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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
The waltz of time
Non classifié
201
Piano & claviers
Piano seul
691
Piano Facile
82
Piano, Voix
58
1 Piano, 4 mains
19
Instruments en Do
7
Piano, Voix et Guitare
4
2 Pianos, 4 mains
3
Orgue
3
Accompagnement Piano
2
Piano Trio: piano, violon, violoncelle
1
Accordéon
1
+ 6 instrumentations
Retracter
Guitares
Guitare
13
Guitare notes et tablatures
11
2 Guitares (duo)
7
Banjo
2
Ligne De Mélodie, (Paroles) et Accords
1
Mandoline
1
Ukulele
1
4 Guitares (Quatuor)
1
Guitare, Violon, Violoncelle (trio)
1
3 Guitares (trio)
1
+ 5 instrumentations
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Voix
Chorale SATB
25
Chorale SSAA
9
Chorale 2 parties
9
Chorale 3 parties
7
Chorale TTBB
7
Voix duo, Piano
5
Voix duo
2
Voix Soprano, Piano
2
Chorale Unison
2
Voix basse
1
Voix Alto, Piano
1
Voix haute
1
+ 7 instrumentations
Retracter
Vents
2 Saxophones (duo)
38
Flûte traversière et Piano
35
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
23
Clarinette et Piano
23
2 Clarinettes (duo)
22
Hautbois, Piano (duo)
22
Quatuor de Saxophones: 4 saxophones
22
Saxophone Alto et Piano
18
Quatuor de Clarinettes: 4 clarinettes
17
Saxophone, Clarinette (duo)
16
2 Flûtes traversières (duo)
16
Clarinette
15
Saxophone Alto
12
Flûte, Clarinette (duo)
12
Flûte traversière
11
Clarinette, Violon (duo)
10
Quatuor de Flûtes : 4 flûtes
10
Clarinette, Trompette (duo)
9
Quintette de Saxophone: 5 saxophones
9
Flûte, Hautbois, Clarinette, Basson
9
Saxophone Tenor
8
Ensemble de Clarinettes
8
Saxophone Soprano et Piano
7
Hautbois (partie séparée)
7
Flûte, Saxophone (duo)
7
Clarinette Basse, Piano
7
Saxophone Tenor et Piano
6
2 Hautbois (duo)
6
Hautbois, Clarinette (duo)
6
Saxophone Baryton, Piano
6
Flûte, Violon
6
Flûte, Alto (duo)
6
Hautbois, Basson (duo)
5
Ensemble de Flûtes
5
Hautbois, Flûte
5
Clarinette et Alto
5
Ensemble de saxophones
4
Saxophone (partie séparée)
4
Flûte, Trompette (duo)
4
3 Clarinettes (trio)
3
Trio de Flûtes: 3 flûtes
3
2 Clarinettes, Piano
2
Hautbois, Clarinette, Basson (trio d'anches)
2
2 Flûte à bec (duo)
2
Ensemble De Flûte à bec
2
3 Saxophones (trio)
2
Cor Anglais
2
Clarinette, Guitare (duo)
2
Flûte et Guitare
2
Flûte, Violon, Piano
2
Flûte, Hautbois (duo)
1
5 Flûtes à bec
1
Flûte à bec Tenor
1
Flûte, Violon, Violoncelle et Piano
1
Clarinette, Basson (duo)
1
Hautbois, violon (duo)
1
Flûte, Basson et Piano
1
Quintette de Flûte : 5 flûtes
1
Flûte à Bec, Piano
1
Quintette de Clarinettes: 5 clarinettes
1
Piccolo, Piano
1
+ 56 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
34
Quatuor de Cuivres : 2 trompettes, trombone, tuba
15
Trompette
13
Trombone
12
Trompette, Saxophone (duo)
11
2 Trompettes (duo)
9
Euphonium, Piano (duo)
8
Trompette, Trombone (duo)
8
2 Trombones (duo)
8
Trompette, Piano
7
Trombone et Piano
6
Cor
5
Tuba et Piano
5
Tuba
5
Cor et Piano
4
Trompette (partie séparée)
3
4 Tubas
2
Trompette, Cor (duo)
2
Cor Anglais
2
Euphonium
2
Quatuor de cuivres: 4 cors
1
Ensemble de Trompettes
1
Ensemble de Cors
1
3 Trombones (trio)
1
Ensemble de Trombones
1
Trombone basse et Piano
1
2 Tubas (duo)
1
Quatuor de cuivres: 4 trombones
1
+ 23 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
39
Violon et Piano
31
Violon
21
Alto, Piano
19
Violon, Violoncelle (duo)
18
Violoncelle, Piano
16
Violoncelle
14
Trio à Cordes: violon, alto, violoncelle
12
Harpe
10
2 Violons (duo)
10
Violon, Alto (duo)
9
2 Violoncelles (duo)
8
Alto seul
7
Contre Basse
7
Contrebasse, Piano (duo)
6
Violon, Guitare (duo)
4
Trio à Cordes: 2 violons, violoncelle
4
Alto (partie séparée)
4
2 Altos (duo)
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
Harpe, Voix
2
4 Contrebasses
2
Violoncelle , Guitare (duo)
2
Violon, Clarinette, Piano (trio)
1
Alto, Violoncelle (duo)
1
+ 20 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
70
Orchestre à Cordes
21
Ensemble Jazz
13
Orchestre
12
Ensemble de cuivres
7
Cloches
4
Ensemble de Percussions
3
Xylophone
2
Marimba
2
Orchestre de chambre
1
Fanfare
1
Vibraphone
1
+ 7 instrumentations
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--INSTRUMENTS--
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ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLAIRON
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Vous avez sélectionné:
The waltz of time
Guitare
Partitions à imprimer
13 partitions trouvées
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1
'A golden time ...' from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Dan Levenson's Master Collection of Old-Time Tunes
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Guitare
#
INTERMÉDIAIRE
#
Country
#
Dan Levenson's Master Collecti
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Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Guitar - Intermediate - SKU: M0.31088EB Over 300 tunes in standard notation for all instruments. Country. E-book. 125 pages. Mel Bay Publications...
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Guitar - Intermediate - SKU: M0.31088EB Over 300 tunes in standard notation for all instruments. Country. E-book. 125 pages. Mel Bay Publications - Digital Sheet Music #31088EB. Published by Mel Bay Publications - Digital Sheet Music (M0.31088EB). ISBN 9781513473437. 8.75X11.77 inches.Whether you already play old-time music, or you are just getting started, this is the book for you.áDan LevensonÆs Master Collection of Old-Time Tunesápresents more than 300 tunes in standard notation with suggested chords for you to explore and enjoy. All but a few are traditional or older tunes and are easily searched online to discover their pedigree as well as several recorded versions of them.Some might call this a complete repertoire in a book in the following sense: It is a large though not encyclopedic collection of old-time fiddle tunes played in todayÆs sessions.Learning the tunes in this book will give you a solid old-time repertoire that would allow you to join in jams in the many communities playing old-time music today.
Song List
: Ain't Gonna Get No Supper Here Tonight Altamont Angelina Baker (aka Angeline the Baker) Antelope Gap Arkansas Traveler Avalon Quickstep And The Cat Came Back Barlow Knife (John Salyer) Barlow Knife (Song) Banjo Tramp Been To The East, Been To The West Big Eyed Rabbit Big John McNeil Big Scioto Bill Cheatam Billy In The Low Ground Black Eyed Suzianna (aka Susiana) Black Cat in a Briar Patch Black Hills Waltz Black Jack GroveBlackbird Says to the CrowBoatman Bob Tailed Mule Booth Shot Lincoln Bowl-a-Rama Breaking Up Christmas Briar Picker Brown Broken Down Gambler Buck Mountain Buffalo Gals (KY version in G) Buffalo Gals (Common version in G) Buffalo Gals (in A) Buckin' Dun ull at the Wagon Camp Chase Camp Meeting on the 4th of July Candy Girl Chase the Squirrel Chattanooga Cincinnati Hornpipe Cherokee Shuffle (in A) Cherokee Shuffle (in D) Chinese Breakdown Climbing the Golden Stairs Chinquapin Hunting (in A) Chinquapin Hunting (in D Stamper) Coast Is Clear Cluck Old Hen Colored Aristocracy Cookhouse Joe Crow Little Rooster Crook Brothers Breakdown Crow Creek Cuffy Cuckoo's Nest in D Cuckoo's Nest in A (aka Richmond) Dance All Night with a Bottle in My Hand Devil Eat the Groundhog Dinah Doctor, Doctor Dogs in the Dishes Double File Dry And Dusty Drunken Hiccups Ducks on the Mill Pond Dubuque Duck River Ducks in the pond Duke of Kent's Waltz Mr. Fishar's Hornpipe (aka Fisher's Hornpipe) Durang's Hornpipe Dusty Miller Ebenezer
$19.99
Excerpt from the Last Part of Ariadne Auf Naxos
#
Guitare
#
INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Waltz No. 1 Opus 57
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Guitare
#
FACILE
#
Mauro Giuliani
#
Brian Streckfus
#
Waltz No. 1 Opus 57
#
Brian Streckfus
#
SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1468989 Composed by Mauro Giuliani. Arranged by Brian Streckfus. 19th Century,Classical,Historic,Instructional. Individu...
(+)
Solo Guitar - Level 2 - SKU: A0.1468989 Composed by Mauro Giuliani. Arranged by Brian Streckfus. 19th Century,Classical,Historic,Instructional. Individual part. 2 pages. Brian Streckfus #1047058. Published by Brian Streckfus (A0.1468989). This is more utilitarian than a creative arrangement, and by that I mean that this is designed to save you time fingering and analyzing, which is often the tedious stuff that hardly anyone would enjoy over actually playing the piece.The fingering numbers are truly fingering numbers so don't let the numbers confuse you on what pitch it is. These numbers are more difficult to understand than just fret numbers, but they are more professional. I have glissando markings, but they are to show pivot fingers and parallelisms rather than glissandos. Having chord names for classical music is unconventional, but that is part of what gives this arrangement its uniqueness. I'm not sure why classical sheet music doesn't; the chord names are extremely beneficial, and they technically stem from figured bass that composers like Bach would use. Sometimes it is tricky to give a measure a chord name though, since sometimes it is more of an implied harmony, or it's too vague, or it's too melodic. Features1. Fingerings added 2. Position markers added3. Chord names added4. Engraved for obvious phrases5. Composer indications added.
$1.99
Harmonic Waltz (Etude), Op. 2a
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Guitare
#
FACILE
#
Philip Hemmo
#
Harmonic Waltz
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Project Aurora
#
SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1031267 Composed by Philip Hemmo. 20th Century,Romantic Period. Individual part. 2 pages. Project Aurora #3092173. Publi...
(+)
Solo Guitar - Level 2 - SKU: A0.1031267 Composed by Philip Hemmo. 20th Century,Romantic Period. Individual part. 2 pages. Project Aurora #3092173. Published by Project Aurora (A0.1031267). Originally published in the 1998 & 2004 Textbook Beginning Classroom Guitar by Philip Hemmo. This updated score is perfect for the beginning/low intermediate student seeking practice with harmonics. It is melodic and the perfect length for a student to master in a short period of time.
$1.99
The Old Man and the Sea
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Guitare
#
INTERMÉDIAIRE
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Apostolos Paraskevas
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The Old Man and the Sea
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Silver Sickle Publications
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.942112 Composed by Apostolos Paraskevas. 20th Century,Children,Contemporary,World. Individual part. 10 pages. Silver Sic...
(+)
Solo Guitar - Level 3 - SKU: A0.942112 Composed by Apostolos Paraskevas. 20th Century,Children,Contemporary,World. Individual part. 10 pages. Silver Sickle Publications #6598285. Published by Silver Sickle Publications (A0.942112). It is based on Ernest Hemingway's book the Old man and the Sea. The music describes Santiago's emotions, thoughts and actions in his last journey. The magnitude of the vast ocean, the anticipation of catching the fish, memories of a distant waltz and the exciting fight that ends in triumph. Now it's time to return home with his valuable possession. He already won the last and most important fight of his life.
$11.99
Invocation of Darkness
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Guitare
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AVANCÉ
#
Contemporain
#
Brad Rau
#
Invocation of Darkness
#
Brad Rau
#
SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1243643 By Brad Rau. By Brad Rau. 20th Century. Individual part. 6 pages. Brad Rau #838597. Published by Brad Rau (A0.12...
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Solo Guitar - Level 5 - SKU: A0.1243643 By Brad Rau. By Brad Rau. 20th Century. Individual part. 6 pages. Brad Rau #838597. Published by Brad Rau (A0.1243643). This piece was composed by Brad Rau for solo guitar. Rau has always been fascinated with dark, evil, sounding music, and this is his attempt to write some that are truly dark. This is also inspired when Rau has a kidney rupture that eventually causes him to have it removed. This was recorded on Brad's third album, In a Very Unusual Manner. The main theme is based on two minor chords a tritone apart. It then accelerates in tempo into an octatonic excitement with constant time signature changes that jar the listener. Then the main theme comes back, this time in Tremolo. It ends with the same solo theme it begins with. The piece is inspired by works of Erik Satie, Invocation and Dance by Joaquin Rodrigo, and the Usher Waltz by Nikita Koshkin.
$6.99
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
Variations on a Theme by Tommie Wright
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Ted Stanley
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Variations on a Theme by Tommi
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Ted Stanley
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.923993 Composed by Ted Stanley. Contemporary. Individual part. 13 pages. Ted Stanley #6639293. Published by Ted Stanley ...
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Solo Guitar - Level 4 - SKU: A0.923993 Composed by Ted Stanley. Contemporary. Individual part. 13 pages. Ted Stanley #6639293. Published by Ted Stanley (A0.923993). Tommie Wright (1919 - 2014) was an American pianist and long-time professor at Florida State University where in 1950 he set to music a poem by student Doug Alley to create the FSU Fight Song, the theme of which is the basis for this set of variations for solo guitar.The audio file (Listen) offers the 2nd (Waltz) and 7th (Swing) variations, while the video (Watch) is the 1st variation, where the theme is in the bass.Although the printed order is appropriate, the variations might be performed in any order, or in groupings of three, four, or more. Many of the variations highlight idiomatic techniques of classical guitar performance and could be practiced as studies.Contact: tstanley@fsu.edu (email)
$10.00
Waltz from childhood
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Guitare
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DÉBUTANT
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Valery Dzyabenko
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Valery Dzyabenko
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Waltz from childhood
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Valery Dzyabenko
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.978148 Composed by Valery Dzyabenko. Arranged by Valery Dzyabenko. Blues,Children,Contemporary,Standards,World. Individu...
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Solo Guitar - Level 1 - SKU: A0.978148 Composed by Valery Dzyabenko. Arranged by Valery Dzyabenko. Blues,Children,Contemporary,Standards,World. Individual part. 3 pages. Valery Dzyabenko #6383677. Published by Valery Dzyabenko (A0.978148). A very simple piece of music for completing the first year of classical guitar studies. Key in A minor. Waltz can be performed at any tempo. Playing time 1.10.
$2.00
VALSA SENTIMENTOS (FEELINGS WALTZ) ANTÔNIO JUSTINO RIBEIRO - FOR GUITAR SOLO
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Guitare
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DÉBUTANT
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Classique
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FALLAHIN SCORE EDITIONS
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Marcelo Fallahin
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VALSA SENTIMENTOS
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Fallahin Score Editions
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SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.518902 By FALLAHIN SCORE EDITIONS. By ANTÔNIO JUSTINO RIBEIRO. Arranged by Marcelo Fallahin. Classical. Individual p...
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Solo Guitar - Level 1 - SKU: A0.518902 By FALLAHIN SCORE EDITIONS. By ANTÔNIO JUSTINO RIBEIRO. Arranged by Marcelo Fallahin. Classical. Individual part. 3 pages. Fallahin Score Editions #129583. Published by Fallahin Score Editions (A0.518902). Antônio Justino Ribeiro (1889 - 1961) was a former Brazilian slave who gained education and became a scholarly musician. He was a guitarist, a music teacher and a relevant composer. He directed bands and orchestras in small villages around his remote homtown. Marcelo Fallahin restored and published twenty of his pieces for guitar, written in the 1920s.
$8.00
Alice In Wonderland
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Guitare
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AVANCÉ
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Bill Evans
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Christopher J
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Alice In Wonderland
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Christopher J. Malin
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1459406 By Bill Evans. By Bob Hilliard and Sammy Fain. Arranged by Christopher J. Malin. 20th Century,Contemporary,Film/...
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Solo Guitar - Level 5 - SKU: A0.1459406 By Bill Evans. By Bob Hilliard and Sammy Fain. Arranged by Christopher J. Malin. 20th Century,Contemporary,Film/TV,Jazz,Standards. Individual part. 2 pages. Christopher J. Malin #1038354. Published by Christopher J. Malin (A0.1459406). Solo jazz guitar chord/melody arrangement with tablature. This one is by Sammy Fain/Bob Hilliard in 1951. I believe this was written for an early Disney animated film. Watching this piece (available online) may help you get a feel for it. It’s in a ¾ jazz waltz time signature. I also believe Dave Brubeck covered it.I interpreted many chords to be played as triads or eliminated, and single notes are used. I tend to use a minimalist style that keeps the important parts of the music. I arranged it to be played an octave above as written (8 va.). It sounds great on electric guitars. Accurate intonation is important on this song. You do need access to the upper notes. It explores the upper register of the guitar. I also play many of the chords as arpeggios (varying between high note to low note and vice versa). It is a very beautiful tune! I hope you will like it! I certainly do!P.S. I have to admit, I like using chorus and delay on the electric guitar, it gives an ethereal quality to this one!
$4.99
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The waltz of time
