English version
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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
This Can't Be Love: Score
Non classifié
111
Piano & claviers
Piano Facile
61
Piano seul
57
Piano, Voix
28
Piano, Voix et Guitare
26
2 Pianos, 4 mains
21
Orgue
5
Piano grosses notes
3
Instruments en Do
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Clavier
1
Piano Trio: piano, violon, violoncelle
1
1 Piano, 4 mains
1
+ 7 instrumentations
Retracter
Guitares
Guitare notes et tablatures
12
Basse electrique
9
Guitare
7
Ukulele
5
Ligne De Mélodie, (Paroles) et Accords
4
Mandoline
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
18
Chorale 3 parties
8
Chorale 2 parties
4
Voix seule
2
Chorale Unison
2
Voix duo
1
Chorale TTBB
1
Voix duo, Piano
1
Chorale SSATTB
1
Voix Alto, Piano
1
+ 5 instrumentations
Retracter
Vents
Saxophone
18
2 Saxophones (duo)
16
Hautbois, Piano (duo)
10
Clarinette
8
Flûte traversière
8
2 Clarinettes (duo)
8
2 Flûtes traversières (duo)
7
Flûte traversière et Piano
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6
2 Hautbois (duo)
6
Quatuor de Saxophones: 4 saxophones
6
Saxophone Alto et Piano
6
Clarinette et Piano
6
Flûte, Hautbois, Clarinette, Basson
6
Saxophone Tenor et Piano
5
Cor anglais, Piano
4
Quintette de Saxophone: 5 saxophones
4
Saxophone, Clarinette (duo)
3
Clarinette, Trompette (duo)
2
Harmonica
2
3 Clarinettes (trio)
2
2 Flûte à bec (duo)
2
Clarinette, Violon (duo)
2
Saxophone Tenor
2
Quatuor de Clarinettes: 4 clarinettes
2
Saxophone Alto
2
Ensemble de Flûtes
1
Flûte, Clarinette et Basson
1
Hautbois, Flûte
1
Ensemble de Clarinettes
1
Flûte et Guitare
1
Clarinette et Alto
1
Flûte, Clarinette (duo)
1
Flûte, Saxophone (duo)
1
Flûte, Hautbois, Basson
1
Flûte, Violon
1
Flûte, Trompette (duo)
1
Hautbois, Clarinette (duo)
1
Flûte, Alto (duo)
1
Hautbois, Basson (duo)
1
Quatuor de Flûtes à bec
1
+ 36 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
13
Trombone et Piano
9
Trompette, Piano
8
Trombone
7
Trompette
7
Cor et Piano
6
2 Trompettes (duo)
6
Quatuor de Cuivres : 2 trompettes, trombone, tuba
6
2 Trombones (duo)
5
2 Cors (duo)
5
Cor anglais, Piano
4
Tuba et Piano
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Quatuor de cuivres: 4 trombones
3
Trompette, Saxophone (duo)
2
Euphonium, Piano (duo)
1
Trompette, Trombone (duo)
1
Cor
1
Ensemble de Cors
1
+ 14 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
28
Alto, Piano
9
Violon, Violoncelle (duo)
9
Violoncelle, Piano
8
Trio à Cordes: violon, alto, violoncelle
8
Trio à Cordes: 2 violons, violoncelle
7
2 Violoncelles (duo)
7
Harpe
6
2 Altos (duo)
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Violon et Piano
4
5 Harpes
2
Alto, Violoncelle (duo)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Trio à Cordes: 2 violons, alto
2
Contrebasse, Piano (duo)
2
3 Harpes
2
Violon, Guitare (duo)
1
Violon, Alto (duo)
1
Violon
1
Violoncelle
1
Alto seul
1
Harpe, Violon (duo)
1
+ 18 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
20
Ensemble Jazz
12
Orchestre à Cordes
10
Orchestre
8
Jazz combo
4
Orchestre de chambre
3
Ensemble de cuivres
3
Fanfare
2
Batterie
1
Cloches
1
+ 5 instrumentations
Retracter
Autres
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Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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MEDIEVAL - RENAISSAN…
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METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
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Vous avez sélectionné:
This Can't Be Love: Score
Guitare
Partitions à imprimer
7 partitions trouvées
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1
Ain't Nobody
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.746230 By Chaka Khan. By David Wol…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.746230 By Chaka Khan. By David Wolinski. Arranged by Michael Pilley. R & B. Individual part. 3 pages. Michael Pilley Music #5354301. Published by Michael Pilley Music (A0.746230). One of Chaka Khan's most loved songs, Ain't Nobody is a Grammy award winning synth fueled funk tune every cover band must have in their arsenal. This is a direct transcription of the guitar part on the recording, and engraved professionally to easily read down in a session.Beautifully laid out in A4 size, the score and parts are easy to read and available NOW for digital download. We suggest you print on 80gsm paper, to ensure that the copies last longer in your bands library. If you're printing on letter size paper, please fit to page when sending to the printer.More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
$5.00
4.6 €
#
Guitare
#
Chaka Khan
#
Michael Pilley
#
Ain't Nobody
#
Michael Pilley Music
#
SheetMusicPlus
Can't Help Falling In Love
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1421246 By Elvis Presley. By Georg…
(+)
Solo Guitar - Level 2 - Digital Download SKU: A0.1421246 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Benzaiten Editions. 20th Century,Pop,Rock,Singer/Songwriter,Wedding. Individual part. 7 pages. Benzaiten Editions #1002638. Published by Benzaiten Editions (A0.1421246). Hey there! Ready to dive into the enchanting melody of Can't Help Falling in Love? Let's make some music!Perfect for weddings, this song adds a touch of romance and nostalgia to any celebration. Dive into the depths of emotion and let the music carry you away on a journey of love and longing with this unforgettable classic.Elvis Presley • Can't Help Falling in Love • acoustic guitar sheet music w/ piano accompaniment [chords] Our edition | Benzaiten Editions By purchasing our edition, You'll be able to download:• Full score with all instruments of the arrangement• Acoustic guitar part About the song | Elvis Presley • Can't Help Falling in Love Can't Help Falling in Love is a timeless ballad made famous by the one and only Elvis Presley. With its tender lyrics and soul-stirring melody, this song has captured the hearts of generations since its release.Whether you're playing it solo or as part of a group, its emotive power and romantic allure are sure to captivate your audience and leave them swooning.
$6.99
6.43 €
#
Guitare
#
Elvis Presley
#
Benzaiten Editions
#
Can't Help Falling In Love
#
Benzaiten Editions
#
SheetMusicPlus
Can't Help Falling In Love
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1421244 By Elvis Presley. By Georg…
(+)
Solo Guitar - Level 2 - Digital Download SKU: A0.1421244 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Benzaiten Editions. 20th Century,Pop,Rock,Singer/Songwriter,Wedding. Individual part. 7 pages. Benzaiten Editions #1002636. Published by Benzaiten Editions (A0.1421244). Hey there! Ready to dive into the enchanting melody of Can't Help Falling in Love? Let's make some music!Perfect for weddings, this song adds a touch of romance and nostalgia to any celebration. Dive into the depths of emotion and let the music carry you away on a journey of love and longing with this unforgettable classic.Elvis Presley • Can't Help Falling in Love • acoustic guitar sheet music w/ piano accompaniment Our edition | Benzaiten Editions By purchasing our edition, You'll be able to download:• Full score with all instruments of the arrangement• Acoustic guitar part About the song | Elvis Presley • Can't Help Falling in Love Can't Help Falling in Love is a timeless ballad made famous by the one and only Elvis Presley. With its tender lyrics and soul-stirring melody, this song has captured the hearts of generations since its release.Whether you're playing it solo or as part of a group, its emotive power and romantic allure are sure to captivate your audience and leave them swooning.
$6.99
6.43 €
#
Guitare
#
Elvis Presley
#
Benzaiten Editions
#
Can't Help Falling In Love
#
Benzaiten Editions
#
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
6.44 €
#
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
6.44 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.44 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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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
6.44 €
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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
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