English version
PARTITIONS GRATUITES
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
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
7
Partitions
Numériques
10
Librairie
Musicale
0
Matériel
de Musique
0
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
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
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
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
275
PIANO & CLAVIERS
Piano seul
79
Piano, Voix
42
Piano Facile
38
Piano, Voix et Guitare
19
Piano grosses notes
9
1 Piano, 4 mains
8
Instruments en Do
7
Orgue
7
Piano (partie séparée)
4
Accordéon
3
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Instrumentations suivantes
Retracter
GUITARES
Guitare
10
Guitare notes et tablatures
8
Ukulele
5
Ligne De Mélodie, (Paroles) et Accords
3
Paroles et Accords
3
Basse electrique
2
Basse électrique (partie séparée)
2
Guitare (partie séparée)
1
Piano, Guitare (duo)
1
Banjo
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
34
Chorale 3 parties
16
Chorale 2 parties
9
Chorale TTBB
6
Chorale SSAA
5
Voix duo, Piano
2
Voix Soprano, Piano
1
Chorale SSAB a cappella
1
Chorale SSATTB
1
Voix duo
1
Chorale Unison
1
Voix seule
1
Instrumentations suivantes
Retracter
VENTS
Saxophone (partie séparée)
21
2 Saxophones (duo)
21
Clarinette
17
Flûte traversière
11
Saxophone Alto
10
2 Clarinettes (duo)
10
3 Saxophones (trio)
9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
9
2 Flûtes traversières (duo)
8
Hautbois, Piano (duo)
8
Saxophone Alto et Piano
8
Flûte, Hautbois, Clarinette, Basson
7
Saxophone, Clarinette (duo)
6
Quatuor de Saxophones: 4 saxophones
6
Clarinette et Piano
6
Clarinette (partie séparée)
6
3 Clarinettes (trio)
6
Hautbois (partie séparée)
5
2 Flûte à bec (duo)
5
Quintette de Saxophone: 5 saxophones
5
Saxophone Tenor et Piano
5
Flûte à bec Soprano
4
Quatuor de Clarinettes: 4 clarinettes
4
Cor Anglais
4
Hautbois, Basson (duo)
4
Flûte traversière et Piano
4
Clarinette, Trompette (duo)
4
Flute (partie séparée)
3
Trio de Flûtes: 3 flûtes
3
Flûte, Clarinette (duo)
3
Hautbois, Flûte
3
Clarinette, Violon (duo)
3
2 Hautbois (duo)
3
Quatuor de Flûtes : 4 flûtes
3
Hautbois, Clarinette (duo)
3
Flûte, Hautbois, Clarinette (trio)
3
Clarinette et Alto
2
Flûte, Alto (duo)
2
Flûte, Saxophone (duo)
2
Flûte à Bec
2
Quintette de Clarinettes: 5 clarinettes
2
3 Hautbois
1
Ensemble de Flûtes
1
Quintette de Flûte : 5 flûtes
1
Flûte, Clarinette, Violon (trio)
1
Flûte, Hautbois, Basson
1
Flûte, Trompette (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Saxophone et Orgue
1
Flûte, Clarinette et Basson
1
Hautbois
1
Flûte, Hautbois (duo)
1
Flûte, Violon
1
Flûte à bec Alto
1
Ensemble de Clarinettes
1
Clarinette, Basson (duo)
1
Hautbois, Violon, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette (partie séparée)
14
Quatuor de Cuivres : 2 trompettes, trombone, tuba
10
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Trompette
9
Trombone
9
Trombone et Piano
7
2 Trompettes (duo)
5
2 Trombones (duo)
5
Trombone (partie séparée)
5
Cor
5
Trompette, Trombone (duo)
5
Trompette, Saxophone (duo)
4
Cor Anglais
4
Cor et Piano
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Tuba (partie séparée)
3
Trompette, Piano
3
2 Cors (duo)
3
Cor (partie séparée)
2
Euphonium
2
Quatuor de cuivres: 4 trombones
2
Trompette, Cor (duo)
1
Tuba et Piano
1
Tuba
1
Quatuor de cuivres: 4 cors
1
Cor, Tuba (duo)
1
Trombone, Cor (duo)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
32
Violon, Violoncelle (duo)
27
Violon
20
2 Violons (duo)
12
Violon et Piano
12
Violoncelle (partie séparée)
11
Alto, Piano
10
Violon (partie séparée)
9
Harpe
8
2 Altos (duo)
8
Violon, Alto (duo)
7
Alto seul
7
Violoncelle, Piano
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
2 Violoncelles (duo)
5
Alto (partie séparée)
5
Trio à Cordes: violon, alto, violoncelle
4
Trio à Cordes: 2 violons, violoncelle
3
Trio à Cordes: 3 violoncelles
2
Contre Basse
2
2 Harpes (duo)
2
Alto, Violoncelle (duo)
2
Piano Trio: Violon, Alto, Piano
1
Trio à cordes: 3 violins
1
Contrebasse (partie séparée)
1
Contrebasse, Piano (duo)
1
Trio à cordes: 3 altos
1
Violoncelle
1
Trio à Cordes: 2 violons, alto
1
Harpe, Voix
1
4 Violoncelles
1
2 Contrebasses (duo)
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Fanfare
26
Orchestre
24
Orchestre d'harmonie
23
Orchestre à Cordes
13
Ensemble de cuivres
12
Percussion (partie séparée)
9
Orchestre de chambre
5
Ensemble Jazz
4
Batterie (partie séparée)
3
Ensemble de Percussions
2
Jazz combo
2
Cloches
2
Vibraphone
2
Marimba
1
Timbales (partie séparée)
1
Batterie
1
Instrumentations suivantes
Retracter
AUTRES
Vous avez sélectionné:
How Far I
SheetMusicPlus
Partitions à imprimer
10 partitions trouvées
<
1
How Far I'll Go
Guitare
Solo Guitar - Level 1 - Digital Download SKU: A0.1096649 By Alessia Cara. By Lin-Ma…
(+)
Solo Guitar - Level 1 - Digital Download SKU: A0.1096649 By Alessia Cara. By Lin-Manuel Miranda. Arranged by By Rene Alves. Broadway,Children,Contemporary,Film/TV,Musical/Show,Pop. Individual part. 2 pages. Rene Alves #700639. Published by Rene Alves (A0.1096649). Guitar sheet music for Moana's movie theme song How Far I'll Go. The sheet music is in great size for reading on tablets.
$6.00
5.51 €
#
Guitare
#
Alessia Cara
#
By Rene Alves
#
How Far I'll Go
#
Rene Alves
#
SheetMusicPlus
How Far I'll Go
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1151873 By Alessia Cara. By Lin-Ma…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1151873 By Alessia Cara. By Lin-Manuel Miranda. Arranged by Tyler Adams. Film/TV,Pop. Individual part. 2 pages. Adams Arrangements #752076. Published by Adams Arrangements (A0.1151873). How Far I'll Go solo guitar sheet music and tabs. Play a wonderful hit Disney song using either sheet music or tabs for How Far I'll Go, it's an excellent arrangement for a guitarist with a bit of experience looking to play something fun and not too challenging! Disney sheet music for guitar.
$4.99
4.58 €
#
Guitare
#
Alessia Cara
#
Tyler Adams
#
How Far I'll Go
#
Adams Arrangements
#
SheetMusicPlus
How Far I'll Go
Guitare
Solo Guitar - Digital Download SKU: A0.1332625 Arranged by Tunescribers. Rock. Indi…
(+)
Solo Guitar - Digital Download SKU: A0.1332625 Arranged by Tunescribers. Rock. Individual part. 2 pages. ArrangeMe #45113. Published by ArrangeMe (A0.1332625).
$7.95
7.3 €
#
Guitare
#
Tunescribers
#
How Far I'll Go
#
ArrangeMe
#
SheetMusicPlus
Anonymous Soldier (for Guitar)
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1371167 Composed by Emiliano Brune…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1371167 Composed by Emiliano Brunetti. Chamber,Romantic Period. Individual part. 4 pages. Emiliano Brunetti #955418. Published by Emiliano Brunetti (A0.1371167). Anonymous Soldier seeks to portray the fight between what you need to do and what you want to do. It reflects that battle against the Impostor Syndrome, which tells you how far you are from where you really belong. It is my everyday fight for my dreams, despite how hard they are to achieve, and despite the conflicting context I might be living in (writing classical music from my home of Argentina). This piece explores the use of tremolo effect, which is usually found in advanced pieces. As I am not able to play pieces like Recuerdos de la Alhambra (Tárrega) or Una Limosna por el Amor de Dios (Barrios), I tried to write a piece with this technique I enjoy listening to a lot, in a way that I can perform it while improving my playing.
$2.00
1.84 €
#
Guitare
#
Emiliano Brunetti
#
Anonymous Soldier
#
Emiliano Brunetti
#
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
6.43 €
#
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
6.43 €
#
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…
(+)
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
6.43 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
(+)
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
6.43 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Morenita Do Brazil
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1469463 Composed by Giuseppe Farra…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.1469463 Composed by Giuseppe Farrauto. Arranged by Andrew Howes. 20th Century,Latin. Individual part. 2 pages. Andrew Howes #1047491. Published by Andrew Howes (A0.1469463). A reduction of this catchy Latin-American guitar duet for solo classical guitar in case you'd like to play it on your own. I arranged it for myself as a busking/café number for an upcoming gig.
$5.00
4.59 €
#
Guitare
#
Giuseppe Farrauto
#
Andrew Howes
#
Morenita Do Brazil
#
Andrew Howes
#
SheetMusicPlus
Royal Winter Music
Guitare
Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Compo…
(+)
Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Composed by Hans Werner Henze (1926-). This edition: Sheet music. Guitar Archive. Downloadable. Duration 25 minutes. Schott Music - Digital #Q4978. Published by Schott Music - Digital
My idea of developing music from Richard of Gloucester's monologue 'Now is the winter of our discontent', and of generating more music from that material, was conceived during the 1960s. Ten years later it took a more concrete form, when Julian Bream suggested to me that I should write a substanial new guitar work for him. More time went by, and only having finished 'We Come to the River' could I begin to realise our plan. Then began a collaboration with the instrumentalist that went through various phases, from which I gained a more profound knowledge of the technicalities and of the sound-world of the guitar. I would even go so far as to say that this collaboration gave me a new concept of how to write for an instrument with a rich tradition. The guitar is a 'knowing' or 'knowledgeable' instrument, with many limitations but also many unexplored spaces and depths within these limits. It possesses a richness of sound capable of embracing everything one might find in a gigantic contemporary orchestra. but one has to start from silence in order to notice this: one has to pause, and completely exclude noise.<br> The dramatis personae of this piece enter through the sound of the guitar as if it were curtain. Through masks, voices and gestures, they speak to us of great passion, of tenderness, sadness and comedy: strange events in people's lives. Into this, the whispering voices of spirits are mingled. The epilogue is spoken by Oberon, pacified and reconciled, as though Nature had been subjected to Man.<br> - Hans Werner Henze.
$19.99
18.36 €
#
Guitare
#
Hans Werner Henze
#
Royal Winter Music
#
Schott Music - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale