Browse in the Library:
Artist or Composer / Score name | Cover | List of Contents |
---|---|---|
Bach J.S. Cello Suite No. 6 arr. piano solo by Joachim Raff | ||
Bach J.S. Cello Suite No.1 arr. for piano solo | ||
Bach J.S. Das Musikalisches Opfer BWV 1070 | ||
Bach J.S. Fifield Transcription Cantata BWV 147 Jesu, Joy of Man’s Desiring piano solo | ||
Bach J.S. Harpsichord Concerto A-major arr. 2 pianos | ||
Bach J.S. J.S.- Das Wohltemperierte Klavier I (Urtext) | ||
Bach J.S. Marcello – BWV 974 Concert no. 3 | ||
Bach J.S. My First Book of Bach favorite pieces in easy piano arrangements by D. Dutkanicz | Bach J.S. My First Book of Bach favorite pieces in easy piano arrangements by D. Dutkanicz | |
Bach J.S. Parodi Siciliano from BWV 1031 Piano solo transcription | ||
Bach J.S. Prelude XXIV | ||
Bach J.S. Ricercar 6 BWV 1079 from “The Musical Offering | ||
Bach J.S. Sarabande for cello | ||
Bach J.S. Siciliano from BWV 1031 Piano solo transcription by Eugen D’Albert | ||
Bach J.S. Ten Choral Preludes KiV B 27 | ||
BACH J.S. The Art Of Fugue Bach Fugues For Keyboard, 1715 1750 | ||
BACH J.S. The little music book of Anna Magdalena (20 easy pieces) | ||
Bach J.S. Toccata & Fugue Dminor for Piano | ||
Bach J.S. Two Transcriptions Of St. Matthew Passion For Piano Solo | ||
Bach J.S. Two-Voice Inventions | ||
Bach J.S.-Busoni BVB36 Prelude Fugue and Allegro BWV998 | ||
Bach J.S.-Busoni BWV 933-938 | ||
Bach J.S.-Busoni Prelude in C minor BWV 999 | ||
Bach J.S.-BWV 1055 4 hands | ||
Bach J.S.-Choral-BWV-639-Transcr-Busoni | ||
Bach J.S.-Lipatti – Two Transcriptions of Bach J.S.’s Cantatas 208 | Bach-Lipatti – Two Transcriptions of Bach’s Cantatas 208 | |
Bach J.S.-Petri – Cantata 208 “Sheep May Safely Graze” Piano solo arr. | Bach-Petri – Cantata 208 Sheep May Safely Graze | |
Bach J.S.-Siloti- Andante from Sonata for Solo Violin BWV 1003 | ||
Bach JS “Sheep May Safely Graze” from Cantata 208 (easy piano) | ||
Bach Liszt Prelude & Fugue In A Minor, Bwv 543 | ||
BACH Master Musicians Series by Malcom Boyd (eBook) Biography | ||
Bach Prelude Iv Bwv 849 Wtc I (Musescore File).mscz | ||
Bach The Goldberg Variations Cambridge Music Handbooks (eBook) | ||
Bach The Goldberg Variations Cambridge Un. Press (Book) | ||
Bach The New Bach Reader A Life Of Johann Sebastian Bach In Letters And Documents (Arthur Mendel Hans T. David Christoph Wolff) Book | ||
Bach Toccata And Fugue In D Minor (Piano Solo) (Musescore File).mscz | ||
Bach Toccata and Fugue in D Minor BWV 565 (Piano solo arr.) | ||
Bach Toccata And Fugue In D Minor Bwv 565 (Piano Solo Arr.) (Musescore File).mscz | ||
Bach Two Part Inventions (No. 1 Bwv 772) (Musescore File).mscz | ||
Bach-Bauer Die Seele Ruht..Cantata 127 for piano solo | ||
Bach-Busoni – Chaconne D minor arr. piano solo | ||
Bach-Busoni Ich Ruf’ Zu Dir Herr Bwv 639 Piano Solo Arr. (Musescore File).mscz | ||
Bach-Gouin – Harpsichord Concerto in F Minor (Arioso) BWV1056 piano | ||
Bach-Rummel Ertodt-Uns BWV22 | ||
Bach-Siloti – Praeludium In B Minor BWV 855a | Bach-Siloti – Praeludium In B Minor Bwv 855a | |
Bach-Siloti – Praeludium In B Minor Bwv 855a (Musescore File).mscz | ||
Bach-Siloti Transcription of Bach’s Air from Suite for String Orchestra No.3, BWV 1068 | ||
Bach-Stradal Trio Sonata No 4 in E minor BWV 528 | ||
Bach, Johann Sebastian – Complete Lute Music (transcribed for Guitar) | ||
Bach, J. S. Concert In D Minor Bwv 1043 For Two Violins And Piano Musescore File.mscz | ||
Bach, J.S. Jesus Bleibet Meine Freude Easy Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | Bach, J.S. – – Jesu Bleibet Meine Freude Guitar arr. | |
Bach, J.S. Jesus Bleibet Meine Freude Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | Bach, J.S. Jesus Bleibet Meine Freude Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | |
Bach, J.S. Orchestral Suite No. 1 In C Major Bwv 1066 Passepied (Easy Piano Solo) | ||
Bach, J.S. Arioso For Piano Solo BWV 156 | ||
Bach, J.S. For Electric Guitar [Guitar SongBook] | Bach, J.S. For Electric Guitar | |
Bach, J.S. Myra Hess Chorale from Cantata 147 Jesu Joy Of Man’s desiring Hess Myra piano solo Arrangement | ||
Bach, J.S. – Jesus bleibet meine Freude Guitar arr. Jesu, Joy of Man’s Desiring Cantata Nr. 147.mscz | ||
Bach, J.S. – Jesus_bleibet_meine_Freude_Cantata_Bwv147_10_Choral SATB with Piano by Johann_Sebastian_Bach.mscz | ||
Bach, J.S. – Toccata and Fugue in D Minor (Piano Solo) | ||
Bach, J.S. Arioso (Guitar) from Cantata BWV 156 Guitar arr. by Per Orlov Kindgren | ||
Bach, J.S. Awake, tu us the Voice is calling – Wachet Auf, ruft uns die Stimme Piano solo arr. (Borwick) | ||
Bach, J.S. Chorale from Cantata 147 Jesu Joy Of Man’s desiring Easy piano solo Arr. | ||
Bach, J.S. Dinu Lipatti Pastorale in F ( Piano solo transcription) | ||
Bach, Johann Sebastian (bio book LUX-Lesebogen) (Deutsch-German) Biography | ||
Bach, JS Partitas Partita 1 | ||
Bach’s Well-tempered Clavier The 48 Preludes and Fugues (Book ) David Ledbetter | ||
Bachianas Brasileiras No. 5 (Heitor Villa-Lobos) | ||
Bachianas Brasileiras No. 5 (Heitor Villa-Lobos) 2 pianos | ||
Back To The Future Music from the Motion Picture Soundtrack Piano Vocal guitar | Back To The Future | |
Backstreet Boys – All I Have To Give | ||
Backstreet Boys – As Long As You Love Me | ||
Backstreet Boys – Drowning | ||
Backstreet Boys – How Did I Fall In Love With You | ||
Backstreet Boys – I Need You Tonight | ||
Backstreet Boys – I Want It That Way | ||
Backstreet Boys – Incomplete | ||
Backstreet Boys – Quit Playing Games With My Heart | ||
Backstreet Boys – Show Me The Meaning Of Being Lonely | ||
Backstreet Boys As Long As You Love Me | ||
Backstreet Boys Backstreets Back | ||
Backstreet Boys Black Blue | ||
Backstreet Boys Drowning | ||
Backstreet Boys Everybody | ||
Backstreet Boys I Want It That Way | ||
Backstreet Boys Shape Of My Heart | ||
Baden Powell Manha De Carnaval Guitar Tablature Tabs | ||
Baden Powell – So Por Amor (Guitar arr. sheet music with TABs) | Baden Powell – So Por Amor (Guitar arr. sheet music with TABs) | |
Baden Powell – Samba Do Aviao (Jobim) Guitar arr | ||
Baden Powell – Samba Em Preludio Guitar TAB | ||
Baden Powell – Serenata Do Adeus Guitar TABs | ||
Baden Powell Complete Brazil On Guitar transcriptions with Tablature | Baden Powell complete sheet music | |
Baden Powell Contemporary solo guitar (Book In Japanese) | ||
Baden Powell Prelude In A Minor (guitar) | ||
Baden Powell Retrato Brasileiro Choro Lento (Guitar) | ||
Baden Powell Songbook – Volume 1 (Guitar) | Baden Powell 1 | |
Baden Powell Songbook – Volume 2 (Guitar) | Baden Powell 2 | |
Baden Powell Songbook Volume 3 (Guitar) | Baden Powell songbook 3 | |
Badfinger – No Matter What | ||
Baghdarsaryan, Eduard 24 Preludes For Piano | ||
Baker’s Biographical Dictionary Of Popular Musicians 1990 Complete Vol 1 A L and Vol 2 M Z | ||
Balada Para Alessandro (Raul Di Blasio) | ||
Balázs Havasidom Freedom Piano Solo Sheet Music | ||
Ballad No Name (William Joseph) | ||
Ballade No. 1 In G Minor (Musescore File).mscz | ||
Ballads Big Book Of Ballads 2nd Edition Piano Vocal Guitar | Ballads Big Book Of Ballads 2nd Edition Piano Vocal Guitar | |
Ballads For Classical Guitar | Ballads For Classical Guitar | |
Ballads Really easy piano (24 great songs) | Ballads Really easy piano (24 great songs) | |
Ballads The Big Book Of Ballads 3rd Edition Piano Vocal Guitar | Ballads The Big Book Of Ballads 3rd Edition Piano Vocal Guitar | |
Bambina (Lara Fabian) | ||
Banana Boat Day-O – Guitarr Arr. With Tabs (Traditional Jamaican Folk Song (Sheet Music) | ||
Banana Boat Day-O – Guitarr Arr. With Tabs (Traditional Jamaican Folk Song (Sheet Music)) (Musescore File).mscz | ||
Banana phone (Raffi) | ||
Bangles – Eternal Flame | ||
Bar Piano Susi’s – Band 1 – Swing Evergreens and Pop Classics by Susi Weiss | Bar Piano Susi’s – Band 1 – Swing Evergreens and Pop Classics by Susi Weiss | |
Bar Piano Susi’s – Band 2 – Swing Evergreens and Pop Classics by Susi Weiss | Bar Piano Susi’s – Band 2 – Swing Evergreens and Pop Classics by Susi Weiss | |
Bar Piano Susi’s – Band 3 – Swing Evergreens and Pop Classics by Susi Weiss | Bar Piano Susi’s – Band 3 – Swing Evergreens and Pop Classics by Susi Weiss | |
Bar Piano Susi’s – Band 4 – Swing Evergreens and Pop Classics by Susi Weiss | Bar Piano Susi’s – Band 4 – Swing Evergreens and Pop Classics by Susi Weiss | |
Bar Piano Susi’s Merry Christmas by Susi Weiss | Bar Piano Susi’s Merry Christmas by Susi Weiss | |
Bar Piano, Susi’s – Band 5 – Swing, Evergreens and Pop Classics by Susi Weiss | Bar Piano, Susi’s – Band 5 – Swing, Evergreens and Pop Classics | |
Barbara Livre D’or 18 Chansons Partition Musicale | Barbara Livre D’or 18 Chansons Partition Musicale | |
Barbara Arens Moonbeams |
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.