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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
You may Begin
Non classifié
297
Piano & claviers
Piano Facile
125
Piano seul
85
Accompagnement Piano
43
Piano, Voix
23
Orgue
17
Piano grosses notes
13
Piano, Voix et Guitare
10
Instruments en Do
9
1 Piano, 4 mains
5
Piano Trio: piano, violon, violoncelle
3
2 Pianos, 4 mains
1
+ 6 instrumentations
Retracter
Guitares
Guitare
9
Guitare notes et tablatures
4
Ukulele
4
Ukulele Baryton
1
Basse electrique
1
Dulcimer
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
42
Chorale 3 parties
10
Chorale Unison
7
Chorale 2 parties
7
Chorale SSAA
5
Chorale TTBB
2
Voix Soprano, Piano
1
Chorale
1
+ 3 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
18
Flûte traversière et Piano
15
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
9
Ensemble de Clarinettes
8
2 Saxophones (duo)
7
2 Clarinettes (duo)
7
Quatuor de Saxophones: 4 saxophones
6
Ensemble de saxophones
6
Flûte, Hautbois, Clarinette, Basson
6
Quatuor de Flûtes : 4 flûtes
5
Quintette de Flûte : 5 flûtes
5
2 Flûtes traversières (duo)
5
Clarinette
5
Clarinette et Piano
4
Clarinette, Violon (duo)
4
Ensemble de Flûtes
3
Hautbois, Piano (duo)
3
Saxophone Alto
2
Saxophone Tenor
2
Flûte traversière
2
Flûte, Clarinette (duo)
2
Saxophone Soprano et Piano
2
3 Clarinettes (trio)
1
Hautbois, Flûte
1
Saxophone
1
2 Flûte à bec (duo)
1
Clarinette Basse, Piano
1
Saxophone Tenor et Piano
1
Quatuor de Clarinettes: 4 clarinettes
1
Saxophone Alto et Piano
1
Cor anglais, Piano
1
Clarinette et Alto
1
Hautbois
1
Clarinette, Trompette (duo)
1
Flûte, Saxophone (duo)
1
Saxophone, Clarinette (duo)
1
2 Hautbois (duo)
1
Saxophone Baryton, Piano
1
3 Saxophones (trio)
1
Flûte, Violon
1
Hautbois (partie séparée)
1
Hautbois, Basson (duo)
1
+ 37 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
16
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
11
Trompette
8
Ensemble de Trombones
7
Ensemble de Trompettes
6
Trombone et Piano
3
Tuba
2
Trompette, Saxophone (duo)
2
2 Trombones (duo)
2
Tuba et Piano
2
2 Cors (duo)
2
Trompette, Piano
2
Cor et Piano
2
Trompette, Trombone (duo)
2
Quatuor de cuivres: 4 trombones
1
Cor anglais, Piano
1
2 Tubas (duo)
1
2 Trompettes (duo)
1
Trombone
1
Euphonium, Piano (duo)
1
Cor
1
+ 17 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
20
Harpe
19
Violon et Piano
10
Violon
8
Trio à Cordes: violon, alto, violoncelle
7
Violon, Violoncelle (duo)
5
2 Violoncelles (duo)
4
Ensemble de Violons
4
Violoncelle, Piano
3
2 Violons (duo)
3
2 Altos (duo)
3
Alto, Piano
3
5 Harpes
2
Violoncelle
2
Contrebasse, Piano (duo)
2
Alto seul
2
3 Harpes
2
Ensemble d'Altos
2
Contre Basse
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
4 Violoncelles
1
2 Violons, Piano
1
Trio à Cordes: 2 violons, violoncelle
1
Violon, Alto (duo)
1
Violon, Guitare (duo)
1
Violon (partie séparée)
1
Contrebasse (partie séparée)
1
Harpe, Voix
1
+ 23 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
46
Cloches
36
Orchestre à Cordes
24
Orchestre
9
Ensemble de cuivres
8
Ensemble Jazz
3
Ensemble de Percussions
3
Jazz combo
2
Batterie
2
Orchestre de chambre
1
Marimba
1
+ 6 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
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BATTERIE
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CHANT - CHO…
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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 …
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PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
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VIOLON
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
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COMEDIES MUSICALES -…
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ENFANTS : EVEIL - IN…
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FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
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TANGO
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Vendeurs (tous)
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Note4Piano
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Vous avez sélectionné:
You may Begin
Guitare
Partitions à imprimer
9 partitions trouvées
<
1
We Will Rock You
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Guitare
#
DÉBUTANT
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Queen
#
Brett Watchorn
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We Will Rock You
#
Brave Music Australia Publishing
#
SheetMusicPlus
Solo Guitar - Level 1 - SKU: A0.1121210 By Queen. By Brian May. Arranged by Brett Watchorn. Children,Pop,Rock. Individual part. 1 pages. Brave Music Aus...
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Solo Guitar - Level 1 - SKU: A0.1121210 By Queen. By Brian May. Arranged by Brett Watchorn. Children,Pop,Rock. Individual part. 1 pages. Brave Music Australia Publishing #722382. Published by Brave Music Australia Publishing (A0.1121210). We Will Rock You for Beginner Classical Guitar.
$4.99
Standard Music Reading for Beginning Guitar
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Guitare
#
DÉBUTANT
#
Methodes
#
Jay Jordan
#
Standard Music Reading for Beg
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Pro Creations Music
#
SheetMusicPlus
Acoustic Guitar - Level 1 - SKU: A0.1315011 By Jay Jordan. By Jay Jordan. Instructional. Educational Method. 18 pages. Pro Creations Music #903760. Publ...
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Acoustic Guitar - Level 1 - SKU: A0.1315011 By Jay Jordan. By Jay Jordan. Instructional. Educational Method. 18 pages. Pro Creations Music #903760. Published by Pro Creations Music (A0.1315011). Beginning guitar courses at the middle school and high school level can be a popular addition to curricula that so often center around performing groups. Such a course, when offered as a general music course, i.e.,a course that has no prerequisite and no public performance component, can be an attractive way for students to complete an arts requirement without an extra-curricular commitment.  At the same time a class like beginning guitar may serve as the only chance a music educator has to introduce the very idea of music to students as both an art form and a language. In todayâ??s on-line world there are countless avenues for learning guitar, be it YouTube videos, dedicated apps, or TAB sites. While the sharing of user-generated transcriptions of popular songs using tablature may be quick and easy, TAB sites do not employ standard music notation (not to mention being rife with mistakes both practical and theoretical). Standard Music Reading for Beginning Guitar was developed as a sequential, practical method for learning the basics of standard music notation using acoustic guitar as a vehicle. It is not meant to replace other methods e.g., the learning of popular songs or a music theory component, but as a companion so that students can learn about music as a language while, hopefully, continuing to enjoy guitar playing for years to come.
$10.00
Jazz Guitar Etudes
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Guitare
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FACILE
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Methodes Etudes
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Jazz
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Jazz Guitar Etudes
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Beginning - Intermediate - Digital Download Jazz. E-book. 116 pages. Mel Bay Publications - Digital Sheet Music #93844EB. Published by Mel B...
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Guitar - Beginning - Intermediate - Digital Download Jazz. E-book. 116 pages. Mel Bay Publications - Digital Sheet Music #93844EB. Published by Mel Bay Publications - Digital Sheet Music
8.75 x 11.75 inches.
At first hearing, fingerstyle solo jazz guitar can be more than a little overwhelming. Melding together are improvised lead lines and chordal work and bass lines and rhythmics. Relax. Since you already play jazz with a pick, you are familiar with many of the musical elements used in fingerstyle jazz. It is just that it may not be obvious to you what, specifically, fingerstyle concepts and techniques are. That is exactly where this book begins.
$19.99
A Bright Summer Night
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Guitare
#
INTERMÉDIAIRE
#
Contemporain
#
Tomas Ericsson
#
A Bright Summer Night
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Tomas Ericsson
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1083293 Composed by Tomas Ericsson. Classical,Contemporary. Individual part. 3 pages. Tomas Ericsson #687489. Published ...
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Solo Guitar - Level 3 - SKU: A0.1083293 Composed by Tomas Ericsson. Classical,Contemporary. Individual part. 3 pages. Tomas Ericsson #687489. Published by Tomas Ericsson (A0.1083293). A Bright Summer Night is a piece of contemporary classical guitar music which I wrote in June 2022, during the brightest time of the year. The level of difficulty is intermediate which means that if you're a beginner it might be too difficult. However many parts of the music is fairly easy, so even if you consider yourself to be at easy intermediate level you could give it a try. Maybe this piece is the one that takes you to the next level! Duration: 2:49 Performing Rights Organization: STIM (Sweden).
$3.00
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
#
Richard Strauss
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Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
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Maggie Creek Music
#
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
'A golden time ...' from Ariadne auf Naxos
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Guitare
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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
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
#
INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
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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
Overture from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
#
Maggie Creek Music
#
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.
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