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167 sheet music found Carrickfergus for Guitar Ensemble
Carrickfergus for Guitar Ensemble # Guitar Ensemble # INTERMEDIATE # Folkloric/Traditional # Traditional,
Ireland # Dan
Jones
www # Carrickfergus for Guitar Ensem # danjonesguitarist.com # SheetMusicPlus
Guitar Tab, Guitar Ensemble
(Mixed Ability) -
Intermediate - Digital
Download
Composed by Traditional,
Ireland. Arranged by Dan
Jones
www.danjonesg...(+)
Guitar Tab, Guitar Ensemble
(Mixed Ability) -
Intermediate - Digital
Download
Composed by Traditional,
Ireland. Arranged by Dan
Jones
www.danjonesguitarist.com.
Neo-Classical, World, Folk.
Score, Set of Parts,
Tablature. 41 pages.
Published by
danjonesguitarist.com Carrickfergus is a coastal town on the eastern side ofNorthern Ireland. It is well-known for its castle, as a holiday destination butmostly for the beautiful nostalgic song that shares its name. The origin of themelody goes back at least three centuries and the modern version is probably ahybrid of two songs.
This download contains:
A full score
All individual parts in notes
All individual parts in TAB
The arrangement can be heard and watched here: https://www.youtube.com/watch?v=jn-wuGNeIsE
This arrangement is part of a series I amproducing which will allow gatherings of guitarists of all levels to playtogether. As a guitarist and guitar teacher, I’ve noticed how arrangements willoften be too easy for some and too hard for others leaving many ensembleplayers frustrated or dissatisfied. This is a deficiency I am resolving.
My aim is to create arrangements which arestimulating for all. I have done this by tailoring parts to suit the differenttechnical and musical experience of each level of guitarist. This makes thearrangements particularly suitable for guitar societies, school groups andfestivals. The required levels are approximated below. As an experienced musicianand composer, I have added many points of musical interest such as modulations,chord substitutions and counterpoint. This also gives teachers and leaders tothe chance to teach their groups about these devices in the context of learninga real work. Guitars 1, 2, 3, 4, 5 & 7 all play the main melody at somepoint (Guitar 6 being for near-beginners).
Technical Requirements
· Guitars1 & 2 will suit players of Grade 6 (intermediate/advanced) standard or above. There is somehigh-position work.
· Guitars3 & 4 are suitable for players of about Grade 4 (intermediate) standard.
· Guitar5 is suitable for a player of about Grade 2 (beginner) standard.
· Guitar6 is suitable for near-beginners. It is mainly open strings with some first-positionstopped notes. Although it is a technically-easy part, it is very motivatingfor guitarists in their early stages to play with a large ensemble. This partis optional.
· Guitar7 is suitable for players of about Grade 5 (intermediate) standard. The bass line hasornamentation, a lot of rhythmic interest and at times, the melody.
Teachers and player can also benefit fromthe fact that a recording of the arrangement, with performance notes, is alwaysavailable on-line.
Thank you so much for your purchase. Ifyou have any questions, requests or would like to send feedback, it would be apleasure to hear from you at www.danjonesguitarist.com or on my facebook page.
Dan Jones, March 2019 In the Bleak Midwinter (Guitar Quartet)
In the Bleak Midwinter (Guitar Quartet) # 4 Guitars (Quartet) # INTERMEDIATE # Christmas # Gustav Holst and Christina Ros # John A # In the Bleak Midwinter # John A. Dempsey # SheetMusicPlus
Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.523557 Composed by Gustav Holst and Christina Rossetti. Arranged by John A. Dempsey. Celtic,C...(+)
Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.523557 Composed by Gustav Holst and Christina Rossetti. Arranged by John A. Dempsey. Celtic,Christian,Christmas,Holiday,Irish,Sacred. Score and parts. 18 pages. John A. Dempsey #3541005. Published by John A. Dempsey (A0.523557). A wintry landscape, a miracle, a wondrous season: all these are evoked in this traditional English Christmas carol that's also popular among Celtic music fans.  Arranged as a jubilant guitar quartet, this snowy atmospheric music is recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events.  Suggested uses: prelude, postlude, offertory, interlude, Christmas play overture, special music and silent prayer accompaniment.  Key: G major.  14 pages of music (that includes the score and separate two-page parts for guitar 1, guitar 2, guitar 3 and guitar 4)   What can I give Him, poor as I am?   If I were a shepherd, I would give a lamb.   If I were a wise man, I would do my part   But what can I give Him?  Give Him my heart. . The Sound Of Silence Arr. for Early/Intermediate Solo Guitar by Dan Jones
The Sound Of Silence Arr. for Early/Intermediate Solo Guitar by Dan Jones # Guitar notes and tablatures # EASY # Classical # Simon And Garfunkel # Dan Jones
(www # The Sound Of Silence Arr. for # danjonesguitarist.com # SheetMusicPlus
Guitar - Early Intermediate -
Digital Download
By Simon And Garfunkel.
Arranged by Dan Jones
(www.danjonesguitarist.com).
Score, Solo Part, Tablature. ...(+)
Guitar - Early Intermediate -
Digital Download
By Simon And Garfunkel.
Arranged by Dan Jones
(www.danjonesguitarist.com).
Score, Solo Part, Tablature.
4 pages. Published by
danjonesguitarist.com TheSound of Silence isPaul Simon’s masterpiece. Released in 1965, Simon had written the track duringthe two previous years. It was well worth the wait.
Itis an obvious choice as a piece of repertoire to arrange for the intermediateguitarist, yet I have found that many arrangements include real technicaldifficulties for the learner. This is often because of the choice of key. Ifset in A minor, an F barre chord is encountered. Similarly, in D minor, a Bflat barre chord crops up. After much trial and error, I have created a versionin F sharp minor which is playable for younger and less experienced hands,without, I believe, losing any musical effect.
Ihave tried to make this arrangement flexible. Therefore, it is set in 2sections. A grade 1-2 guitarist can play just the first half, twice for acomplete performance. The second half has a thicker texture, with a ‘flatpicking’ technique applied to the thumb. Here, the thumb plays the lower notes onall four beats of the bar.
This downloadprovides one version with only notes, and a second in notes and TAB (in this singledownload). I am aware that many teachers dislike TAB, so you are given the choice.
Professionalplayers looking for light repertoire – perhaps for restaurant or wedding work –can fill out the parts spontaneously. The chord sequence is obvious to those withmore experience.
Personally speaking, I sometimes play the arrangement with a capo at fret 3 or 4 to vary the timbres heard in a concert programme.
I hope very muchthat you enjoy playing this version of The Sound of Silence. To see andhear my arrangements for learners, professionals, and ensembles, please visit www.danjonesguitarist.com.I have also written a memoir of working as a guitarist in rural France. Pleasesee www.danjonesauthor.com.
I will upload a YouTube video and lesson before the end of February 2021.
THANK YOU! DanJones, Perthshire, Scotland, February 2021 Waltz Op 69 No 2 (Arranged for Guitar)
Waltz Op 69 No 2 (Arranged for Guitar) # Guitar notes and tablatures # INTERMEDIATE # Classical # Frederic Chopin # Brian Streckfus # Waltz Op 69 No 2 # Brian Streckfus # SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,C...(+)
Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key. I Saw Three Ships (Come Sailing In)(Solo Guitar with TAB)
I Saw Three Ships (Come Sailing In)(Solo Guitar with TAB) # Guitar notes and tablatures # INTERMEDIATE # Sacred music # Traditional English Carol # Antony Cull # I Saw Three Ships # Antony Cull # SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.896159 Composed by Traditional English Carol. Arranged by Antony Cull. Christian,Christmas,Praise & Worship,S...(+)
Guitar - Level 3 - Digital Download SKU: A0.896159 Composed by Traditional English Carol. Arranged by Antony Cull. Christian,Christmas,Praise & Worship,Sacred. Guitar Tab. 2 pages. Antony Cull #3382729. Published by Antony Cull (A0.896159). 'I Saw Three Ships (Come Sailing In)' arrangement for solo guitar by Antony Cull.IntroductionThis arrangement is aimed at intermediate level guitarists with a good control of natural harmonics and basic fingerstyle. The whole piece has the harmonic structure written in the chords above, which can be strummed by another player to turn the piece into a duet. Alternatively you can use these chords to accompany a singer and add the solo guitar arrangement as a introduction.Performance NotesThe first section outlines the basic harmony, often omitting notes from the chords above, to outline the melody. To keep each section distinct, keep the pace of this section slow and expressive.The next section has a celtic inspired feel, with the constant quavers throughout to drive the piece forward. Note the increase in tempo, but adjust to a comfortable speed for your ability as you are mostly aiming to play faster then the introduction. Practice this section slowly at first, taking time to choose the most comfortable finger position. Once you have the fingering locked in, work on making the melody pop out from the over all picking pattern, relax the attack on the thumb to help this.The third section uses natural harmonics to play the melody. To play a natural harmonic place you fretting finger lightly on the string above the stated fret. As you pick the string, remove your you finger and you should get a bell like tome that sounds a different pitch to the open string. Let each string ring out after each harmonic is played over the subsequent notes until another note is played on that string. In bar 19 and 23 there is a single fretted note so be prepared to switch technique on a dime. This will create a rich harp like feel to the piece that will give a really christmassy feel.The only big change in the coda is a gentle ritardando and an arppegiated harmonic across three strings. Gently place a finger across the three strings and role them off the as they are picked. Final ThoughtsI am a really big fan of tight arrangements and love constructing arrangements for my students. One of my greatest challenges is creating performance pieces for guitarists that don't sing. This is especially ponient during the holidays when everyone wants to hear all the classics. This piece is extremely musical and the harmonics are a real crowd pleaser. If you would like to know more about my music and the other arrangements and transcriptions, you can visit my website at www.antonycull.co.uk . Bach Cello Suite No 1 arranged for solo guitar
Bach Cello Suite No 1 - solo guitar # Guitar # INTERMEDIATE/ADVANCED # Joh # Georg Mertens # Bach Cello Suite No 1 - solo g # Georg Mertens # SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1320915 Composed by Joh. Seb. Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,Traditional,Wed...(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1320915 Composed by Joh. Seb. Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,Traditional,Wedding. Individual part. 13 pages. Georg Mertens #909357. Published by Georg Mertens (A0.1320915). Having grown up as a cellist, who played the Suite since I am 11 years of age, I sometimes imagined or even hummed suitable bass notes, which you can't reach on the cello. Also, I imagined certain harmonies, completed in imagination when playing the Suite for years. - With many arrangements by guitarists, who didn't play the Suite on cello, I can hear, they are not going the right way! - Bach himself arranged cello Suite No 5 for lute - as lute Suite No 3 - giving us an example of how he himself went about when adding accompaniment notes - and he certainly did!Good examples are Gavotte 2 and the Gigue from Cello Suite No 5 - or lute Suite No 3. Bach also arranged the violin Partita No 3 in E major for lute - as lute Suite No 4, another example of how he himself went about. - In the arrangement here, I tried also to transfer the slurs on the cello sometimes to the guitar - e.g. in the Gigue - when I found it brings better the intended articulation better out.I hope you thoroughly enjoy the arrangement!Â