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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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COR
COR ANGLAIS
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CORNET
DEEJAY
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
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LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
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XYLOPHONE
And There Was Light - Tuba
Non classifié
305
Piano & claviers
Piano seul
110
Piano, Voix
27
Piano, Voix et Guitare
23
Instruments en Do
6
Orgue
6
Piano Facile
5
Piano Trio: piano, violon, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Accordéon
1
1 Piano, 4 mains
1
2 Pianos, 8 mains
1
+ 7 instrumentations
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Guitares
Guitare
13
Guitare notes et tablatures
7
3 Guitares (trio)
3
Basse electrique
3
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2
2 Guitares (duo)
1
Ukulele
1
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Chorale SATB
66
Pack Instrumental pour Chorale
62
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16
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11
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9
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8
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6
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5
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1
Voix moyenne, Piano
1
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1
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1
Voix haute
1
Voix duo, Piano
1
+ 9 instrumentations
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Vents
2 Saxophones (duo)
53
Saxophone, Clarinette (duo)
32
2 Clarinettes (duo)
25
Flûte traversière et Piano
23
Clarinette, Violon (duo)
22
2 Flûtes traversières (duo)
20
Clarinette, Trompette (duo)
18
Hautbois, Piano (duo)
18
Saxophone Alto et Piano
15
Clarinette et Piano
15
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
Quatuor de Saxophones: 4 saxophones
14
Flûte, Violon
12
2 Hautbois (duo)
11
Clarinette et Alto
11
Flûte, Clarinette (duo)
11
Saxophone Soprano et Piano
11
Saxophone Tenor et Piano
10
Flûte, Trompette (duo)
10
Hautbois, Flûte
10
Hautbois, Clarinette (duo)
10
Flûte, Alto (duo)
9
Quintette de Saxophone: 5 saxophones
8
Ensemble de Flûtes
8
Flûte, Saxophone (duo)
8
Flute (partie séparée)
7
Ensemble de Clarinettes
7
Flûte à bec Soprano
7
Hautbois, Basson (duo)
7
Cor anglais, Piano
7
Flûte, Hautbois, Clarinette, Basson
6
Saxophone Baryton, Piano
6
Ensemble de saxophones
6
Clarinette Basse, Piano
6
3 Saxophones (trio)
4
Quatuor de Clarinettes: 4 clarinettes
4
Quatuor de Flûtes : 4 flûtes
4
2 Flûte à bec (duo)
3
Clarinette (partie séparée)
3
Quintette de Flûte : 5 flûtes
3
Flûte à Bec
3
3 Clarinettes (trio)
2
Saxophone et Harpe
2
Quatuor de Flûtes à bec
2
Quintette de Clarinettes: 5 clarinettes
2
Clarinette
2
Saxophone et Guitare
2
Trio de Flûtes: 3 flûtes
2
5 Flûtes à bec
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte, Violoncelle
1
Clarinette, Violoncelle (duo)
1
Hautbois, Harpe
1
Clarinette, Guitare (duo)
1
Clarinette, Basson (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Hautbois, Guitare (duo)
1
Clarinette Basse
1
Flûte à bec Alto, Piano
1
Flûte, Violon, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Clarinette, Harpe (duo)
1
Flûte irlandaise
1
3 Flûtes à bec (trio)
1
Flûte, Clarinette, Piano (trio)
1
+ 60 instrumentations
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Cuivres
Trompette, Saxophone (duo)
22
Trombone et Piano
12
Trompette, Trombone (duo)
10
Trompette, Piano
9
2 Trompettes (duo)
9
Euphonium, Piano (duo)
8
2 Trombones (duo)
8
Cor anglais, Piano
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Cor et Piano
4
Ensemble de Trombones
4
Trombone (partie séparée)
3
Cor (partie séparée)
2
Ensemble de Cors
2
Trompette
2
Ensemble de Trompettes
1
Cor et Harpe
1
Quatuor de cuivres: 4 trompettes
1
Trompette, Harpe
1
Trombone
1
Quatuor de cuivres: 4 trombones
1
+ 16 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
25
Violon et Piano
25
Alto, Piano
15
Violoncelle, Piano
14
2 Altos (duo)
12
Violon, Alto (duo)
11
2 Violoncelles (duo)
10
Violon, Violoncelle (duo)
10
2 Violons (duo)
10
Harpe
9
Violon
4
Trio à Cordes: violon, alto, violoncelle
3
Harpe, Voix
3
Harpe, Flûte (duo)
2
Violon (partie séparée)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
4 Contrebasses
2
Harpe, Trombone (duo)
1
2 Harpes (duo)
1
Violoncelle , Guitare (duo)
1
Trio à Cordes: 3 violoncelles
1
Trio à cordes: 3 altos
1
Ensemble d'Altos
1
Contrebasse, Piano (duo)
1
Quatuor à cordes: 4 violons
1
Contrebasse (partie séparée)
1
Trio à cordes: 3 violins
1
Alto, Violoncelle (duo)
1
Violoncelle
1
4 Violoncelles
1
Ensemble de Violons
1
Trio à Cordes: 2 violons, violoncelle
1
Alto (partie séparée)
1
Violoncelle (partie séparée)
1
Alto et Harpe
1
Quatuor à cordes : 4 altos
1
Violoncelle, Orchestre
1
Harpe, Violoncelle (duo)
1
Harpe, Violon (duo)
1
+ 34 instrumentations
Retracter
Orchestre & Percussions
Orchestre
40
Orchestre d'harmonie
38
Orchestre à Cordes
22
Ensemble de cuivres
10
Ensemble Jazz
8
Orchestre de chambre
7
Jazz combo
6
Cloches
3
Ensemble de Percussions
3
Percussion (partie séparée)
2
Piano et Orchestre
1
2 Marimbas
1
+ 7 instrumentations
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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…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
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TROMBONE
TROMPETTE
TUBA
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Crtitères actifs :
And There Was Light - Tuba
Guitare
Partitions à imprimer
13 partitions trouvées
<
1
There was a Lad was born in Kyle
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Guitare
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INTERMÉDIAIRE
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Celtique/Irlandais
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Folklorique/Traditionel
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R
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Bettina Schipp
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There was a Lad was born in Ky
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songbooks.info
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1334252 Composed by R. Burns. Arranged by Bettina Schipp. Celtic,Folk,Irish,Traditional. Individual part. 2 pages. Songb...
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Solo Guitar - Level 3 - SKU: A0.1334252 Composed by R. Burns. Arranged by Bettina Schipp. Celtic,Folk,Irish,Traditional. Individual part. 2 pages. Songbooks.info #920490. Published by songbooks.info (A0.1334252). Songs from Ireland & Great Britain - arranged for Guitar fingerpicking. The songs were written in the well-known tablature for string instruments as well as in classical musical notation - for slightly intermediate and advanced guitarists. The songs were recorded at a slow tempo and with a metronome in the background. Have fun making music...!Songs aus Irland und Großbritannien - für das Fingerpicking mit der Gitarre arrangiert. Die Songs wurden in der bekannten Tabulatur für Saiteninstrumente sowie in der klassischen Notenschrift notiert - für leicht fortgeschrittene und fortgeschrittene GitarristInnen. Die Lieder wurden in einem langsamen Tempo und mit einem Metronom im Hintergrund aufgenommen. Viel Spaß beim Musizieren...!
$2.49
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard 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 o.
$7.00
"Morning Light" for solo classical fingerstyle guitar
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Guitare
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INTERMÉDIAIRE
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Keith Gehle
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"Morning Light" for solo class
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Keith Gehle
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1413297 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #995177. Published b...
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Solo Guitar - Level 3 - SKU: A0.1413297 By Keith Gehle. By Keith W. Gehle. Classical,New Age. Individual part. 3 pages. Keith Gehle #995177. Published by Keith Gehle (A0.1413297). â??Morning Lightâ? was recorded as part of Keithâ??s album of 20 original guitar solos entitled Wintersong released in 2002. Thereâ??s also a version available with TAB on this site. Hereâ??s what one listener wrote of the Wintersong recording:I have purchased almost 200 Cd's from CD Baby over the last few years, most recently were acoustic guitar. This is certainly in the top three, if not the best, of ALL the CD's I've boughtâ?¦ very pure acoustic sound. .. beautiful, flowing sound from the heart. I could listen to it over and over every day. I can't wait to hear more from this splendid artist.- Bob S.
$1.99
Soren's Jig
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Guitare
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INTERMÉDIAIRE
#
Jim Bosse
#
Soren's Jig
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Jim Bosse
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.954949 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 11 pages. Jim Bosse #4574679. Published by Ji...
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Solo Guitar - Level 3 - SKU: A0.954949 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 11 pages. Jim Bosse #4574679. Published by Jim Bosse (A0.954949). This is the final movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. It is fun to perform as multi-tasking is required to play a percussion part with feet. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Soren's Jig was written in a Scottish style, highlighting his genetic heritage. As the finale for this suite, each other gandkid's theme is revisited. Performance time is 4 minutes and 09 seconds, with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
Toy for Timothy
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Guitare
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INTERMÉDIAIRE
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Jim Bosse
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Toy for Timothy
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Jim Bosse
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.954946 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 8 pages. Jim Bosse #4574667. Published by Jim...
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Solo Guitar - Level 3 - SKU: A0.954946 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 8 pages. Jim Bosse #4574667. Published by Jim Bosse (A0.954946). This is the third movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. It is fun to perform as multi-tasking is required, to play a percussion part with feet. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Toy for Timothy was written in a Native American style, highlighting this aspect of Timothy's genetic heritage. Performance time is 3 minutes and 42 seconds, with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
Lullaby for Mirabai
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Guitare
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INTERMÉDIAIRE
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Jim Bosse
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Lullaby for Mirabai
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Jim Bosse
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.954948 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 6 pages. Jim Bosse #4574677. Published by Jim...
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Solo Guitar - Level 3 - SKU: A0.954948 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 6 pages. Jim Bosse #4574677. Published by Jim Bosse (A0.954948). This is the fifth movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Lullaby for Mirabai was written in a Scottish style, highlighting her genetic heritage. Performance time is 3 minutes and 30 seconds, with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
Air for Chiara
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Guitare
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INTERMÉDIAIRE
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Jim Bosse
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Air for Chiara
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Jim Bosse
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.954947 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 7 pages. Jim Bosse #4574675. Published by Jim...
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Solo Guitar - Level 3 - SKU: A0.954947 Composed by Jim Bosse. Concert,Contemporary,World. Individual part. 7 pages. Jim Bosse #4574675. Published by Jim Bosse (A0.954947). This is the fourth movement from Suite Grandkids which contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). This version is for classical guitar solo. Most of the notes are there. It is fun to perform as multi-tasking is required to play a percussion part with feet. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Air for Chiara was written in a Scottish style, highlighting her genetic heritage. Performance time is 2 minutes and 36 seconds, with a demand level of mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard 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 so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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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 ...
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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
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard 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 sopr.
$7.00
Big Drum
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Richard Hirsch
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Big Drum
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568....
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Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
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And There Was Light - Tuba