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Shania Twain : From This Moment On (niveau trs facile, guitare d'accompagnement)
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Whitney Houston : One Moment In Time (niveau trs facile, guitare d'accompagnement)
Guitare
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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 Sol??Si??Ré des cordes de guitare à vide 2??3??4, le motif ascendant 1 impliquant les notes Mi??Fa#??La??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Mi??Do??Sib??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 Ré??Mi??Fa??Sol#??La??Si et des accords ostinato impliquant les cordes de basse à vide Mi??La??Ré et le demi-ton Si??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 : Sol??Fa??Sib??Lab??Do??Mib??Ré et Mi??Si??Do#??La??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. ? 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 G??B??D of the open guitar strings 2??3??4, ascending motif 1 involving the notes E??F#??A??C# (originally on the first string), and descending motif 2 using the notes E-??C??Bb??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 D??E??F??G#??A??B and ostinato chords involving open bass strings E??A??D and semitone B??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: G??F??Bb??Ab??C??Eb??D and E??B??C#??A??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 d??Oz for keeping my original notations in places where these do not conform to the publisher??s style.
Sonata No. 6 "Kharkiv", Op. 48
Guitare

$7.95 6.8 € Guitare PDF SheetMusicPlus

Solo Guitar - Level 4 - Digital Download SKU: A0.1019685 Composed by Ivan Lyran. Concert,Contemporary,Graduation,Instructional,Standards. Individual part. 7 pages. Publicado por Ivan Lyran #4800543. Published by Publicado por Ivan Lyran (A0.1019685). É uma homenagem declarada do compositor ao violão, seu amigo e companheiro fiel em muitos momentos bons e ruínas da adolescência, essa amizade perdura até os dias de hoje e certamente perdurará por toda a vida. A peça escrita em três movimentos têm uma mistura de ritmo e lirismo bem distribuídos entre os movimentos. O primeiro deles; Violão companheiro, utiliza um motivo ritual em semicolcheias e colcheias, combinando com rasgueados na maior parte do movimento, além do nosso ritmo mais conhecido, o samba. Já na parte B, encontramos uma melodia um pouco mais lírica, que vai se desenvolvendo até a retomada do tema rítmico inicial. O segundo movimento; Interlúdio, tem um caráter mais romântico, bem cantábile, melodia simples e sucinta que transmite um sentimento de saudade. O terceiro movimento é um Estudo em Mi menor,
Amigo do peito Opus 30
Guitare

$5.00 4.27 € Guitare PDF SheetMusicPlus

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.
Timeless Solos for Guitar
Guitare

$9.99 8.54 € Guitare PDF SheetMusicPlus

Solo Guitar - Level 5 - Digital Download SKU: A0.1458187 Composed by Jean-Philippe Rameau. Arranged by Mal Fauvy. Baroque,Classical. Individual part. 20 pages. Mfp ditions #1037163. Published by Mfp ditions (A0.1458187). Composer : Jean-Philippe RameauArrangement & fingerings : Mal FauvyLevel : Advanced - Grades III & highter4 pieces for guitar : Sarabande, Les Trois Mains, LEnharmonique, Lgyptienne 8 pages [] The effect that we experience in the twelfth measure of the reprise of the Enharmonic will perhaps not initially be to everyone's taste; However, we become accustomed to it as long as we give ourselves to it, and we even feel all the beauty of it when we have overcome the first repugnance that the lack of habit can cause in this case. The harmonic which causes this effect is not thrown at random; it is founded on reasons, and authorized by nature itself: for connoisseurs it is the most piquant thing; but the execution must support the intention of the Author, by softening the touch, and by suspending the Couls more and more as we approach the striking feature, where we must stop for a moment. moment, [] Jean-Philippe Rameau, Preface, New Suites of Harpsichord Pieces.
RAMEAU - Nouvelles Suites de Pièces de Clavecin | Guitar | Hard
Guitare

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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 - IntermediateComposed by Edwin Culver (1992-) 4 Pages.  Duration 7'30Composer'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.
Edwin Culver: a bridge a-way, exits within (for solo guitar)
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Solo Guitar - Level 4 - Digital Download 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.
Overture from Ariadne auf Naxos
Guitare

$7.00 5.98 € Guitare PDF SheetMusicPlus






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