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FLUTE A DIX…
FLUTE DE PA…
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
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UKULELE
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VIOLONCELLE
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style (tous)
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CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
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ENFANTS : EVEIL - IN…
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FILM WALT DISNEY
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FLAMENCO
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GOSPEL - SPIRITUEL -…
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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MEDIEVAL - RENAISSAN…
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METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
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PATRIOTIQUE
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difficulté (tous)
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Non classifié
465
PIANO & CLAVIERS
Piano seul
232
Piano, Voix
111
Piano, Voix et Guitare
38
Piano Facile
23
Orgue
21
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14
1 Piano, 4 mains
9
Piano Trio: piano, violon, violoncelle
6
2 Pianos, 4 mains
5
Accompagnement Piano
3
Piano Quatuor: piano, 2 violons, violoncelle
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano grosses notes
1
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GUITARES
Guitare notes et tablatures
20
Ligne De Mélodie, (Paroles) et Accords
14
Guitare
13
Paroles et Accords
6
Ukulele
3
Basse electrique
3
Mandoline
1
2 Guitares (duo)
1
Guitare, Orchestre
1
4 Guitares (Quatuor)
1
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VOIX
Chorale SATB
160
Chorale 3 parties
55
Chorale 2 parties
27
Pack Instrumental pour Chorale
19
Chorale TTBB
18
Chorale Unison
8
Voix duo, Piano
7
Voix duo
6
Chorale SSAA
6
Chorale
6
Voix haute
5
Voix Alto, Piano
3
Voix Soprano, Piano
3
Voix basse, Piano
2
Voix moyenne, Piano
1
Voix Tenor
1
Voix seule
1
Voix Mezzo-Soprano, Piano
1
Voix Tenor, Piano
1
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VENTS
Quatuor de Saxophones: 4 saxophones
34
Flûte traversière et Piano
33
Clarinette et Piano
29
Saxophone Alto et Piano
27
Flûte, Hautbois, Clarinette, Basson
26
Hautbois, Piano (duo)
24
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
21
Saxophone (partie séparée)
21
Saxophone Soprano et Piano
20
Saxophone Tenor et Piano
20
Clarinette
19
Clarinette (partie séparée)
19
2 Flûtes traversières (duo)
17
2 Saxophones (duo)
16
Saxophone Baryton, Piano
14
Ensemble de saxophones
13
Quatuor de Clarinettes: 4 clarinettes
13
Hautbois (partie séparée)
12
2 Clarinettes (duo)
10
Ensemble de Flûtes
10
Cor anglais, Piano
10
Ensemble de Clarinettes
9
Flute (partie séparée)
8
Clarinette Basse, Piano
8
3 Clarinettes (trio)
7
Quatuor de Flûtes : 4 flûtes
7
Saxophone Alto
5
Flûte traversière
5
Quintette de Saxophone: 5 saxophones
5
Flûte, Hautbois, Basson
4
Flûte, Hautbois, Clarinette (trio)
4
Flûte, Clarinette et Basson
4
Quintette de Clarinettes: 5 clarinettes
3
2 Hautbois (duo)
3
3 Saxophones (trio)
3
Flûte, Hautbois, Piano (trio)
2
Hautbois
2
Quatuor de Flûtes à bec
2
Hautbois, Flûte
2
Flûte, Clarinette (duo)
2
Harmonica
2
Hautbois, Clarinette (duo)
1
Flûte, Trombone (duo)
1
Clarinette, Harpe (duo)
1
Hautbois, Harpe
1
Saxophone Tenor
1
Saxophone Soprano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Ocarina
1
Flûte, Hautbois (duo)
1
2 Clarinettes, Piano
1
Clarinette et Alto
1
Flûte traversière, Orgue (duo)
1
Flûte, Violoncelle, Piano (trio)
1
Cor Anglais
1
Quintette de Flûte : 5 flûtes
1
Piccolo, Piano
1
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CUIVRES
Quatuor de Cuivres : 2 trompettes, trombone, tuba
33
Trombone et Piano
21
Trompette, Piano
20
Euphonium, Piano (duo)
20
Cor et Piano
17
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
16
Trompette (partie séparée)
14
Trompette
10
Cor anglais, Piano
10
Cor (partie séparée)
8
Trombone (partie séparée)
8
Tuba et Piano
8
Ensemble de Trombones
7
Cor
6
Tuba
5
Quatuor de Cuivres
5
Trombone
5
Tuba (partie séparée)
5
2 Trompettes (duo)
4
2 Trombones (duo)
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Euphonium
2
2 Trompettes, Clavier (piano ou orgue)
1
Ensemble de Trompettes
1
Euphonium (partie séparée)
1
Trombone basse
1
Trombone, Orgue
1
Trio de Cuivres
1
Trompette, Cor (duo)
1
Quatuor de cuivres: 4 cors
1
Cor Anglais
1
Quatuor de cuivres: 4 trombones
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
47
Violon et Piano
47
2 Violoncelles (duo)
29
Alto, Piano
27
Violoncelle, Piano
25
Violon
16
Violon (partie séparée)
12
2 Violons (duo)
11
Harpe
11
Violon, Violoncelle (duo)
10
Violoncelle
9
Contre Basse
7
Contrebasse, Piano (duo)
7
Alto seul
7
Trio à Cordes: 2 violons, violoncelle
7
Alto (partie séparée)
6
Trio à Cordes: violon, alto, violoncelle
6
Violon, Alto (duo)
5
Contrebasse (partie séparée)
5
Violoncelle (partie séparée)
4
Alto, Violoncelle (duo)
4
Trio à Cordes: 2 violons, alto
3
2 Altos (duo)
3
Piano Trio: Violon, Alto, Piano
2
Violoncelle, Orgue
1
Harpe, Flûte (duo)
1
Ensemble d'Altos
1
Harpe, Voix
1
Ensemble de Violons
1
Ensemble de Violoncelles
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
512
Orchestre
56
Orchestre à Cordes
46
Ensemble de cuivres
26
Cloches
20
Orchestre de chambre
19
Ensemble Jazz
12
Percussion (partie séparée)
10
Ensemble de Percussions
6
Xylophone, Piano
3
Batterie
3
Fanfare
2
Percussion
1
Timbales (partie séparée)
1
Quintette de Cuivres: autres combinaisons
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
Once Again
Guitare
Partitions à imprimer
13 partitions trouvées
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1
ONCE AGAIN, Praise Lead Sheet (Includes Melody, Guitar Chords & Lyrics)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.617876 By Gary and Leah Lanier. By…
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Solo Guitar - Level 3 - Digital Download SKU: A0.617876 By Gary and Leah Lanier. By Gary Lanier. Arranged by Gary Lanier. Praise & Worship,Sacred. Individual part. 3 pages. The Lanier Company #6714881. Published by The Lanier Company (A0.617876). ONCE AGAIN, written by Gary Lanier, is an encouraging worship song that will have your congregation thanking God for always being faithful, once again.
$2.99
2.74 €
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Guitare
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Gary and Leah Lanier
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Gary Lanier
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ONCE AGAIN, Praise Lead Sheet
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The Lanier Company
#
SheetMusicPlus
One Day... Once Again
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.808961 Composed by Marcos Vinicius…
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Solo Guitar - Level 4 - Digital Download SKU: A0.808961 Composed by Marcos Vinicius. 20th Century,Contemporary. Individual part. 12 pages. Preludio s.r.l. #6140935. Published by Preludio s.r.l. (A0.808961). One Day... Once Again is a guitar piece written by the brazilian guitarist Marcos Vinicius.
$8.99
8.24 €
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Guitare
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Marcos Vinicius
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One Day... Once Again
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Preludio s.r.l.
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SheetMusicPlus
Fairylands
Guitare
Guitar - easy to intermediate - Digital Download SKU: S9.Q20921 6 Arpeggio Studi…
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Guitar - easy to intermediate - Digital Download SKU: S9.Q20921 6 Arpeggio Studies. Composed by Olivier Mayran de Chamisso. This edition: Sheet music. Downloadable. Schott Music - Digital #Q20921. Published by Schott Music - Digital (S9.Q20921). In this collection of concert studies, Olivier Mayran de Chamisso (*1955) shows once again his mastery both as an instrumentalist and as a composer. He manages to bring out effectively in his programmatic pieces a variety of arpeggio techniques and the associated tonal peculiarities of the guitar. Their style and diction are reminiscent of the great tradition of the Spanish Romantic school of Francisco Tárrega, Miguel Llobet, but also of the great studies of Heitor Villa-Lobos. Pieces of medium difficulty to add to the concert and recital repertoire.
$11.99
10.98 €
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Guitare
#
Olivier Mayran de Chamisso
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Fairylands
#
Schott Music - Digital
#
SheetMusicPlus
Etude No 10 opus 60 for Guitar
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.742404 Composed by Matteo Carcassi…
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Solo Guitar - Level 3 - Digital Download SKU: A0.742404 Composed by Matteo Carcassi. Arranged by Arte Nova Music Lab. Concert,Romantic Period,Standards,World. Individual part. 3 pages. Arte Nova Music Lab #3007597. Published by Arte Nova Music Lab (A0.742404). Carcassi was born in Florence, Italy, and first studied the piano, but learned guitar when still a child. He quickly gained a reputation as a virtuosoconcert guitarist.He moved to Germany in 1810, gaining almost immediate success. In 1815, he was living in Paris, earning his living as a teacher of both the piano and the guitar. On a concert tour in Germany in 1819, he met his friend Antoine Meissonnier for the first time. Also a famous guitarist, Meissonnier published many of Carcassi's works in his Paris publishing house. For Meissonnier he also arranged a number of popular songs for guitar that were originally written for piano, including works by Théodore Labarre and Loïsa Puget.From 1820 on, Carcassi spent the majority of his time in Paris. In 1823, he performed an extremely successful series of concerts in London that earned him great fame, both as a performing artist and as a teacher. However, in Paris, a long time passed before his talents were truly recognized, partly because of the presence of Ferdinando Carulli.Carcassi was in Germany again during autumn 1824. Afterwards he performed in London, where his reputation now gave him access to more prestigious concert halls. Finally he returned to Paris. For several years, he made concert trips from here to the most important cultural towns of Europe, including London. After a short return to performing in 1836, he quit his concert practice around 1840 and died in Paris in 1853. Taken from https://en.wikipedia.org/wiki/Matteo_Carcassi
$5.00
4.58 €
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Guitare
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Matteo Carcassi
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Arte Nova Music Lab
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Etude No 10 opus 60 for Guitar
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Arte Nova Music Lab
#
SheetMusicPlus
Common Chord Changes of Jazz Standards for Guitar
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.809097 Composed by Tony Benade. In…
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Solo Guitar - Level 4 - Digital Download SKU: A0.809097 Composed by Tony Benade. Instructional,Jazz. Individual part. 56 pages. Tony Benade #3480701. Published by Tony Benade (A0.809097). The Common Chord Progressions of Jazz Standards is part two of the study, Jazz, The Language of Music. Once a student has mastered their basic mechanics of the scales, chords and chord functions, it becomes important to become familiar with the normal chord progressions that are used in many of the jazz standards. There are many chord patterns that are repeated over and over again. Being able to recognize them quickly in any key becomes a very valuable tool.
$24.95
22.86 €
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Guitare
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Tony Benade
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Common Chord Changes of Jazz Standards for Guitar
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Tony Benade
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SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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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
6.41 €
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Guitare
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Richard Strauss
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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…
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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
6.41 €
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Guitare
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Richard Strauss
#
Rod Whittle
#
for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.41 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.41 €
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Guitare
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
10.98 €
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Guitare
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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SheetMusicPlus
Black Falcon
Guitare
Solo Guitar - Digital Download SKU: A0.1015930 Composed by Frank A. Wallace. 20th C…
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Solo Guitar - Digital Download SKU: A0.1015930 Composed by Frank A. Wallace. 20th Century,Contemporary. Individual part. 8 pages. Gyre Music #5022343. Published by Gyre Music (A0.1015930). Black Falconby Frank A. Wallaceguitar soloDuration: 9 minutes; 7 pagesSkill level: large stretches and fast scalesWritten: March, 2013, for Edel MuñozInstrumentation: classical guitar soloRecording: on Elemental CD by Frank Wallace for Gyre, 2014; and a single FLAC file also by Frank Wallace on GyreBlack Falcon is a guitar solo written for Cuban guitarist Edel Muñoz, who I first met at the 2011 St. Joseph Guitar Festival. Edel had returned to St. Joseph to perform his competition winner’s concert. We met again at Classical Minds in Houston in June 2012 at which point we got to hear each others’ concerts. Edel is one of the most suave and subtle yet powerful players I have ever heard. I was thrilled that he asked me to write a piece for him.At the time of composition I generally used various techniques for generating musical ideas developed over the previous years. But I tossed those ideas out the door and wrote from pure inspiration. The result is my first piece that uses the octatonic, or diminished scale. It alternates between dramatic chordal outbursts and flowing bass melodies. Black Falcon is in two sections: Larghissimo in 4/2 and Allegro in 12/8. This is a pattern I have used in several solo works and one duo that I call my Raptor Series.All Gyre Publications are ASCAPGyre PublicationsCopyright ©2013 Frank A. WallaceCover photography and design by Nancy KnowlesAll rights reserved.
$10.95
10.03 €
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Guitare
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Frank A
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Black Falcon
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Gyre Music
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SheetMusicPlus
Tarlenton's Riserrectione - Guitar
Guitare
Solo Guitar - Digital Download SKU: A0.742409 Composed by John Dowland. Arranged by…
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Solo Guitar - Digital Download SKU: A0.742409 Composed by John Dowland. Arranged by Arte Nova Music Lab. Concert,Renaissance,Standards. Individual part. 2 pages. Arte Nova Music Lab #3009351. Published by Arte Nova Music Lab (A0.742409). John Dowland[1] (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as Come, heavy sleep (the basis of Benjamin Britten's 1963 composition for guitar solo, Nocturnal after John Dowland), Come again, Flow my tears, I saw my Lady weepe and In darkness let me dwell, but his instrumental music has undergone a major revival, and with the 20th century'searly music revival, has been a continuing source of repertoire for lutenists and classical guitarists. Taken from https://en.wikipedia.org/wiki/John_Dowland
$5.00
4.58 €
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Guitare
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John Dowland
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Arte Nova Music Lab
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Tarlenton's Riserrectione - Guitar
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Arte Nova Music Lab
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SheetMusicPlus
Canto de mi corazon, meditacion, The singing of my heart, meditation
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.978021 Composed by Alfred Feenstra…
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Solo Guitar - Level 5 - Digital Download SKU: A0.978021 Composed by Alfred Feenstra. 20th Century,Concert,Contemporary,World. Individual part. 8 pages. Alfred Feenstra #4986005. Published by Alfred Feenstra (A0.978021). Here again a very special piece for the classical guitar. Now some years later for me, it feels like a kind of monument.A very intense work, hard labour for the right hand. If it flows well you get in a type of trance and then it has an effect that a meditation piece has.I played it for Leo Brouwer some time ago, with the fear that he would not like it al all. But happily, he judged it, like also my Gabriel piece that I played for, as very positive. The video is recorded in the tower of Benavites with a lot of natural acoustics
$4.50
4.12 €
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Guitare
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Alfred Feenstra
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Canto de mi corazon, meditacion, The singing of my heart, meditation
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Alfred Feenstra
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SheetMusicPlus
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