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Acoustic Guitar,Electric Guitar - Level 1 - Digital Download SKU: A0.1488812 Composed by Brian Streckfus. Instructional,Singer/Songwriter. Educational Exercises. 12 pages. Brian Streckfus #1065662. Published by Brian Streckfus (A0.1488812). Pages: 12Keys: 1. C Major2. A minor3. A Harmonic minor4. A minor (Jazz 7ths)5. A minor (Extreme Jazz extensions)6. The seven modesThis collection of PDFs is something I am very proud of and I believe it has been my most well recieved PDF upload on the internet. Finding chord charts that simply list chords are a dime a dozen, and can be found anywhere. It is much rarer for a chord sheet to try to explain what order they go in and even rarer still to find it for guitar. It's difficult because it is an art, and of course there really is no wrong answers in composing (especially on Halloween I always joke). I personally haven't seen anything else quite like this on the internet.Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. The aim is to memorize them so that you can understand them in all 12 keys. These chord progressions are of course a great composition aid. Tips:1. I find sheets like this to be excellent practice to play by ear. If the music is relaxing I play blue chords, if it is intense I play red chords. Once you get into the groove, and you know no one is changing key, it's as simple as that.2. When playing by ear, even if you get the exact chord wrong but you still get the correct color, it will still sound like you harmonizing the song correctly!!! See chords categorized by purpose rather than name will elegantly simplify how music actually works.3. The reason why we study the roman numerals is to be able to think about all of music in a single keyless key to allow for optimum clarity.4. One issue that needs to be fixed: what to do about the 11 other keys? One easy and quick fix is to use a guitar capo (or downtune) to get to all the other keys. I can't imagine giving out 56 pages of chord progressions to each of my students, it's way too much. Instead, I teach strategies on how these work in all 12 keys. 5. Order = Blue, Yellow, Red, Blue for stereotypical chord progressions that truely progress. These is such a thing called a chord succession where it is not the previous order. Again, try not to see music in terms of right and wrong. Everything expresses an emotion. For example, if there is a song devoid of red chords, it will result in more peaceful music. Lots of red would be great for metal music, etc...Social Media:https://allmylinks.com/brianstreckfushttps://www.facebook.com/profile.php?id=100078682133421https://www.patreon.com/brianstreckfushttps://www.brianstreckfus.comhttps://www.facebook.com/classicalguitar2015/https://twitter.com/BrianStreckfushttps://www.instagram.com/brianstreckfus/https://www.youtube.com/user/woodenboxengineerhttps://www.facebook.com/Doppelganger-106026062029620/https://www.linkedin.com/in/brian-streckfus-9b334a92/https://steemit.com/@boxengineerhttps://d.tube/#!/c/brian0streckfus0guitarhttps://www.sheetmusicdirect.com/en-US/Search.aspx?query=Brian%2BStreckfushttps://www.sheetmusicplus.com/publishers/brian-streckfus-sheet-music/3027331https://belairmusicstudios.com/product/brian-streckfus/https://soundcloud.com/streckfusclassicalguitar.
Chord Progression Generator for Guitar

$4.99 4.29 € PDF SheetMusicPlus

Full Orchestra - Level 3 - Digital Download SKU: A0.933325 Composed by Juan Carlos Guerra González. 20th Century,Contemporary. Score and parts. 267 pages. Juan Carlos Guerra Gonzalez #3093617. Published by Juan Carlos Guerra Gonzalez (A0.933325). Nu Tal (Mi Tierra) or My Land, is one of my first orchestral works, commissioned by Dr. Irving Ramirez, associate conductor of the El Salvador’s Symphony Orchestra.At the beginning, the idea was to set four small sketches of different images from my country. The 3rd movement was composed first, at that point I didn’t have a name for the work but after a talk with my mother in law, Aracely Sánchez; who is an expert in Salvadoran folklore, I decided to change the work’s name to Nu Tal (My Land in Nahuatl) and use some elements from our folklore. Then, I combined the idea I had from the images and the folk rhythms and tunes to create the whole work.The first movement of the work contains actually two movements. The first part is an image of a plane going to El Salvador. While the plane comes out of the clouds a beautiful land is seen through the window until the plane lands safely at its destination. Immediately, the folk part of the movement (movement II) begins with the invocation performed by the shell to the four cardinal points and then an autochthonous sound is presented welcoming our guests to this magical land, and the theme develops until the end of the movement.The third part was the first composed and it is an image including various ideas that represents a vision of El Salvador from different perspectives and the complexity of the different generations that are currently creating El Salvador’s demographic landscape.The fourth movement is an amalgamate of folkloric ideas and images. The beginning is the call from a church by the bells, then the brass presents the main theme of the movement, which is based on the Gregorian chant Salve Regina that I deconstructed using different rhythmic meters. Then a traditional rhythm is developed for the final section of the work.Link to the audio rendering: https://soundcloud.com/juancarlosguerragonzalez/nu-tal-complete-recording-sibelius-noteperformer-rem...
Nu Tal (Mi Tierra) - Set of Parts
Orchestre

$125.00 107.38 € Orchestre PDF SheetMusicPlus

Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859659 Composed by Sydney Stevens. 20th Century,Contemporary,Folk,New Age. 6 pages. Sydney Stevens, Water Music #2942883. Published by Sydney Stevens, Water Music (A0.859659). Contact: sydneystevenspianostudio@gmail.comCycles of Life: Emotional, heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords.Sounds like: Loreena McKennitt, Lucy Kaplansky, Giorgia FumantiFrom Album: Cycles of Life   Theme: The only constant in life is change. Appropriate for the loss of a loved one.Mood: Contemplative, soulful, reflective.Musical Traits: Strong melody, gorgeous arrangement.Performance Time: 3:55.Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links: www.sydneystevenswatermusic.com http://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be dif.
Cycles of Life
Voix Alto, Piano

$4.95 4.25 € Voix Alto, Piano PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download SKU: A0.1257386 Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music,Wedding. Score. 4 pages. Darek #850720. Published by Darek (A0.1257386). Embark on an exhilarating musical expedition with the Air on the G String, an awe-inspiring composition from Suite No. 3 (BWV 1068) by the legendary Johann Sebastian Bach. Prepare to be spellbound as you immerse yourself in the intricate melodies and technical challenges of this hard difficulty piano arrangement, crafted for pianists who crave a formidable musical adventure.Designed for seasoned pianists seeking to push their boundaries, this hard difficulty piano sheet music unlocks the full potential of Bach's masterwork. Explore the complexities of this iconic composition, from the lightning-fast passages to the demanding fingerings, as you showcase your virtuosity and command over the instrument.The Air on the G String stands alone in its ability to evoke a profound range of emotions, from gentle introspection to triumphant grandeur. Its timeless beauty and ethereal charm mesmerize listeners, drawing them into a captivating story told through every resounding note and nuanced phrase.Unleash your passion and dive into the captivating narrative as you breathe life into this formidable masterpiece. Let your fingers dance across the keys, interpreting the cascading melodies and expressive harmonies with the utmost precision and artistry, capturing the hearts and imaginations of your audience.Whether you're preparing for a demanding performance or simply seeking to conquer a musical Everest, this hard difficulty piano sheet music will challenge and inspire you. Embrace the exhilarating journey that awaits, and revel in the satisfaction of conquering Bach's magnificent creation.Keywords: Air on the G String, hard difficulty piano sheet music, Suite No. 3, BWV 1068, Johann Sebastian Bach, exhilarating, musical expedition, intricate melodies, technical challenges, formidable musical adventure, seasoned pianists, push boundaries, full potential, lightning-fast passages, demanding fingerings, virtuosity, command over the instrument, timeless beauty, ethereal charm, profound range of emotions, gentle introspection, triumphant grandeur, captivating story, resounding note, nuanced phrase, passion, formidable masterpiece, breathe life, precision, artistry, hearts and imaginations, demanding performance, musical Everest, challenge, inspire, exhilarating journey.
Air on the G String (HARD PIANO) from Suite No. 3 (BWV 1068) [Johann Sebastian Bach]
Piano seul

$5.00 4.3 € Piano seul PDF SheetMusicPlus

2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One  performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble  staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos  doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that  begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself  exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral  tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and  vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words  sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped  by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak  of  standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the  devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms,  the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well  as percussive polyrhythms.
Sonata Hymnica No. 6
2 Pianos, 4 mains

$10.00 8.59 € 2 Pianos, 4 mains PDF SheetMusicPlus






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