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Vous avez sélectionné:
I See The Light
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Guitare
Partitions à imprimer
6 partitions trouvées
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1
Serenata Española. New completely revised and fingered edition based on original sources,
Serenata Española. New completely revised and fingered edition based on original sources,
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Joaquín Malats
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Serenata Española. New
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Pedro Jesús Gómez Lorente
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1449751 Composed by Joaquín Malats (1872 - 1912). Arranged by Pedro Jesús Gómez (arranger) & Juan Velázquez (editor)...
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Solo Guitar - Level 4 - SKU: A0.1449751 Composed by Joaquín Malats (1872 - 1912). Arranged by Pedro Jesús Gómez (arranger) & Juan Velázquez (editor). 19th Century,Romantic Period. Individual part. 12 pages. Pedro Jesús Gómez Lorente #1029511. Published by Pedro Jesús Gómez Lorente (A0.1449751). Joaquín Malats's Serenata Española was premiered at the Salon Érard in Barcelona on 22 September 1891,[1] and was published by Zozaya a year later. Despite what it may seem from the initial title on the cover of the Suite Impresiones de España, this work was never performed as a suite for orchestra. Originally conceived as a collection in which the Serenade was the second of the pieces, only this one was published in addition to the first one: Danza. Joaquim Malats performed these two compositions in numerous concerts as part of the Suite Impresiones de España,[2] however, he neither published them as a unitary corpus, nor did the ochestral version see the light. The suite was initially dedicated to the great writer Benito Pérez Galdós, who was also a personal friend of the composer. This edition aims to provide a new vision of the work by contrasting the first two arrangements that were made, by Tárrega and by his disciple Severino García Fortea, with the original piano source, paying special attention to include agogics, dynamics and phrasing arcs indications in the piano font and to the maintenance of the original structure of the work. [1] «Joaquín Malats i Miarons», Real Academia de la Historia (blog), Last accessed April 12th 2024, https://dbe.rah.es/biografias/12709/joaquin-malats-i-miarons 2024-04-12.[2] Joaquín Malats, Impresiones de España. Suite de orquesta (Madrid: Zozaya, 1892).
$8.50 ≈
7.66€
Nobody knows the trouble I've seen
Nobody knows the trouble I've seen
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Traditional
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Bettina Schipp
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Nobody knows the trouble I've
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songbooks.info
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1322023 Composed by Traditional. Arranged by Bettina Schipp. Blues,Country,Folk,Traditional. Individual part. 2 pages. S...
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Solo Guitar - Level 4 - SKU: A0.1322023 Composed by Traditional. Arranged by Bettina Schipp. Blues,Country,Folk,Traditional. Individual part. 2 pages. Songbooks.info #910441. Published by songbooks.info (A0.1322023). These Folk and Gospel Songs and Traditionals were arranged for Guitar fingerpicking. They were written in the well-known tablature for string instruments as well as in classical musical notation - for slightly intermediate and advanced guitarists. The songs were recorded at a slow tempo and with a metronome in the background. Have fun making music...!Diese Folk und Gospel Songs und Traditionals wurden für das Fingerpicking mit der Gitarre arrangiert. Sie wurden in der bekannten Tabulatur für Saiteninstrumente sowie in der klassischen Notenschrift notiert - für leicht fortgeschrittene und fortgeschrittene GitarristInnen. Die Lieder wurden in einem langsamen Tempo und mit einem Metronom im Hintergrund aufgenommen. Viel Spaß beim Musizieren...!
$1.99 ≈
1.79€
Here I Am To Worship (light Of The World)
Here I Am To Worship (light Of The World)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Phillips, Craig & Dean
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Antonius Agung Setiawan
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Here I Am To Worship
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Antonius Agung Setiawan
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1134391 By Phillips, Craig & Dean. By Tim Hughes. Arranged by Antonius Agung Setiawan. Christian,Contemporary,Pop. Indiv...
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Solo Guitar - Level 4 - SKU: A0.1134391 By Phillips, Craig & Dean. By Tim Hughes. Arranged by Antonius Agung Setiawan. Christian,Contemporary,Pop. Individual part. 7 pages. Antonius Agung Setiawan #734480. Published by Antonius Agung Setiawan (A0.1134391). Here I Am To Worship (Light Of The World) by Tim Hughes Solo guitar arrangement by Antonius Agung Setiawan Fingerstyle guitar arrangement, Easy to play To see more of my work, please visit https://linktr.ee/pakagung.
$5.75 ≈
5.18€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.30€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00 ≈
6.30€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.30€
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