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Vous avez sélectionné:
Opera
GUITARE
Guitare
Partitions à imprimer
143 partitions trouvées
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Opus 31 - Soap opera
Opus 31 - Soap opera
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
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John Trie
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Opus 31 - Soap opera
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john Trie
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.966073 Composed by John Trie. Contemporary,Pop,Rock. Individual part. 5 pages. John Trie #2018801. Published by john Tri...
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Solo Guitar - Level 4 - SKU: A0.966073 Composed by John Trie. Contemporary,Pop,Rock. Individual part. 5 pages. John Trie #2018801. Published by john Trie (A0.966073). Opus 31 - Soap opera - by John Trie.
$7.99 ≈
7.33€
Opus 31 - Soap opera - mp3
Opus 31 - Soap opera - mp3
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Guitare
#
Contemporain
#
John Trie
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Opus 31 - Soap opera - mp3
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john Trie
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SheetMusicPlus
Guitar - SKU: A0.1064671 Composed by John Trie. 20th Century,Contemporary. Full Performance. Duration 166. John Trie #37383. Published by john Trie (A0....
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Guitar - SKU: A0.1064671 Composed by John Trie. 20th Century,Contemporary. Full Performance. Duration 166. John Trie #37383. Published by john Trie (A0.1064671). Opus 31 - Soap opera - by John Trie.
$2.39 ≈
2.19€
V. Bellini - "Casta Diva", from opera "Norma"
V. Bellini - "Casta Diva", from opera "Norma"
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Guitare
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Classique
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V
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Michael Goldort
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V. Bellini - "Casta Diva&
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Michael Goldort
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SheetMusicPlus
Solo Guitar - SKU: A0.951361 Composed by V. Bellini. Arranged by Michael Goldort. Classical. Individual part. 3 pages. Michael Goldort #4837181. Publish...
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Solo Guitar - SKU: A0.951361 Composed by V. Bellini. Arranged by Michael Goldort. Classical. Individual part. 3 pages. Michael Goldort #4837181. Published by Michael Goldort (A0.951361). V. Bellini - Casta Diva, air from opera Norma, arrangement for guitar by M. Goldort
$5.99 ≈
5.50€
Opus 31 - Soap opera - guitar tablature
Opus 31 - Soap opera - guitar tablature
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
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John Trie
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Opus 31 - Soap opera - guitar
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john Trie
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.966074 Composed by John Trie. Contemporary,Pop,Rock. Individual part. 5 pages. John Trie #2018799. Published by john Tri...
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Solo Guitar - Level 4 - SKU: A0.966074 Composed by John Trie. Contemporary,Pop,Rock. Individual part. 5 pages. John Trie #2018799. Published by john Trie (A0.966074). Opus 31 - Soap opera - by John Trie. Classical guitar tab.
$6.99 ≈
6.41€
CARMEN SUITE - Classical Guitar Arrangements from Bizet's Opera Carmen
CARMEN SUITE - Classical Guitar Arrangements from Bizet's Opera Carmen
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Guitare
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AVANCÉ
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Classique
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Nestor Ausqui
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CARMEN SUITE - Classical Guita
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Advanced - Digital Download Composed by Nestor Ausqui. Arrangements. E-book. 21 pages. Mel Bay Publications - Digital Sheet Music #30985EB. ...
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Guitar - Advanced - Digital Download Composed by Nestor Ausqui. Arrangements. E-book. 21 pages. Mel Bay Publications - Digital Sheet Music #30985EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459752. 8.75x11.75 inches.
One might think that it would be impossible to arrange the music of Georges Bizets opera, Carmen, for solo classic guitar, but Nestor Ausqui has done it! While the guitar is an intimate and sweet-sounding instrument, it does not have a broad dynamic range; yet, as Dionisio Aguado proclaimed in his Nuevo Metodo para Guitarra of 1843, the classic guitars expansive palette of tone color gives it the ability to emulate a miniature orchestra. These characteristics make the guitar the ideal instrument to reflect both the character and sensuality of the dances that occur throughout Bizets CarmenAragonaise, Habanera, Seguidillas, and Danse Bohemeas well as Carmens sober Chant de la Mort. Recommended for the advanced guitarist, Carmen Suite is written in standard notation with extensive digitation and occasional drop-D tuning. In Nestor Ausquis Carmen Suite, the guitar both sings like a human voice and accompanies itself, giving the work an irrefutable guitar identity. The characteristic feeling manifested in Spanish dance is now expressed through the guitar with a full and defined instrumental singularity. Guillermo Rene? Alvarez Musicologist, Professor at the Instituto Superior de Mu?sica, Universidad Nacional del Litoral-Argentina.
$9.99 ≈
9.17€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.42€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.42€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.42€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00 ≈
6.42€
Selected Operatic Fantasies of Mertz
Selected Operatic Fantasies of Mertz
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Guitare
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INTERMÉDIAIRE
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Classique
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Johann Kaspar Mertz
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Selected Operatic Fantasies of
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music ...
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By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743260. This collection is drawn from the Portefeuille Guitarre-Spieler series and is intended for intermediate to advanced guitarists.The works in this collection:Fantasy on themes from Don Giovanni, Op. 28Don Giovanni has long been famous among enthusiasts of fretted instruments for Mozart's sublime use of the mandolin in Don Juans' aria Deh, vieni alla finestra. Mertz himself took note of Mozart's 'mandolin serenade' for he employed as a catalyst a brief quote of the mandolin introduction in his Op. 28 for a modulatory transition based upon the theme. Mertz also included a simple arrangement of the aria as number 76 in his Kukuk, a 'musical panorama' of 136 short pieces.Martha, Op. 16Martha, oder Der Markt zu Richmond by German composer Friedrich Flotow (1812-1883) was first produced in Vienna in 1847. In the second act of Martha Flotow incorporates 'Tis the Last Rose of Summer (Qui sola, verginrosa), a traditional Irish melody to which the poet Thomas Moore wrote lyrics. It was one of the most popular songs of the nineteenth century. In addition to Beethoven, Mendelssohn, and Thalberg, guitar composers to produce works based upon the famous song include Giuliani, Ferranti, Holland, and Foden. Preceding Ah! che a voi perdoni Iddio in his Op. 16, Mertz quotes a brief passage from his Elegie.The Prophet, Op. 21Giacomo Meyerbeer was the leading composer of French grand opera during Mertz's professional career. Following studies in Italy, the German composer was chiefly active in Paris and Berlin, although he traveled Europe extensively producing his operas. Le prophete premiered in Paris in 1849 after a long delay due to casting problems. Mertz's Op. 21 was published shortly thereafter.Nabucco, Op. 62 and Rigoletto, Op. 63Giuseppe Verdi's first major triumph as an opera composer was with the biblical opera Nabucodonosor (more commonly known as Nabucco). The opera was premiered in Milan in 1842 and its subsequent revivals throughout Europe spread Verdi?s fame at an astounding rate. Consequently, Verdi was commissioned to compose 14 operas in the following decade. Among these operas was Rigoletto, first produced in Venice in 1851. Mertz frequently turned to the music of Verdi for his operatic fantasies, producing no fewer than four distinct works based on themes from Rigoletto alone.
$14.99 ≈
13.75€
Mattinata for guitar solo
Mattinata for guitar solo
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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R
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Klas Krantz
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Mattinata for guitar solo
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Amadeus Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.531186 Composed by R. Leoncavallo. Arranged by Klas Krantz. Classical,Romantic Period. Individual part. 2 pages. Amadeus...
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Solo Guitar - Level 4 - SKU: A0.531186 Composed by R. Leoncavallo. Arranged by Klas Krantz. Classical,Romantic Period. Individual part. 2 pages. Amadeus Music #2032875. Published by Amadeus Music (A0.531186). Ruggiero Leoncavallo (1857–1919) was an Italian opera composer. His opera Pagliacci remains one of the most popular works in the operatic repertory, appearing as number 14 on Opera America's 2007 list of the 20 most-performed operas in North America.
$3.95 ≈
3.62€
All I Ask Of You (from The Phantom Of The Opera)
All I Ask Of You (from The Phantom Of The Opera)
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Guitare
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All I Ask Of You
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Hal Leonard - Digital
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SheetMusicPlus
Easy Guitar (no TAB) - Interactive Download SKU: HX.440755 This edition: Interactive Download,scorch. Broadway,Musical/Show,Wedding. Score. 2 pages. Hal ...
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Easy Guitar (no TAB) - Interactive Download SKU: HX.440755 This edition: Interactive Download,scorch. Broadway,Musical/Show,Wedding. Score. 2 pages. Hal Leonard - Digital #11995. Published by Hal Leonard - Digital (HX.440755).
$2.99 ≈
2.74€
Melody From the Opera "Orpheus and Eurydice"
Melody From the Opera "Orpheus and Eurydice"
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Guitare
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INTERMÉDIAIRE
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Christoph Willibald Von Gluck
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Evgeny Shushkovsky
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Melody From the Opera "Or
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Evgeny Shushkovsky
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1188715 Composed by Christoph Willibald Von Gluck. Arranged by Evgeny Shushkovsky. Baroque,Classical,Multicultural,World...
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Solo Guitar - Level 3 - SKU: A0.1188715 Composed by Christoph Willibald Von Gluck. Arranged by Evgeny Shushkovsky. Baroque,Classical,Multicultural,World. Individual part. 2 pages. Evgeny Shushkovsky #788330. Published by Evgeny Shushkovsky (A0.1188715).
$3.99 ≈
3.66€
Grand Fantasy on the themes of the opera "Carmen" by G. Bizet
Grand Fantasy on the themes of the opera "Carmen" by G. Bizet
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Evgeny Shushkovsky
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Grand Fantasy on the themes of
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Evgeny Shushkovsky
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1191512 Composed by Evgeny Shushkovsky. 20th Century,Multicultural,World. Individual part. 7 pages. Evgeny Shushkovsky #...
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Solo Guitar - Level 4 - SKU: A0.1191512 Composed by Evgeny Shushkovsky. 20th Century,Multicultural,World. Individual part. 7 pages. Evgeny Shushkovsky #791019. Published by Evgeny Shushkovsky (A0.1191512).
$6.50 ≈
5.96€
Mauro Giuliani: Dodici Monferrine opera 12 (Composte e Dedicate a Madamigella Vicenziana de Rainer)
Mauro Giuliani: Dodici Monferrine opera 12 (Composte e Dedicate a Madamigella Vicenziana de Rainer)
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Guitare
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FACILE
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Classique
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Mauro Giuliani
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Socrates Arvanitakis
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Mauro Giuliani: Dodici Monferr
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1254575 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 34 pages. ...
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Solo Guitar - Level 2 - SKU: A0.1254575 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 34 pages. Socrates Arvanitakis #848175. Published by Socrates Arvanitakis (A0.1254575). PREFACE & Editorial NotesThe Dodici Monferrine op.12  by Mauro Giuliani are in general of a lower moderate difficulty and are written as twelve small entertaining pieces in 6/8 rhythm all following the same uniform structure consisting of four phrases: A1, A2 – [B1, A2]*2 which is used extensively  by Giuliani as the basic structure for many of his more elaborate variation sets. Due consideration is also given to a carefully thought out tonal scheme for all twelve pieces as follows: E, A, D, G, C, F, Dm, D, A, D, G, C.For these given structural reasons op. 12 may be considered as a very good introduction to Giuliani’s later output of more complex and difficult works. Notes1 Dynamics have all been copied from the first “Artaria†edition of Vienna.2 Metronome marks are editorial suggestions and should not be taken too literally.3 This volume is offered  with decorated and undecorated pages (as two books in one) so that the user can chose which version he prefers and construct his printed or digital book accordingly. Blank pages have been added to be used or omitted for the arrangement of left and right hand pages.4 A live performance of all twelve pieces selected at random in YoutubeNavigating the Thematic Index1 click on the photo of the theme: Go to undecorated page2 click header of any titled  page: Return to the index3 click on the title of any piece: Interchange between decorated/undecorated pages.
$8.00 ≈
7.34€
Air d'opera
Air d'opera
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Guitare
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Giuseppe Verdi
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Arnaud Sans
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Air d'opera
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Les Productions d'OZ - Digital
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SheetMusicPlus
By Giuseppe Verdi (1813-1901). Arranged by Arnaud Sans. For 6 guitars. Level 2.5. Published by Les Productions d'OZ - Digital ...
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By Giuseppe Verdi (1813-1901). Arranged by Arnaud Sans. For 6 guitars. Level 2.5. Published by Les Productions d'OZ - Digital
$8.95 ≈
8.21€
Two Operatic Fantasias
Two Operatic Fantasias
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Guitare
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INTERMÉDIAIRE
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Classique
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Jose Ferrer
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Two Operatic Fantasias
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Schott Music - Digital
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SheetMusicPlus
For 2 Guitars. Composed by Jose Ferrer. This edition: Sheet music. Guitar Archive. Downloadable. Schott Music - Digital #Q47493. Published by Schott M...
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For 2 Guitars. Composed by Jose Ferrer. This edition: Sheet music. Guitar Archive. Downloadable. Schott Music - Digital #Q47493. Published by Schott Music - Digital
$16.99 ≈
15.59€
Deuxiéme Sonata by Benjamin Godard (1849-1895)
Deuxiéme Sonata by Benjamin Godard (1849-1895)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Benjamin Godard
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Eric J Roth
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Deuxiéme Sonata by Benj
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.914747 Composed by Benjamin Godard (1849-1895). Arranged by Eric J Roth. Romantic Period. Individual part. 14 pages. Eri...
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Solo Guitar - Level 4 - SKU: A0.914747 Composed by Benjamin Godard (1849-1895). Arranged by Eric J Roth. Romantic Period. Individual part. 14 pages. Eric J Roth #5867073. Published by Eric J Roth (A0.914747). Benjamin Godard (1849-1895) was a French violinist and composer of Jewish heritage. He wrote hundreds of works, including symphonies, operas, concertos, chamber and solo pieces, and songs. Today he is most remembered for his five symphonies and the Berceuse from his opera, Jocelyn. In style, Godard's music is reminiscent of the early Romantic period rather than the more grandiose style of Wagner. Godard wrote two sonatas for solo violin. The first dates from the 1870s. The second was composed in the 1890s and published after his death. Both sonatas contain four movements and employ baroque dance forms. The Deuxiéme (second) Sonata, arranged here for guitar solo, opens with a Sarabande in A minor, marked molto moderato e pompasamente (very moderately and pompously). The following Rigodon in C major is quick and convivial, although a contrasting section in C minor tempers the mood. The third movement, Adagio non ma troppo, begins in a tranquil F major. The texture soon thickens and makes striking use of the instrument’s lower register. A sudden modulation to F minor provides the sonata's most introspective moment. The piece returns to A minor and ends in a dramatic cliffhanger on the dominant. The rhythmic Bourrée serves as a true finale and includes a frenetic contrapuntal section recalling the violin sonatas of J. S. Bach.
$9.99 ≈
9.17€
Flower Duet from Lakme
Flower Duet from Lakme
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Guitare
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INTERMÉDIAIRE
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Opera
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Classique
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Leo Delibes
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Greg Hays
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Flower Duet from Lakme
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Greg Hays
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.934506 Composed by Leo Delibes. Arranged by Greg Hays. Opera,Romantic Period. Individual part. 4 pages. Greg Hays #34790...
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Solo Guitar - Level 3 - SKU: A0.934506 Composed by Leo Delibes. Arranged by Greg Hays. Opera,Romantic Period. Individual part. 4 pages. Greg Hays #3479099. Published by Greg Hays (A0.934506). One of the most popular duets in opera, Flower Duet from Leo Delibes' opera Lakme is a great crowd pleaser. The very pleasing harmony between the two parts makes for a tasteful piece for both background and concert gigs. Now arranged intimately for duo guitar!
$8.00 ≈
7.34€
[Cameron-Wolfe] Heretic
[Cameron-Wolfe] Heretic
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Guitare
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Richard Cameron-Wolfe
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[Cameron-Wolfe] Heretic
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American Composers Alliance Inc.
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SheetMusicPlus
Solo Guitar - SKU: A0.952203 Composed by Richard Cameron-Wolfe. 20th Century,Contemporary,Opera. Individual part. 19 pages. American Composers Alliance ...
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Solo Guitar - SKU: A0.952203 Composed by Richard Cameron-Wolfe. 20th Century,Contemporary,Opera. Individual part. 19 pages. American Composers Alliance Inc. #4569677. Published by American Composers Alliance Inc. (A0.952203). A micro-opera for solo guitar embedded in an intense psycho-drama of disillusionment and alienation. All texts are by the composer, except for brief quote from Arthur Machen’s 1907 novel, The Hill of Dreams. The guitarist is frequently called-upon to speak (rhythmically or freely) and there is a brief passage of singing. This micro-opera is intended to be staged, and it is strongly recommended that the guitarist collaborate with an adventurous drama coach.
$17.95 ≈
16.47€
O Mio Babbino Caro (guitar solo)
O Mio Babbino Caro (guitar solo)
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Guitare
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INTERMÉDIAIRE
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Rock
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Giacomo Puccini
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O Mio Babbino Caro
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Geofonica Artistworks
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.948707 Composed by Giacomo Puccini. Arranged by Bradley Powell (The Candlelight Guitarist). 20th Century,Concert,Holiday...
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Solo Guitar - Level 3 - SKU: A0.948707 Composed by Giacomo Puccini. Arranged by Bradley Powell (The Candlelight Guitarist). 20th Century,Concert,Holiday,Opera,Wedding. Individual part. 3 pages. Geofonica Artistworks #6794347. Published by Geofonica Artistworks (A0.948707). One of the most beloved arias by Giacomo Puccini, from the opera Gianni Schicchi (1918), in a new off-the-record classical guitar finger-style arrangement by Bradley Powell (The Candlelight Guitarist). NOTE: This sheet music is in Standard Notation--(a separate edition in both TABS and standard notation is also available here). This arrangement is from The Candlelight Guitarist album The Wedding of Dulcinea & Don Quixote. It's an Intermediate classical guitar level (similar to Sor, Carcassi and Giuliani etudes), an excellent piece for concert or recital, weddings, dinners, or general enjoyment.ABOUT: Bradley Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. Brad is also the classical guitarist for Disney's Princess Breakfast Adventuire at the Disneyland's Grand Californian Resort. When not making music, Brad is often out hiking with his dogs.
$3.99 ≈
3.66€
Brindisi (Libiamo ne' lieti calici) from La Traviata
Brindisi (Libiamo ne' lieti calici) from La Traviata
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Opera
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Classique
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Dan Jones
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Dan Jones www
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Brindisi
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DanJonesGuitarist
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SheetMusicPlus
Guitar - Level 4 - SKU: A0.1196095 By Dan Jones. By Giuseppe Verdi. Arranged by Dan Jones www.danjonesguitarist.com. Classical,Opera. 32 pages. DanJones...
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Guitar - Level 4 - SKU: A0.1196095 By Dan Jones. By Giuseppe Verdi. Arranged by Dan Jones www.danjonesguitarist.com. Classical,Opera. 32 pages. DanJonesGuitarist #795257. Published by DanJonesGuitarist (A0.1196095). Brindisi (Libiamo ne' lieti calici) From La Traviata By Giuseppe Verdi (1853) Arranged for Guitar Quartet by Dan Jones www.danjonesguitarist.com  Libiamo ne' lieti calici (Let’s Drink from the Joyful Cup) is one of the most famous opera duets of all time. It is essentially, a drinking song, in which wine and other beverages are celebrated. This arrangement is for four intermediate-advanced guitarists. The score is provided in two versions, one with TAB, the other without TAB, to facilitate page turns for the director. The parts are also provided in notes only and with both notes and TAB. For a vast range of sheet music for beginners, intermediate players, advanced musicians, as well as writings and compositions, please visit www.danjonesguitarist.com. A film of a performance will be uploaded here in the near future. Â
$7.95 ≈
7.29€
Three Minuets for Solo Guitar from The Double Dealer
Three Minuets for Solo Guitar from The Double Dealer
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Guitare
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INTERMÉDIAIRE
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Henry Purcell
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Joshua S Kim
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Three Minuets for Solo Guitar
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Joshua S. Kim
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.835970 Composed by Henry Purcell. Arranged by Joshua S Kim. Baroque,Contemporary,World. Individual part. 3 pages. Joshua...
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Solo Guitar - Level 3 - SKU: A0.835970 Composed by Henry Purcell. Arranged by Joshua S Kim. Baroque,Contemporary,World. Individual part. 3 pages. Joshua S. Kim #3066441. Published by Joshua S. Kim (A0.835970). Three Minuets (minuetts or menuets) arranged for solo classical guitar. The selections were made from Henry Purcell's comic opera The Double Dealer. With its libretto written by William Congreve, the opera was first produced in 1693.
$3.50 ≈
3.21€
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