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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
Highlights from
Non classifié
348
Piano & claviers
Piano, Voix
72
1 Piano, 4 mains
51
Piano seul
49
Piano, Voix et Guitare
38
Piano Facile
24
Orgue, Trompette (duo)
17
Instruments en Do
10
Piano (partie séparée)
7
Orgue
6
Piano Trio: piano, violon, violoncelle
4
Accompagnement Piano
3
Piano Quatuor: piano, violon, alto, violoncelle
3
Accordéon
1
+ 8 instrumentations
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Guitares
Guitare
17
Partitions De Groupes
5
2 Guitares (duo)
2
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2
Guitare notes et tablatures
2
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2
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1
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1
+ 3 instrumentations
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Voix
Chorale SATB
109
Chorale 3 parties
54
Pack Instrumental pour Chorale
34
Chorale 2 parties
32
Chorale Unison
18
Chorale TTBB
9
Chorale SSAA
6
Chorale
5
Voix duo, Piano
4
Voix Tenor
2
Voix duo
2
Voix Mezzo-Soprano, Piano
1
Voix basse, Piano
1
Voix Soprano
1
Voix moyenne, Piano
1
Voix Baryton, Piano
1
+ 11 instrumentations
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Vents
Saxophone (partie séparée)
273
Clarinette (partie séparée)
270
Flute (partie séparée)
118
Hautbois (partie séparée)
71
Hautbois, Piano (duo)
48
Clarinette et Piano
38
Hautbois
30
Clarinette
29
Quatuor de Saxophones: 4 saxophones
28
Flûte traversière
26
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
26
Quintette de Saxophone: 5 saxophones
26
Flûte traversière et Piano
25
Flûte, Hautbois, Clarinette, Basson
24
Saxophone Alto et Piano
23
Saxophone Tenor et Piano
21
Saxophone Baryton, Piano
17
Saxophone Soprano et Piano
14
Clarinette Basse
11
2 Flûtes traversières (duo)
10
Saxophone Alto
8
2 Saxophones (duo)
8
Saxophone Tenor
8
Clarinette Basse, Piano
7
Quatuor de Flûtes : 4 flûtes
6
Quatuor de Clarinettes: 4 clarinettes
5
Cor anglais, Piano
5
2 Clarinettes (duo)
5
Ensemble de Clarinettes
5
Hautbois, Clarinette (duo)
4
Saxophone Baryton
4
Flûte, Clarinette (duo)
4
2 Hautbois (duo)
4
Saxophone Soprano
4
Piccolo
2
Ensemble de saxophones
2
Quintette de Flûte : 5 flûtes
2
Cor Anglais
2
Quintette de Clarinettes: 5 clarinettes
2
Clarinette et Alto
1
Flûte, Violoncelle
1
Clarinette, Violoncelle (duo)
1
2 Flûte à bec (duo)
1
Cor anglais et Harpe (duo)
1
Hautbois et alto (duo)
1
Hautbois, Violoncelle
1
Hautbois, violon (duo)
1
Flûte, Alto (duo)
1
3 Saxophones (trio)
1
5 Flûtes à bec
1
Flûte, Violon
1
Flûte, Hautbois, Clarinette (trio)
1
Quatuor de Flûtes à bec
1
Clarinette, Violon (duo)
1
+ 49 instrumentations
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Trompette (partie séparée)
204
Trombone (partie séparée)
174
Cor (partie séparée)
132
Tuba (partie séparée)
71
Trompette, Piano
32
Cor et Piano
32
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
26
Trombone et Piano
25
Cor
21
Tuba et Piano
17
Trompette
15
Tuba ou Euphonium ou Saxhorn
12
Trombone
12
Tuba
11
Quatuor de Cuivres
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
10
Euphonium, Piano (duo)
6
Cor anglais, Piano
5
Trompette, Trombone (duo)
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
2 Trombones (duo)
4
Quatuor de cuivres: 4 trombones
4
Trombone, Orgue
3
Ensemble de Trombones
3
2 Cors (duo)
2
Trompette, Cor (duo)
2
Ensemble de Cors
2
Cor Anglais
2
2 Euphoniums (duo)
2
Trombone, Tuba (duo)
2
2 Trompettes (duo)
2
Ensemble de Trompettes
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trompette, Tuba (duo)
1
Cor anglais et Harpe (duo)
1
2 Tubas (duo)
1
3 Cors (trio)
1
Trompette, violon (duo)
1
+ 33 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
74
Violon (partie séparée)
62
Contrebasse (partie séparée)
59
Violoncelle, Piano
30
Violon et Piano
30
Alto, Piano
26
Violoncelle
21
Contre Basse
20
Alto (partie séparée)
19
Violoncelle (partie séparée)
18
Contrebasse, Piano (duo)
17
Violon
15
Alto seul
14
Quintette à cordes: 2 violons, alto, violoncelle, basse
14
Violon, Violoncelle (duo)
7
Violon, Alto (duo)
6
Violon, Guitare (duo)
3
2 Violoncelles (duo)
3
2 Altos (duo)
2
Harpe
2
Violon, Orgue
2
Harpe, Flûte (duo)
2
Violoncelle , Guitare (duo)
2
Trio à Cordes: violon, alto, violoncelle
2
Trio à Cordes: 2 violons, violoncelle
1
2 Violons (duo)
1
Violon, Basson (duo)
1
Alto, Violoncelle (duo)
1
Trio à Cordes: 3 violoncelles
1
4 Contrebasses
1
+ 25 instrumentations
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Orchestre d'harmonie
844
Percussion (partie séparée)
196
Orchestre
117
Timbales (partie séparée)
52
Orchestre à Cordes
42
Orchestre de chambre
19
Timbales
18
Ensemble Jazz
16
Percussion
15
Cloches
9
Jazz combo
8
Ensemble de cuivres
8
Xylophone, Piano
4
Batterie
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Fanfare
2
Batterie (partie séparée)
1
Vibraphone
1
Ensemble de Percussions
1
Marimba
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
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BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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CORNET
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17 partitions trouvées
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1
Chorus and Aria from Ariadne auf Naxos
#
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 ...
(+)
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
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
#
Maggie Creek Music
#
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
Wet Hands
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Guitare
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FACILE
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Jeux Videos
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C418
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André Nusa
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Wet Hands
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Andre_Nusa
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1216007 By C418. By Daniel Rosenfeld. Arranged by André Nusa. Video Game. Individual part. 1 pages. Andre_Nusa #81266...
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Solo Guitar - Level 2 - SKU: A0.1216007 By C418. By Daniel Rosenfeld. Arranged by André Nusa. Video Game. Individual part. 1 pages. Andre_Nusa #812665. Published by Andre_Nusa (A0.1216007). This arrangement for guitar of the song Wet Hands from the game Minecraft captures the contemplative and peaceful tone of the original composition. The guitar weaves in harmony, delicately exploring the melodic motifs that are central to the piece. The arrangement might include variations in dynamics and phrasing, allowing the guitar to convey the emotional depth of the song's simple yet poignant melody. The arrangement highlights the beauty of the piece's simple, minimalist structure, emphasizing the warmth and intimacy of the sound of the guitar playing. This arrangement is a great choice for guitarists looking to add a calming and reflective piece to their repertoire, or for gamers who want to experience the meditative quality of the music outside the context of the game.
$5.99
Another Brick In The Wall, Part 2
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Guitare
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INTERMÉDIAIRE
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Pink Floyd
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Rafael Milhomem
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Another Brick In The Wall, Par
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Milhomusic
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1355903 By Pink Floyd. By Roger Waters. Arranged by Rafael Milhomem. Classical,Contemporary,Rock,Singer/Songwriter,Traditiona...
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Guitar - Level 3 - SKU: A0.1355903 By Pink Floyd. By Roger Waters. Arranged by Rafael Milhomem. Classical,Contemporary,Rock,Singer/Songwriter,Traditional. 22 pages. Milhomusic #940626. Published by Milhomusic (A0.1355903). Exploring Classics with Innovation: Another Brick in the Wall, Part 2 for Guitar QuartetYou are invited to embark on a unique musical journey with our vibrant and innovative arrangement of Pink Floyd's classic Another Brick in the Wall, Part 2, specially crafted for a guitar quartet. This renowned piece, already ingrained in the collective musical imagination, takes on new life in the skilled hands of our guitarists.Arrangement Highlights:Respect for the Original Essence: Our arrangement captures the emotional essence and powerful message of the original song, maintaining the integrity of Pink Floyd's masterpiece.Expressiveness of the Guitars: Each guitar plays a crucial role in recreating this classic, providing a unique and nuanced auditory experience.Versatility for Guitar Orchestra: Aside from being ideal for guitar quartets, this arrangement easily adapts for a guitar orchestra, allowing for an expansive and grand interpretation.Important Note: Our arrangement stands out for its unique approach, excluding the transcription of the guitar solo. However, we acknowledge that interested parties can easily access the guitar solo transcription in a PDF format available online to integrate, if desired.Rediscover a Classic: By choosing our arrangement of Another Brick in the Wall, Part 2, you're investing not only in an exceptional musical performance but also in an opportunity to offer your audience a renewed perspective on one of rock's greatest hits.Technical Information:Duration: [3´20´´]Availability: [intermediate]Don't miss the chance to add a distinctive piece to your repertoire. Contact us for more details and discover how our arrangement can elevate your musical performance to new heights.We look forward to being part of this exceptional musical journey with you!#Classicalguitar #guitarquartet #guitarorchestra #Pinkfloyd #Guitararragements.
$6.00
Minuet in G (BWV Anh. 114)
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Guitare
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FACILE
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Classique
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Christian Petzold
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Pedro Abreu
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Minuet in G
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All Music
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1269356 Composed by Christian Petzold. Arranged by Pedro Abreu. Baroque. Individual part. 1 pages. All Music #861876. Pu...
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Solo Guitar - Level 2 - SKU: A0.1269356 Composed by Christian Petzold. Arranged by Pedro Abreu. Baroque. Individual part. 1 pages. All Music #861876. Published by All Music (A0.1269356). This is a guitar arrangement of the first minuet (BWV Anh. 114) from a suite for harpsichord by Christian Petzold (1677 - 1733), which was included in the 1725 Notebook for Anna Magdalena Bach and previously attributed to Johann Sebastian Bach (1685 - 1750). The arrangement was meticulously transcribed for the guitar by Pedro Abreu in 2013, and features the same ornaments as the ones included in the 1725 Notebook for Anna Magdalena Bach.Abreu's attention to detail is reflected in the carefully crafted fingering, which balances the stylistic expectations of the era with the technical possibilities of the guitar. The written score showcases the delicate nuances of this arrangement, which highlights the guitar's ability to convey the richness and depth of Baroque music.When played together with the Minuet in G minor (BWV Anh. 115), this arrangement offers a glimpse into the suite's elegant and charming character, which is emblematic of the Baroque era.
$3.00
Etude No. 1 for guitar
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Guitare
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INTERMÉDIAIRE
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Benedic Justine Velasco
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Etude No. 1 for guitar
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Benedic Justine Velasco
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1014955 Composed by Benedic Justine Velasco. Contemporary,Instructional,Latin. Individual part. 2 pages. Benedic Justine...
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Solo Guitar - Level 3 - SKU: A0.1014955 Composed by Benedic Justine Velasco. Contemporary,Instructional,Latin. Individual part. 2 pages. Benedic Justine Velasco #4572575. Published by Benedic Justine Velasco (A0.1014955). A short study piece for building melodic and expressive quality of the right thumb, and its versatility in switching from a main voice to an accompanying one. May be used as a connecting piece after Villa-lobos' Prelude No. 1 which highlights the thumb as well. Approximately 2:00.
$2.49
Minuet in G minor (BWV Anh. 115)
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Guitare
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INTERMÉDIAIRE
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Classique
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Christian Petzold
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Pedro Abreu
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Minuet in G minor
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All Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1269357 Composed by Christian Petzold. Arranged by Pedro Abreu. Baroque. Individual part. 1 pages. All Music #861877. Pu...
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Solo Guitar - Level 3 - SKU: A0.1269357 Composed by Christian Petzold. Arranged by Pedro Abreu. Baroque. Individual part. 1 pages. All Music #861877. Published by All Music (A0.1269357). This is a guitar arrangement of one of the two minuets (BWV Anh. 114 and 115) from a suite for harpsichord by Christian Petzold (1677 - 1733), which were included in the 1725 Notebook for Anna Magdalena Bach and thus previously attributed to Johann Sebastian Bach (1685 - 1750).The minuet has been meticulously transcribed for the guitar by Pedro Abreu (b. 1977) in 2022, and features the same ornaments as the ones included in the 1725 Notebook for Anna Magdalena Bach. Abreu's attention to detail is reflected in the carefully crafted fingering, which balances the stylistic expectations of the era with the technical possibilities of the guitar.The written score showcases the delicate nuances of this arrangement, which highlights the guitar's ability to convey the richness and depth of Baroque music.
$3.00
Highlights from Dreamgirls - Guitar
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Guitare
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Film/TV
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Comédie Musicale
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Tom Eyen and Henry Krieger
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Roger Holmes
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Film/TV
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Highlights from Dreamgirls - G
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Tom Eyen and Henry Krieger. Arranged by Roger Holmes. Broadway; Film/TV; Musical/Show. Jazz Band. 3 pages. Published by Hal Leonard - Digital Sheet Music...
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By Tom Eyen and Henry Krieger. Arranged by Roger Holmes. Broadway; Film/TV; Musical/Show. Jazz Band. 3 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
Beetlejuice (main Theme)
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Guitare
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INTERMÉDIAIRE
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Danny Elfman
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André Alberto Santos
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Beetlejuice
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Soul - Musical Creations
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1249449 By Danny Elfman. By Danny Elfman. Arranged by André Alberto Santos. 21st Century,Classical,Film/TV,Holiday. 17 pag...
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Guitar - Level 3 - SKU: A0.1249449 By Danny Elfman. By Danny Elfman. Arranged by André Alberto Santos. 21st Century,Classical,Film/TV,Holiday. 17 pages. Soul - Musical Creations #843883. Published by Soul - Musical Creations (A0.1249449). Elevate your musical performances to new heights with the captivating sheet music arrangement of Beetlejuice (Main Theme) by Danny Elfman from the iconic movie Beetlejuice, specifically arranged for four classical guitars. Experience the enchantment of this beloved melody as it resonates through the harmonies of multiple guitars, adding depth and richness to your performance.Crafted with precision and care, this arrangement allows you and your fellow guitarists to recreate the magical atmosphere of Beetlejuice, captivating audiences with the hauntingly beautiful notes that have become synonymous with the film. With individual parts for each guitar, you'll enjoy the unique experience of playing in harmony and creating a captivating ensemble performance.Whether you're a guitar ensemble, a group of friends, or a music educator looking to inspire your students, this sheet music is an invaluable addition to your repertoire. The four-part arrangement ensures that every guitarist has an opportunity to shine and contribute to the spellbinding rendition of Beetlejuice (Main Theme).From concerts and recitals to gatherings and events, this arrangement will be the highlight of any performance. Its recognizable melody and nostalgic charm will captivate listeners and leave a lasting impression on all who hear it.Unlock the extraordinary potential of your guitar ensemble with the sheet music for Beetlejuice (Main Theme) arranged for four classical guitars. Order your copy today and embark on a musical journey that blends the world of classical guitar with the enchantment of Beetlejuice.  Don't miss out – seize this opportunity and let the haunting melodies of Beetlejuice resonate through your guitars!
$4.99
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
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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
Soren's Jig
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Guitare
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INTERMÉDIAIRE
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Jim Bosse
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Soren's Jig
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Jim Bosse
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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
What A Wonderful World
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Guitare
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INTERMÉDIAIRE
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Louis Armstrong
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Richard Hirsch
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and 3&
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What A Wonderful World
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Century,Multicultural...
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Solo Guitar - Level 3 - SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Century,Multicultural,Pop,Standards,World. Individual part. 8 pages. Richard Hirsch #755336. Published by Richard Hirsch (A0.1155054). Taking inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement in polyrhythmic 4/4 time of What a Wonderful World for solo acoustic guitar. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The tune is really happy and up-lifting. If there are any little folks (kids two to four years old) around listening, they will have a hard time sitting still. My grandson (two and a half) really got going when I played it for him. I can hardly resist the urge to dance to the tune while playing myself! The arrangement is in the spirit of the Canarios by Gaspar Sanz for classical guitar and is meant to have the nature of a dance. The repetitive alternating thumb and index and middle finger cycle going through the broken chords with the melody woven in works to give the arrangement an almost hypnotic character. The fingering for the right hand is given in first section and is basically the same throughout the piece. The fingering for the left hand can, I believe, be easily figured out from the tablature. The arrangement is within the reach of intermediate students of the acoustic guitar; anyone who has mastered the basics of fingerstyle fingerpicking guitar, and can be played on both nylon and steel string acoustic guitars. The short and long glissandos and the arpeggios of natural harmonics resembling the kalimba (thumb harp) together with the drone effects of the enharmonic tones in the chords give an added dash of African spice to the piece.
$4.99
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