Partitions Numériques de Don't Change pour Guitare

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Don't Change
Non classifié 28

Piano & claviers
Piano seul 20
Piano, Voix et Guitare 8
Piano, Voix 8

Guitares
Guitare notes et tablatures 4
Guitare 3

Basse electrique 3
Ligne De Mélodie, (Paroles) et Accords 1

Voix
Chorale SATB 7
Chorale TTBB 4
Chorale 3 parties 2
Chorale SSAA 1
Voix duo 1

Vents
Quatuor de Saxophones: 4 saxophones 5
Quatuor de Clarinettes: 4 clarinettes 4
Flûte et Guitare 4
Quintette de Saxophone: 5 saxophones 4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 3

Flûte, Hautbois, Clarinette, Basson 3
Quatuor de Flûtes : 4 flûtes 2
Ensemble de saxophones 2
Ensemble de Clarinettes 2
Cor Anglais 1
Clarinette, Guitare (duo) 1
Saxophone Alto 1
2 Saxophones (duo) 1
2 Clarinettes (duo) 1
Hautbois (partie séparée) 1
Saxophone (partie séparée) 1
Cor anglais, Guitare (duo) 1
2 Flûtes traversières (duo) 1
Ensemble de Flûtes 1

+ 14 instrumentations

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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba 3
Cor Anglais 1
Trombone basse 1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 1
Quatuor de Cuivres 1

Tuba 1
Cor anglais, Guitare (duo) 1
Cor 1

+ 3 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 11
Harpe 5
Violon et Piano 2
Violon 2
Violoncelle (partie séparée) 1

Violoncelle, Piano 1
Contrebasse, Piano (duo) 1
Alto, Piano 1
Trio à Cordes: violon, alto, violoncelle 1
Alto seul 1

+ 5 instrumentations

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Percussions & orchestre
Ensemble Jazz 6
Orchestre à Cordes 5
Orchestre d'harmonie 4
Jazz combo 2
Cloches 2

Orchestre 2
Ensemble de Percussions 2
Fanfare 1

+ 3 instrumentations

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Don't Change

intermédiaire

Guitare

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3 partitions trouvées

Edwin Culver: a bridge a-way, exits within (for solo guitar)

Edwin Culver: a bridge a-way, exits within (for solo guitar) #Guitare #INTERMÉDIAIRE #Contemporain #Edwin Culver #Edwin Culver: a bridge a-way, #Edwin Culver #SheetMusicPlus

Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published ...(+)

Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you canâ€™t fully understand no matter how hard you try? Perhaps itâ€™s something from our past that we never invited...or something weâ€™ve missed in our closest relationships, maybe itâ€™s just the dread weâ€™ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like weâ€™re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. Thereâ€™s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. Weâ€™re spinning our wheelsâ€¦But one of the interesting things about great minimalist music is that itâ€™s not merely about repetition. I donâ€™t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mindâ€™s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer canâ€™t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument heâ€™s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesnâ€™t feel like weâ€™re making headway whenever weâ€™re having to crawl out of our skin - until, suddenly, when itâ€™s all over. And you hear this towards the end of the piece, when thereâ€™s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One Iâ€™ve put my trust in, because I canâ€™t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.

$11.99 ≈ 11.03€

Love Of My Life

Love Of My Life #Guitare #INTERMÉDIAIRE #Queen #Derek Hasted #Love Of My Life #Derek Hasted #SheetMusicPlus

Guitar - Level 3 - SKU: A0.1299289 By Queen. By Freddie Mercury. Arranged by Derek Hasted. 20th Century,Film/TV,Pop. 14 pages. Derek Hasted #889151. Pub...(+)

Guitar - Level 3 - SKU: A0.1299289 By Queen. By Freddie Mercury. Arranged by Derek Hasted. 20th Century,Film/TV,Pop. 14 pages. Derek Hasted #889151. Published by Derek Hasted (A0.1299289). LOVE OF MY LIFE (Queen) - GUITAR DUETFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric GuitarDerek Hasted writes This delightful melody fits classical guitar like a glove.There are two arrangements in this one edition - one for â€œsolo and accompanimentâ€ and one where the roles swap over at each verse. The versions are otherwise identical. The first of these arrangements is ideal for a duo in which the abilities are slightly unequal.My arrangement is based on Queenâ€™s Official Video and includes all the key changes and phrases except for one little piece of quasi-improvisation I have removed (which would otherwise leave one player looking at the floor in a duet performance!)There is an amount of fingering and slurring which may help to get the smoothest performance, but there are plenty of places where the music needs to breathe, so please donâ€™t rush...Â I hope you enjoy playing this lovely and moving piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.

$4.99 ≈ 4.59€

Excerpt from the Last Part of Ariadne Auf Naxos

Excerpt from the Last Part of Ariadne Auf Naxos #Guitare #INTERMÉDIAIRE #Classique #Richard Strauss #Rod Whittle #Excerpt from the Last Part of #Maggie Creek Music #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 ...(+)

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 â€¦' 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 ≈ 6.44€

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