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Towards the Light
Sheetmusic to print
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Towards The Light
Melody line, (Lyrics) and Chords
Digital Download SKU: HX.403081 By Pat Metheny. Jazz. Real Book - Melody/Chords. 2 …
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Digital Download SKU: HX.403081 By Pat Metheny. Jazz. Real Book - Melody/Chords. 2 pages. Published by Hal Leonard - Digital (HX.403081).
$1.99
1.86 €
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Melody line, (Lyrics) and Chords
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Pat Metheny
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Towards The Light
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Hal Leonard - Digital
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SheetMusicPlus
Requiem Towards the Light
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1064841 Composed by Margar…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1064841 Composed by Margaret Woodley (Simmonds). Contemporary,Praise & Worship,Sacred. Octavo. 44 pages. Margaret Woodley #668816. Published by Margaret Woodley (A0.1064841). 2022 - my new setting using selections of the Requiem Mass interspersed with my own settings (and arrangement) of funeral hymn texts; there is the option for a little audience/congregation participation if desired. This work is for SATB choir (no divisi), soprano and tenor soloists, organ, 2 bass drums and one tubular bell. PLEASE NOTE the Timpani part score is available separately - see additioanl entry.
$7.00
6.55 €
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Choral SATB
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Margaret Woodley
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Requiem Towards the Light
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Margaret Woodley
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SheetMusicPlus
Rays of Light
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1147785 Composed by Kevin Walters…
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Concert Band - Level 4 - Digital Download SKU: A0.1147785 Composed by Kevin Walters. Contemporary,Contest,Festival,Spiritual,Standards. Score and parts. 46 pages. Kevin Walters #747982. Published by Kevin Walters (A0.1147785). The title of the piece, Rays of Light, exemplify the inspiration for the work. I was inspired by the beauty of sun rays piercing through the clouds in the sky, and how every combination of these light beams are unique in shape and size. These sun rays are represented through beautiful dissonances, extended fermatas, and subtle staggered percussion entrances. The piece has natural progression towards a noticeable peak, with very slight accelerations, and then slowly fades to an ending similar to that of the beginning. This is a wonderful piece to showcase the beauty in dissonance, the significance of subtlety, and offers several solo moments for every section of the band, starting with the horn and ending with the vibraphone.
$55.00
51.45 €
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Concert band
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Kevin Walters
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Rays of Light
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Kevin Walters
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SheetMusicPlus
David W. Solomons - The Frostbound Wood for ATBB men's chorus a capella
Choral SATB
Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.776016 Composed by David …
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Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.776016 Composed by David Warin Solomons. A Cappella,Christian,Christmas,Contemporary,Instructional,Sacred. Octavo. 6 pages. Musik Fabrik Music Publishing #2036509. Published by Musik Fabrik Music Publishing (A0.776016). This setting for Christmas represents the cold of a Northern winter (the cruel wind blows) although of course the actual events took place in rather warmer climes. It also reflects much of the liturgical and popular symbolism of the Christmas season: robins, holly etc and it brings our thoughts towards the season of Easter with the blood of Good Friday. A robin brought some holly all covered with snow. The cruel wind blows. From each little berry fell drops of blood, Which covered the earth where the Virgin once stood. The cruel wind blows. Dark was the sky when Angels came to stay, They brought old lanterns to lead the way. The cruel wind blows. Candles brightly shine for all to see, They glow tonight through the ageing year. Tender are the lilies as soft as her gown And white are the ringlets that fall to the ground. Mary with her child upon this Winter night, She walked through the darkness with yellow candle light. North winds blow across the fields, But only one child continues to dream. The cruel wind blows The cruel wind blows. ©Tom Clarke Buying this file gives the right to print six copies of the music score.
$1.99
1.86 €
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Choral SATB
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David Warin Solomons
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David W. Solomons - The Frostbound Wood for ATBB men's chorus a capella
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Musik Fabrik Music Publishing
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SheetMusicPlus
Requiem - Towards the Light - Timps only score
Percussion Solo,Timpani - Level 3 - Digital Download SKU: A0.1205559 Composed by Ma…
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Percussion Solo,Timpani - Level 3 - Digital Download SKU: A0.1205559 Composed by Margaret Woodley (Simmonds). 20th Century,Classical. Individual part. 6 pages. Margaret Woodley #803745. Published by Margaret Woodley (A0.1205559). This is the Timps Part score only to accompany my Full Score of Requiem. Timps play in 3 of 9 movements.
$1.99
1.86 €
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Margaret Woodley
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Requiem - Towards the Light - Timps only score
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Margaret Woodley
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SheetMusicPlus
Planet (The sun sets on Venus) for 2 contraltos and guitar (mp3)
Alto Voice,Guitar - Level 4 - Digital Download SKU: A0.1386864 By András Csák…
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Alto Voice,Guitar - Level 4 - Digital Download SKU: A0.1386864 By András Csáki (guitar), Bernadett Nagy (contralto 1), and Viola Thurnay (contralto 2). By David Warin Solomons. Contemporary. Full Performance. Duration 138. David Warin Solomons #970747. Published by David Warin Solomons (A0.1386864). Words by Graham Buck after SupervielleThe sun sets on Venus a whisper of sound goes abroad Is it a boat crossing an empty lake without an oarsman? is it a memory of the earth come stumbling here or a flower turning towards the light spicing the alien airamong those birdless trees ... The sun sets on Venus.
$5.50
5.15 €
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András Csáki
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Planet
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David Warin Solomons
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SheetMusicPlus
The Sapling
Large Ensemble Cello,Double Bass,Drum Set,Viola,Violin - Level 3 - Digital Download SKU…
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Large Ensemble Cello,Double Bass,Drum Set,Viola,Violin - Level 3 - Digital Download SKU: A0.513269 By Lore Burns. By Lore Burns. Classical,Contemporary,Folk. Score and parts. 19 pages. Lore Phoenix Burns #124029. Published by Lore Phoenix Burns (A0.513269). A folk-inspired piece for string orchestra and percussion that charts the valiant struggle of a sapling to reach towards the light and grow in strength. Contact the composer directly for a discounted price.
$15.00
14.03 €
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Lore Burns
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The Sapling
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Lore Phoenix Burns
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SheetMusicPlus
Monteverdi - The Third Book of Madrigals - No 18 Lumi miei cari
Brass ensemble
Brass Ensemble - Level 4 - Digital Download SKU: A0.767204 Composed by Claudio Mont…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.767204 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 16 pages. Lyons Music Services #3074247. Published by Lyons Music Services (A0.767204). Monteverdi's third book of madrigals of 1592 is one of the earliest steps towards the writing of opera as we know it. In this collection of songs, Monteverdi, for the first time, starts to bring small groups of songs (2 or 3) to form a 'Scena - a collection with similar words or on a similar theme or by the same poet and keeping them as a little group within the book of madrigals. The 18th song, Lumi miei cari begins as follows: My dear, lights flash in a quick glance that flies then turns slowly As with all of Monteverdi's vocal music, it translates really well onto instruments. The individual madrigals are available separately. This flexible arrangement is equally playable on woodwind ensembles as on brass.Flexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other parts may be requested free of charge.
$5.99
5.6 €
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Brass ensemble
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Claudio Monteverdi
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Monteverdi - The Third Book of Madrigals - No 18 Lumi miei cari
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Lyons Music Services
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.44 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Northern Aurora
Vibraphone and Marimba
Instrumental Duet Instrumental Duet,Marimba,Vibraphone - Level 3 - Digital Download SKU…
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Instrumental Duet Instrumental Duet,Marimba,Vibraphone - Level 3 - Digital Download SKU: A0.1015880 Composed by Sean Evans. Standards. Score and parts. 10 pages. Sean Evans #4988491. Published by Sean Evans (A0.1015880). This is a marimba and vibraphone duet that tells the story of two travelers who are in pursuit of the breathtaking view of the northern lights, or the aurora borealis. Northern Aurora is a jolly and somewhat romantic duet that is challenging while giving off the vibe of being in the travelers' shoes as they encounter challenges along the path towards the top of a mountain to view the aurora borealis.
$12.00
11.23 €
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Vibraphone and Marimba
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Sean Evans
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Northern Aurora
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Sean Evans
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 12 (Songs 298-324)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1152821 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1152821 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 38 pages. Socrates Arvanitakis #753060. Published by Socrates Arvanitakis (A0.1152821). This is the twelfth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 12 (Songs 298-324)Farewell to FinuaryFarewell to TarwathieFarmer in Cheshire (the)Farmer’s Boy (the)Farmer’s Daughter (the)-On The Banks Of Sweet Dundee 2Farmyard (the)Fatal Snowstorm (the)Father GrumbleFather James’s Song No 2Fathom the BowlFeast Song (Gloucester)Female Highwayman 1 (Sovay)Female Highwayman 2 (Sylvia)Female Highwayman 3 (the)Fill the CupFire Down BelowFirst Britford CarolFirst of May (the)Flash CompanyFlash Company 2 (THE MYRTLE TREE)Flat River Raftsman (the)Flight of the EarlsFlora, The Lily of the West  1(the)Flora, The Lily of the West  2(the)Flow Gently Sweet AftonFlower of Killarney (the)Flower of Serving Men (the).
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 12
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Socrates Arvanitakis
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SheetMusicPlus
Volume 7 - Melodic Aural Tradition of the English Speaking World - Songs 163 - 189
Guitar
Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. 151, Classical,…
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Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. 151, Classical, Folk, Traditional. Individual part. 47 pages. Socrates Arvanitakis #752557. Published by Socrates Arvanitakis
This is the seventh volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.
$25.00
23.39 €
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Guitar
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Traditional/Anonymous
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Volume 7 - Melodic Aural Tradition of the English Speaking World - Songs 163 - 189
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 31 (Songs 811-837)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1165267 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1165267 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 44 pages. Socrates Arvanitakis #765624. Published by Socrates Arvanitakis (A0.1165267). This is the thirtieth-first of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all  volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view.Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 31 (Songs 811-837)St AthanStar of Belle Isle (the)Star of County Down 1 (the)Star of County Down 2 (the)Stately Southerner (the)Still Still, StillStranger in Cork (a)Streets of LaredoStrike the BellSussex Mummer’s CarolSwan Swims So Bonny (the)Swansea TownSweet Chiming Bells (While Shepherds Watched)Sweet KittySweet MarySweet Nightingale 1 (the)Sweet Nightingale 2 (the)Sweet Nightingale 3 (the)Sweet Nightingale 4 (the)Sweet Nightingale 5 (the)Sweet Nightingale 6 (the)Sweet Primeroses (the)Sweet WilliamSword Dance 1Sword Dance 2 (prologue to dance)SylviaTailor and the Carrion Crow (the).
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 31
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Socrates Arvanitakis
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SheetMusicPlus
6. Imvubu the Hippopotamus
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1138466 By Louise du Toit. By Louis…
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Piano Solo - Level 4 - Digital Download SKU: A0.1138466 By Louise du Toit. By Louise du Toit. Arranged by Louise du Toit. Contemporary. Score. 7 pages. Louise du Toit #738795. Published by Louise du Toit (A0.1138466). Imvubu the Hippopotamus is the sixth in a series of fifteen original contemporary compositions for piano, titled 15 Animal Compositions for Piano and created to musically describe the movement and habits of specific wildlife creatures. From music notes to words: Imvubu the hippopotamus dreams of being a beautiful ballerina, dancing as light as a feather to a quirky waltz while spinning around with graceful moves. Not quite succeeding, she catches the rhythm very seldom and falls around as her fat, voluptuous body continuously sways out of rhythm and out of control. Trying to add some Eastern touches to her performance, she manages to catch the rhythm for a few moments before losing it again. Hardheaded and strong-willed, she finishes her performance triumphantly and stretches her legs towards the sky, striking a graceful pose before lying down in the grass at the Sabi River..
$4.99
4.67 €
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Piano solo
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Louise du Toit
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6. Imvubu the Hippopotamus
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Louise du Toit
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 33 (Songs 865-891)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1166663 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1166663 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 50 pages. Socrates Arvanitakis #767044. Published by Socrates Arvanitakis (A0.1166663). This is the thirtieth-third volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all  volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view.Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 33 (Songs 865-891)Tobacco Is An Indian WeedTom BowlingTom’s Gone to HiloTommy make room for your UncleTop of the Morning (the)Tramping SongTravel the Country RoundTree in the Wood (the)Trees they do grow High (the)Trees They’re All Bare (the)Trimdon Grange ExplosionTurmut-hoeingTurpin HeroTwo Magicians (the)Twa SistersTwankydilloTwelve Apostles (the)Twelve Days of Christmas (the)Twenty Eighteen Two Affectionate LoversTwo Brothers  (the)Unfortunate Tailor (the)Up the RawUp! Good Christen FolkVan Dieman’s LandVenus and AdonisVicar of Bray (the).
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 33
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Socrates Arvanitakis
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 24 (Songs 622-648)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1161269 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1161269 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 42 pages. Socrates Arvanitakis #761608. Published by Socrates Arvanitakis (A0.1161269). This is the twenty-fourth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment.The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 24 (Songs 622-648)Mummers’ Carol Must I thenMy Bonnie, Bonnie BoyMy Bonny CuckooMy Boy BillyMy Dearie She Sits Ower Late upMy Grandfather’s ClockMy JohnnyMy Johnny was a ShoemakerMy Love’s an ArbutusMy mother did so before meMy Own Pretty BoyMylecharane (Isle of Man) [Vylecharane]Myrtle Tree (the)Nae Bonnie Laddie tae Tak’ Me Awa’Nature CarolNelson’s DeathNever Marry an Old ManNew Year SongNewcastle FairThe New-Fashioned FarmerNight Visit SongNoble Foxhunting (the)Nos Galan (winter)Nottinghamshire Poacher (the)Ny Kirree Fo-SnaighteyO ’Twas in the Broad Atlantic
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 24
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Socrates Arvanitakis
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 22 (Songs 568-594)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1160107 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1160107 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 39 pages. Socrates Arvanitakis #760384. Published by Socrates Arvanitakis (A0.1160107). This is the twenty-second volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment.The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 22 (Songs 568-594)Low Down in the BroomLow, Low Lands of Holland (the)LowlandsLowlands LowLoyal Lover (the)Lulle LullayLyke Wake DirgeMaa Bonny LadMaggie LauderMaid of Australia (the)Maid of the Mill (the)Maid of Tottenham (the)Mallow FlingMango WalkMaranoa LullabyMaria MartenMarrowbonesMary Ann 1Mary Ann 2Mary Had a BabyMary HamiltonMatthy GrovesMaw Canny HinnyMay Day CarolMcPherson’s RantMen of HarlechMen’s Clothes I Will Put On
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 22
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Socrates Arvanitakis
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 16 (Songs 406-432)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1155050 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1155050 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 41 pages. Socrates Arvanitakis #755331. Published by Socrates Arvanitakis (A0.1155050). This is the sixteenth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 16 (Songs 406-432)Here’s Adieu to All Judges and JuriesHeron from Brecon (THE)Hexhamshire Lass (THE)Hey Ho, The Morning DewHieland LaddieHigh GermanyHills of Shiloh (IN THE)Hind HornHo ro, My Nut-Brown MaidenHolland Handkerchief Holly HoHolly Tree (THE) Hope the HermitHorn FairHostess’s Daughter (THE)House Carpenter (THE)How My Soul is now DelightedHugh Lincoln Hughie the GraemeHunting Priest (The )Hunton Sword-DanceHusbandman (THE)Hush, my BabeI Am the True VineI Have four SistersI Hear Along Our Street 1 (Dunster Carol)I Live not Where I Love.
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 16
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Socrates Arvanitakis
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SheetMusicPlus
if there are any heavens
Piano, Voice
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1418039 Composed by Liz Nede…
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1418039 Composed by Liz Nedela. 20th Century,Chamber,Classical,Contemporary,Contest,Festival. Score. 12 pages. Liz Nedela #999589. Published by Liz Nedela (A0.1418039). This piece is based on a poem by e.e. cummings. The subject matter is the specialheaven that would be created for the poet’s mother. The music shadows, augments,and illuminates the rendition of the poem. In keeping with poetic symbolism, the pianouses motifs and musical phrases to emulate the soprano throughout the pieceThe tone of the piece is somewhat minor and modal; however, please portray a light-hearted interpretation—it should never be heavy or dark. The poet is uplifting his motherto the highest stature possible, and portrays his father as devoted and loving towardsher.The key is atonal; however, various tonality implications are heard throughout. Thepiano pedal should be complimentary to the piece, with care not to be noticed or over-bearing.Please Note: there are two other versions of this piece by this composer:One is for solo pianoOne is for the ensemble of Soprano, Violin, Bassoon, CelloAlso please note: the mp3 is from computer notation; the the soprano does not sing words; please sing along with the mp3 following the text.Text is used by permission of the Trustees of the E.E. Cummings Trust.
$6.00
5.61 €
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Piano, Voice
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Liz Nedela
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if there are any heavens
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Liz Nedela
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SheetMusicPlus
In the beginning
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1343380 Composed by Luis Diego …
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Full Orchestra - Level 3 - Digital Download SKU: A0.1343380 Composed by Luis Diego Piedra. Christian,Christmas,Classical. 6 pages. Piedra Music #928907. Published by Piedra Music (A0.1343380). This piece was composed in 2023 to be premiered during Christmas at Valpo, at Valparaiso University. It is a musical representation of the world in chaos without God, and then towards the middle and end the music changes, as if the heavens open up and we are being shown the light of Christ. At the end we hear the arrival of a baby -Jesus-.
$20.00
18.71 €
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Orchestra
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Luis Diego Piedra
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In the beginning
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Piedra Music
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 35 (Songs 919-945)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1167752 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1167752 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 46 pages. Socrates Arvanitakis #768119. Published by Socrates Arvanitakis (A0.1167752). This is the thirtieth-fifth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all  volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view.Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 35 (Songs 919-945)Wild, Wild Berry (the)Will Ye No Come Back AgainWill you go lassieWilliam TaylorWillie Brook (William Cook)Willie DooWillie drowned in EroWindy Old WeatherWithin a GardenWoodsmans Alphabet (the)World I have Forsaken (the)Wraggle Taggle Gipsies-O (the)Wreck of the Sloop John B (the)Yankee DoodleYarmouth is a Pretty TownYe Banks And BraesYe Mar’ners AllYe People All, In God RejoiceYe’re sair dung, Annie, or, Bervie’s BraesYellow BirdYellow Rose of Texas (the)Yellow Sheepskin (the)Young BankerYoung Bucks A-Hunting GoYoung CollinsYoung HerchardYoung William.
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 35
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Socrates Arvanitakis
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 13 (Songs 325-351)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1153431 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1153431 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 41 pages. Socrates Arvanitakis #753692. Published by Socrates Arvanitakis (A0.1153431). This is the thirteenth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Folk Songs For Classical Guitar - Volume 13 (Songs 325-351)Flowers in the Valley [The Red, The Green and the Yellow]Flowers O’ the ForestFoggy Dew (the)Football CrazyFor I am a Maid that’s Deep in LoveForsaken Maiden - A Maiden Sat A-WeepingForty MilesFour in a BoatFour Maries (the)Four Pence a DayFox 1 (THE)Fox 2 (THE)Fox 3 (THE)Fox Hunt (the)Frenet Ha’Friendly Beasts (THE)Frog and the Mouse (THE)Fum, Fum Fum!Gabriel’s MessageGarden Gate (THE)Garden where the Praties Grow (THE)Gathering PeascodsGentlemen of High RenownGently Johnny my Jingalo (different key)GeordieGeorge CollinsGeorgie.
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 13
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Socrates Arvanitakis
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 8 (Songs 190-216)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1152774 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1152774 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 44 pages. Socrates Arvanitakis #753011. Published by Socrates Arvanitakis (A0.1152774). This is the eighth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Folk Songs For Classical Guitar - Volume 8 (Songs 190-216)Coconut TreeCodfish Shanty (The)Cold Blows the Wind  1 (Shropshire)Cold Blows the Wind 2 (The Unquiet Grave)Cold, Haily, Windy NightCollier’s Rant (The)Come All You Fair and Tender LadiesCome all you True Good ChristiansCome All You Worthy Christian MenCome all you worthy GentlemenCome Away to the SkiesCome buy my fine herringsCome O’er the Stream CharlieCome Write me DownCome, Tune Your Cheerful VoiceConstant Farmer’s Son (The )Constant JohnnyCooper Of Fife (The)Cosher BaileyCottage thatched with straw (The)Coulter’s CandyCoventry Carol 1Coventry Carol 2 (Lulle Lullay)Crocodile (The)Cropper’s Song (The)Cruel Mother (The)Cruel Ship’s Carpenter (The).
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 8
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Socrates Arvanitakis
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 17 (Songs 433-459)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1156205 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1156205 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 43 pages. Socrates Arvanitakis #756519. Published by Socrates Arvanitakis (A0.1156205). This is the seventeenth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Folk Songs For Classical Guitar - Volume 17 (Songs 433-459)I Love My LoveI must live all aloneI saw a maidenI will Give my Love an AppleI will give you the keys of Heaven (Cheshire)I wish I was Single AgainI wish I wish 1 (My True Love Once He courted Me 1)I wish I wish 2 (My True Love Once He courted Me 2)I wish I wish 3 (My True Love Once He courted Me 3)I wish I wish 4 (My True Love Once He courted Me 4)I Wonder as I WanderI’ll Build Myself A Gallant ShipI’ll Mount the Air on Swallow’s Wings [The Loyal Lover]I’ll Tell You of a FellowI’m a Man that’s done wrong to my ParentsI’m A’ Doon For Lack of JohnnieI’se the B’y That Builds the BoatI’ve Set My Face For Zion’s KingdomIn a British Man O’ WarIn Bethlehem CityIn Good King Arthur’s Time (King Arthur’s Servants)In My Father’s GardenIn Nightly StillnessIron Horse (THE)Isle of DreamsIt’s of a farmer all in the town.
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 17
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Socrates Arvanitakis
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SheetMusicPlus
Folk Songs For Classical Guitar - Volume 14 (Songs 352-378)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1153432 Comp…
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1153432 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 42 pages. Socrates Arvanitakis #753693. Published by Socrates Arvanitakis (A0.1153432). This is the fourteenth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 14 (Songs 352-378)Georgie Jeems (Who will shoe my Foot)Gibson, Wilson and Johnson-The Three ButchersGipsy (The)Gipsy Countess Part 1 (The)Gipsy Countess Part 2 (The)Gipsy Laddy OGirl I Left Behind Me (The)GlenlogieGo Down MosesGo Tell it on the MountainGod Bless the MasterGod speed the ploughGolden Vanity (The)Good King EneryGood NewsGood Old Leathern Bottle (the)Goodbye fare-ye-wellGossip JoanGrampound Wassail (The)Green Broom 1Green Broom 2Green Bushes 1 (The)Green Bushes 2 (The)Green Bushes 3 (the)Green Gravel (Derbyshire)Green Gravel (Lancashire)Green grow the Leaves.
$25.00
23.39 €
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Traditional/Anonymous
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Folk Songs For Classical Guitar - Volume 14
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Socrates Arvanitakis
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SheetMusicPlus
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