Guitar (fingerpicking) - Intermediate-Advanced - Digital Download

SKU: M0.22041EB

Seven Contemplative Guitar Solos Written in Free-Form Style. Composed by William Bay. Style. Contemporary. E-book and online audio. Mel Bay Publications - Digital Sheet Music #22041EB. Published by Mel Bay Publications - Digital Sheet Music (M0.22041EB).

ISBN 9781619111653. 8.75x11.75 inches.

Timeless Solos is a play on words. The solos in this volume contain no time signatures or bar lines. I did this because I wanted the solos to be very expressive in interpretation yet free-form in structure. The companion recording presents my interpretation of these works. You may interpret them differently and that is fine! All solos are in notation and tablature. When writing these solos I first envisioned the form as an extended cadenza. However, from my earlier trumpet playing days I recalled that, especially in the 19th century, a cadenza was a momentary break in a solo which gave the performer a chance to dazzle the audience with his or her virtuosity. These solos are not about that. Rather, they are a vehicle to give the guitarist an opportunity to move the listener with the performer's expressive ability. I also thought of these solos in the form of a chant. However, most chants are monophonic in form and these solos in various parts present a fairly lush harmonic structure. While the solos were written for a 7 string guitar, they may be played successfully on a 6 string guitar. Alternate notes for those found on the 7th string are shown in the tablature part. Also, the solo, Peace, is written in Dropped D tuning and makes little use of the 7th string pedal tones. The solos are contemplative in nature and provide ample opportunity for individual expression and interpretation. I hope you enjoy playing and performing these works.

Solo Guitar - Level 3 - Digital Download

SKU: A0.1453811

Composed by Jan Antonin de Logy (1650-1721). Arranged by Socrates Arvanitakis. Baroque. Individual part. 34 pages. Socrates Arvanitakis #1033060. Published by Socrates Arvanitakis (A0.1453811).

Jan Antonin de Logy, count of Rosinthal (1650-1721) was an aristocrat of Bohemia and official of the Austrian empire. As a musician he was a lute player of professional level and seems to have been a refined and prolific composer of single pieces and suites in the French style for his instrument. His compositions are becoming known to us today through important academic research but a lot more work has to be made in this field. The present suite in Em has the following eight movements:

1 Allemande
2 Courante
3 Sarabande La Favorita
4 Double
5 Gavotte I
6 Gavotte II & (Gavotte I da capo)
7 Menuett
8 Gigue

None of these dance movements is too difficult to play, but they are all musically rewarding and the compositional standard is kept high in all of them maintaining a two-part contrapuntal writing throughout the suite.

In these editions I prefer not to add any fingerings because I consider that they obscure the optical result rather than clarifying any particular way of playing the music. Especially if tablatures are provided as is the case with this volume the suggested left hand fingerings become quite clear, but  Instrumentalists can disregard these suggestions and provide their own fingering and choice of positions.
Interactive thematic index has been provided for easy navigation to individual movements either in decorated or in tablature pages and back to the index.
If a printed copy is desired, blank pages have been provided for insertion at will and for correct order of left and right side pages.
MP3 of the music has been created using the Note Performer playback engine.

Solo Guitar - Level 2 - Digital Download

SKU: A0.1139670

Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670).

This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!

Objective:
Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. 

What Scales/Modes are being harmonized?

1. C Major (+jazz version)
2. A (natural) minor (+jazz version)
3. A harmonic minor (+jazz version)
4. B Locrian
5. D Dorian
6. E Phyrigian
7. F Lydian
8. G Mixolydian

Features:

• Slowly increases in physical and theoritcal difficulty at the same time.
• Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar.
• These chord progressions are a great composition aid.
• Guitar chord diagrams
• Traditional notation with letter names on the note heads
• Roman numerals color coded
• Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. 
• Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. 

Tips:

1. Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions.
2. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule.
3. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly.
4. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake.
5. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled!
6. Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key.
7. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.

Solo Guitar - Level 3 - Digital Download

SKU: A0.1032084

Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084).

Classical Guitar Solo - Intermediate
Composed by Edwin Culver (1992-) 4 Pages.  Duration 7'30

Composer's note: 

Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try?  Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind.  We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness.    

The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions.  I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness.  There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…

But one of the interesting things about great minimalist music is that it’s not merely about repetition.  I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less.  Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes.  And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.

Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time.  Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.

It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over.  And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural.  From A to E, a bridge to exits eternal.
The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own.   

This is ...a bridge a-way, exits within.

Solo Guitar - Digital Download

SKU: A0.1025538

Composed by Alejandro Goldenberg. 20th Century,Contemporary,Standards. Individual part. 5 pages. Alejandro Goldenberg #4832485. Published by Alejandro Goldenberg (A0.1025538).

The main idea was to write a music material with a study structure that allowed it to be performed by two players, but also by only one. This characteristic inspired the name of the studies, as I imagined each part of the duet as a dimension, and the whole of it, the union of both, as the third dimension. This score include the two guitars version and the one guitar version.

Moreover with the Three-Dimensional, I searched for a diversity of composition styles, starting by the music of our American Continent and reflecting some of its traces.

Thus sometimes in an explicit way, others only suggesting, River Plate, Brazilian, Caribbean and North American atmospheres are present.

It is basically an integrating music, and because of its construction it asks the performer to improvise, compose and do whatever he likes with it.

Solo Guitar - Level 4 - Digital Download

SKU: A0.1042421

Composed by Frank Zappa. Arranged by Andrew Pattinson. Classical,Contemporary. Individual part. 1 pages. Andrew Pattinson #647206. Published by Andrew Pattinson (A0.1042421).

Zappa Quote: This is a 12-tone crab canon written when I was 18. There's actually another version for two guitars, so it's a double crab canon. I don't know where it is though. I'd been doing 12-tone music for quite some time before I did this, but it was the first time I'd tried to write something for the guitar. I couldn't play it, and I never got to hear it until I got the Synclavier. And because it's printed on the Synclavier, that also means I got to push the button and listen to it..

Solo Guitar - Level 4 - Digital Download

SKU: A0.1187094

By Julian Bertino. By Julian Bertino. Classical,Contemporary. Individual part. 10 pages. Julian Bertino #786726. Published by Julian Bertino (A0.1187094).

Kriyā is a Sanskrit word meaning to do, make, perform, accomplish, cause, effect, prepare, undertake� toward something specific. We often live our lives hiding from ourselves, usually because of an artificial sense of fear, embarassment, shame or guilt that we may have acquired because of social pressures. This is why we many people have a mid-life crisis and suddenly change the way they have lived their lives into how they wished to live all along. 

This piece represents the unraveling of previously held ideals into one which is synchronous with the world around us, beginning with a vision reminding us of mortality, progressing through the difficulties and cognitive dissonances which occur when we must change our lives to find happiness. 

Kriya began originally as a tremolo etude on the 2nd and 3rd strings, but quickly evolved into a musical composition. Practicing Tremolo on strings other than the first develops control and discipline in the right hand, which was my original intention in writing it- but I felt as if the material that was generated required more and more variation and contrast- and quite quickly I realized that I had to complete it with the intention of performing it as a piece of music rather than simply a technical exercise.

**This version is for 10-string guitar. There is a 6-string guitar version available also.

Guitar - Advanced - Digital Download

SKU: ZZ.DZ-4244

Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244).

La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. � 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, à 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# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à 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 à 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 à 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.

Sonata 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.

Solo Guitar - Level 1 - Digital Download

SKU: A0.1171119

Composed by Scott Joplin. Arranged by Brian Streckfus. 20th Century,Barbershop,Blues,Folk,Ragtime. Individual part. 2 pages. Brian Streckfus #771449. Published by Brian Streckfus (A0.1171119).

1. 2 page arrangement for guitar. I'm sorry to say this is not the full version, but a 16 page version is long winded for my purposes.
2. Guitar Tab added.
3. Slurs and slides added.
4. Re-harmonized to be idiomatic for guitar, be less cliche,  and to emphasize the main melody more.
5. Some composers indications added when really necessary.  
6. Left hand fingerings added.
7. Chord nomenclature added.
8. Overly excessive ties removed.
9. Some octaves changes to better suit guitar.

Tips:
1. Be very careful of the difference between slurs and ties! Sometimes I don't show slurs on the tab, but this time I had to.
2. The rests are real and they are suggested because they lead to a jazzier rag time sound. I feel like it goes without saying that sustain is ultimately up to the performer, which is why I removed a lot of pedantic ties; they seem to add confusion half the time. 
3. The D7 is a slight key change because it has an F# in the chord. It's a secodary dominace chord, V7/V, and often a vii7b5 can replace it. In other words, the F# goes gravitates into the next chord, a G Major chord.
4. G6 is really just the 3 thinnest strings of the guitar open. It's a great transition chord.
5. The D# is part of the C major blues scale.
6. Adding more 7th chords than originally there is almost always an interesting pursuit. Going from G to G7 can certainly aid in helping things sound more goofy.

Guitar - Level 3 - Digital Download

SKU: A0.1091989

By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by André Alberto Santos. Baroque,Instructional,Traditional,Wedding. 17 pages. Soul - Musical Creations #696120. Published by Soul - Musical Creations (A0.1091989).

This is an arrangement of the second movement of Bach's Fugue from Lute Suite No.2 BWV 997 for three guitars. Simply beautiful! This arrangement is a good exercise because the voices alternate between each other, which makes it challenging but also rewarding in the end. I recommend this piece for intermediate and advanced players and guitarists who are looking for new challenges in their playing. _____________________________________________________________ arrangement, violao vadio, sheet music, music, Score and Parts, pop, magic, song, guitar, Guitar, Arrangement, Baroque, composer, children, students, recital, staff, sheet, sheetmusic , PDF, Lute Suite, J. S. Bach, Johan, Johann, Sebastian, Bach, Trio, trio, 3 guitars, classical, 3 Guitars, classical guitar, nº2, n.2, n2, Fugue.

Solo Guitar - Level 4 - Digital Download

SKU: A0.1291077

Composed by Rocco Di Pietro. 21st Century,Chamber,Classical,Contemporary. Individual part. 8 pages. Rocco Di Pietro #881769. Published by Rocco Di Pietro (A0.1291077).

“Interrupted Dance� was written for the Guitarist Larry Marotta who I have worked with for many years.
I felt comfortable giving Larry the difficult tasks of going back and forth between a simple childhood tune
with variations Mozart would have approved of.
I contrasted that with daunting extended techniques from the old Avant -Garde.
I did not want to get rid of any technique which would still be useful to me from
my old love of Modernism, but I wanted to use that as part of my current practice
of letting the past in, which has moved away from 1966.
The dance was inspired by a little sculpture a friend of mine gave to me, which depicts a
booby -trapped playground. It shows a little swing set surrounded by thorns and
daggers. There is a little teddy, who wants to ride the swing but never does,
because he sees the bucket of blood.
The little swing set is represented by the childhood tune in its various transformations.
The work is simply dedicated to that friend. The work contains two endings.
The guitarist traveling teddy navigates the playground in triumph in the first ending
and individuates and rejects the playground in the second ending.
Returning to the practice of life in maturity.
RDP.

Guitar - Level 2 - Digital Download

SKU: A0.1168489

Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489).

If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact  original melody.

1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  
2. The chords are very modern, despite this song being written in the mid 1850s.
3. Grace notes added
4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 
5. Left hand fingerings added to aid in sight-reading.
6. Letter names added to note heads to aid in sight-reading.
7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. 

Tips:
1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.
2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.
3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 
4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.
5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.