Browse in the Library:
Artist or Composer / Score name | Cover | List of Contents |
---|---|---|
Barber – Agnus Dei Op. 11 (full score transcribed for mixed Chorus with Organ or Piano Accompaniment) | ||
Barber – Samuel Barber The Composer And His Music (1992) by Barbara B. Heyman (Biography) | ||
Barber Violin Concerto (Violin and Piano sheet music) | ||
Barber Violin Concerto (Violin part sheet music) | ||
Barber_Violin_Concerto.mscz.mscz | ||
Barber, Samuel Cello Concerto (Cello Part) | ||
Barber, Samuel Sonata For Piano, Op.26 | ||
Barber, Samuel – Sure On This Shining Night for Piano and SATB | ||
Barber, Samuel – Adagio for Strings Op. 11 Agnus Dei (solo piano arr.) | ||
Barber, Samuel – Four Songs – Nocturne | ||
Barber, Samuel – Four Songs – A Nun takes the Veil | ||
Barber, Samuel – Four Songs The Secrets of the Old | ||
Barber, Samuel – Summer Music | ||
Barber, Samuel Adagio for Strings full score | Samuel Barber-Adagio for Strings full score | |
Barber, Samuel Adagio For Strings Samuel Barber (Musescore File).mscz | ||
Barber, Samuel Agnus Dei Adagio for strings op. 11 for mixed chorus | ||
Barber, Samuel Nocturne Op. 33 | ||
Barber, Samuel Op 26 Piano Sonata | ||
Barbra Streisand The way we were (piano) | Barbra Streisand The way we were piano | |
Barbra Streisand – Not While Im Around | ||
Barbra Streisand – Evergreen | ||
Barbra Streisand – Send In The Clowns | ||
Barbra Streisand – The Broadway album (Piano and voice) | Streisand, Barbra – The Broadway album (Piano and voice) | |
Barbra Streisand – The Way We Were | ||
Barbra Streisand Collection | Book Barbra Streisand Collection | |
Barbra Streisand Evergreen | Barbra Streisand Evergreen | |
Barbra Streisand Guilty – songbook | Barbra Streisand Guilty – songbook | |
Barbra Streisand Memories Songbook | Barbra Streisand Memories Songbook | |
Barbra Streisand My Name Is Barbra (Barbra Streisand) (Book) | ||
Barbra Streisand Somewhere From West Side Story | Barbra Streisand Somewhere From West Side Story | |
Barcarolle (Musescore File).mscz | ||
Barney Kessel – The Jazz Guitar Artistry Of Barney Kessel (14 original Guitar Solos) | Barney Kessel – The Jazz Guitar Artistry Of Barney Kessel (14 original Guitar Solos) | |
Barney Kessel – The Jazz Guitar Artistry Of Barney Kessel (Vol. 2 original Guitar Solos) | Barney Kessel – The Jazz Guitar Artistry Of Barney Kessel (Vol. 2 original Guitar Solos) | |
Barney Kessel Danny Boy Guitar with Tablature | ||
Barney Kessel Minor Mode | ||
Baroque Expressions Martha Mier from Bravo Book One (Piano Solos).mscz | ||
Baroque Guitar Sheet Music arr. by Frederick Noad Guitar Anthology,The Classical Guitar | Baroque Guitar Sheet Music arr. by Frederick Noad Guitar Anthology,The Classical Guitar | |
Baroque Keyboard Anthology Book 1 24 Works For Piano Or Keyboard by Robin Bigwood | Baroque Keyboard Anthology Book 1 24 Works For Piano Or Keyboard by Robin Bigwood | |
Barrelhouse And Boogie Piano by Eric Kriss | Barrelhouse And Boogie Piano by Eric Kriss | |
Barry Hanks – Rhythm Changes Solo Transcription | Barry Hanks – Rhythm Changes Solo Transcription | |
Barry Harris Approach to improvised lines & harmony | ||
Barry Harris Basics Summary Of Class Exploring the Diminished | ||
Barry Harris Donna Lee sheet music transcription | ||
Barry Harris Harmonic Method For Guitar, The | ||
Barry Harris Jazz Workshop Part 1 | ||
Barry Harris Jazz Workshop Part 2 | ||
Barry Harris Method Método IMPROVISACIÓN (Español-Spanish) | ||
Barry Harris On Green Dolphin Street sheet music transcription | ||
Barry Harris’ solo on “Woody n’You | Barry Harris Woody n’You | |
Barry Manilow – Can’t Smile Without You | ||
Barry Manilow – Copacabana (At the Copa) | ||
Barry Manilow – Copacabana | ||
Barry Manilow – Mandy | ||
Barry Manilow – Sheet Music Anthology | Barry Manilow – Sheet Music Anthology | |
BARRY WHITE – (THE COLLECTION) | BARRY WHITE – (THE COLLECTION) | |
Barry White – Loves Theme | ||
Bart Howard – Fly Me To The Moon Guitar and TABs (Jazz Standard) | Bart Howard – Fly Me To The Moon Guitar and TABs (Jazz Standard) | |
Bartok – For Children, Sz. 42 Complete 1 to 43 Bela Bartok | ||
Bartok – Improvisations op 20 Bela Bartok | ||
Bartok – Mikrokosmos (Books 1 to 6) Bela Bartok | Bartok – Mikrokosmos (1-6) sheet music | |
Bartok – Mikrokosmos Vol. 2 Bela Bartok | ||
Bartok – Mikrokosmos Vol. 4 Bela Bartok | ||
Bartok – Mikrokosmos Vol.1 Bela Bartok | ||
Bartok – Sonate For Piano Solo Bela Bartok | ||
Bartok 6 Danses populaires roumaines Bela Bartok | Bartok.-.6.Danses.populaires.roumaines | |
Bartok For Children Book 1 Based On Hungarian Folk Tunes Piano Solo | ||
Bartok For Children Book 2 after Slovakian Folk Tunes Piano Solo | Bartok For Children Book 2 after Slovakian Folk Tunes Piano Solo | |
Bartok Improvisations op. 20 Bela Bartok | ||
Bartok Piano Sonata Bela Bartok | ||
Bartok Ten Easy Pieces | ||
Basic Piano Library Piano Recital Book Level 1B | Basic Piano Library Piano Recital Book Level 1B | |
Bass Guitar For Dummies (eBook) | ||
Bass Standards (Classic Jazz Masters) Note for note transcriptions of jazz Bass classic performances | Bass Standards (Classic Jazz Masters) Note for note transcriptions of jazz Bass classic performances | |
Bastien – Piano Basics Level 1 Piano | ||
Bastien Piano Basics – Piano for the Young Beginner Primer A | ||
Bastien Piano Basics – Piano for the Young Beginner Primer B | ||
Bastien Piano Basics – Theory Level 2 | Bastien Piano Basics – Theory Level 2 | |
Bastien Piano Basics Level 3 | ||
Bastien Piano Basics Technic Primer Level for children | ||
Batman – Flowers Of The Past – Danny Elfman | Batman-Flowers-Of-The-Past-Danny-Elfman 1st page | |
Batman – Sonata In Darkness Michael Giacchino | Batman – Sonata In Darkness Michael Giacchino | |
Batman Begins – Hans Zimmer James Newton Howard Ramin Djawadi – Molossus | ||
Batman Returns – Birth Of A Penguin – Danny Elfman | Batman Returns – Birth Of A Penguin – Danny Elfman | |
Battlefield 1 – Homing Pigeon | Battlefield 1 – Homing Pigeon | |
Baywatch – Main Theme | ||
Be My Love (Nicholas Brodszky & Sammy Cahn) Jazz Piano Solo arr. sheet music | ||
Beach Boys Good Vibrations sheet music | ||
Beach Boys The Best Of Book | ||
Beach Boys, The – Guitar Anthology Series | Beach Boys, The – Guitar Anthology Series | |
Beato Book 4.0, The – A Creative Approach to Music Theory and Improvisation for Guitar and Other Instruments | ||
Beautiful (Christina Aguilera) | ||
Beautiful rain Soredemo Sekay | Beautiful rain Soredemo Sekay | |
Beauty And The Beast – Alan Menken from 1991 Disney film Piano Solo | ||
Beauty And The Beast – Main Theme – Alan Menken | ||
Beauty And The Beast (Disney) Piano Score | Beauty And The Beast (Disney) Piano Score | |
Bebo Valdes – El Manisero – Piano solo | El Manisero – Bebo Valdes | |
BEBOP – The Music and its Players (Thomas Owens) Book | ||
Bebop Exercise.mscz | ||
BeBop Jazz Piano – John Valerio – Book + MP3 audio tracks | Bebop piano sheet music book | |
Bebop Piano Legends Artist Transciptions For Piano | Bebop Piano Legends Artist Transciptions For Piano | |
Bebop Third Ear The Essential Listening Companion (Scott Yanow) Book | ||
Because – The Beatles (For String Quartet) (Musescore File).mscz | ||
Beck – Everybodys gotta learn sometime – with lyrics | ||
Bee Gees It’s Easy To Play Bee Gees | Bee Gees It’s Easy To Play Bee Gees | |
Bee Gees – How Deep Is Your Love | ||
Bee Gees – Stayin Alive | ||
Bee Gees Anthology – complete songbook | The Bee Gees Guitar Songbook | |
Beegie Adair Fly Me To The Moon Jazz Standard Piano Solo | ||
Beegie Adair It Never Entered My Mind (Jazz Standard Transcription) | ||
Beethoven Ode To Joy (Jazz Version) | ||
Beethoven Piano Concerto No. 4 1st Movement Arr. For 2 Pianos | ||
Beethoven Piano Concerto No. 4 3rd Movement Arr. For 2 Pianos | ||
Beethoven Variations In E Flat Major Eroica Op. 35 Piano Solo arr. | ||
Beethoven L.V. – Piano Sonata 15 | ||
Beethoven Piano Concerto No. 5 In E-Flat Major Emperor Op. 73 – Piano Solo (Musescore File).mscz | ||
Beethoven – 6 Sonatinas | ||
Beethoven – A First Book of Beethoven Easy Piano arr. favorite pieces by David Dutkanicz | Beethoven – A First Book of Beethoven Easy Piano arr. favorite pieces by David Dutkanicz | |
Beethoven – Choral Fantasy For Piano Choir And Orchestra Op. 80 (Musescore File).mscz | ||
Beethoven – Fantasia In G Minor. Op.77 (Musescore File).mscz | ||
Beethoven – Fur Elise | Beethoven – Fur Elise |
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.