Composed by Antonio Cano. Arranged by PianoSheetNow. 21st Century, 20th Century, Romantic Period, Classical Period, Recital. Sheet Music Single, Tablature. 11 pages. Published by PianoSheetNow

String Ensemble - Level 2 - Digital Download

SKU: A0.942788

Composed by Antoniotti, Giorgio (1682-1746). Arranged by Cumant Micheline. Standards. Score and parts. 3 pages. Micheline Cumant #5713567. Published by Micheline Cumant (A0.942788).

A small music for two cellos, baroque style. Easy to play.

Piano Solo - Level 3 - Digital Download

SKU: A0.958736

Composed by Manuel María Flores y Antonio Tormo. Arranged by Juan Carlos Cortés A. Concert,Holiday,Love,Standards,World. Score. 2 pages. Juan Carlos Cortés Aguirre #6117929. Published by Juan Carlos Cortés Aguirre (A0.958736).

Transcripción para Piano Solo por:

JUAN CARLOS CORTÉS A.

Basado en la versión original del compositor Antonio Tormo y su grupo de guitarras. ...Amémonos, una bella poesía romántica de este extraordinario creador mexicano (Manuel María Flores), fue musicalizada por Antonio Tormo en 1948, convirtiéndose en el vals Dos que se Aman, tal vez una de las más bellas piezas del género, con la particularidad que autor y compositor, jamás se conocieron, ya que ni siquiera fueron contemporáneos.

...La letra de este vals es del compositor mejicano Manuel María Flores (el mismo autor de Dos que se aman). Antonio Tormo, usando el seudónimo Mburucuyá, registró la música en SADAIC como recopilación y arreglo, porque era una antigua composición mendocina que no estaba registrada. Los versos originales de Amémonos comprenden doce cuartetas, pero Tormo las redujo primero a seis y luego agregó una séptima, que es la versión presentada aquí. En SADAIC también está registrada una recopilación de Carlos Montbrun Ocampo y otra de Alfredo Gobbi, ambas con letra de Manuel María Flores, probablemente con arreglos diferentes.

Texto:

Amémonos.

Vals por: Manuel María Flores y Antonio Tormo

Introducción:

Buscaba mi alma, con afán tu alma,
buscaba yo, la virgen que mi frente,
tocaba con su labio dulcemente,
en el febril insomnio del amor.

Buscaba yo, la mujer pálida y bella,
que en sueños me visita desde niño,
para partir, con ella mi cariño,
para partir con ella mi dolor.

Como en la sacra soledad del templo,
sin ver a Dios, se siente su presencia,
yo presentí en el mundo tu existencia,
y como a Dios, sin verte, te adoré.

Interludio:

No preguntaba, ni sabía tu nombre,
¿en dónde iba a encontrarlo? lo ignoraba,
pero tu alma cerca de mi alma estaba,
mas bién presentimiento que ilusión.

Amémonos mi bien que en este mundo
donde lágrimas tantas se derraman,
las que vierten quizás los que se aman
tienen un no se qué de bendición.

Amar... es empapar... el pensamiento,
en la fragancia del Edén perdido,
amar, amar es llevar herido,
con un dardo celeste el corazón.

Es tocar los dinteles de la gloria,
es ver tus ojos, es escuchar tu acento,
es en el alma llevar el firmamento,
y es morir a tus pies... de adoración.

Piano Solo - Level 3 - Digital Download

SKU: A0.958823

Composed by Antonio Placencia. Arranged by Juan Carlos Cortés A. Concert,Latin,Standards,Traditional. Score. 2 pages. Juan Carlos Cortés Aguirre #6873841. Published by Juan Carlos Cortés Aguirre (A0.958823).

Transcripción para piano solo por:

JUAN CARLOS CORTÉS A.

Basado en la versión grabada por el célebre cantante y médico mexicano Doctor Alfonso Ortiz Tirado.

Llora campana, llora.
Canción por: Antonio Placencia.

Introducción: (Lento)

Llora campana, llora, llora con mi dolor, el corazón te implora, muerto mi santo amor. (Bis)

(Bolero):

Cuando en las noches plateadas, ciego de amor la esperaba,
y que en sus brazos hallaba, todo un poema de amor.
Yo le pedí al Dios bueno, solo su amor en la vida,
pero una noche plateada, ya nunca más regresó.

(Lento)

Llora campana, llora, llora con mi dolor,
que el corazón lo implora, muerto mi santo amor.
Muerto mi santo amor.

Double Bass,String Bass Solo - Level 1 - Digital Download

SKU: A0.1385677

Composed by Antonio Vivaldi. Arranged by Iury Cardoso. Baroque,Classical,Multicultural,Traditional,World. Individual part. 2 pages. Iury Cardoso #969614. Published by Iury Cardoso (A0.1385677).

Easy DOUBLE BASS SOLO arrangement of the piece: Canon by Johann Pachelbel

This arrangement of Pachelbel's Canon transforms the original song (composed for three violins and basso continuo) into a easier version for DOUBLE BASS SOLO. In this arrangement it is possible to play the main themes created by Pachelbel, written in an easy-to-follow score, and also the adaptation for a single voice of some counterpoints from the original canon.
Get the sheet music of Pachelbel's Canon now and play this masterpiece that captivates the soul with its timeless beauty.

- Chord symbols included: but, if you prefer, there is also a version of this same arrangement without the chord symbols and with the piano on this website.
- ADVANCED VERSION available: there is also an advanced version of this arrangement on this website (with or without the piano).

See more arrangements by Iury Cardoso, thank you so much!

easy canon pachelbel for double bass solo
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classic sheet music for double bass.

Oboe Solo - Level 3 - Digital Download

SKU: A0.1387494

Composed by Antonio Vivaldi. Arranged by Iury Cardoso. Baroque,Classical,Multicultural,Traditional,Wedding,World. Individual part. 3 pages. Iury Cardoso #971348. Published by Iury Cardoso (A0.1387494).

OBOE SOLO arrangement of the piece: Canon by Johann Pachelbel

This arrangement of Pachelbel's Canon transforms the original song (composed for three violins and basso continuo) into a version for OBOE SOLO. In this arrangement it is possible to hear the main themes created by Pachelbel and also the adaptation for a single voice of the counterpoint from the original canon.
Get the sheet music of Pachelbel's Canon now and play this masterpiece that captivates the soul with its timeless beauty.

- Chord symbols included: but, if you prefer, there is also a version of this same arrangement without the chord symbols and with the piano on this website.
- EASY VERSION available: there is also an easier version of this arrangement for beginning students on this website (with or without the piano).

See more arrangements by Iury Cardoso, thank you so much!

canon pachelbel for oboe solo
canon pachelbel sheet music
canon in D pachelbel for oboe solo
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canon oboe solo
canon but on the oboe 
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canon pachelbel best arrangement for oboe solo
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classic sheet music for oboe.

Ukulele - Level 2 - Digital Download

SKU: A0.810031

Composed by Antonio Rotta. Arranged by Michael P. Walker. Renaissance. Score. 182 pages. Michael P Walker #6071635. Published by Michael P Walker (A0.810031).

Here are 48 lute compositions from the Renaissance by Antonio Rotta, (1495-1549) who was an Italian lutenist, composer, and music teacher of the Renaissance period in Padua which was part of the Republic of Venice and renowned for its university.  Canon Scardeonius of Padua wrote in 1560 that Rotta was not only virtually unrivaled in Italy as a lutenist, but was also an excellent teacher and had grown quite rich by giving lessons on the lute. 

 

    These pieces have been transcribed for the baritone ukulele, Renaissance guitar, low G ukelele, and many other four-course instruments.  Of course, they may all be played on the guitar. 

Solo Guitar - Level 4 - Digital Download

SKU: A0.1441944

Composed by Anon. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 7 pages. Keith Terrett #1021937. Published by Keith Terrett (A0.1441944).

Romance Anonimo for Guitar.

This beautiful piece, known as Romance d'Amour, Anonymous Romance, Spanish Romance, Romance de Amor, Romanza among other names are a very well know piece. The composer is unknown.

Romance Anónimo (Anonymous Romance) is a piece for guitar, also known as Estudio en Mi de Rubira (Study in E by Rubira), Spanish Romance, Romance de España, Romance de Amor, Romance of the Guitar, Romanza and Romance d'Amour among other names. It is composed in the style of parlour music of the late 19th century in Spain or South America,

History:

The style of the piece is that of the parlour music of the late 19th century in Spain or South America. It has a closed three-part form, the first in the minor key and the second being in the major key, with the third part being a restatement of the first.

The origins and authorship of the piece are unknown, hence 'anonimo'. It is thought to have been originally a solo instrumental guitar work from the 19th century, and has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Francisco Vicaria l Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes. It has been suggested that doubts about its authorship may have been encouraged by a wish to avoid paying copyright fees and the desire of publishing companies to claim the lucrative copyright.

Early recordings:

The earliest recording of Romance is found on a cylinder from the Viuda de Aramburo label[3][4][5][6] featuring guitarists Luis and Simon Ramírez, which was made in Madrid sometime between 1897 and 1901. The work is titled Sort-Estudio para Guitarra por S. Ramirez. The name Sort, as it occurs on the cylinder's title, probably refers to Fernando Sor, as his surname is sometimes spelled Sort or Sorts. The recording may be heard on the Doremi CD release Tarrega, His Disciples, and Their Students (DHR-7996) and online at the UCSB Cylinder Audio Archive.

Possible origins:

An early publication of the work, known as Estudio para Guitarra de Rovira and attributed to Spanish guitarist Antonio Rubira,[13] was published by J.A. Medina e Hijo in Argentina before 1925 (probably in 1913, when the publisher ceased activities).

Guitarist and composer Isaías Sávio (Montevideo, 1900 — São Paulo, 1977) published the work in 1959 with the title Romance de Amor (Estudo em Mi) Música de Antonio Rovira (Segunda metade do século XIX) He published information which cited Antonio Rubira as the author. (See Violào e Mestres Junio, 1966 / São Paulo, Brasil.

Sávio gives information that Juan Pargas, who knew Rubira, gave the Estudio de Rovira to the guitarist Juan Valles in 1876 or 1878. Sávio mentions that the work became popular in Buenos Aires and began to be published by, among others, Spaniard Pedro Maza; and that the work appeared in the method of Pedro Mascaró y Reissig, published in Montevideo in 1919, with the title Conocido por Estudio de Rovira.

Publishing company Ricordi of Argentina currently publishes the piece, and attributes authorship to Antonio Rubira.

String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download

SKU: A0.802693

Composed by Anon. or Fernando Sor, or Narciso Yepes. Arranged by Shigeo Ida & Peet du Toit. Contemporary. Score and parts. 6 pages. Peet du Toit #6513457. Published by Peet du Toit (A0.802693).

Romance Anónimo (Anonymous Romance) is a piece for guitar, also known as Estudio en Mi de Rubira (Study in E by Rubira), Spanish Romance, Romance de España, Romance de Amor, Romance of the Guitar, Romanza and Romance d'Amour among other names.

Its origins and authorship are currently in question. It is suspected of originally being a solo instrumental guitar work, from the 19th century. It has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Miguel Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes. The Anónimo (anonymous) part of its name has been incorporated over the years due to this uncertainty. The question of authorship has probably been propagated by three main reasons: the lack of claim by its true author, the desire to avoid paying copyright fees, and the desire of publishing companies to claim the lucrative copyright of this world-famous piece.

The style of the piece is that of the Parlour music of the late 19th century in Spain or South America, having a closed three-part form: the first in the minor key and the second being in the major key, with the third being a restatement of the first.

Narciso Yepes (1927 - 1997) interpreted and is listed as the author of the piece in René Clément's 1952 film Jeux interdits (Forbidden Games). The popularity of the film gave the piece worldwide fame. Yepes currently has the copyright of this composition in Spain although recordings and manuscripts of this song predate 1952. Newer publications show Yepes as the arranger and the piece being of anonymous authorship, or authored by Fernando Sor.

The official statement from Narciso Yepes and the Yepes heirs is that Narciso Yepes, being a young boy, originally composed the piece for his mother when he was about seven years old (c.1934) and soon thereafter performed it between acts at the Teatro Guerra, in Lorca, Spain. Some time later, he recounts, when he was thirteen years old he attended a performance in Valencia and heard his composition performed by another guitarist, who indicated the authorship as anonymous. Yepes contends that the melody had been plagiarized (with some changes to the arrangement) by someone who, he assumes, must have attended that first performance.

However, Yepes was born 1927 and cannot be the author of the work, since it was already recorded
 in 1900 and published before 1925 (possibly 1913) by J.A. MEDINA e HIJO; and in 1919 in the
method of Pedro Mascaró y Reissig, etc. Vicente Gomez (1911-2001) 
published it and performed it in 1941 in the Hollywood movie Blood and Sand with Tyrone Power
and Rita Hayworth, also attributing authorship of the song to himself.

 Anyway, the piano arrangement of the brilliant Shigeo Ida caught my attention and I decided to
 rework it somewhat into this trio for strings. Enjoy!

Guitar - easy to intermediate - Digital Download

SKU: S9.Q46932

From: Metodo Abreviado de Guitarra. Composed by Antonio Cano. This edition: Sheet music. Copyright 2017 Schott Music GmbH & Co. KG, Mainz. Downloadable. 1 pages. Schott Music - Digital #Q46932. Published by Schott Music - Digital (S9.Q46932).

Digital publication of the piece found in the following print music collection: Preludio - 130 Easy Concert Pieces from 6 Centuries for Guitar (easy).

Easy Guitar (with TAB) - Level 1 - Digital Download

SKU: A0.1219144

Composed by Antonio Cano-Curriela. Arranged by Pedro Rocha. 19th Century,Instructional,Romantic Period. Tablature. 1 pages. Pedrorochaguitar #815565. Published by pedrorochaguitar (A0.1219144).

Guitar - intermediate - Digital Download

SKU: S9.Q53203

Estudio o.op. Nr. 7. Composed by Antonio Cano. Edited by Bruno Szordikowski and Peter Ansorge. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 2 pages. Schott Music - Digital #Q53203. Published by Schott Music - Digital (S9.Q53203).

German • English.

Digital publication of the piece found in the following print music collection: Romantic Miniatures - 45 Pieces for Guitar.

Bass Trombone,Horn,Instrumental Duet - Level 3 - Digital Download

SKU: A0.1074291

Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678587. Published by jmsgu3 (A0.1074291).

Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.


Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.


Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon� and the more complex “strict canon.� He was also an early adopter of the “inverted canon� form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.


Contents: 

I. Duo from the Augsberger Liederbuch

II. Agnus Dei II from Missa De Beata Virgine 

III. Duo from the Hör Organ tablature

IV. Agnus Dei II from Missa Ave maris stella

V. Benedictus from Missa Gaudeamus

VI. Agnus Dei II from Missa Gaudeamus

VII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie 

VIII. Agnus Dei II from Missa La sol fa re mi 

IX. Benedictus from Missa L'homme armé super voces musicales

X. Benedictus from Missa L'homme armé Sexti Toni 

XI. Pleni sunt coeli from Missa Malheur me bat 

XII. Pleni sunt from Missa Mater patris (canon at the major second)

XIII. Benedictus from Missa Mater patris 

XIV. Agnus Dei II from Missa Mater patris (canon at the unison)

XV. Pleni sunt caeli from Missa Pange lingua 

XVI. Benedictus from Missa Pange lingua 

XVII. Agnus Dei II from Missa Pange lingua 

XVIII. Pleni sunt from Missa sine nomine 

XIX. Domine non secundum peccata nostra 

XX. Ave verum and Cuius latus 

XXI. In principio erat verbum from Motet Verbum caro factus est 

XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.

Cello,Instrumental Duet,Violin - Level 2 - Digital Download

SKU: A0.1073996

Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Wedding. 50 pages. Jmsgu3 #678264. Published by jmsgu3 (A0.1073996).

Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.


Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.


Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon� and the more complex “strict canon.� He was also an early adopter of the “inverted canon� form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.


Contents: 

I. Duo from the Augsberger Liederbuch

II. Agnus Dei II from Missa De Beata Virgine 

III. Duo from the Hör Organ tablature

IV. Agnus Dei II from Missa Ave maris stella

V. Benedictus from Missa Gaudeamus

VI. Agnus Dei II from Missa Gaudeamus

VII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie 

VIII. Agnus Dei II from Missa La sol fa re mi 

IX. Benedictus from Missa L'homme armé super voces musicales

X. Benedictus from Missa L'homme armé Sexti Toni 

XI. Pleni sunt coeli from Missa Malheur me bat 

XII. Pleni sunt from Missa Mater patris (canon at the major second)

XIII. Benedictus from Missa Mater patris 

XIV. Agnus Dei II from Missa Mater patris (canon at the unison)

XV. Pleni sunt caeli from Missa Pange lingua 

XVI. Benedictus from Missa Pange lingua 

XVII. Agnus Dei II from Missa Pange lingua 

XVIII. Pleni sunt from Missa sine nomine 

XIX. Domine non secundum peccata nostra 

XX. Ave verum and Cuius latus 

XXI. In principio erat verbum from Motet Verbum caro factus est 

XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.

Instrumental Duet,Tenor Trombone,Tuba - Level 3 - Digital Download

SKU: A0.1074311

Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678601. Published by jmsgu3 (A0.1074311).

Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.

Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.
 
Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon� and the more complex “strict canon.� He was also an early adopter of the “inverted canon� form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.

Contents: 

I. Duo from the Augsberger Liederbuch

II. Agnus Dei II from Missa De Beata Virgine 

III. Duo from the Hör Organ tablature

IV. Agnus Dei II from Missa Ave maris stella

V. Benedictus from Missa Gaudeamus

VI. Agnus Dei II from Missa Gaudeamus

VII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie 

VIII. Agnus Dei II from Missa La sol fa re mi 

IX. Benedictus from Missa L'homme armé super voces musicales

X. Benedictus from Missa L'homme armé Sexti Toni 

XI. Pleni sunt coeli from Missa Malheur me bat 

XII. Pleni sunt from Missa Mater patris (canon at the major second)

XIII. Benedictus from Missa Mater patris 

XIV. Agnus Dei II from Missa Mater patris (canon at the unison)

XV. Pleni sunt caeli from Missa Pange lingua 

XVI. Benedictus from Missa Pange lingua 

XVII. Agnus Dei II from Missa Pange lingua 

XVIII. Pleni sunt from Missa sine nomine 

XIX. Domine non secundum peccata nostra 

XX. Ave verum and Cuius latus 

XXI. In principio erat verbum from Motet Verbum caro factus est 

XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.