, and guitar lovers. The selected pieces can be played in the second to fourth year of guitar lessons. They are divided chronologically into five chapters and arranged progressively according to their level of difficulty. Each chapter refers to another epoch: Renaissance – Baroque – Classical period – Romanticism and early 20th century – modern, pop and world music. The result is a tune book which can already be used during or immediately after studying any guitar method. Most pieces can be played in the 1st and 2nd positions, without requiring any barré fingering or ties and slurs. The somewhat more difficult pieces that require small and large barré fingering as well as position playing are placed at the end of each chapter. The majority of the pieces are original works, and the editors have refrained from making any radical simplifications. Only a few difficult passages have alternatively been made easier to play such that the level of difficulty within a piece does not vary too much.
$21.99
19.71 €
#
Guitar
#
Preludio
#
Schott Music - Digital
#
SheetMusicPlus
Gorgeous Melodies for Fingerpicking Guitar
Guitar
Guitar - Intermediate - Digital Download SKU: M0.31129MEB World. Folk. Ebook and on…
(+)
Guitar - Intermediate - Digital Download SKU: M0.31129MEB World. Folk. Ebook and online audio. 57 pages. Mel Bay Publications - Digital Sheet Music #31129MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.31129MEB). ISBN 9781513476896. 8.75X11.75 inches.The name of this book is no exaggeration. It includes some of the most gorgeous music that the authors El McMeen and Sandy Shalk know. To make things even more interesting, none of the music was originally written for guitar.In addition to Celtic favorites, El includes his arrangements of two of the most beautiful arias in all of opera: Che Gelida Manina from Puccinis La Boheme and My Heart at Thy Sweet Voice ôMon Coeur Souvre ? ta Voixö from Samson and Delilah by Camille Saint-Sa?ns. Sandys contributions range from Celtic to French love songs to Stephen Foster, manifesting Sandys gift for chordal subtleties and innovation.Each piece is in either standard tuning EADGBE or Drop D tuning DADGBE .Written in standard notation and tablature with computer generated audio files of each arrangement.
Song List: Once to Every Man and Nation (Thomas J. Williams) Castle Of Dromore Jesu, Joy of Man's Desiring (J S Bach) Hector the Hero (J Scott Skinner) Niel Gow's Lament for the Death of His Second Wife Che Gelida Manina (Giacomo Puccini) Plaisir D'Amour (Jean-Paul-Egide Martini) El Noi De La Mare Beautiful Dreamer (Stephen Foster) My Heart at Thy Sweet Voice (Camille Saint-Saens) Pavane, Op No 50 (Gabriel Faure) The Fairy Queen (Turlough O'Carolan)
$17.99
16.12 €
#
Guitar
#
Gorgeous Melodies for Fingerpicking Guitar
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
How the Cowboy Makes his Lariat
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1013060 Composed by Christine Sout…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1013060 Composed by Christine Southworth. 20th Century,Contemporary. Individual part. 5 pages. Airplane Ears Music #5802099. Published by Airplane Ears Music (A0.1013060). How the Cowboy Makes His Lariat (2010, 3:20)two acoustic guitarsCommissioned by National Film Preservation Foundation for Treasures [from American Film Archives] V: The [American] West. How the Cowboy Makes His Lariat (1917) Production Company: Bray Studios Inc., for Paramount-Bray-Pictographs. Cast: Pedro León. Transfer Note: Copied at 20 frames per second from a 35mm print preserved by George Eastman House. New Music: Christine Southworth (score), Charles Whalen (guitar), Evan Ziporyn (whistling). Commentary: Donald W. Reeves. Running Time: 3 minutes. Featured in Treasures 5: The West, 1898-1938.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic ideas. Inspired by intersections of technology and art, nature and machines, and musics from cultures around the world, her music employs sounds from man and nature, from Van de Graaff Generators to honeybees, Balinese gamelan to seismic data from volcanoes. Website: www.kotekan.com
$5.00
4.48 €
#
Guitar
#
Christine Southworth
#
How the Cowboy Makes his Lariat
#
Airplane Ears Music
#
SheetMusicPlus
Le chemin de croix / Labyrinthe
Guitar
Guitar - Digital Download SKU: ZZ.DZ-4280 Composed by Francis Kleynjans. Score. 12 …
(+)
Guitar - Digital Download SKU: ZZ.DZ-4280 Composed by Francis Kleynjans. Score. 12 pages. Les Productions d'OZ - Digital #DZ 4280. Published by Les Productions d'OZ - Digital (ZZ.DZ-4280). C’est un beau voyage aux travers des tonalités que je vous propose avec ces deux pièces.La première Le chemin de croix expriment les 14 tableaux de la Passion du Christ par l’intermédiaire d’un simple arpège et de 14 tonalités différentes. Les 12 tonalités mineures qui débutent l’œuvre de façon parfaitement naturelle (ré, la, mi, si, fa#, do#, sol#, ré#, sib, fa, do, sol) sont suivi par deux tonalités majeures (ré et la) qui viennent conclurent l’œuvre comme une triomphante délivrance.La deuxième pièce Labyrinthe reprend le même principe, mais de façon différente. Avec un autre arpège et des tonalités majeures et mineures qui s’enchainent en s’alternant d’une façon naturelle par le biais d’une légère mutation, nous égarant dans les méandres des tonalités, pour enfin nous retrouver dans le ton original, nous délivrant ainsi de ce grand labyrinthe (do, lam, ré, sim, mi, do#m, fa#, ré#m, lab, fam et do).J’espère que les découvreurs de ces pièces auront le même plaisir que j’ai eu à les composer pour eux.Francis KleynjansIt’s a beautiful journey through the tones that I offer you with these two pieces.The first The Stations of the Cross express the 14 scenes of the Passion of Christ through a simple arpeggio and 14 different tones. The 12 minor keys which begin the work in a perfectly natural way (D, A, E, B, F#, C#, G#, D#, Bb, F, C, G) are followed by two major keys (D and the) who come conclude the work as a triumphant deliverance.The second piece Labyrinthe uses the same principle, but in a different way. With another arpeggio and major and minor tones which follow one another alternating in a natural way through a slight mutation, leading us astray in the meanders of the tones, to finally find ourselves in the original tone, we thus delivering from this great labyrinth (do, lam, re, sim, mi, do#m, fa#, re#m, ab, fam and do).I hope that the discoverers of these pieces will have the same pleasure that I had in composing them for them.Francis Kleynjans.
$7.95
7.12 €
#
Guitar
#
Francis Kleynjans
#
Le chemin de croix / Labyrinthe
#
Les Productions d'OZ - Digital
#
SheetMusicPlus
Analysia's Margarita
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.954945 Composed by Jim Bosse. Conc…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.954945 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 8 pages. Jim Bosse #4574665. Published by Jim Bosse (A0.954945). This is the second movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grankids that I had at that time (2005). This version is for classical guitar solo. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Analysia's Margarita was inspired by a street merchant melody that I heard in the Andes. I used this melody to give this piece a Peruvean flavor. Performance time is 3 minutes and 34 seconds with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
1.78 €
#
Guitar
#
Jim Bosse
#
piece
#
Analysia's Margarita
#
Jim Bosse
#
SheetMusicPlus
EL LIBRO DE ARTEMIDORO, Op.63, for guitar
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1029294 Composed by CÉSAR CANO…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1029294 Composed by CÉSAR CANO. Contemporary,World. Individual part. 35 pages. POLYHYMNIA Ediciones musicales #4799751. Published by POLYHYMNIA Ediciones musicales (A0.1029294). In the second century AD, Artemidoro de Daldis (135-200), a very cultured man who had traveled a lot, contemporary of Emperor Marco Aurelio, wrote in Ephesus his work Symbolism of Dreams (Oneirocritica). In it he tried to create a systematic theory for the interpretation of dreams, based on experience. Artemidoro claimed that he had written his work in five volumes by express order of the god Apollo, who had appeared several times in his dreams. In his fascinating book he distinguishes five kinds of dreams: Dream, Vision, Oracle, Appearance and Fantasy. Artemidoro’s book, Op. 63, is a work for guitar in five movements, which take their titles as the kinds of dreams mentioned above: Dream, Vision, Oracle, Appearance and Fantasy. It is an extensive composition, 19 minutes long, and with a great variety of compositional and instrumental techniques: the performer, who is asked for a lot of versatility and imagination, has to play glissandi, harmonics, pizzicati, bells, loops, metric modulations, ordinary and muted strokes, microtones, distortions, various kinds of bumps in the box, etc. The five movements share a special scordature and the same melodic, harmonic and rhythmic material, which is transformed according to the dreamlike atmosphere of the piece, but always maintaining each of the structural elements a recognizable identity. The multiple presences of these essential identities throughout the work articulate the complex form of the Book. I finished the composition of The Book of Artemidoro on April 24, 2006. The work is dedicated to guitarist José Guerola, who premiered it at the Vivanco Palace in Catarroja (Spain), on May 5, 2006.
$6.99
6.26 €
#
Guitar
#
CÉSAR CANO
#
EL LIBRO DE ARTEMIDORO, Op.63, for guitar
#
POLYHYMNIA Ediciones musicales
#
SheetMusicPlus
Serenata Española. New completely revised and fingered edition based on original sources,
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1449751 Composed by Joaquín Malat…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1449751 Composed by Joaquín Malats (1872 - 1912). Arranged by Pedro Jesús Gómez (arranger) & Juan Velázquez (editor). 19th Century,Romantic Period. Individual part. 12 pages. Pedro Jesús Gómez Lorente #1029511. Published by Pedro Jesús Gómez Lorente (A0.1449751). Joaquín Malats's Serenata Española was premiered at the Salon Érard in Barcelona on 22 September 1891,[1] and was published by Zozaya a year later. Despite what it may seem from the initial title on the cover of the Suite Impresiones de España, this work was never performed as a suite for orchestra. Originally conceived as a collection in which the Serenade was the second of the pieces, only this one was published in addition to the first one: Danza. Joaquim Malats performed these two compositions in numerous concerts as part of the Suite Impresiones de España,[2] however, he neither published them as a unitary corpus, nor did the ochestral version see the light. The suite was initially dedicated to the great writer Benito Pérez Galdós, who was also a personal friend of the composer. This edition aims to provide a new vision of the work by contrasting the first two arrangements that were made, by Tárrega and by his disciple Severino García Fortea, with the original piano source, paying special attention to include agogics, dynamics and phrasing arcs indications in the piano font and to the maintenance of the original structure of the work. [1] «Joaquín Malats i Miarons», Real Academia de la Historia (blog), Last accessed April 12th 2024, https://dbe.rah.es/biografias/12709/joaquin-malats-i-miarons 2024-04-12.[2] Joaquín Malats, Impresiones de España. Suite de orquesta (Madrid: Zozaya, 1892).
$8.50
7.62 €
#
Guitar
#
Joaquín Malats
#
Serenata Española. New completely revised and fingered edition based on original sources,
#
Pedro Jesús Gómez Lorente
#
SheetMusicPlus
Big Drum
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1202804 Composed by Richard Hirsch…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
4.47 €
#
Guitar
#
Richard Hirsch
#
Big Drum
#
Richard Hirsch
#
SheetMusicPlus
Gioco. Sonata for guitar
Guitar
Solo Guitar - Level 5 - Digital Download SKU: A0.1021517 Composed by Victor Rebulli…
(+)
Solo Guitar - Level 5 - Digital Download SKU: A0.1021517 Composed by Victor Rebullida. 20th Century,Concert,Contemporary. Individual part. 14 pages. Victor Rebullida #6055667. Published by Victor Rebullida (A0.1021517). Recorded by Alberto Royo in CD Mistúra. Música para guitarra. Cuatro autores contemporáneos aragoneses. Edited by Delicias Discográficas 2001. Reference DCD-28. More information about the CD: alberto.guitarra@gmail.comGioco is a five part piece: Allegro leggiero; tpo. giusto Triste e intenso; poco rubato Scherzando Adagio meditativo Allegro agitato The author wrote:Gioco, an Italian word meaning game, is the title of this guitar work composed in 1994.Gioco is a work of current aesthetic, atonal, built however on a structure as classic as that of a Sonata, of great conciseness and clarity and brief duration. It consists of five movements in which the former has a simple, school sonata shape, with two well-identifiable themes, one ethereal based on sets of bells and harmonics and another choppy, contrasting, in parallel ninth intervals, which are developed and subsequently reexposed at the end of the movement.The second movement is a slow time when the resonance of arpeggiated sounds is important. As will happen in the fourth half, the music conveys a sense of freedom, almost improvisation resulting from its unsympted writing and the irregularity of the measure. The third is a Scherzo in which humorous character is accentuated by the rapid descending and ascending glissandi. No less grotesque is the contrasting quote of Gaspar Sanz's Spaniard played in a singular way as will be seen in the interpretation, suddenly interrupted by the glissandi. The fourth is another slow movement in which resonances are also the center. Here you resort to obtaining a particular, harmonic sound similar to the sound of a gong, by placing paper clip on the three boards of the guitar. The fifth and final time is live movement in the form of a purr in which the different episodes are quotes from the themes appeared in the previous movements. The player says about this work: Work dated in 1994, virtuoso and contrasting, of resounding accessibility, not intending to reach the audience using easy resources but an admirable capacity for communication, Gioco is divided into five movements in which varied colours and textures occur and almost all the abundant classical and contemporary timbric resources of the guitar are exploited with intelligence, (controlled challenges, blows on the board, metallic vibration of a clip...), In this work one of the outstanding findings of its author is the alternative use in the Scherzando of his contemporary language and two recognizable literal quotations of the Aragonese Baroque guitarist Gaspar Sanz, which appear softly in an ironic and evocative loudness. Justino Losada wrote this review:Gioco, represents a continuous game of sonorities of very rich timbric nuances as well as an exacerbated game of frets (such as in its 3rd movement Scherzando), and abundant contemporary resources such as the microtonal vicinity of the detuned passages or the blows on the box for our interpreter to show of his skills, a task that although complicated he knows how to perform perfectly coming out of all difficulties. Rebullida's language is not simple, but the composer is clearly aware of the difficulties to reach a large audience, and to do so he polishes his language by seeking an exchange between modern and ancient sonorities in a continuous game creating a climate of warm and direct communication. Justino Losada
$6.00
5.38 €
#
Guitar
#
Victor Rebullida
#
tpo
#
Gioco. Sonata for guitar
#
Victor Rebullida
#
SheetMusicPlus
March Of The Wooden Soldiers
Guitar
Guitar - Level 1 - Digital Download SKU: A0.1149151 By (Various artists). By Peter …
(+)
Guitar - Level 1 - Digital Download SKU: A0.1149151 By (Various artists). By Peter Ilyich Tchaikovsky. Arranged by Derek Hasted. 19th Century,Classical. 25 pages. Derek Hasted #749280. Published by Derek Hasted (A0.1149151). MARCH OF THE WOODEN SOLDIERS - EASY GUITAR QUARTETFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar. Derek Hasted writes This charming little piece makes a great concert item for a quartet or large ensemble with modest experience - it’s perfect for a school ensemble’s first concert! It’s playable entirely in the first position, and with the exception of an occasional 3rd string G#, works well in the second position. A more experienced quartet might like to take the higher notes further up the neck for a more rounded sound. There are two arrangements here...One is in traditional SATB style - the four lines playing at four different pitches.The second rotates the parts at every phrase boundary so that everyone plays the tune at some point - the line currently holding the tune has a slightly louder dynamic marking. I hope you enjoy these arrangements!
$1.99
1.78 €
#
Guitar
#
(Various artists)
#
March Of The Wooden Soldiers
#
Derek Hasted
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
(+)
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
6.27 €
#
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…
(+)
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
6.27 €
#
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…
(+)
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
6.27 €
#
Guitar
#
Richard Strauss
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
(+)
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
6.27 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
w.a.mozart symphonie n 40-1st movement-easy version for guitar duet
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.934293 Composed by Wolfgang Amadeu…
(+)
Solo Guitar - Level 2 - Digital Download SKU: A0.934293 Composed by Wolfgang Amadeus Mozart. Arranged by Sergio Vettore. Classical. Individual part. 5 pages. Sergio Vettore #6169445. Published by Sergio Vettore (A0.934293). AN EASY VERSION AND WRITTEN IN A TONE EASY FOR THE GUITAR, OF THE FAMOUS FIRST MOVEMENT OF THE SYMPHONY N 40 BY W.A.MOZART. THE ENSEMBLE IS THAT OF THE DUO GUITAR. ACCURATE FINGERING PRESENT FOR BOTH GUITARS. THE LEVEL IS THE FIRST INTERMEDIATE.IN THE PREFACE, 2nd PAGE, YOU'LL FIND THE LINK TO LISTEN TO THE ENTIRE PIECE AND ANOTHER ONE WITH JUST THE SECOND GUITAR, TO PRACTISE THE MELODY .
$4.49
4.02 €
#
Guitar
#
Wolfgang Amadeus Mozart
#
w.a.mozart symphonie n 40-1st movement-easy version for guitar duet
#
Sergio Vettore
#
SheetMusicPlus
Pet Sematary
Guitar
Guitar - Level 2 - Digital Download SKU: A0.1319652 By The Ramones. By Daniel Rey, …
(+)
Guitar - Level 2 - Digital Download SKU: A0.1319652 By The Ramones. By Daniel Rey, Douglas Colvin, Jeffrey Hyman, and John Cummings. Arranged by Lino Romano. 20th Century,Film/TV,Pop,Punk,Rock. 7 pages. Lino Romano #908204. Published by Lino Romano (A0.1319652). Pet Sematary music arranged for guitar trio, with different levels of difficulty, easy to intermediate. It's an easy song overall. The first guitar makes the melodies and the second guitar makes the main riff, with an echo of the melody in some parts, in addition to the transcription of the keyboard sound present in the original recording. Guitar three plays the 5th chords, characteristic of the style played by the Ramones, familiar in rock, punk, blues, among other styles. In this arrangement this three guitar also suggests moments of simple drum fill in some parts.This arrangement is suitable for camera artists and groups, both students and more experienced groups who like to include more popular songs in their repertoire.
$4.99
4.47 €
#
Guitar
#
The Ramones
#
Pet Sematary
#
Lino Romano
#
SheetMusicPlus
Sonata No. 2
Guitar
Guitar - advanced - Digital Download SKU: S9.Q50413 For guitar. Composed by …
(+)
Guitar - advanced - Digital Download SKU: S9.Q50413 For guitar. Composed by Olli Mustonen. This edition: single sheet. Guitar Archive. Für Gitarre. Downloadable, Separate edition. Duration 10 minutes. Schott Music - Digital #Q50413. Published by Schott Music - Digital (S9.Q50413). Unlike its predecessor Jehkin Iivana, which draws its inspiration from the world of Finnish myths and the ancient tradition of poet singers, the sources of the Sonata N° 2 are more abstract. The first movement starts with dissonant intervals, full of drama and conflict while the second has a dream-like atmosphere as if the guitar has been left alone in the forest. After a nightmarish episode, more hopeful music suddenly starts to appear. In the last movement the guitar returns to fight its tormentors from the first movement with renewed energy and takes its way heroically through all obstacles to a triumphant end. Olli Mustonen.
$7.99
7.16 €
#
Guitar
#
Olli Mustonen
#
Sonata No. 2
#
Schott Music - Digital
#
SheetMusicPlus
Over The Rainbow
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1165227 By Judy Garland. By E.Y. Y…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99
4.47 €
#
Guitar
#
Judy Garland
#
and 3&
#
Over The Rainbow
#
Richard Hirsch
#
SheetMusicPlus
<
1
26
51
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version
