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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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PERCUSSION
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UKULELE
VIBRAPHONE
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Wagner
Non classifié
125
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276
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59
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16
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9
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8
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8
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3
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2
1 Piano, 4 mains
2
+ 4 instrumentations
Retracter
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5
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3
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2
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1
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1
+ 2 instrumentations
Retracter
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Chorale SATB
44
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36
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17
Chorale
13
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10
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6
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3
+ 2 instrumentations
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27
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26
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21
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20
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18
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18
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15
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15
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14
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12
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12
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11
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9
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9
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8
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8
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7
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6
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6
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4
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3
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3
Flûte, Violon
3
2 Saxophones, Piano
2
Saxophone, Clarinette (duo)
2
Ensemble de saxophones
2
Saxophone
2
Flûte, Violon, Guitare
2
Trio de Flûtes: 3 flûtes
2
Cor Anglais
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2
3 Saxophones (trio)
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1
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1
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1
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1
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1
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1
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1
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1
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Ocarina
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1
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1
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1
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1
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1
Flûte, Violoncelle, Piano (trio)
1
+ 54 instrumentations
Retracter
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
24
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21
Cor et Piano
17
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13
Euphonium, Piano (duo)
12
Quatuor de cuivres: 4 cors
11
Trompette
11
Quatuor de Cuivres : 2 trompettes, trombone, tuba
10
Cor anglais, Piano
9
Quatuor de cuivres: 4 trombones
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Tuba
6
Quatuor de cuivres: 4 trompettes
5
Ensemble de Cors
5
2 Trompettes (duo)
5
Cor
5
Trombone
5
Trompette, Trombone (duo)
4
Tuba et Piano
3
Trompette, Saxophone (duo)
2
Quatuor de Cuivres
2
2 Trombones (duo)
2
Cor Anglais
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Euphonium
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Trompette, Basson (duo)
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Euphonium, Tuba (duo)
1
2 Cors (duo)
1
3 Trompettes (trio)
1
Trombone (partie séparée)
1
Trombone, Violon (duo)
1
3 Trombones (trio)
1
+ 26 instrumentations
Retracter
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53
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37
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33
Alto, Piano
22
Violoncelle
12
Violon
12
Violon, Violoncelle (duo)
11
Alto seul
7
2 Violons (duo)
7
Quatuor à cordes : 4 altos
6
Trio à Cordes: violon, alto, violoncelle
5
Contrebasse, Piano (duo)
4
2 Violoncelles (duo)
4
Harpe
3
Violon (partie séparée)
3
Alto (partie séparée)
3
4 Violoncelles
3
Violoncelle , Guitare (duo)
2
2 Violons, Piano
2
Violon, Guitare (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Contre Basse
2
Alto, Guitare (duo)
1
Violoncelle (partie séparée)
1
Trio à cordes: 3 violins
1
Violon, Basson (duo)
1
Harpe et Piano
1
Alto, Violoncelle (duo)
1
Violon, Alto (duo)
1
Quatuor à cordes: 4 violons
1
Violon, Orgue
1
Alto et Basson
1
+ 27 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
49
Cloches
37
Orchestre à Cordes
21
Orchestre
18
Ensemble de cuivres
10
Fanfare
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Orchestre de chambre
1
Ensemble Jazz
1
Batterie
1
Quintette à Vent
1
Marimba
1
+ 7 instrumentations
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Partitions à imprimer
5 partitions trouvées
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1
J.F. Wagner: Under The Double Eagle for guitar solo
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Guitare
#
INTERMÉDIAIRE
#
Classique
#
J.F. Wagner
#
Virtualsheetmusic
Instantly printable sheet music by Josef Franz Wagner for guitar solo of MEDIUM skill level. / classical,patriotic,standards,festival
Instantly printable sheet music by Josef Franz Wagner for guitar solo of MEDIUM skill level. / classical,patriotic,standards,festival
$6.97
Dick Wagner: Only Women Bleed for guitar
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Guitare
#
INTERMÉDIAIRE
#
Dick Wagner
#
Virtualsheetmusic
Instantly downloadable sheet music by Dick Wagner for guitar of MEDIUM skill level.
Instantly downloadable sheet music by Dick Wagner for guitar of MEDIUM skill level.
$2.99
Dick Wagner: Only Women Bleed for guitar
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Guitare
#
INTERMÉDIAIRE
#
Dick Wagner
#
Virtualsheetmusic
Instantly downloadable sheet music by Dick Wagner for guitar of MEDIUM skill level.
Instantly downloadable sheet music by Dick Wagner for guitar of MEDIUM skill level.
$2.99
Prelude to Lohengrin
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Guitare
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INTERMÉDIAIRE
#
Classique
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Richard Wagner
#
Rod Whittle
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Prelude to Lohengrin
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899128 Composed by Richard Wagner. Arranged by Rod Whittle. Romantic Period. Individual part. 5 pages. Maggie Creek Musi...
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Solo Guitar - Level 3 - SKU: A0.899128 Composed by Richard Wagner. Arranged by Rod Whittle. Romantic Period. Individual part. 5 pages. Maggie Creek Music #3037171. Published by Maggie Creek Music (A0.899128). Transcription for solo classical guitar. 5 pages. Study arrangement.
$9.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
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Excerpt from the Last Part of
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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 …' 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
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Wagner
