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CHARANGO
CITHARE
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CLARINETTE
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CLOCHES
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GUITARE
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HAUTBOIS
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MANDOLINE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
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style (tous)
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CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
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ENFANTS : EVEIL - IN…
FILM - TV
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FLAMENCO
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FUNK
GOSPEL - SPIRITUEL -…
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JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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METAL - HARD
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METHODE : ETUDES
METHODE : TECHNIQUES
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OPERA
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Non classifié
469
PIANO & CLAVIERS
Piano seul
234
Piano Facile
46
Orgue
39
Piano, Voix
21
Piano Trio: piano, violon, violoncelle
8
1 Piano, 4 mains
8
Piano (partie séparée)
6
Piano, Voix et Guitare
4
Accompagnement Piano
3
Instruments en Do
3
Clavecin
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Orgue, Piano (duo)
1
2 Pianos, 4 mains
1
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GUITARES
Guitare
64
Guitare notes et tablatures
41
2 Guitares (duo)
13
Guitare (partie séparée)
11
Ukulele
4
Mandoline, Guitare (duo)
2
Basse electrique
2
Ensemble de guitares
1
4 Guitares (Quatuor)
1
Mandoline
1
Banjo
1
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VOIX
Chorale SATB
147
Chorale 3 parties
55
Chorale 2 parties
45
Chorale SSAA
16
Chorale TTBB
16
Chorale Unison
14
Voix duo, Piano
7
Voix duo
4
Chorale
3
Voix moyenne, Piano
2
Chorale SSATB
1
Instrumentations suivantes
Retracter
VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
79
Quatuor de Saxophones: 4 saxophones
41
Flûte traversière et Piano
28
Quatuor de Clarinettes: 4 clarinettes
27
Flûte, Hautbois, Clarinette, Basson
26
2 Saxophones (duo)
25
Saxophone (partie séparée)
25
Clarinette et Piano
17
Quintette de Saxophone: 5 saxophones
17
Hautbois, Piano (duo)
17
2 Flûtes traversières (duo)
16
Saxophone Alto et Piano
16
Quatuor de Flûtes : 4 flûtes
15
Ensemble De Flûte à bec
13
Clarinette
12
Saxophone Tenor et Piano
12
Ensemble de Clarinettes
11
Cor anglais, Piano
10
2 Clarinettes (duo)
10
Ensemble de Flûtes
10
Saxophone Soprano et Piano
10
Saxophone Baryton, Piano
9
Hautbois, Basson (duo)
9
2 Hautbois (duo)
8
Ensemble de saxophones
7
Clarinette Basse, Piano
7
Flûte traversière
7
Clarinette, Trompette (duo)
7
Trio de Flûtes: 3 flûtes
7
Flûte, Violon
7
Clarinette, Violoncelle (duo)
7
Clarinette (partie séparée)
6
3 Clarinettes (trio)
6
Saxophone, Clarinette (duo)
6
Flute (partie séparée)
5
Flûte, Violoncelle
5
Quatuor de Flûtes à bec
5
Clarinette, Violon (duo)
5
Quintette de Flûte : 5 flûtes
4
Clarinette, Basson (duo)
4
Hautbois, Clarinette (duo)
4
Flûte, Clarinette (duo)
4
Clarinette et Alto
3
Flûte, Clarinette et Basson
3
3 Saxophones (trio)
3
3 Flûtes à bec (trio)
3
Flûte et Trio à cordes
3
Saxophone Alto
3
Flûte, Alto (duo)
3
Hautbois, Violoncelle
3
Hautbois
2
2 Flûte à bec (duo)
2
Quintette de Clarinettes: 5 clarinettes
2
Piccolo, Piano
2
Flûte, Hautbois (duo)
2
Flûte, Saxophone (duo)
2
Hautbois, Flûte
2
Flûte, Trompette (duo)
2
Hautbois, violon (duo)
2
Hautbois (partie séparée)
1
Flûte et Guitare
1
Flute, harpe et violon
1
Flûte, Violon, Piano
1
Flûte à bec Alto, Basse continue
1
Flûte, Clarinette, Piano (trio)
1
Flûte, Violoncelle, Piano (trio)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Tuba (duo)
1
Clarinette, Harpe (duo)
1
Flûte traversière, Basse continue
1
Clarinette, Tuba
1
Saxophone, Tuba (duo)
1
Flûte, Trombone (duo)
1
Flûte, Basson et Piano
1
Flûte à bec Soprano, Piano
1
Flûte, Violon et Violoncelle
1
Hautbois et alto (duo)
1
Hautbois, trombone (duo)
1
Flûte, Hautbois, Basson
1
Saxophone Tenor
1
4 Hautbois
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
45
Quatuor de Cuivres : 2 trompettes, trombone, tuba
41
Trombone (partie séparée)
23
Trompette (partie séparée)
20
Trombone et Piano
16
2 Trombones (duo)
13
Cor et Piano
11
2 Trompettes (duo)
11
Cor anglais, Piano
10
Euphonium, Piano (duo)
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Quatuor de Cuivres
9
Trompette, Piano
8
Trompette
8
Tuba et Piano
7
Trompette, Trombone (duo)
5
Cor (partie séparée)
5
Ensemble de Trompettes
4
Ensemble de Trombones
4
Tuba (partie séparée)
4
2 Cors (duo)
4
Trompette, Saxophone (duo)
4
Quatuor de cuivres: 4 trombones
4
Cor
3
Trombone
3
Quatuor de cuivres: 4 cors
2
Tuba
2
Trompette, Cor (duo)
1
2 Tubas (duo)
1
Trombone basse
1
2 Euphoniums et 2 Tubas
1
Trombone, Violon (duo)
1
Clarinette, Cor (duo)
1
Euphonium, Tuba (duo)
1
Trompette, Tuba (duo)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
103
Violon, Violoncelle (duo)
26
Trio à Cordes: violon, alto, violoncelle
26
Violon et Piano
23
Alto, Piano
18
Violoncelle, Piano
17
Violon (partie séparée)
10
2 Violons (duo)
10
Violon
10
Violon, Alto (duo)
9
Contrebasse (partie séparée)
7
Trio à Cordes: 2 violons, violoncelle
7
2 Violoncelles (duo)
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
2 Altos (duo)
6
Violoncelle
5
Alto (partie séparée)
4
Contrebasse, Piano (duo)
4
Harpe
3
Contre Basse
3
Alto seul
3
Alto, Violoncelle (duo)
3
Ensemble de Violons
3
Piano Trio: Violon, Alto, Piano
2
Violon, Basson (duo)
2
Ensemble d'Altos
2
Harpe, Violon (duo)
1
Violon, Guitare (duo)
1
Violon, Tuba (duo)
1
Violoncelle (partie séparée)
1
Trio à cordes: 3 violins
1
Violoncelle, Contrebasse (duo)
1
4 Violoncelles
1
Violon, Clarinette, Piano (trio)
1
Harpe, Flûte (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
85
Orchestre à Cordes
61
Ensemble Jazz
52
Orchestre
28
Ensemble de cuivres
27
Orchestre de chambre
14
Cloches
10
Percussion
7
Batterie (partie séparée)
6
Jazz combo
4
Vibraphone
3
Ensemble de Percussions
3
Percussion (partie séparée)
2
Batterie
2
Marimba
1
Timbales (partie séparée)
1
2 Xylophones
1
Xylophone, Piano
1
Xylophone
1
Vibraphone et Marimba
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
Contraband
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Partitions à imprimer
64 partitions trouvées
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51
Counterpoint I for Classical Guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1094838 Composed by Esteban Peretz…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1094838 Composed by Esteban Peretz. 20th Century,Baroque,Classical,Contemporary. Individual part. 2 pages. Esteban Peretz #698905. Published by Esteban Peretz (A0.1094838). Youth composition by Esteban Peretz for Classical Guitar, it's a plain free counterpoint.
$5.99
5.47 €
#
Guitare
#
Esteban Peretz
#
Counterpoint I for Classical Guitar
#
Esteban Peretz
#
SheetMusicPlus
Fourteenth Century Counterpoint: Chantilly Codex
Guitare
By Various. Arranged by Colin McAllister. For solo guitar. Level 3. 12 pages. Published by…
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By Various. Arranged by Colin McAllister. For solo guitar. Level 3. 12 pages. Published by Les Productions d'OZ - Digital
$6.95
6.34 €
#
Guitare
#
Various
#
Colin McAllister
#
Fourteenth Century Counterpoint: Chantilly Codex
#
Les Productions d'OZ - Digital
#
SheetMusicPlus
Contrapontinho n° 2
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.963117 Composed by Matheus Viana. …
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.963117 Composed by Matheus Viana. Contemporary. Individual part. 2 pages. Matheus Viana #3631103. Published by Matheus Viana (A0.963117). A counterpoint for guitar solo, made for a friend that is guitar player. It is a little study counterpoint on guitar using three voices. .
$10.00
9.13 €
#
Guitare
#
Matheus Viana
#
Contrapontinho n° 2
#
Matheus Viana
#
SheetMusicPlus
Guitar Sonata No. 7 in D minor homage to Blind Willie Johnson
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.985329 Composed by Jeremiah Lawson…
(+)
Solo Guitar - Level 5 - Digital Download SKU: A0.985329 Composed by Jeremiah Lawson. Contemporary. Individual part. 21 pages. Jeremiah Lawson #6063881. Published by Jeremiah Lawson (A0.985329). This guitar sonata is a four-movement work in open D tuning throughout. The performance time is between 17 to 18 minutes. I worked on this sonata from 2016 through 2019 as an homage to Blind Willie Johnson. The movements are as follows.I. Andante (a fugue in triple counterpoint)II. ScherzoIII. Largo trionfante (a ragtime sonata whose recapitulation leads seamlessly into)IV. Variations on Restoration from William Walker's Southern HarmonyThe work is written in cumulative setting after the model of Charles Ives but in a Haydnesque homage to not just Blind Willie Johnson but also with musical tributes to Stevie Wonder, Bach (the triple counterpoint), Louis Armstrong and Lil Harden. The fourth movement is a bravura set of variations on the shape note hymn Restoration that is the foundation of the entire sonata, using bottleneck technique throughout as an homage to Blind Willie Johnson.Owing to the use of bottleneck technique and the open D tuning throughout this is a pretty tough sonata to play but it's fun to play and I've filmed myself playing through it to demonstrate its practicality in performance.
$9.95
9.08 €
#
Guitare
#
Jeremiah Lawson
#
Guitar Sonata No. 7 in D minor homage to Blind Willie Johnson
#
Jeremiah Lawson
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download 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
6.39 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download 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
6.39 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download 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
6.39 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download 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
6.39 €
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Guitare
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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 Naxos
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Maggie Creek Music
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SheetMusicPlus
Ricordi di Ellesponto
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1470251 Composed by Socrates Arvan…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1470251 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #1047998. Published by Socrates Arvanitakis (A0.1470251). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata refers to the Hellespont Straits between Europe and Asia.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Ellesponto
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Socrates Arvanitakis
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SheetMusicPlus
Ricordi di Cavo Maleas
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1462948 Composed by Socrates Arvan…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1462948 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #1041671. Published by Socrates Arvanitakis (A0.1462948). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata refers to Cavo Maleas, one of the most dangerous capes for navigation in the easternmost leg of the Peloponnese.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Cavo Maleas
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Socrates Arvanitakis
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SheetMusicPlus
Ricordi di Messina
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1462949 Composed by Socrates Arvan…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1462949 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #1041673. Published by Socrates Arvanitakis (A0.1462949). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata refers to the port city of Messina in the narrow straits between Calabria and Sicily.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Messina
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Socrates Arvanitakis
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SheetMusicPlus
Ricordi di Preveza 2
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1462950 Composed by Socrates Arvan…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1462950 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #1041675. Published by Socrates Arvanitakis (A0.1462950). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata refers to the port of Preveza in the Ambracian Gulf of the west coast of Greece.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Preveza 2
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Socrates Arvanitakis
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SheetMusicPlus
Ricordi di Pireo 1
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1462953 Composed by Socrates Arvan…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1462953 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #1041678. Published by Socrates Arvanitakis (A0.1462953). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata refers to the three ports of Piraeus in the Saronic Gulf.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Pireo 1
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Socrates Arvanitakis
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SheetMusicPlus
Ricordi di Andros
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1464162 Composed by Socrates Arvan…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1464162 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #1042877. Published by Socrates Arvanitakis (A0.1464162). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata refers to the island of Andros off the Attica coast.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Andros
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Socrates Arvanitakis
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SheetMusicPlus
Ricordi di Proti 1
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1453814 Composed by Socrates Arvan…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1453814 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arvanitakis #1033063. Published by Socrates Arvanitakis (A0.1453814). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata, written in chromatic minor and Lydian chromatic modes, refers to the Island of Proti, a small ancient island one mile off the Messinian coastline in Peloponnese.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Proti 1
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Socrates Arvanitakis
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SheetMusicPlus
Ricordi di Bari (sonata per chitarra sola)
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1453812 Composed by Socrates Arvan…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1453812 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arvanitakis #1033061. Published by Socrates Arvanitakis (A0.1453812). Ricordi Del Contrabbando is a series of binary or ternary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This sonata, written in chromatic minor and Lydian chromatic modes, refers to the port of Bari, a city in eastern coast of Italy.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Bari
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Socrates Arvanitakis
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SheetMusicPlus
Ricordi di Gaeta
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1424041 Composed by Socrates Arvan…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1424041 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arvanitakis #1005219. Published by Socrates Arvanitakis (A0.1424041). Ricordi Del Contrabbando is a series of binary form sonatas for solo guitar depicting various Mediterranean ports in the great 20th century era (c. 1960-1980) of smuggling cigarettes and whiskey between Italy and the Black Sea.This first sonata, written in Lydian chromatic mode, refers to the port of Gaeta, a town north of Naples.
$3.00
2.74 €
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Guitare
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Socrates Arvanitakis
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Ricordi di Gaeta
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Socrates Arvanitakis
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SheetMusicPlus
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