| Jumbo Easy Guitar Songbook Guitare notes et tablatures Guitare classique [Partition] - Facile Hal Leonard
Performed by Various. Easy Guitar (Simplified arrangements for guitar). With not...(+)
Performed by Various.
Easy Guitar (Simplified
arrangements for guitar).
With notes and tablature.
Size 9x12 inches. 400
pages. Published by Hal
Leonard.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 70 Bach Chorales for Easy Classical Guitar
Guitare notes et tablatures Guitare classique [Partition + Accès audio] - Facile Cherry Lane
Composed by Johann Sebastian Bach (1685-1750). Arranged by Mark Phillips. Easy G...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Arranged by
Mark Phillips. Easy
Guitar. Classical.
Softcover Audio Online.
With guitar tablature. 76
pages. Published by
Cherry Lane Music
(1)$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Johann Sebastian Bach: 371 Harmonized Chorales And 69 Chorale Melodies W/Figured Bass
Piano seul [Partition] Schirmer
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For pi...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Riemenschneider. For
piano. Format: piano solo
book. With piano
reduction, introductory
text, instructional text,
lyrics and performance
notes. Baroque. 184
pages. 9x12 inches.
Published by Schirmer
(3)$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Diferencias, Kopi [Conducteur] Music Sales
Flute, Clarinet, Violin, Cello, Guitar, Vibraphone, Piano Chamber SKU: HL.140...(+)
Flute, Clarinet, Violin,
Cello, Guitar,
Vibraphone, Piano Chamber
SKU: HL.14008995
Composed by Poul Ruders.
Music Sales America.
Classical. Score. 36
pages. Music Sales
#KP00055. Published by
Music Sales
(HL.14008995). ISBN
9788759878217.
Danish. Poul Ruders
DIFERENCIASDIFERENCIAS
was an old Spanish naming
of musical compositions
dealing with various
techniques involving
theme and variation. In
modern Spanish it simply
means differences. It's a
nice title, however, and
as to the present piece,
a very fitting one
indeed, because I wrote
it especially to The
Elsinore Players for
their South America-tour
in 1981.Actually nothing
happens to the clipping
of wellknown Bach (the
first four bars of the
chorale: jesu, Joy of
Man's Desiring, cantata
No. 147), apart from the
continuous changing of
the succession-pattern of
the 11 triplets and one
duplet, the latter of
which creates the
recognizable 8/8 pattern
amidst the flow of 9/8
spinnrad-rolling. To put
it popularly, I haven't
included anything that
Bach does not have in the
book himself.In addition
to that, the
unpredictable accents and
various instrumental
colours are the only
means of differences.
There are no modulations,
no tricky polyphony,
nothing but a long,
thoughtful tasting the
beautiful piece of tune.
Well, of course, the
chorale itself enters the
picture in the very last
section, but that is
merely for me to have the
pleasure of tossing it
away again before it
comes to a proper
end.Finally, I really do
think, that the
Cage/Morgan poem quoted
below, is the most
suitable prologue to
DIFERENCIAS:14 variations
on 14 wordsI have nothing
to say and I am saying it
and that is poetry. John
CageI have to say poetry
and is that nothing and I
am saying itI am and I
have poetry to say and is
that nothing saying itI
am nothing and I have
poetry to say and that is
saying itI that am saying
poetry have nothing and
it is I and to sayAnd I
say that I am to have
poetry and saying it is
nothingI am poetry and
nothing and saying it is
to say that I haveTo have
nothing is poetry and I
am saying that and I say
itPoetry is saying I have
nothing and I am to say
that and itSaying nothing
I am poetry and I have to
say that and it isIt is
and I am and I have
poetry saying say that to
nothingIt is saying
poetry to nothing and I
say I have and am that
Poetry is saying I have
it and I am nothing and
to say that And that
nothing is poetry I am
saying and I have to say
itSaying poetry is
nothing and to that I say
I am and have itEdwin
MorganPoul Ruders. $39.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Huge Book of Really Easy Melodies for Guitar in TAB Guitare notes et tablatures Guitare classique - Facile Alfred Publishing
(The Most Famous Melodies of All Time Arranged for Easy Guitar). For Guitar. Thi...(+)
(The Most Famous Melodies
of All Time Arranged for
Easy Guitar). For Guitar.
This edition: Easy Guitar
TAB. Book; Guitar Mixed
Folio; Guitar TAB; Solo
Guitar TAB (EZ/Int). 288
pages. Published by
Alfred Music Publishing
$25.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonata No. 6 "Kharkiv", Op. 48 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4244 Composed by Konstantin Bliokh. Sco...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4244
Composed by Konstantin
Bliokh. Score. Les
Productions d'OZ #DZ
4244. Published by Les
Productions d'OZ
(DZ.DZ-4244). ISBN
9782898521614. La
Sonate n° 6 Kharkiv
pour guitare solo a
été composée en
2021, Ã la fin du
confinement lié au
COVID-19. Ã? ce
moment-là , ma famille
et moi étions
restés dans notre
ville natale de Kharkiv
(également connue sous
le nom de Kharkov), en
Ukraine, pendant près
de deux ans. Nous
considérions cette
période de pandémie
comme un désastre,
mais nous avons
réalisé plus tard
que c'était en fait un
moment plutôt heureux,
car la guerre est
arrivée dans notre
pays quelques mois plus
tard. Depuis 2022, une
fraction considérable
des 1,5 million de
citoyens de Kharkiv ont
quitté leur foyer,
ceux qui sont restés
vivent sous des attaques
incessantes de missiles,
et beaucoup ont été
tués. Je voudrais
dédier cette Sonate
à la ville
frontalière de Kharkiv
et, surtout, Ã ses
citoyens souffrant de la
guerre.
Pourtant,
la musique de la Sonate
n'a aucun programme
spécifique. Ici, je
donnerai un bref
aperçu de ses
principaux éléments
de composition pour
faciliter les
interprétations
futures.
Les
premier et quatrième
mouvements de cette
Sonate sont basés sur
l'interaction entre le
principe
dodécaphonique et le
centre tonal de sol
majeur, naturel pour la
guitare. En particulier,
le premier mouvement est
basé sur l'interaction
de la triade de sol
majeur Solâ??Siâ??Ré
des cordes de guitare
à vide 2â??3â??4, le
motif ascendant 1
impliquant les notes
Miâ??Fa#â??Laâ??Do#
(Ã l'origine sur la
première corde), et le
motif descendant 2
utilisant les notes
Miâ??Doâ??Sibâ??La
(Ã l'origine sur la
corde de basse 6). Ces
éléments se
complètent presque
pour former douze tons
(Ã l'exception du Fa
manquant), et les motifs
alternent avec des
fragments ostinato où
chaque note de la triade
de sol majeur est
déplacée pas Ã
pas d'un demi-ton vers le
haut ou vers le
bas.
Le
deuxième mouvement est
un Scherzo impliquant de
nombreux demi-tons dans
des accords accentués
et des passages rapides,
ainsi qu'un mouvement
mélodique chromatique
dans la voix de basse. Il
est presque atonal dans
certains fragments, mais
a un centre tonal global
de la mineur.
Le
troisième mouvement
est un Adagio
méditatif basé sur
un thème composé
dans l'échelle
hexatonique
Réâ??Miâ??Faâ??Sol#
â??Laâ??Si et des
accords ostinato
impliquant les cordes de
basse à vide
Miâ??Laâ??Ré et le
demi-ton
Siâ??Do.
Enfin,
le quatrième mouvement
est basé sur le
thème
dodécaphonique complet
composé de deux
phrases comprenant les
motifs 1 et 2 du premier
mouvement :
Solâ??Faâ??Sibâ??Labâ
??Doâ??Mibâ??Ré et
Miâ??Siâ??Do#â??Laâ??
Fa#. Ce thème est
présenté dans ses
formes prime et
rétrograde. Il y a des
dialogues entre la
première corde, les
basses et les cordes
médianes à vide,
similaires au premier
mouvement. Ã? son
apogée, le thème
dodécaphonique est
interprété en
utilisant le mouvement
parallèle de l'accord
de sol majeur standard de
la guitare avec les
cordes médianes Ã
vide sur douze
positions.
La
Sonate a été
créée en
première et
enregistrée (CD Naxos
No. 8.574630) par le
célèbre guitariste
ukrainien Marko Topchii,
qui a également
vécu et étudié
à Kharkiv. Je lui suis
extrêmement
reconnaissant pour
l'interprétation
brillante de cette
pièce.
Je suis
très redevable envers
Productions d'Oz d'avoir
conservé mes notations
originales là où
celles-ci ne
correspondent pas au
style de
l'éditeur.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 3 Epigrammer, Kopi Piano seul Music Sales
Piano SKU: HL.14036975 Piano Solo. Composed by Pelle Gudmundsen-ho...(+)
Piano SKU:
HL.14036975 Piano
Solo. Composed by
Pelle
Gudmundsen-holmgreen.
Music Sales America.
Classical. Book
[Softcover]. 8 pages.
Music Sales #KP00638.
Published by Music Sales
(HL.14036975). ISBN
9788759868010.
Danish. Pelle
Gudmundsen-Holmgreen 3
EPIGRAMS'3 Epigrams'
(1963) came into
existence following my
piece for chamber
orchestra 'Chronos'
(1962). My purpose with
these pieces (and others
of the same period) was
to explore the sound
experiences of serialism
in space and time but
without using the
original and fundamental
substance of serialism -
the tone row. The
chromatic space was
constituted by four
identical and
complementary tone
columns (established by
transposition). The time
was divided into 25
different sizes,
plasticly conceived and
graphically notated.
These distances were then
divided in 25 new
distances in the same
proportions etc ... into
smaller and smaller
durations completely
hierarchally carried
through. This time
division, 'rhythm',
de-termines the gradual
or sudden shifts from one
tone column to
another.The 3 Epigrams
became a little play of
my own with this material
and the work is,
therefore, quite clear to
read and easy to play - a
kind of bagatelle,
really.I am now afraid
that a classic situation
is emerging: If this
programme note is any
longer it will take more
time to read this than it
will take to play the
three pieces.Pelle
Gudmundsen-Holmgreen. $8.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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