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Three Pieces for Beginner Guitarists (Acoustic or Electric)
Three Pieces for Beginner Guitarists (Acoustic or Electric)
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Guitar notes and tablatures
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BEGINNER
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Dan Jones
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Three Pieces for Beginner Guit
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DanJonesGuitarist
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SheetMusicPlus
Easy Guitar (with TAB) - Level 1 - SKU: A0.1047465 By Dan Jones (www.danjonesguitarist.com). By Dan Jones. Blues,Folk,Rock. Tablature. 5 pages. DanJones...
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Easy Guitar (with TAB) - Level 1 - SKU: A0.1047465 By Dan Jones (www.danjonesguitarist.com). By Dan Jones. Blues,Folk,Rock. Tablature. 5 pages. DanJonesGuitarist #652027. Published by DanJonesGuitarist (A0.1047465). Three Pieces for Beginner Guitarists (Acoustic or Electric) by Dan Jones Presented in notes, TAB and easy chords (www.danjonesguitarist.com) As an active guitar teacher, I find that many beginner pupils want to learn either acoustic (steel string) guitar or electric guitar. I have also found a lack of quality resources in these styles which have musical interest, and which lay out some of the necessary technical and musical foundations for future learning. I composed these three little pieces for my own young students. They are played by those using their right-hand fingers, and a plectrum and I’ve found them to be very popular in both lessons and performance. The pieces can be learnt in any order (I have a slight preference for starting my pupils with D-Day Rock - the third in the collection). Below is an outline of the pedagogy behind them (1) Sore Finger Blues This is a simple twelve-bar blues which uses a combination of open strings and notes at the third and second frets. It can be played with a straight or swung rhythm. It is effective at a slow tempo for those needing time to place the fretting hand fingers. The main technical challenge is in bars 10 and 22 where the player moves the third finger between the G and A on string 1. Although this is traditionally an advanced technique, I’ve found my students find it comfortable, as long as the fingering outlined in the notes is followed. The chords are dominant (with major thirds). These clash against the minor pentatonic scale in a way which is typical of the style. The chords are quite simple for beginners. I have opted for a D5 power-chord in bars 9 & 21 which is easier than the usual D chord (which also works perfectly well). Plectrum players should be sure to anchor the plucking hand, either with the side of the hand resting on the bridge, or a finger against the scratch plate of the guitar. Fingerstyle players can anchor either with a finger touching the scratch plate of the guitar, or by resting the thumb on a bass string when the fingers are plucking, or vice versa. This is more typical of classical style. (2) Cross-String Traffic This piece was conceived as a fingerstyle piece, although it can be played using a plectrum. The challenge for plectrum players is to cross the strings smoothly. It is for this reason that the fretting hand is relatively simple so that learners can concentrate on the plucking hand. Players are also encouraged to press down the index finger on string 2 at the correct angle to allow the first string to resonate. Chords have once again been chosen to suit less-experienced fingers; therefore, I have opted for Dm6 instead of the more common Dm (a very tricky chord for beginners). Players should go for maximum resonance and notes played at fret 3 could be fretted with either fingers 3 or 4. (3) D-Day Rock This piece is made nearly entirely of open strings and third fret notes. Where there is string crossing, the music allows the player ‘thinking time’ to change accordingly. Teachers and learners can decide with which finger to press the third fret notes. The rhythmic complexities from bar 13 to the end pose no problems once players have the sound of the piece in their ear. Once again, chords have been selected for ease of playing. The Gm/D chord can be played with a 3-string barre (often quite easy for beginners where no fretted bass note is required) or using three separate fingers. The pedal D sounds effective musically. I have presented these pieces as ensemble works with large groups of beginners. Players and audiences alike have been very receptive! For a wealth of music for beginners, ensembles and advanced players, please visit www.danjonesguitarist.com. A YouTube link to a film of the pieces will be uploaded before the end of June 2022.
$4.95
JESU, JOY OF MAN'S DESIRING by Bach - easy version for Electric Bass (Tablature) and piano with chor
JESU, JOY OF MAN'S DESIRING by Bach - easy version for Electric Bass (Tablature) and piano with chor
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Guitar notes and tablatures
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BEGINNER
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Classical
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Johann Sebastian Bach
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Leyandder Trustworthy
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JESU, JOY OF MAN'S DESIRING by
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Leyandder Trustworthy
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 1 - SKU: A0.964512 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacre...
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Guitar,Piano,Vocal,Voice - Level 1 - SKU: A0.964512 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score. 4 pages. Leyandder Trustworthy #6331245. Published by Leyandder Trustworthy (A0.964512). Jesu, Joy of Man's Desiring is a popular piece of choral music. It was composed by Johann Sebastian Bach. It is the 10th movement of the cantata Herz und Mund und Tat und Leben. It was written during Bach's first year in Leipzig, Germany. Bach did not compose the melody. That was written by Johann Schop. Bach only harmonized and orchestrated Schop's melody. A transcription of Jesu was done by English pianist Myra Hess (1890-1965), and was published in 1926 for solo piano.In 1934, Hess' version was adapted for piano duet. British organist Peter Hurford made a transcription of Jesu for organ. Today, Bach's piece is often performed at weddings and funerals. Bach wrote the piece for voices with trumpet, oboes, strings and continuo. Jesu, Joy of Man's Desiring is one of Bach's most enduring pieces of music.The present version is a facilitated reduction of the theme where it is soloed by Electric Bass (Tablature), along with piano accompaniment with chords that can be performed by the teacher and the ends. Ideal for young music students in the area, if you don't have a teacher to play along, search for item number: S0.1006121, here is an audio playback so you can play and study with ease and fluidity.
$4.99
Concerto No. 1 in G Major for Four Celli Unaccompanied, TWV40:201
Concerto No. 1 in G Major for Four Celli Unaccompanied, TWV40:201
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4 Cellos
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ADVANCED
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Georg Philipp Telemann
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Joel Jacklich (ASCAP)
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however, very muddy).
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Concerto No. 1 in G Major for
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Joel Jacklich
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SheetMusicPlus
String Quartet Cello,String Quartet - Level 5 - SKU: A0.723157 Composed by Georg Philipp Telemann. Arranged by Joel Jacklich (ASCAP). Baroque,Concert. S...
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String Quartet Cello,String Quartet - Level 5 - SKU: A0.723157 Composed by Georg Philipp Telemann. Arranged by Joel Jacklich (ASCAP). Baroque,Concert. Score and parts. 19 pages. Joel Jacklich #5363175. Published by Joel Jacklich (A0.723157). Georg Philipp Telemann wrote four concerti for four violins unaccompanied, his TWV 40:201-204. Here is the first concerto in G major arranged for four violoncelli by Joel Jacklich (A.S.C.A.P.). This arrangement is an octave below the original violin work. Taking the key down an octave and a fifth to accommodate the same parallel open strings as the violins made the range too low (very playable; however, very muddy). Therefore, I have used the same key as the violin, taking it down only an octave. This gives a much more pleasing sound, but makes the upper range notes much more difficult, going up to a D5, requiring the use of tenor and treble clefs. It is therefore listed as an advanced piece.
$12.99
Sarabande BWV 1009 for guitar grade 6
Sarabande BWV 1009 for guitar grade 6
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Guitar notes and tablatures
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INTERMEDIATE/ADVANCED
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Classical
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Johann Sebastian Bach
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Pete Downes
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Sarabande BWV 1009 for guitar
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Pete Downes
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.975726 Composed by Johann Sebastian Bach. Arranged by Pete Downes. Baroque,Concert,Sacred,Standards. Guitar Tab. 5 pages. Pet...
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Guitar - Level 4 - SKU: A0.975726 Composed by Johann Sebastian Bach. Arranged by Pete Downes. Baroque,Concert,Sacred,Standards. Guitar Tab. 5 pages. Pete Downes #6410737. Published by Pete Downes (A0.975726). This is an arrangement of the Sarabande from Bach's Cello Suite III BWV 1009. It is considered a Grade 6 piece by ABRSM. Notation, tab and chord symbols are included plus the original cello score for comparison.Origin and additionsThis has been built from scratch using original cello score sources but transposed to G Major for guitar. Where possible, additional chord notes have been added up to 5 strings. Additional bass notes have been added to get a richer cello-like range, in particular E bass note added in bars 13-14 and octave lower bass notes added to bar 15, an A bass note added to bar 18.A transcription of the original cello score is included for comparison and understanding of the additions. This allows a player to create their own alternatives if desired. Approach to performingListen to cellists such as Yo-Yo Ma and Rostropovich performing this piece to get a sense of it's slow, majestic nature on the original instrument. On guitar we can't get the length of expression on a single string but we can use dynamics and space.If the additional bass notes are excluded, it can also be played with a plectrum.
$3.49
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
In the Bleak Midwinter - with strings trio play along
In the Bleak Midwinter - with strings trio play along
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Guitar notes and tablatures
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BEGINNER
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Christmas
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Contemporary
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Gustav Holst
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Samuel Sequeira
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In the Bleak Midwinter - with
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Samuel Sequeira
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SheetMusicPlus
Guitar - Level 1 - SKU: A0.1148571 Composed by Gustav Holst. Arranged by Samuel Sequeira. 19th Century,Christmas,Classical,Traditional. Guitar Tab. 4 pa...
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Guitar - Level 1 - SKU: A0.1148571 Composed by Gustav Holst. Arranged by Samuel Sequeira. 19th Century,Christmas,Classical,Traditional. Guitar Tab. 4 pages. Samuel Sequeira #748733. Published by Samuel Sequeira (A0.1148571). In the Bleak MidWinter - Gustav Holst - ScorePlay it at home, with friends, on class, for your teacher or studentPlay it on a public presentation.More arrangements on the link: Sam'S arrangementsIn the Bleak Midwinter - with strings trio play along. Guitar TAB part score avaiable on this sale. Strings trio play along avaiable on the youtube linkContact the Arranger:Youtube: @SamuelseqInstagram: @SamuelseqEmail: samyseq@gmail.com
$1.99
Study in Minor Seconds (for Solo Guitar)
Study in Minor Seconds (for Solo Guitar)
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Guitar notes and tablatures
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INTERMEDIATE/ADVANCED
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Classical
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Kenneth Pasciak
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Study in Minor Seconds
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Kenneth Pasciak
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.937733 Composed by Kenneth Pasciak. Classical. Guitar Tab. 3 pages. Kenneth Pasciak #543512. Published by Kenneth Pasciak (A0...
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Guitar - Level 4 - SKU: A0.937733 Composed by Kenneth Pasciak. Classical. Guitar Tab. 3 pages. Kenneth Pasciak #543512. Published by Kenneth Pasciak (A0.937733). Study in Minor 2nds is an original composition based on pairs of notes that are a minor 2nd, or half-step, apart. Alternate thumb and index finger on adjacent strings to execute quickly. Includes 2-page score with tablature plus individual guitar part without tab.
$1.99
Song for Nany for solo guitar with TAB
Song for Nany for solo guitar with TAB
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Guitar notes and tablatures
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INTERMEDIATE/ADVANCED
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Contemporary
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Omar Felipe Merchán
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Song for Nany for solo guitar
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Omar Felipe
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.922269 Composed by Omar Felipe Merchán. Contemporary. Guitar Tab. 3 pages. Omar Felipe #5952985. Published by Omar Felipe ...
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Guitar - Level 4 - SKU: A0.922269 Composed by Omar Felipe Merchán. Contemporary. Guitar Tab. 3 pages. Omar Felipe #5952985. Published by Omar Felipe (A0.922269). Song for Nany is a lovely and beautiful piece for solo guitar written in 3 sections. Part 1 and 2 present a very simple melody with a syncopated and repetitive rhythm but with interesting harmonic changes and a certain Brazilian flavor. Part 3 takes advantage of the use of open strings creating a virtuous effect. You will find reminiscences of Jobim, Luiz Bonfá, Baden Powell or Villa-Lobos but also a little jazz and classical music at the same time.
$2.40
Bone Breaker from 13 Creepy Creations for Guitar
Bone Breaker from 13 Creepy Creations for Guitar
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Guitar notes and tablatures
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EASY
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Mitch Smith
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Bone Breaker from 13 Creepy Cr
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Mitch smith
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.899808 Composed by Mitch Smith. Concert,Halloween,Instructional,Standards. Guitar Tab. 4 pages. Mitch smith #2951597. Publish...
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Guitar - Level 2 - SKU: A0.899808 Composed by Mitch Smith. Concert,Halloween,Instructional,Standards. Guitar Tab. 4 pages. Mitch smith #2951597. Published by Mitch smith (A0.899808). Selection 7 from 13 Creepy Creations for Guitar. This piece uses open strings with a moving bass line challenging the left hand to practice good technique. Utilizes the Locrian and Phrygian modes. Perfect for Halloween and recitals. Composer, Mitch Smith is a member of ASCAP. See more at http://msmithorchestra.wixsite.com/mysite
$1.99
Waltz in the rain for solo guitar with TAB
Waltz in the rain for solo guitar with TAB
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Guitar notes and tablatures
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INTERMEDIATE/ADVANCED
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Omar Felipe Merchán
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Waltz in the rain for solo gui
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Omar Felipe
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.922270 Composed by Omar Felipe Merchán. 20th Century,Jazz,New Age. Guitar Tab. 3 pages. Omar Felipe #5983985. Published by...
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Guitar - Level 4 - SKU: A0.922270 Composed by Omar Felipe Merchán. 20th Century,Jazz,New Age. Guitar Tab. 3 pages. Omar Felipe #5983985. Published by Omar Felipe (A0.922270). Small piece for solo guitar with a simple and cantabile melodic line and some impressionist harmonies. It makes a good match with Last waltz to dance alone. You will find the intensive use of open strings that creates a complex arpeggio.
$2.40
What a Lovely Stroll - Easy string ensemble (Mixed Abilities) for flexible instrumentation
What a Lovely Stroll - Easy string ensemble (Mixed Abilities) for flexible instrumentation
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Austin Ralphson
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What a Lovely Stroll - Easy st
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Austin Ralphson
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SheetMusicPlus
String Ensemble - Level 1 - SKU: A0.563398 Composed by Austin Ralphson. 20th Century,Instructional,Standards. Score and parts. 21 pages. Austin Ralphson...
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String Ensemble - Level 1 - SKU: A0.563398 Composed by Austin Ralphson. 20th Century,Instructional,Standards. Score and parts. 21 pages. Austin Ralphson #3675871. Published by Austin Ralphson (A0.563398). Children (and adults) who learn a musical instrument will always progress at different rates. Students also develop some of the many skills involved in instrumental playing faster than other skills. The Mixed Abilities School Ensemble Series for Easy String Orchestra has the flexibility to allow pupils of different standards to play together in one ensemble (up to five parts). Each piece has a total of 5 different parts which are fully interchangeable between violins, violas and cellos (double basses can double the cello parts). So whether you have 15 violins and a viola, or 3 violins, or 4 cellos or whatever, the pieces will still work well together. All parts are provided for all instruments. Part 5 uses long notes on open strings. The other parts gradually increase in difficulty up to Part 1, which uses first and second positions. The teacher should select appropriate parts for the players in the group. WHAT A LOVELY STROLL is the first piece in this series, and follows a traditional ternary form.Please listen to the mp3 file, which is an electronic example of the piece being played with 4 violin parts and a cello on Part 5. The purchaser of this product may print as many copies of the parts as required in order for the piece to work successfully with the ensemble. They must not copy, print or distribute the score or parts for others who have not purchased the product independently.Complete string catalogue arr. Austin Ralphson is here (copy and paste to new tab):www.ralphsonstrings.com
$9.99
Bourrée and Hornpipe, arranged for instruments in four parts
Bourrée and Hornpipe, - instruments in four parts
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Classical
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George Friderick Handel
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Paul Burnell
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Bourrée and Hornpipe, - instr
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Paul Burnell
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SheetMusicPlus
Small Ensemble - Level 3 - SKU: A0.835814 Composed by George Friderick Handel. Arranged by Paul Burnell. Baroque. Score and parts. 18 pages. Paul Burnel...
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Small Ensemble - Level 3 - SKU: A0.835814 Composed by George Friderick Handel. Arranged by Paul Burnell. Baroque. Score and parts. 18 pages. Paul Burnell #4360641. Published by Paul Burnell (A0.835814). Bourrée and Hornpipe - Movements 7 and 8 from Water Music Suite No. 1 in F major (HMV 348). Composed by George Frideric Handel (1685 - 1759), arranged by Paul Burnell for instruments in four parts.Duration if both movements are played three times c.4:30The arrangement is suitable for multiple quartet combinations with parts available (and potential instrumentations suggested) as follows:Part 1: C, Eb (flute, oboe, alto recorder, Eb clarinet, violin 1)Part 2: C, Bb (oboe, tenor recorder, Bb clarinet, violin 2)Part 3: C - alto & bass clefs, Bb, Eb, F (Bb clarinet, bass recorder, alto saxophone, horn in F, viola) Part 4: C - bass clef, Bb, F (bassoon, great bass recorder, tenor saxophone, horn in F, 'cello)Part 4 may be played an octave lower than written.Any other appropriate instruments, even if not suggested above, may play.Although the score is presented with a layout appropriate for string quartet this does not indicate a preferred instrumentation.Both movements in various editions of the score include direction on playing each movement three times and suggestions for instrumentation (strings first time, wind 2nd time, tutti 3rd time). Performers of this arrangement may choose to devise a similar scheme providing there are enough players in the ensemble.In this arrangement the range of each part has been reduced, some notes from the melody have been moved to Part 2 and additional rests introduced to assist with breathing for wind players. Programme note:The Water Music is a collection of orchestral movements composed by George Frideric Handel (1685 - 1759). It was first performed on the River Thames in London on 17 July 1717, in response to King George I's request for a concert on the River.The Water Music has been published as three suites, and the Bourrée and Hornpipe appear as movements 7 and 8 in the Suite No. 1 in F major (HMV 348).The Bourrée is a dance of French origin and the Hornpipe is any of several dance forms played and danced in Britain and Ireland from the 16th century onwards.
$3.95
French Christmas Carol Medley for String Trio - Noëls Français en Pot Pourri pour Trio à Cordes
French Christmas Carol Medley for String Trio - Noëls Français en Pot Pourri pour Trio à Cordes
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Christmas
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Various, Traditional
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Samantha J Bramley - stringspi
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French Christmas Carol Medley
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Samantha Bramley
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SheetMusicPlus
String Ensemble,String Trio - Level 3 - SKU: A0.800202 Composed by Various, Traditional. Arranged by Samantha J Bramley - stringspirational@gmail.com. C...
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String Ensemble,String Trio - Level 3 - SKU: A0.800202 Composed by Various, Traditional. Arranged by Samantha J Bramley - stringspirational@gmail.com. Children,Christmas. Score and parts. 25 pages. Samantha Bramley #3877327. Published by Samantha Bramley (A0.800202). The Holiday Season can be really painful for lower string players in any ensemble. Playing ‘cello in a Carol concert makes me want to cry. That is why I have created arrangements of classic Christmas Carols and Songs guaranteed not to bore the pants off your violist or ‘cellist. No more bashing out bass notes for the ‘cello, and no more chugging away on the off-beat for viola while the fiddles get soaring melody after soaring counter-melody. We deserve more than this, right guys? You got it! Noël Re-Nouvellé Pot pourri des chants de Noëls Français les plus populaires pour trio à cordes. Durée de six minutes à la vitesse proposée. A jolly romp through some of the most popular French language carols, Noël Re-Nouvellé is a medley for string trio lasting 6 minutes at given tempo. With optional 2nd violin for viola part. Written with interest in all three parts, and taking turns with melody and accompaniment, this is a very enjoyable arrangement for ensembles of intermediate ability. If you have a great viola player or bored ‘cellist s/he will love this! Contains some double stopping of open and stopped strings. 1. Joie dans le monde - Joy to the World 2. Quittez, Pasteurs - Shepherds, Leave your Flocks 3. Entre le bœuf et l'âne gris - The Ox and the Grey Donkey 4. La Marche des Rois Mages - March of the Magi Kings 5. Il est né, le Divin Enfant - He is Born, the Divine Christ Child 6. Noël Nouvelet - Traditional French Folk Carol 7. Les Anges dans nos campagnes - Angels from the Realms of Glory 8. Vive le vent d’hiver - Jingle Bells 9. C’est Noël - Deck the Halls 10. O Venez, les Fideles - O Come All Ye Faithful 11. On se dit Joyeux Noël - We Wish You a Merry Christmas Note from the arranger: All my arrangements for strings are conceived specifically with the aim of writing interesting parts for all players. Most parts do not go beyond 4th position (with the exception of a few harmonics in the lower string parts), making them suitable for student and mixed ability groups. A complete score and set of individual parts (violin, violin 2, viola, ‘cello) is included. Enjoy and feel free to email comments or requests for other works to stringspirational@gmail.com Keep Calm & Play Strings!
$22.99
Adagio In G Minor by Albinoni guitar solo
Adagio In G Minor by Albinoni guitar solo
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Guitar notes and tablatures
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INTERMEDIATE
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Classical
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Tomaso Albinoni, Remo Giazot
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PianoSheetNow
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Adagio In G Minor by Albinoni
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PianoSheetNow
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SheetMusicPlus
Guitar Tab, Classical Guitar, Fingerpicking Guitar, Guitar Solo - Intermediate - By Tomaso Albinoni, Remo Giazotto. Arranged by PianoSheetNow. Sheet M...
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Guitar Tab, Classical Guitar, Fingerpicking Guitar, Guitar Solo - Intermediate - By Tomaso Albinoni, Remo Giazotto. Arranged by PianoSheetNow. Sheet Music Single, Tablature. 4 pages. Published by PianoSheetNow
The famous Adagio in G minor (here in E minor) for violin, strings, and organ continuo is a neo-Baroque composition popularly attributed to the 18th-century Venetian master Tomaso Albinoni (1671-1751) and to Albinoni biographer Remo Giazotto.
For classical Guitar solo.
Intermediate.
With Guitar tablature. With some finger position suggestions.
Pages: 4 pages.
$4.99
The Heavens Declare ~ Psalm 19 (for Solo with Piano accompaniment)
The Heavens Declare ~ Psalm 19 (for Solo with Piano accompaniment)
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Piano Accompaniment
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INTERMEDIATE
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Sacred music
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Sharon Wilson
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Sharon Wilson
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The Heavens Declare ~ Psalm 19
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Sharon Wilson
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SheetMusicPlus
Small Ensemble Piano,Vocal,Voice - Level 3 - SKU: A0.565133 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. 20th Century,Contemporary,Pra...
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Small Ensemble Piano,Vocal,Voice - Level 3 - SKU: A0.565133 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. 20th Century,Contemporary,Praise & Worship,Sacred. Score. 15 pages. Sharon Wilson #3464976. Published by Sharon Wilson (A0.565133). This Scripture song based on Psalm 19 verses 1-4 is formatted as a vocal solo with piano accompaniment (3 staff piano-vocal score). This solo arrangement is in the key of B♠and has a vocal range of one octave, from middle C to high C (C4 to C5). The purchase price includes a 7-page combined score plus a 3-page solo score and a 4-page piano accompaniment score. Duration 2:50Though the piece is written for voice it also makes a beautiful instrumental piece with a C-instrument playing the solo part (such as the violin). For the violin, all notes can be played in the first position on the G, D, and A strings making this an excellent selection for a beginning violin student.To enhance the presentation of this song, a slide show featuring stars and space could be displayed during the performance. The lyrics were adapted from the World English Bible (WEB) and are printed below:Lyrics:The heavens declare the glory of God.The skies proclaim his handiwork.Day after day they pour out their speech,And night after night God’s knowledge is displayed.There is no speech, nor is there a language where their voice is not heard.Their voice has gone out through all of the earth,Their words to the end of the world.Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$4.99
I Got The Blues - Easy string ensemble (Mixed Abilities) for flexible instrumentation
I Got The Blues - Easy string ensemble (Mixed Abilities) for flexible instrumentation
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String Orchestra
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BEGINNER
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Austin Ralphson
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I Got The Blues - Easy string
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Austin Ralphson
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SheetMusicPlus
String Orchestra - Level 1 - SKU: A0.563591 Composed by Austin Ralphson. Blues,Concert,Instructional,Standards. Score and parts. 39 pages. Austin Ralphs...
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String Orchestra - Level 1 - SKU: A0.563591 Composed by Austin Ralphson. Blues,Concert,Instructional,Standards. Score and parts. 39 pages. Austin Ralphson #4317691. Published by Austin Ralphson (A0.563591). Children (and adults) who learn a musical instrument will always progress at different rates. Students also develop some of the many skills involved in instrumental playing faster than other skills.The Mixed Abilities School Ensemble Series for Easy String Orchestra has the flexibility to allow pupils of different standards to play together in one ensemble (up to five parts).Each piece has a total of 5 different parts which are fully interchangeable between violins, violas and cellos (double basses can double the cello parts). So whether you have 15 violins and a viola, or 3 violins, or 4 cellos or whatever, the pieces will still work well together. All parts are provided for all instruments.Part 5 uses long notes on open strings. The other parts gradually increase in difficulty up to Part 1, which uses first and second positions. The teacher should select appropriate parts for the players in the group.I GOT THE BLUES is the second piece in this series, and uses typical Blues characteristics such as syncopation and swung quavers. It also includes a section in which any player can improvise; suggested notes to use in the solo are provided along with backing figures.Please listen to the mp3 file, which is an electronic example of the piece being played with 4 violin parts and a cello on Part 5.The purchaser of this product may print as many copies of the parts as required in order for the piece to work successfully with the ensemble. They must not copy, print or distribute the score or parts for others who have not purchased the product independently.Complete string catalogue arr. Austin Ralphson is here (copy and paste to new tab):www.ralphsonstrings.com
$9.99
Rorie Dall's Sister's Lament for Double-strung Harp
Rorie Dall's Sister's Lament for Double-strung Harp
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Harp
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EASY
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Celtic/Irish
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Rory Dall
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Karen Peterson
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Rorie Dall's Sister's Lament f
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Karen Peterson
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SheetMusicPlus
Harp - Level 2 - SKU: A0.928320 Composed by Rory Dall. Arranged by Karen Peterson. Celtic,Contemporary,Folk. Score. 4 pages. Karen Peterson #5955365. Pu...
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Harp - Level 2 - SKU: A0.928320 Composed by Rory Dall. Arranged by Karen Peterson. Celtic,Contemporary,Folk. Score. 4 pages. Karen Peterson #5955365. Published by Karen Peterson (A0.928320). This tune was published by Daniel Dow in the 1770s and was probably composed by Roderick Morison (~1656-1713). My double-strung harp arrangement in the dorian mode has rolled, echoed chords, highlighting the depth of sound we can get from having two sets of strings. The accompaniment hand traverses the entire range of the harp, often overlapping the melody hand.Range and key: D dorian (all naturals). 24x2 strings. C below middle C through E.Lever changes: None.Good for: Performance, memorials, therapeutic settings.Double-strung effects: The LH accompaniment frequently overlaps the RH melody range. Rolled accompaniment chords often contain the same note as the melody, creating a rolled echo. Some chords that aren’t rolled have doubled notes in both hands, creating depth. The repetition of LH patterns makes this a great piece to learn overlapping hands with.Characteristics: Neither hand needs to place more than an octave spread. There are some four-note chords (always LH 1-3-5-8). The RH has almost no chords. Few of the chords are inversions. There are very few sixteenth notes; no more than three played together with one hand. The LH has two long-run patterns (1-5-8-9-10 and 1-5-8-9) which can be played with cross-unders or a wandering thumb. The RH has a few cross-overs/unders.Finger placement: Finger number suggestions are provided for key phrases. Numbers above the notes are suggestions for the RH (marked with R or R# when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with L or L# when they occur in the top staff). To see what I mean, view the PDF of finger placement examples in Rorie Dall's Sister's Lament: www.EnjoyTheHarp.com/s/rorie-dalls-sisters-lament-notes-enjoy-the-harp.pdfNotation: Chord symbols are provided. Treble clef is used for both staves, with 8vb for the low notes. Length: 4 pages. 60 measures, plus 12 if you take the repeat. 4 minutes.Page turns: If you are printing, double-side pages 2 and 3 so that there is only one page turn. The RH can be used on all notes of page 2’s last measure, so that the LH can turn the page. If you are using single pages on a tablet, you can do something similar at the end of page 3. Page 1’s turn is manageable. Contact me after purchase if you’d like a version that fits on two pages: EnjoyTheHarp@gmail.comPerformance notes and history at www.EnjoyTheHarp.com/rorie-dalls-sisters-lament
$4.99
Rorie Dall's Sister's Lament for Double-strung Lap Harp
Rorie Dall's Sister's Lament for Double-strung Lap Harp
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Harp
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EASY
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Celtic/Irish
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Rory Dall
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Karen Peterson
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Rorie Dall's Sister's Lament f
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Karen Peterson
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SheetMusicPlus
Harp - Level 2 - SKU: A0.928333 Composed by Rory Dall. Arranged by Karen Peterson. Celtic,Contemporary,Folk. Score. 4 pages. Karen Peterson #5993785. Pu...
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Harp - Level 2 - SKU: A0.928333 Composed by Rory Dall. Arranged by Karen Peterson. Celtic,Contemporary,Folk. Score. 4 pages. Karen Peterson #5993785. Published by Karen Peterson (A0.928333). WATCH THE D DORIAN VERSION: You are viewing the arrangement for lap harp, which is in the key of A dorian. To hear the D dorian version played on a larger harp, go to www.youtube.com/watch?v=l0-Kg0LifaUOverview: This tune was published by Daniel Dow in the 1770s and was probably composed by Roderick Morison (~1656-1713). My double-strung harp arrangement in the dorian mode has rolled, echoed chords, highlighting the depth of sound we can get from having two sets of strings. The accompaniment hand traverses the entire range of the harp, often overlapping the melody hand.Key and range: A dorian (one sharp). 21x2 strings. G below middle C through F. (LARGER HARPS: For harps with C below middle C or lower, get the D dorian version here: www.sheetmusicplus.com/title/rorie-lament-for-double-strung-harp-digital-sheet-music/21815669)Lever changes: None.Good for: Performance, memorials, therapeutic settings.Double-strung effects: The LH accompaniment frequently overlaps the RH melody range. Rolled accompaniment chords often contain the same note as the melody, creating a rolled echo. Some chords that aren’t rolled have doubled notes in both hands, creating depth. The repetition of LH patterns makes this a great piece to learn overlapping hands with.Characteristics: Neither hand needs to place more than an octave spread. There are some four-note chords (always LH 1-3-5-8). The RH has almost no chords. Few of the chords are inversions. There are very few sixteenth notes; no more than three played together with one hand. The LH has two long-run patterns (1-5-8-9-10 and 1-5-8-9) which can be played with cross-unders or a wandering thumb. The RH has a few cross-overs/unders.Finger placement: Finger number suggestions are provided for key phrases. Numbers above the notes are suggestions for the RH (marked with R or R# when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with L or L# when they occur in the top staff).Notation: Chord symbols are provided. Treble clef is used for both staves, with 8va for very high notes. Length: 4 pages. 60 measures, plus 12 if you take the repeat. 4 minutes.Page turns: If you are printing, double-side pages 2 and 3 so that there is only one page turn. The RH can be used on all notes of page 2’s last measure, so that the LH can turn the page. If you are using single pages on a tablet, you can do something similar at the end of page 3. Page 1’s turn is manageable. Contact me after purchase if you’d like a version that fits on two pages: EnjoyTheHarp@gmail.com
$4.99
Silent Night: From Austria to Africa
Silent Night: From Austria to Africa
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Guitar notes and tablatures
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INTERMEDIATE/ADVANCED
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Christmas
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Franz Xaver Gruber
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Richard Hirsch
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Silent Night: From Austria to
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1153109 Composed by Franz Xaver Gruber. Arranged by Richard Hirsch. Christmas,Multicultural,Religious,Standards,Traditio...
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Solo Guitar - Level 4 - SKU: A0.1153109 Composed by Franz Xaver Gruber. Arranged by Richard Hirsch. Christmas,Multicultural,Religious,Standards,Traditional,World. Individual part. 8 pages. Richard Hirsch #753352. Published by Richard Hirsch (A0.1153109). An arrangement for solo guitar of the all-time favourite Christmas carol composed by Franz Gruber. The arrangement starts with an introduction of the melody in arpeggios of natural harmonics and moves into broken chords mixed with arpeggios for the first rendering of the song in 6/8 time. In the second part, at the shift to 4/4 time, the melody is rendered in an African inspired version with natural harmonics reminiscent of tunes played on an African kalimba (thumb harp) woven into the broken chords and arpeggios. As the speed increases, and the volume decreases, the arrangement moves steadily toward a total kalimba version. I like to think of the first part of the arrangement as symbolising a night in the little Austrian village where Gruber lived and composed the song. The natural harmonics and base notes and treble notes on open strings denoting the village chapel bells ringing on Christmas Eve. The second part tries to give a feel for how the melody can stand as a symbol of our common human origins in Africa, celebrating the birth and unity of humanity. The arrangement is within reach of intermediate to advanced students of guitar and is a good introduction to natural harmonics on the twelfth, seventh, and fifth frets. The African inspired polyrhythm fingerpicking in the second part consists basically of the thumb alternating with the index and middle fingers in a repetitive cycle. The second part is notated in 4/4 time, but can perhaps be more easily be read and played as 8/8 time, as practically everything, especially towards the end of the arrangement consists of eight notes. The polyrhythmic second part should have an accent on the downbeat of the first beat of the measure followed by an accent at 3and (an upbeat), just before the fourth and final beat of the measure. Reading the four part harmony of the score may at first present a challenge but if played basically as eight notes followed by eight notes everything should come out right in the end. Refer to the mp3 version provided with the score if in doubt. I do not mark the natural harmonics explicitly in the tablature, there are simply too many of them. The diamond shaped notes in the notation denoting harmonics are found directly above the corresponding fingerings in the tablature. It has been a real joy to work with this arrangement of the song and I hope it brings joy to others in playing it, giving new life to the traditional melody.
$4.99
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4 notes for 4 strings
