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CITHARE
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CLARINETTE
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CLOCHES
CONTREBASSE
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COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
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FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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GUITARE PED…
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HAUTBOIS
LIVRES
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MANDOLINE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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
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PIANO
SAXOPHONE
SYNTHETISEUR
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ASIE
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CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
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FILM - TV
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KLEZMER - JUIVE
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574
PIANO & CLAVIERS
Piano seul
183
Piano Facile
62
1 Piano, 4 mains
32
Orgue
14
Piano, Voix
9
Piano, Voix et Guitare
8
Piano Quatuor: piano, violon, alto, violoncelle
7
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Orgue, Piano (duo)
4
Piano Trio: piano, violon, violoncelle
3
Clavecin
1
Piano grosses notes
1
Piano Quatuor: piano, 2 violons, violoncelle
1
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GUITARES
4 Guitares (Quatuor)
9
Piano, Guitare (duo)
7
Guitare
7
Basse electrique
7
Ukulele
4
3 Guitares (trio)
3
2 Guitares (duo)
2
Guitare Tab, Voix, Basse, Batterie
1
Instrumentations suivantes
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VOIX
Chorale Unison
5
Chorale SATB
4
Chorale TTBB
1
Voix duo
1
Voix duo, Piano
1
VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
41
Flûte traversière et Piano
40
Quatuor de Clarinettes: 4 clarinettes
38
Hautbois, Piano (duo)
36
Clarinette et Piano
35
Saxophone Tenor et Piano
33
Quatuor de Saxophones: 4 saxophones
33
Saxophone Soprano et Piano
32
Flûte, Hautbois, Clarinette, Basson
28
Ensemble de Flûtes
26
2 Flûtes traversières (duo)
23
Saxophone Alto et Piano
23
3 Saxophones (trio)
20
Flûte, Violon et Violoncelle
14
2 Clarinettes (duo)
14
Quintette de Saxophone: 5 saxophones
14
Quatuor de Flûtes : 4 flûtes
14
Ensemble de Clarinettes
13
Saxophone Baryton, Piano
12
3 Clarinettes (trio)
11
2 Saxophones (duo)
10
Cor anglais, Piano
9
Clarinette
9
Clarinette Basse, Piano
9
Ensemble de saxophones
9
Flûte, Clarinette et Basson
7
Flûte, trombone et piano
6
Flûte, Clarinette, Piano (trio)
6
Clarinette, Violoncelle, Piano (trio)
6
Flûte, Violon, Violoncelle et Piano
5
Trio de Flûtes: 3 flûtes
5
Quatuor de Flûtes à bec
5
2 Clarinettes, Piano
4
Clarinette, Violon (duo)
4
Flûte, Hautbois, Piano (trio)
4
Flûte, Alto et Piano
4
Flûte, Hautbois, Clarinette (trio)
4
Quintette de Clarinettes: 5 clarinettes
4
Saxophone (partie séparée)
4
Flûte, Clarinette (duo)
4
Flûte, Violoncelle, Piano (trio)
3
Flûte, Hautbois, Basson
3
Clarinette (partie séparée)
3
Harmonica
3
Quintette de Flûte : 5 flûtes
3
Hautbois, Basson (duo)
3
Clarinette, trompette et piano
2
Flûte, Violon
2
2 Hautbois (duo)
2
2 Flûtes traversières, Piano
2
Flûte, Basson et Piano
2
Clarinette, Basson (duo)
2
Flûte à Bec
1
Flûte traversière, Orgue (duo)
1
3 Flûtes à bec (trio)
1
2 Flûte à bec (duo)
1
Flute, harpe et violon
1
Flûte à bec Soprano
1
Flûte, Violon, Piano
1
Flûte, Violoncelle, Guitare
1
Flûte, Alto (duo)
1
Flûte, Violoncelle
1
Ensemble De Flûte à bec
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Trombone (duo)
1
Hautbois, Harpe
1
Flûte, Hautbois (duo)
1
Hautbois, Clarinette (duo)
1
Clarinette, Violoncelle (duo)
1
Clarinette, Harpe (duo)
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
59
Trombone et Piano
31
Trompette, Piano
28
Quatuor de Cuivres: 2 trompettes, Cor, trombone
26
Quatuor de Cuivres : 2 trompettes, trombone, tuba
26
Quatuor de cuivres: 4 trombones
16
Cor et Piano
14
Euphonium, Piano (duo)
13
2 Trompettes (duo)
11
Quatuor de Cuivres
10
Cor anglais, Piano
9
Trompette
8
Trio de Cuivres
7
Quatuor de cuivres: 4 cors
7
4 Tubas
5
Ensemble de Trombones
5
Quatuor de cuivres: 4 trompettes
5
Trompette, Trombone (duo)
5
2 Euphoniums et 2 Tubas
5
Ensemble de Trompettes
4
Trompette (partie séparée)
4
Cor (partie séparée)
3
Trombone (partie séparée)
2
Ensemble de Tubas
2
2 Cors (duo)
2
Trompette, violon (duo)
1
2 Trombones (duo)
1
3 Trompettes (trio)
1
2 Tubas (duo)
1
3 Trombones (trio)
1
Trompette, Violoncelle et Piano
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Cor et Orgue
1
Cor
1
Tuba
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
142
Alto, Piano
36
Violoncelle, Piano
33
Violon et Piano
28
Trio à Cordes: violon, alto, violoncelle
24
2 Violons (duo)
19
4 Violoncelles
16
Violon, Alto (duo)
14
Quatuor à cordes: 4 violons
13
Violon, Violoncelle (duo)
12
2 Violoncelles (duo)
8
Trio à cordes: 3 violins
6
Quatuor à cordes : 4 altos
5
Trio à Cordes: 3 violoncelles
5
Trio à Cordes: 2 violons, violoncelle
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Harpe, Flûte (duo)
3
4 Contrebasses
2
Violon (partie séparée)
2
Alto, Violoncelle (duo)
2
Ensemble de Violons
2
3 Contrebasses
1
Harpe
1
Alto seul
1
2 Contrebasses (duo)
1
Contrebasse (partie séparée)
1
2 Altos (duo)
1
Contrebasse, Piano (duo)
1
Trio à cordes: 3 altos
1
2 Violons, Piano
1
Violoncelle, Contrebasse (duo)
1
Piano Trio: Violon, Alto, Piano
1
2 Violoncelles, Piano
1
Trio à cordes
1
Violon, Clarinette, Piano (trio)
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
433
Orchestre
279
Orchestre à Cordes
185
Orchestre de chambre
59
Ensemble de cuivres
53
Ensemble Jazz
6
Cloches
6
Quintette à Vent
5
Ensemble de Percussions
4
Batterie
3
Fanfare
3
Percussion (partie séparée)
2
Vibraphone (partie séparée)
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
Overture: Score
SheetMusicPlus
Partitions à imprimer
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1
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
6.4 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture/prologue
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1388284 By ABBA. By Benny Andersso…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1388284 By ABBA. By Benny Andersson, Bjorn Ulvaeus, and Stig Anderson. Arranged by Julius Marx. Broadway,Film/TV,Musical/Show,Pop,Rock,Singer/Songwriter. Individual part. 100 pages. Julius Marx #971882. Published by Julius Marx (A0.1388284). The full Guitar 1 score of the Broadway Musical Mamma Mia.
$4.99
4.56 €
#
Guitare
#
ABBA
#
Julius Marx
#
Overture/prologue
#
Julius Marx
#
SheetMusicPlus
Overture/prologue
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1388285 By ABBA. By Benny Andersso…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.1388285 By ABBA. By Benny Andersson, Bjorn Ulvaeus, and Stig Anderson. Arranged by Julius Marx. Broadway,Film/TV,Musical/Show,Pop,Rock,Singer/Songwriter. Individual part. 98 pages. Julius Marx #971883. Published by Julius Marx (A0.1388285). The full Guitar 2 score of the Broadway Musical Mamma Mia.
$4.99
4.56 €
#
Guitare
#
ABBA
#
Julius Marx
#
Overture/prologue
#
Julius Marx
#
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
6.4 €
#
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
6.4 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.4 €
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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
In An English Garden
Guitare
Guitar - Advanced - Digital Download SKU: ZY.DO-1529 Composed by Dusan Bogdanovic. …
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Guitar - Advanced - Digital Download SKU: ZY.DO-1529 Composed by Dusan Bogdanovic. Score. 8 pages. Les Editions Doberman-Yppan (digital) #DO 1529. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1529). Homage to the English guitarist-composer John Duarte, In an English Garden, is a short Neo-Baroque triptych based on a charming harmonic fragment from the second movement of the composer?s well-known work English Suite. The blueprint for the Prelude is in the French Overture style and Sarabande with the accompanying Double is modelled after Bach?s Partita no.1 in B minor. The quote Sitting in an English garden, waiting for the sun, is from one of my favorite songs by John Lennon, I Am The Walrus.Hommage au guitariste-compositeur anglais John Duarte, In an English Garden est un court triptyque néo-baroque basé sur un charmant fragment harmonique du deuxième mouvement de l??uvre bien connue du compositeur English Suite. Le plan du Prélude est dans le style de l?Ouverture française et la Sarabande accompagnée du Double est calquée sur la Partita n°1 en si mineur de Bach. La citation « Assis dans un jardin anglais, attendant le soleil » est tirée d?une de mes chansons préférées de John Lennon, I Am The Walrus.
$5.95
5.44 €
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Guitare
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Dusan Bogdanovic
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In An English Garden
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Les Editions Doberman-Yppan
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SheetMusicPlus
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