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 4 - Digital Download

SKU: A0.1268428

By Jose Gonzalez. By Karin Dreijer Andersson and Olof Dreijer. Arranged by Pablo Alcázar. 21st Century,Pop,Singer/Songwriter,Wedding. Individual part. 6 pages. Pablo Alcázar #860970. Published by Pablo Alcázar (A0.1268428).

Arrangement for solo guitar of the famous song Heartbeats. This arrange by Pablo Alcázar, professional guitarist arranger and composer, is for intermediate players that want a challenge to play or for professional guitarist that want some new repertoire for wedding gigs or concerts. It includes the full voice melody line aswell as the full guitar line from the original song. This arrangement uses the 3º string on F# and the 6º string on D and the reading doesn't include the real notes you are playing but the translation of a normal tuning reading to make things easier. Also you can check the strings on the tablature in case you need to play in different positions.

This is the Lyrics of the song:

One night to be confused
One night to speed up truth
We had a promise, babe
Four hands and then away
Both under influence
We had divine sense
To know what to say
Mind is a razor blade
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
One night of magic rush
The start a simple touch
One night to push and scream
And then relief
Ten days of perfect hues
The colors red and blue
We had a promise, babe
We were in love
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
And you
You knew the hand of the devil
And you
Kept us awake with wolves teeth
Sharing different heartbeats
In one night
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough.

Guitar - advanced - Digital Download

SKU: S9.Q50413

For guitar. Composed by Olli Mustonen. This edition: single sheet. Guitar Archive. Für Gitarre. Downloadable, Separate edition. Duration 10 minutes. Schott Music - Digital #Q50413. Published by Schott Music - Digital (S9.Q50413).

Unlike its predecessor Jehkin Iivana, which draws its inspiration from the world of Finnish myths and the ancient tradition of poet singers, the sources of the Sonata N° 2 are more abstract. The first movement starts with dissonant intervals, full of drama and conflict while the second has a dream-like atmosphere as if the guitar has been left alone in the forest. After a nightmarish episode, more hopeful music suddenly starts to appear. In the last movement the guitar returns to fight its tormentors from the first movement with renewed energy and takes its way heroically through all obstacles to a triumphant end. Olli Mustonen.

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.

Solo Guitar - Level 4 - Digital Download

SKU: A0.1354391

By Edith Piaf. By Edith Piaf and Louis Guglielmi. Arranged by Bettina Schipp. 20th Century,Broadway,Film/TV,Musical/Show. Individual part. 2 pages. Songbooks.info #939109. Published by songbooks.info (A0.1354391).

La vie en rose (French for Life in Pink, in free translation Life through rose-colored glasses) is a chanson written in 1945 by the French singer Édith Piaf (1915-1963), melody: Louis Guglielmi (1916– 1991).
The chanson has been translated into at least twelve languages, including at least 28 versions in German. The title is used in at least 32 films.
The song was arranged for the Guitar and notated in classical musical notation and tablature.
The sound of a Vibraphone was used in the setting, so the sound does not mix with the sound of your own instrument. The melody is backed by a metronome and quietly by an organ. We hope you enjoy making music...!

La vie en rose (französisch für „Das Leben in Rosa“, in freier Übersetzung „Leben durch die rosarote Brille“) ist ein 1945 geschriebenes Chanson der französischen Sängerin Édith Piaf (1915-1963), Melodie: Louis Guglielmi (1916–1991).
Das Chanson wurde in mindestens zwölf Sprachen übersetzt, davon mindestens 28 Versionen auf Deutsch. Der Titel wird in mindestens 32 Kinofilmen verwendet.
Das Lied wurde für die Gitarre arrangiert und in klassischer Notenschrift und Tabulatur notiert.
In der Vertonung wurde der Sound eines Vibraphones verwendet, so vermischt sich der Klang nicht mit dem Klang des eigenen Instrumentes. Hinterlegt ist die Melodie mit einem Metronom sowie leise mit einer Orgel. Wir wünschen viel Spaß beim Musizieren...!