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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
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Contrapunto
Non classifié
469
Piano & claviers
Piano seul
230
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
Piano Quatuor: piano, violon, alto, violoncelle
1
Orgue, Piano (duo)
1
2 Pianos, 4 mains
1
Clavecin
1
+ 9 instrumentations
Retracter
Guitares
Guitare
64
Guitare notes et tablatures
41
2 Guitares (duo)
13
Guitare (partie séparée)
11
Ukulele
4
Basse electrique
2
Mandoline, Guitare (duo)
2
Mandoline
1
Ensemble de guitares
1
Banjo
1
4 Guitares (Quatuor)
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
147
Chorale 3 parties
55
Chorale 2 parties
45
Chorale TTBB
16
Chorale SSAA
16
Chorale Unison
14
Voix duo, Piano
7
Voix duo
3
Chorale
3
Voix moyenne, Piano
2
Chorale SSATB
1
+ 6 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
79
Quatuor de Saxophones: 4 saxophones
41
Quatuor de Clarinettes: 4 clarinettes
28
Flûte traversière et Piano
28
Flûte, Hautbois, Clarinette, Basson
26
Saxophone (partie séparée)
25
2 Saxophones (duo)
25
Quintette de Saxophone: 5 saxophones
17
Clarinette et Piano
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
Saxophone Tenor et Piano
12
Clarinette
12
Ensemble de Clarinettes
12
Saxophone Soprano et Piano
10
Ensemble de Flûtes
10
Cor anglais, Piano
10
2 Clarinettes (duo)
10
Saxophone Baryton, Piano
9
Hautbois, Basson (duo)
9
2 Hautbois (duo)
8
Flûte traversière
7
Clarinette, Violoncelle (duo)
7
Flûte, Violon
7
Ensemble de saxophones
7
Clarinette, Trompette (duo)
7
Clarinette Basse, Piano
7
Trio de Flûtes: 3 flûtes
7
3 Clarinettes (trio)
6
Saxophone, Clarinette (duo)
6
Clarinette (partie séparée)
6
Flûte, Violoncelle
5
Clarinette, Violon (duo)
5
Quatuor de Flûtes à bec
5
Flute (partie séparée)
5
Quintette de Flûte : 5 flûtes
4
Clarinette, Basson (duo)
4
Hautbois, Clarinette (duo)
4
Flûte, Clarinette (duo)
4
3 Saxophones (trio)
3
Flûte, Alto (duo)
3
3 Flûtes à bec (trio)
3
Flûte, Clarinette et Basson
3
Flûte et Trio à cordes
3
Clarinette et Alto
3
Hautbois, Violoncelle
3
Saxophone Alto
3
Flûte, Saxophone (duo)
2
Flûte, Trompette (duo)
2
Piccolo, Piano
2
Hautbois
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte, Hautbois (duo)
2
Hautbois, violon (duo)
2
2 Flûte à bec (duo)
2
Hautbois, Flûte
2
Hautbois et alto (duo)
1
Flûte, Trombone (duo)
1
Saxophone, Tuba (duo)
1
Flûte, Violon et Violoncelle
1
Flûte à bec Soprano, Piano
1
Flûte, Violoncelle, Piano (trio)
1
Hautbois, trombone (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Basson et Piano
1
Saxophone Tenor
1
Flûte à bec Alto, Basse continue
1
Flûte, Hautbois, Basson
1
4 Hautbois
1
Flûte, Clarinette, Piano (trio)
1
Flûte et Guitare
1
Hautbois (partie séparée)
1
Flûte, Tuba (duo)
1
Flûte traversière, Basse continue
1
Flute, harpe et violon
1
Clarinette, Harpe (duo)
1
Flûte, Violon, Piano
1
Clarinette, Tuba
1
+ 76 instrumentations
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
2 Trompettes (duo)
11
Cor et Piano
11
Euphonium, Piano (duo)
10
Cor anglais, Piano
10
Quatuor de Cuivres
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Trompette
8
Trompette, Piano
8
Tuba et Piano
7
Trompette, Trombone (duo)
5
Cor (partie séparée)
5
Tuba (partie séparée)
4
Ensemble de Trompettes
4
Ensemble de Trombones
4
2 Cors (duo)
4
Trompette, Saxophone (duo)
4
Quatuor de cuivres: 4 trombones
4
Cor
3
Trombone
3
Tuba
2
Quatuor de cuivres: 4 cors
2
Trompette, Tuba (duo)
1
Trompette, Cor (duo)
1
Clarinette, Cor (duo)
1
Trombone, Violon (duo)
1
Euphonium, Tuba (duo)
1
Trombone basse
1
2 Tubas (duo)
1
2 Euphoniums et 2 Tubas
1
+ 30 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
104
Trio à Cordes: violon, alto, violoncelle
26
Violon, Violoncelle (duo)
26
Violon et Piano
23
Alto, Piano
18
Violoncelle, Piano
17
Violon (partie séparée)
10
Violon
10
2 Violons (duo)
10
Violon, Alto (duo)
9
Contrebasse (partie séparée)
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
Trio à Cordes: 2 violons, violoncelle
7
2 Violoncelles (duo)
7
2 Altos (duo)
6
Violoncelle
5
Alto (partie séparée)
4
Contrebasse, Piano (duo)
4
Contre Basse
3
Harpe
3
Alto seul
3
Ensemble de Violons
3
Alto, Violoncelle (duo)
3
Piano Trio: Violon, Alto, Piano
2
Violon, Basson (duo)
2
Ensemble d'Altos
2
4 Violoncelles
1
Violoncelle (partie séparée)
1
Violon, Clarinette, Piano (trio)
1
Harpe, Violon (duo)
1
Violoncelle, Contrebasse (duo)
1
Trio à cordes: 3 violins
1
Violon, Tuba (duo)
1
Harpe, Flûte (duo)
1
Violon, Guitare (duo)
1
+ 30 instrumentations
Retracter
Orchestre & Percussions
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
Ensemble de Percussions
3
Vibraphone
3
Percussion (partie séparée)
2
Batterie
2
Xylophone, Piano
1
Vibraphone et Marimba
1
Xylophone
1
Timbales (partie séparée)
1
2 Xylophones
1
Marimba
1
+ 15 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
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Note4Piano
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Vous avez sélectionné:
Contrapunto
Guitare
Partitions à imprimer
64 partitions trouvées
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1
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51
Counterpoint I for Classical Guitar
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Esteban Peretz
#
Counterpoint I for Classical G
#
Esteban Peretz
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1094838 Composed by Esteban Peretz. 20th Century,Baroque,Classical,Contemporary. Individual part. 2 pages. Esteban Peret...
(+)
Solo Guitar - Level 4 - 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
Fourteenth Century Counterpoint: Chantilly Codex
#
Guitare
#
INTERMÉDIAIRE
#
Various
#
Colin McAllister
#
Fourteenth Century Counterpoin
#
Les Productions d'OZ - Digital
#
SheetMusicPlus
By Various. Arranged by Colin McAllister. For solo guitar. Level 3. 12 pages. Published by Les Productions d'OZ - Digital ...
(+)
By Various. Arranged by Colin McAllister. For solo guitar. Level 3. 12 pages. Published by Les Productions d'OZ - Digital
$6.95
Contrapontinho n° 2
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Guitare
#
INTERMÉDIAIRE
#
Contemporain
#
Matheus Viana
#
Contrapontinho n° 2
#
Matheus Viana
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.963117 Composed by Matheus Viana. Contemporary. Individual part. 2 pages. Matheus Viana #3631103. Published by Matheus V...
(+)
Solo Guitar - Level 3 - 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
Guitar Sonata No. 7 in D minor homage to Blind Willie Johnson
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Guitare
#
AVANCÉ
#
Contemporain
#
Jeremiah Lawson
#
Guitar Sonata No. 7 in D minor
#
Jeremiah Lawson
#
SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.985329 Composed by Jeremiah Lawson. Contemporary. Individual part. 21 pages. Jeremiah Lawson #6063881. Published by Jere...
(+)
Solo Guitar - Level 5 - 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
Chorus and Aria from Ariadne auf Naxos
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
#
Maggie Creek Music
#
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 ...
(+)
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
'A golden time ...' from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
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 ...
(+)
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
#
Guitare
#
INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
#
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 ...
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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
Ricordi di Ellesponto
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Classique
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Socrates Arvanitakis
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Ricordi di Ellesponto
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1470251 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #104799...
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Solo Guitar - Level 3 - 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
Ricordi di Cavo Maleas
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Classique
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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
Solo Guitar - Level 3 - SKU: A0.1462948 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #104167...
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Solo Guitar - Level 3 - 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
Ricordi di Messina
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Classique
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Socrates Arvanitakis
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Ricordi di Messina
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1462949 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #104167...
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Solo Guitar - Level 3 - 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
Ricordi di Preveza 2
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Classique
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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
Solo Guitar - Level 3 - SKU: A0.1462950 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #104167...
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Solo Guitar - Level 3 - 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
Ricordi di Pireo 1
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Classique
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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
Solo Guitar - Level 3 - SKU: A0.1462953 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #104167...
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Solo Guitar - Level 3 - 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
Ricordi di Andros
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Classique
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Socrates Arvanitakis
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Ricordi di Andros
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1464162 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 6 pages. Socrates Arvanitakis #104287...
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Solo Guitar - Level 3 - 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
Ricordi di Proti 1
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Classique
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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
Solo Guitar - Level 3 - SKU: A0.1453814 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arvanitakis #103306...
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Solo Guitar - Level 3 - 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
Ricordi di Bari (sonata per chitarra sola)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Classique
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Socrates Arvanitakis
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Ricordi di Bari
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1453812 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arvanitakis #103306...
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Solo Guitar - Level 4 - 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
Ricordi di Gaeta
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Classique
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Socrates Arvanitakis
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Ricordi di Gaeta
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1424041 Composed by Socrates Arvanitakis. Classical,Contemporary. Individual part. 5 pages. Socrates Arvanitakis #100521...
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Solo Guitar - Level 3 - 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
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