Browse in the Library:
Artist or Composer / Score name | Cover | List of Contents |
---|---|---|
Autum Song (October) – Tchaikovsky The Seasons (Musescore File).mscz | ||
Autumn In New York (Guitar Arr. With Tab) | Autumn In New York (Guitar Arr. With Tab) | |
Autumn In New York (Guitar Arr.) (Musescore File).mscz | ||
Autumn Leaves Joseph Kosma Jazz Standard Piano Solo arr | ||
Autumn Leaves Joseph Kosma Jazz Standard Piano Solo arr.mscz | ||
Autumn Leaves Piano Bar Arr. Johnny Mercer Joseph Kosma Jacques André Marie Prévert | Autumn Leaves Piano Bar Arr. Johnny Mercer Joseph Kosma Jacques André Marie Prévert | |
Autumn Leaves – Jazz Play Along LEAD SHEET MUSIC | Audio MP3 included in Aebersold’s Vol. 44 (Autumn Leaves) | |
Autumn Leaves – Piano Bar Arr. Johnny Mercer Joseph Kosma Jacques André Marie Prévert (Musescore File).mscz | ||
Autumn leaves (Eva Cassidy) | ||
Autumn Leaves As Played By Bill Evans (Musescore File).mscz | ||
Autumn Leaves Cannonball Adderley And Miles Davis Sax Alto | ||
Autumn Leaves Music by Joseph Kosma | ||
Autumn Leaves Piano Solo – as played by Hank Jones.mscz | ||
Autunm Leaves (Musescore File).mscz | ||
Avatar – Leona Lewis – I See You | Avatar I see you | |
Avatar sheet music Book James Horner | Avatar | |
Ave Maria (Joyeux Noël OST) Philippe Rombi | ||
Avenged Sevenfold Nightmare Guitar TAB | Avenged Sevenfold Nightmare Guitar TAB | |
Avenue Q The Musical Songbook | Avenue Q The Musical Songbook | |
Avicii – Wake Me Up Sheet Music Piano Vocal Guitar chords | ||
Avishai Cohen Songbook Vol I | Avishai Cohen Songbook Vol I | |
Avril Lavigne – Complicated | ||
Avril Lavigne – Freak Out | ||
Avril Lavigne – Im With You | ||
Avril Lavigne – Innocence | ||
Avril Lavigne – My Happy Ending | ||
Avril Lavigne – When Youre Gone | ||
Avril Lavigne – Why | ||
Avril Lavigne the Best Damn Thing Songbook | Avril Lavigne the Best Damn Thing Songbook | |
Avril Lavigne Under My Skin | Avril Lavigne Under My Skin | |
Awaken (Jane Eyre OST 2011) Dario Marianelli | ||
Awakenings Dexter’s Tune by Randy Newman | ||
Away In A Manger – Guitar TABlature | ||
Axel F from Beverly Hills Cop b Harold Faltermeyer Piano Vocal Guitar Chords sheet music | ||
Axel Jorgensen ROMANCE for Trombone and Piano Op. 21 | ||
Aya Hirano – God Knows Suzumiya Haruhi no Yuutsu OST Piano Solo | ||
Ayumi Hamasaki – Voyage | Ayumi Hamasaki – Voyage | |
Ayumi Hamasaki All In | Ayumi Hamasaki All In | |
Aziza Mustafa Zadeh Always Sheet Music | ||
Aziza Mustafa Zadeh Holiday Blessings | ||
Aziza Mustafa Zadeh Strange Mood | ||
Aziza Mustafa Zadeh – Dreaming Sheherezadeh | ||
Aziza Mustafa Zadeh – Melancholic Princess | ||
Aziza Mustafa Zadeh – Barabashka | ||
Aziza Mustafa Zadeh Two Candles | ||
B Witched – Cest La Vie | ||
B Witched – Rollercoaster | ||
B. B. King Live At The Regal Guitar TAB | B. B. King Live At The Regal Guitar TAB | |
B.B. King Anthology Guitar TAB | B.B. King Anthology Guitar TAB | |
B.B. King Greatest Hits | B.B. King Greatest Hits | |
B.B. King Guitar Play Along Vol. 100 – with MP3 audio embedded with Tablature | Guitar Play Along Vol. 100 – B.B. King | |
B.B. King The Definitive Collection Guitar Signature Licks with TABs By Wolf Marshall | B.B. King The Definitive Collection Guitar Signature Licks By Wolf Marshall_compressed | |
Baby Elephant Walk (Hatari OST) Henry Mancini | ||
Baby Elephant Walk Mancini (Musescore File).mscz | ||
Babyface, The Songs Of (Kenneth Brian Edmonds) | Babyface, The Songs Of (Kenneth Brian Edmonds) | |
Bach – Jesu Bleibet Meine Freude Guitar arr.mscz | ||
Bach – Siciliano In G Minor (Musescore File).mscz | ||
Bach – Siciliano in G minor Piano solo (Intermediate) | ||
Bach J.S. – Aria Mit Variationen Goldberg Variationen Bwv 988 Mit Noten – Sheet Music (Musescore File).mscz | ||
Bach J.S. – Orchestral Suite No. 1 In C Major Bwv 1066 Passepied (Easy Piano Solo) (Musescore File).mscz | ||
Bach J.S. For Bass Guitar Mel May Publications | ||
Bach – Analysis of J.S. Bach’s Wohltemperirtes clavier (48 preludes & fugues) ( Book ) Riemann | ||
Bach – Arioso (Musescore File).mscz | ||
Bach – Cello Suite No. 1 In G Major Bwv 1007 Arr. Guitar (Musescore File).mscz | ||
Bach – Chaconne Bwv 1004 Guitar Arr. (Musescore File).mscz | ||
Bach – Easy Pieces for Classical Guitar – Notes & Tablature | Bach – Easy Pieces pieces for guitar | |
Bach – Kurtag – Transcriptions for piano four hands | ||
Bach – Masterworks of Johann Sebastian Bach ( Book) | ||
Bach – Music in the Castle of Heaven by John Eliot Gardiner (Book) | ||
Bach – Praeludium Et Fuga In D Bwv 539 Piano Solo (Musescore File).mscz | ||
Bach – Prelude And Fugue In A Minor (Bwv 543) (Musescore File).mscz | ||
Bach – Sheep May Safely Graze (Schafe Könen Sicher Beiden) Aria From The Cantata Bwv 208 Easy Piano | ||
Bach – Siciliano (Easy Piano arr. from Flute Sonata BWV 1031 with sheet music) | ||
Bach – Siciliano (Easy Piano Arr. From Flute Sonata Bwv 1031 With Sheet Music) (Musescore File).mscz | ||
Bach A Life In Music by Peter Williams (2006) Biography Book | ||
Bach Baden Powell Jesus Bleibet Meine Freude Guitar Tablature Tabs | ||
Bach Bourée (Piano Solo) Jethro Tull (Musescore File).mscz | ||
Bach Busoni Complete Transcriptions | Bach Busoni Complete Transcriptions | |
Bach Bwv 22 – Sanctify Us By Thy Goodness Piano Arr. Harriet Cohen (Musescore File).mscz | ||
Bach Cello Suite No. 1 In G Major For Guitar (Musescore File).mscz | ||
Bach Chaconne BWV 1004 Abel Carlevaro Guitar Masterclass IV | ||
Bach Chaconne D minor arr. for guitar | ||
Bach Forty Chorales Arr. For Piano Solo | ||
Bach Fugue In G Minor Bwv 578 (Piano Solo) (Musescore File).mscz | ||
Bach Fugue Iv Bwv 849 Wtc I (With Sheet Music Noten) (Musescore File).mscz | ||
Bach Goedicke – Prelude Fugue BWV 539 transcribed for piano | ||
Bach Gounod Prelude 1 Ave Maria Jazz Improvisation | ||
Bach Guitar – Fingerpicking Bach (with Tablature) | Bach Guitar – Fingerpicking Bach | |
Bach J.S. J.S. – French Suites (I to VI) | ||
Bach J.S. JS – BWV 208 – Sheep May Safely Graze (arr Friedman) | BACH JS BWV 208 | |
Bach J.S. Air from Orchestral Suite no. 3 in D Major (trans. D. Weymouth) | Bach J.S. -Air-Weymouth | |
Bach J.S. Jesu, Joy of Man’s Desiring – Piano Arr Groban, Josh | ||
Bach J.S. – Jazz Play Along Vol. 120 Pdf + Mp3 Audio Tracks | Jazz_Play_Along_Vol_120_-_J_S_Bach | |
Bach J.S. – Air on a G String | ||
Bach J.S. – Busoni Chaconne (piano solo arr.) | ||
Bach J.S. – BWV 565 Piano – Toccata E Fuga In Re Min | Bach – Bwv 565 Piano – Toccata E Fuga In Re Min | |
Bach J.S. – Cantata BWV 147 – Coral ‘Jesus Bleibet Meine Freude’ (Easy Piano Solo) | Bach Jesu Joy Of Mans Desiring Cantata Bwv.147 Piano Solo Page 1 Of 5 | |
Bach J.S. – Das Wohltemperierte Klavier HENLE VERLAG | ||
Bach J.S. – Easy Pieces for Classical Guitar – Notes & Tablature | Bach – Easy Pieces pieces for guitar | |
Bach J.S. – English Suites Inglesi (piano) BWV 806-811 | ||
Bach J.S. – Nun komm, der Heiden Heiland, BWV 659 | Bach, J.S. – Nun komm, der Heiden Heiland, BWV 659 | |
Bach J.S. – Toccata and Fugue in D minor BWV565 (Piano solo arr. Grainger) | ||
Bach J.S. – Two Part Inventions Busoni | ||
Bach J.S. – Well-Tempered Klavier Analysis Part II Dr. H. Riemann | ||
Bach J.S. – Wilhelm Kempff 10 Bach Transcriptions for piano | Kempff – 10 Bach Transcriptions | |
Bach J.S. (H Bauer) – Corale Dalla Cantata no. 147 “Jesu, Joy of man’s desiring” BWV 7 (Piano Solo) | ||
Bach J.S. (Marcello) – BWV 974 -Adagio | Bach (Marcelo) – BWV 974 -Adagio | |
Bach J.S. 12 Small Preludes | ||
Bach J.S. 15 Three-voice Inventions | ||
Bach J.S. 15 Two part Inventions Pure Text Ed. Allan Peterson | ||
Bach J.S. 6 Partitas( I to VI) | ||
Bach J.S. AIR ON THE G STRING ARR. SILOTI | ||
Bach J.S. ARIA SUITE EN RE (arr. for 2 PIANOS) | Bach ARIA SUITE EN RE 2 PIANOS | |
BACH J.S. Art Fugue Die Kunst der Fuge (Ed. Czerny ) BWV 1080 | ||
Bach J.S. Art Of Fugue Czerny (Ed. Kalmus) BWV 1080 | ||
Bach J.S. Busoni BWV564 | ||
Bach J.S. BWV 1055 keyborad concerto n 4 | ||
Bach J.S. BWV 971 Italian Concerto | ||
Bach J.S. Cantata 147 arr. for Easy piano solo | Bach-Jesu-Joy-of-Mans-Desiring-Cantata-BWV.147-Piano-Solo | |
BACH J.S. CANTATA 22 ARR. PIANO SANCTIFY US BY THY GOODNESS arr. by Harried Cohen |
Buddy Holly: the 100 most inspiring musicians of all time
American singer and songwriter Charles Hardin Holley, professionally known as Buddy Holly, (b. Sept. 7, 1936, Lubbock, Texas, U.S.—d. Feb. 3, 1959, near Clear Lake, Iowa) produced some of the most distinctive and influential work in rock music.
Buddy Holly (the e was dropped from his last name—probably accidentally—on his first record contract) was the youngest of four children in a family of devout Baptists in the West Texas town of Lubbock, and gospel music was an important part of his life from an early age. A good student possessed of infectious personal charm, Holly was declared “King of the Sixth Grade” by his classmates.
He became seriously interested in music at about age 12 and pursued it with remarkable natural ability. The African American rhythm and blues that Holly heard on the radio had a tremendous impact on him, as it did on countless other white teenagers in the racially segregated United States of the 1950s. Already well versed in country music, bluegrass, and gospel and a seasoned performer by age 16, he became a rhythm-and-blues devotee.
By 1955, after hearing Elvis Presley, Holly was a full-time rock and roller. Late that year, he bought a Fender Stratocaster electric guitar and developed a style of playing featuring ringing major chords that became his
trademark. In 1956, he signed with Decca Records’ Nashville, Tennessee, division, but the records he made for them were uneven in quality, and most sold poorly.
In 1957, Buddy Holly and his new group, the Crickets (Niki Sullivan on second guitar and background vocals, Joe B. Mauldin on bass, and the great Jerry Allison on drums), began their association with independent producer Norman Petty at his studio in Clovis, New Mexico. Together they created a series of recordings that display an emotional intimacy and sense of detail that set them apart from other 1950s rock and roll. As a team, they threw away the rule book and let their imaginations loose.
Unlike most independent rock-and-roll producers of the time, Petty did not own any cheap equipment. He wanted his recordings to sound classy and expensive, but he also loved to experiment and had a deep bag of sonic tricks. The Crickets’ records feature unusual microphone placement
techniques, imaginative echo chamber effects, and overdubbing, a process that in the 1950s meant superimposing one recording on another. While crafting tracks such as “Not Fade Away,” “Peggy Sue,” “Listen to Me,” and “Everyday,” Holly and the Crickets camped out at Petty’s studio for days at a time, using it as a combination laboratory and playground.
They were the first rock and rollers to approach the recording process in this manner. When the Crickets’ first single, “That’ll Be the Day,” was released in 1957, their label, Brunswick, did nothing to promote it. Nevertheless, the record had an irrepressible spirit, and by year’s end it became an international multimillion-seller. Soon after, Holly became a star and an icon.
Holly and the Crickets’ association with Petty (who, serving as their manager, songwriting partner, and publisher, owned their recordings) was far from all beneficial, however. According to virtually all accounts, Petty collected the Crickets’ royalty checks and kept the money. By 1959, the hit records tapered off, and Holly was living in New York with his new bride. Estranged from the Crickets and broke, he was also contemplating legal action against Petty. This left him little choice but to participate in the doomed “Winter Dance Party of 1959” tour through the frozen Midwest,
during which he and coheadliners Ritchie Valens and the Big Bopper (J.P. Richardson) were killed in a plane crash.
The music of Buddy Holly and the Crickets, their innovative use of the studio, and the fact that they wrote most of their songs themselves made them the single most important influence on the Beatles, who knew every Holly record backward and forward. In 1986 Holly was inducted into the Rock and Roll Hall of Fame, and in 1996 he was honored by the National Academy of Recording Arts and Sciences with a lifetime achievement award.