Download Digital Sheet Music of BOUZOUKI

Small Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Violin - Digital Download SKU: A0.1…(+)

BOUZOUKI

HAVE A LOOK

Acoustic Guitar,Bouzouki,Cello,Violin,Voice - Level 3 - Digital Download SKU: A0.120836…(+)

Acoustic Guitar,Bouzouki,Cello,Violin,Voice - Level 3 - Digital Download SKU: A0.1208362 Composed by Socrates Arvanitakis. Contemporary. 27 pages. Socrates Arvanitakis #806471. Published by Socrates Arvanitakis (A0.1208362). BEFORE BLAST is a small song cycle standing independently between the two big song sagas Theory X - LemoniaThe tags as ordered in the PDF are its superstructures.Dates in the PDF can also be and are in most cases structural elements of the song. The MP3 sample provided is extracted from Sibelius using the Note Performer playback engine.instrumentation: Tenor voice, violin, bouzouki, Guitar, Violoncello.
$8.00 7.46 € #Socrates Arvanitakis #HAVE A LOOK #Socrates Arvanitakis #SheetMusicPlus

Rufty Tufty

Small Ensemble Bouzouki,Guitar,Mandolin,Violin - Digital Download SKU: A0.1017684 C…(+)

Small Ensemble Bouzouki,Guitar,Mandolin,Violin - Digital Download SKU: A0.1017684 Composed by Traditional. Arranged by Gordon Jackson. Baroque,Celtic,Classical,Folk,Irish,Multicultural,World. Score and parts. 3 pages. Gordon Jackson #6444261. Published by Gordon Jackson (A0.1017684). Rufty TuftyThis is a country dance from Playford’s English Dancing Master of 1651. I have arranged it with the tune played through three times, first the basic melody, second with (mandolin) double stops, third with chords voiced for octave mandola or bouzouki, tuned GDAE.In the seventeenth century a rufty tufty was a rough, tough person. Today, it sounds like a child’s soft toy. That’s what four hundred years’ linguistic evolution can do. Hey ho.
$4.99 4.65 € #Traditional #Rufty Tufty #Gordon Jackson #SheetMusicPlus

Appledore

Large Ensemble Bouzouki,Flute,Guitar,Harpsichord,Mandolin,Piano,Violin - Digital Download …(+)

Large Ensemble Bouzouki,Flute,Guitar,Harpsichord,Mandolin,Piano,Violin - Digital Download SKU: A0.1017680 Composed by Gordon Jackson. Celtic,Classical,Folk,World. Score and parts. 1 pages. Gordon Jackson #6440601. Published by Gordon Jackson (A0.1017680). AppledoreThis a little piece I have – rather pretentiously – described as a pastoral. To be frank, unlike most of my compositions (jigs, reels, hornpipes, strathspeys etc), I had no particular dance form in mind when I wrote it.Appledore is scored for octave mandola (or bouzouki tuned GDAE). It could be played on mandolin, I suppose, but it’s a bit fiddley. Performance tip: try picking this with your finger, rather than with a plectrum; the 2-, 3- and 4-note chords can be played as broken chords, which makes the whole tune rather more interesting (and more of a challenge!).Appledore is a very pretty village in Kent, just north of Romney Marsh. I nearly moved there a few years ago but … didn’t.
$4.99 4.65 € #Gordon Jackson #Appledore #Gordon Jackson #SheetMusicPlus

The Tracks Of My Tears

String Ensemble Bass Voice,Bouzouki,Drums,Guitar,Vibraphone - Digital Download SKU: A0.…(+)

String Ensemble Bass Voice,Bouzouki,Drums,Guitar,Vibraphone - Digital Download SKU: A0.1338364 Arranged by Tunescribers. Funk. ArrangeMe #24713. Published by ArrangeMe (A0.1338364).
$15.95 14.88 € #The Tracks Of My Tears #ArrangeMe #SheetMusicPlus

Walking In Rhythm

Bass Voice,Bouzouki,Piano - Digital Download SKU: A0.1338072 Arranged by Tunescribe…(+)

Bass Voice,Bouzouki,Piano - Digital Download SKU: A0.1338072 Arranged by Tunescribers. Funk. ArrangeMe #19915. Published by ArrangeMe (A0.1338072).
$15.95 14.88 € #Walking In Rhythm #ArrangeMe #SheetMusicPlus

The Western Heights

Small Ensemble Flute,Harpsichord,Mandolin,Piano,Violin - Digital Download SKU: A0.10176…(+)

Small Ensemble Flute,Harpsichord,Mandolin,Piano,Violin - Digital Download SKU: A0.1017681 Composed by Gordon Jackson. Celtic,Classical,Folk,Irish,Multicultural,World. Score and parts. 6 pages. Gordon Jackson #6439147. Published by Gordon Jackson (A0.1017681). The Western HeightsThis is a little piece I composed without a specific form in mind. Although it’s in 3/4 it’s neither courante nor galliard, waltz nor minuet. It just is. Unusually for me, the chordal accompaniment is written for harpsichord (or any keyboard instrument), in order to get the full arpeggiation not possible on my octave mandola or bouzouki.The Western Heights, in Dover, used to be a really fun place to go; a barracks inter alia for a French invasion that never quite happened. Miles of tunnels built into a mountainside with rotten drawbridges, very steep stone staircases and plenty of rats. I used to climb inside and spend hours wandering around in the dark stumbling over debris, squeezing through narrow gaps, climbing walls. It’s been taken over now by various doers of good and made ‘safe’. I think you have to pay to get in. Back in the day one could be Indiana Jones for a while and have a truly great time.
$4.99 4.65 € #Gordon Jackson #The Western Heights #Gordon Jackson #SheetMusicPlus

Drops of Brandy

Small Ensemble Bouzouki,Mandolin,Violin - Digital Download SKU: A0.1017682 Composed…(+)

Small Ensemble Bouzouki,Mandolin,Violin - Digital Download SKU: A0.1017682 Composed by Traditional. Arranged by Gordon Jackson. Celtic,Folk,World. Score and parts. 1 pages. Gordon Jackson #6440603. Published by Gordon Jackson (A0.1017682). Drops of BrandyThis is one of the best-known tunes in the whole of Irish traditional music. It is a slip jig, that is, it is in 9/8 time, comprising three dotted crotchet (8th note) beats. Note that unlike nearly all 6/8 jigs, slip jigs generally have 4-bar parts (repeated). Drops of Brandy usually has two parts – the first two parts here. I wrote the variations for a mandolin student to perform in an exam.
$4.99 4.65 € #Traditional #Drops of Brandy #Gordon Jackson #SheetMusicPlus

Christmas Day in the Morning

Small Ensemble Bouzouki,Flute,Guitar,Mandolin,Violin - Digital Download SKU: A0.1017683…(+)

Small Ensemble Bouzouki,Flute,Guitar,Mandolin,Violin - Digital Download SKU: A0.1017683 Composed by Traditional. Arranged by Gordon Jackson. Celtic,Folk,World. Score and parts. 7 pages. Gordon Jackson #6440655. Published by Gordon Jackson (A0.1017683). Christmas Day in the MorningThis is a tune from Shetland. Although it’s in 6/8. It’s not a jig – they don’t do jigs in Shetland. It’s what they call a ‘listening tune’, that is, a tune for, well, listening to. My arrangement is quite big. The first time through the tune, on flute, I have written in some ornaments, including some rolls, which are similar to turns. I have also written a counterpoint and added a bass line.
$4.99 4.65 € #Traditional #Christmas Day in the Morning #Gordon Jackson #SheetMusicPlus

Reflections

Accordion,Bass Voice,Bouzouki,Drums,Guitar,Piano,Synthesizer - Digital Download SKU: A0…(+)

Accordion,Bass Voice,Bouzouki,Drums,Guitar,Piano,Synthesizer - Digital Download SKU: A0.1330543 Arranged by Tunescribers. Funk. 17 pages. ArrangeMe #18584. Published by ArrangeMe (A0.1330543).
$45.95 42.86 € #Reflections #ArrangeMe #SheetMusicPlus

Small Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Violin - Digital Download SKU: A0.1017678 Composed by Anonymous. Arranged by Gordon Jackson. Baroque,Celtic,Classical,Folk,Irish,Multicultural,World. Score and parts. 4 pages. Gordon Jackson #6436745. Published by Gordon Jackson (A0.1017678). Staines MorrisThe song, Staines Morris, is very well known by singers of traditional songs. It’s a 17th century song. It’s a 19th century song. Actually, it’s both! The lyrics were certainly published, and probably written, by Robert Cox for his play Actaeon and Diana, published in 1656. The tune was first published in John Playford’s The English Dancing Master in 1651. There is no evidence that, in the 17th century, the lyrics were sung to this melody. That didn’t happen for two hundred years, when William Chappell put the two together for his Popular Music of the Olden Time, vol. 1 (1859). I have added chords to the melody. Whilst humming the tune to myself, I found myself moving into 6/8 time, and that inspired me to compose a galliard based on it, complete with ‘divisions’ (runs of semiquavers or 32nd notes) and counterpoint. The song melody and the galliard can be played separately or as parts of one piece, perhaps with the galliard played between two of the verses. I put the galliard in A minor, to provide a contrast with the D minor song melody, but play them in whatever key takes your fancy. I have also added below the lyrics, as most often sung today.Come ye young men, come alongWith your music, dance and songBring your lasses in your handsFor ’tis that which love commands Then to the Maypole haste away For ’tis now our holidayIt is the choice time of the yearFor the violets now appearNow the rose receives its birthAnd the pretty primrose decks the earthAnd when you well reckoned haveWhat kisses you your sweetheart gaveTake them all again, and moreIt will never make them poorWhen you thus have spent your timeAnd the day be past its primeTo your beds repair at nightAnd dream there of your day’s delight

What Child Is This? (Greensleeves)

12-String Guitar,Accordion,Acoustic Guitar,Banjo,Bass Voice,Bouzouki,C Instrument,Cello,Ce…(+)

12-String Guitar,Accordion,Acoustic Guitar,Banjo,Bass Voice,Bouzouki,C Instrument,Cello,Celtic Harp,Double Bass,Electric Violin,Flute - Level 2 - Digital Download SKU: A0.1317797 Composed by Traditional Great Britain. Arranged by Tom Aufrance. 19th Century,Christmas,Early Music,Folk,Holiday. 1 pages. Mary Kay Aufrance #906480. Published by Mary Kay Aufrance (A0.1317797). Tom Aufrance's arrangement of this familiar carol and traditional tune is compellingly beautiful yet simple. This A Mixolydian arrangement is inspired by playing with smallpipes (bagpipe parlor pipes) that are tuned to A. The score has D as the key, and students of music theory will recognize it as A Mix. Our ensemble for performing this arrangement includes the pipes, guitar, accordion and bass. However, we think this lovely arrangement can be enjoyed using a variety of instruments.
$2.00 1.87 € #Traditional Great Britain #What Child Is This? #Mary Kay Aufrance #SheetMusicPlus

Too Many Fish In The Sea

Bass Voice,Bouzouki,Drums,Piano,Saxophone,Vibraphone - Digital Download SKU: A0.1338381…(+)

Bass Voice,Bouzouki,Drums,Piano,Saxophone,Vibraphone - Digital Download SKU: A0.1338381 Arranged by Tunescribers. Funk. ArrangeMe #24313. Published by ArrangeMe (A0.1338381).
$15.95 14.88 € #Too Many Fish In The Sea #ArrangeMe #SheetMusicPlus

Trouble Man

Bass Voice,Bouzouki,Drums,Guitar,Oud,Piano,Piccolo,Saxophone,Synthesizer,Vibraphone - Digi…(+)

Bass Voice,Bouzouki,Drums,Guitar,Oud,Piano,Piccolo,Saxophone,Synthesizer,Vibraphone - Digital Download SKU: A0.1338366 Arranged by Tunescribers. Funk. ArrangeMe #24711. Published by ArrangeMe (A0.1338366).
$15.95 14.88 € #Trouble Man #ArrangeMe #SheetMusicPlus

Stop Her On The Sight (S.O.S.)

Bouzouki,Drums,Piano,Saxophone,Voice - Digital Download SKU: A0.1338095 Arranged by…(+)

Bouzouki,Drums,Piano,Saxophone,Voice - Digital Download SKU: A0.1338095 Arranged by Tunescribers. Funk. ArrangeMe #21278. Published by ArrangeMe (A0.1338095).
$15.95 14.88 € #Stop Her On The Sight #ArrangeMe #SheetMusicPlus

(There Is) No Greater Love

Bouzouki,Organ,Vibraphone - Digital Download SKU: A0.1338328 Arranged by Tunescribe…(+)

Bouzouki,Organ,Vibraphone - Digital Download SKU: A0.1338328 Arranged by Tunescribers. Funk. ArrangeMe #23725. Published by ArrangeMe (A0.1338328).
$15.95 14.88 € #(There Is) No Greater Love #ArrangeMe #SheetMusicPlus

Level 2 - Digital Download SKU: A0.1372693 By Alicia Domínguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia Domínguez Arcos. Film/TV,Multicultural,Pop,Praise & Worship,Singer/Songwriter,World. 30 pages. Alicia Dominguez #957004. Published by Alicia Dominguez (A0.1372693). In these 112 measures for the twinning of Istanbul-Algeciras I have wanted to incorporate concepts from both parties, with the respect that the composition of Don Joan Manuel Serrat deserves in which in 1970 he sang “Mare Nostrum” (Nostrum mare more correctly in Latin classic, being one of the popular anthems of Spain and therefore a cultural heritage. Therefore it can be used instrumentally or if required, there is a number in the score of which, although the guitar has a melody and one of the choral voices, with two guitars, or make two choral voices or join with your own melody, use both bowed string instruments and plucked strings, etc.Likewise, there are two voices, of which a single voice can use the phrasings of both one voice and the other, giving it its own personality.The tempo will be whatever the interpretation itself wants, much slower, without accelerating so much between the beginning and the moment of the song itself. I have incorporated some instruments into the arrangement as examples:Buzukibouzouki, like the sazturco and the Lebanese Buzuq, which belong to the same family of Buzuki instruments.And as percussion only percussion The Turkish Darbuka is a percussion musical instrument The Turkish Darbuka is a percussion musical instrument from Turkey. The Turkish Darbuka have a high range of low and high resonant tones that sound between the two registers; serious (Dum) and acute (Tek). The edge or lip allows for finger breaking techniques that are not possible in the Egyptian Darbuka.And the Tombak, also called Dombak Ozarb, is a chalice-shaped drum, traditionally built with a hollowed-out biker or walnut trunk covered with skin at one end.With the beginning and among the work itself I wanted to give place to the Bashraf (Turkish Pesrev and Persian Pishraw, which means Overture) and the Sama'i (Turkish Sam Semai) Instrumental genre that is used in the Turkish court and in Sufi music . They were introduced into the Arab world before the 19th century.And also give place in his forms to the Ottoman composer Ismail Hakkibei (1866-1927). Unite Serrat with Hakkibey with this Istanbul-Algeciras work.Although the Bashraf is always made up of four points, Khanat (Plural Dekhana) or Hanne in Turkish, which are always followed by a chorus (Taslim / Teslim), its structure being Khana 1+ Taslim, Khana 2, Khana 3+ Taslim, Khana 4 + Taslim.The fragments must be incorporated since the main base is the Mediterranean pop theme. For this reason, its original rhythm is the Defâhte (In Arabic, Faakhito Fahitah Turki. Being a 20/4 time signature subdivided into 5 sub-groups of 4/4 where the complete cycle coincides with the phrases of the theme. Without forgetting that in music Arabic with the oriental rhythm Lsaada Duyukde 8/8 making a cycle for each measure of 4/4, that is, cycles per phrase, if those written for Western reading in 4/4 with double durations and simplicity. Unit of time: quarter note , coincides in two phrases of 5 measures per staff for a better understanding of the form of the piece, also within a written Arabic version of the theme the unit of time is eighth note 8/8 in G, but it had to be incorporated into Mediterráneo and it is always It is more feasible to think of the human voice as being more limited than instrumentation such as flute, plucked leather instruments, and bowed string instruments.Instrumentation:FluteGuitar 1 (1st voice melody)Guitar 2 (2nd voice melody)Bass (accompaniment and chords)BuzukiSazDarbukaTombakVoice 1st2nd voiceSMATB Voices1st violin2nd violinViolaCellosDouble basses.

Level 2 - Digital Download SKU: A0.1245199 By Various. By Anonymous, Claude Gervaise, Henry VIII, Jacotin, Jacques (Jacob) Arcadelt, Jan de Lublin, John Dowland, Ludwig Senfl, Michael Praetorius, Pierre Attaignanant, Pierre Bonnet, and Tielman Susato. Arranged by Alastair Lodge. Classical,Early Music,Historic,Medieval,Renaissance. 43 pages. Wold Meridian #840108. Published by Wold Meridian (A0.1245199). This is a companion to my earlier volume Chording to Consort which presented 35 Renaissance Dance band tunes and Chansons and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited the remaining 17 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkPO9vTOgEoG_kRJlJ5nUHnxComposers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on.Working with this publicationFor those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.

Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.

Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.