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Think On Me
SheetMusicPlus
Guitar
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1
TIENTO PARA UN PENSADOR for guitar
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.876582 Composed by Daniel Cueto. 2…
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Solo Guitar - Level 4 - Digital Download SKU: A0.876582 Composed by Daniel Cueto. 20th Century,Contemporary,Latin,World. Individual part. 8 pages. Daniel Cueto #6119401. Published by Daniel Cueto (A0.876582). To write Tiento para un pensador, I found inspiration in an experience that I had many years ago, when I was a student in Dusseldorf, Germany. I was spending time one night with my friend Rafael Aguirre, a virtuoso classical guitarist, as he was casually playing through some of his repertoire. He asked me if I thought that it was possible to play a Baroque fugue - one of the most complex of musical genres - on the guitar. Before I had time to think about the question, he started playing his own arrangement of a fugue by J.S. Bach, talking me through it as the fugue theme appeared in different registers and the counterpoint got more and more intricate.The effectiveness and beauty of the contrapuntal sounds I experienced that night stayed with me. So in 2020, when I was invited to attend the Twisted Spruce Symposium and had a chance to compose my first piece for the guitar, I quickly decided that I would take up the challenge of writing my own fugue for the instrument. Looking to find a more specific context for the new work, I discovered the early Spanish genre of the tiento, essentially an early Hispanic form of the fugue. I came up with a melody which, I sensed, featured elements of that early style combined with a touch of Andean melancholy. As I composed, I strived to follow this basic affect throughout, letting the lines evolve organically as the piece seemed to engage in a long, continued search for its cultural and temporal identity.Para un pensador means for a thinker in Spanish. It is my homage to the intellectual guitarist, to the reflective and discerning performer of intricate contrapuntal music.I would like to extend special thanks to Nathan Fischer for producing this valuable edition of Tiento para un pensador.
$9.99
9.05 €
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Guitar
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Daniel Cueto
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TIENTO PARA UN PENSADOR for guitar
#
Daniel Cueto
#
SheetMusicPlus
Think On Me
Guitar
By George Cables. C Instruments. Jazz; Standards. Leadsheet (melody/chords only). 1 pages.…
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By George Cables. C Instruments. Jazz; Standards. Leadsheet (melody/chords only). 1 pages. Published by Hal Leonard - Digital Sheet Music
$1.99
1.8 €
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Guitar
#
George Cables
#
Standards
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Think On Me
#
Hal Leonard - Digital Sheet Music
#
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
6.34 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
10.86 €
#
Guitar
#
Edwin Culver
#
Edwin Culver: a bridge a-way, exits within
#
Edwin Culver
#
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
6.34 €
#
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
6.34 €
#
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
6.34 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Steve's Mythical Forest
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.942113 Composed by Apostolos Paras…
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Solo Guitar - Level 3 - Digital Download SKU: A0.942113 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Individual part. 6 pages. Silver Sickle Publications #6566951. Published by Silver Sickle Publications (A0.942113). I’ve known Stephan Connor for decades and I always enjoy seeing him working on his guitars (and on mine occasionally) and I enjoy learning of what keeps him fascinated constantly with the creation of new instruments. His latest creative thinking brought life to this composition. He brings out a special life to the forest when a different voice is been created through his guitars. When he asked me to compose Steve’s Mythical Forest he described it as …a walk to a forest where one finds a guitar and then picks it up and plays a tune... So, in this mythical forest I found the sounds at the same spots where the guitar maker transforms simple elements to a ‘magical wand’. And that is only a beginning… The work describes, in very simple tonal language, a small stroll in a forest at the end of the day and at the beginning of the night where sounds melting together in loving feelings and passionate desires for life. Apostolos Paraskevas. 2021
$7.99
7.24 €
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Guitar
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Apostolos Paraskevas
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Steve's Mythical Forest
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Silver Sickle Publications
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SheetMusicPlus
Christmas Song
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1271597 By Dave Matthews And Tim R…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1271597 By Dave Matthews And Tim Reynolds. By David Matthews. Arranged by John Fries. 20th Century,Christmas,Holiday,Jazz,Standards. Individual part. 2 pages. John Fries #863983. Published by John Fries (A0.1271597). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. The Christmas Song (commonly subtitled Chestnuts Roasting on an Open Fire or, as it was originally subtitled, Merry Christmas to You) is a classic Christmas song written in 1945] by Robert Wells and Mel Tormé. According to Tormé, the song was written in July[ during a blistering hot summer. In an effort to stay cool by thinking cool.
$4.99
4.52 €
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Guitar
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Dave Matthews And Tim Reynolds
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Christmas Song
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John Fries
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SheetMusicPlus
Alfie
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1271506 By Cher. By Burt Bacharach…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1271506 By Cher. By Burt Bacharach and Hal David. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Individual part. 2 pages. John Fries #863904. Published by John Fries (A0.1271506). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. Alfie is a song written by Burt Bacharach and Hal David to promote the 1966 film Alfie. Cilia Black states that, rather than declining outright to record the song, she decided to set conditions: I said I'd only do it if Burt Bacharach himself did the arrangement, never thinking for one moment that he would. When the reply came back from America that he'd be happy to...I said I would only do it if Burt came over to London for the recording session. 'Yes,' came the reply. Next I said that as well as the arrangements and coming over, he had to play piano on the session. To my astonishment it was agreed that Burt would do all three. So by this time, coward that I was, I really couldn't back out. The song was a major hit for Cilla Black (UK) and Dionne Warwick (US).
$4.99
4.52 €
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Guitar
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Cher
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Alfie
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John Fries
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SheetMusicPlus
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