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Alto seul
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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PERCUSSIONS & ORCHESTRES
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Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
He's A Pirate
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1042158 Composed by Geoffrey Zanel…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1042158 Composed by Geoffrey Zanelli, Hans Zimmer, and Klaus Badelt. Arranged by Paul Adrian Moldez. Celtic,Classical,Contemporary,Film/TV,Irish. Individual part. 7 pages. Paul Adrian Moldez #646961. Published by Paul Adrian Moldez (A0.1042158). He's a Pirate is a musical theme written by Klaus Badelt for the Pirates of the Caribbean films (Series of adventure films about Pirates, arguably the best of its kind). He's a Pirate is featured at the end of each film and it's the first theme that you'll hear as soon as the credits roll. It takes its name from an interesting line in the film referring to Jack Sparrow He's a pirate!, exclaimed by Weatherby Swan, to which William Turner replies with And a good man!.
$4.99
4.63 €
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Guitare
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Geoffrey Zanelli, Hans Zimmer, and Klaus Badelt
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Paul Adrian Moldez
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He's A Pirate
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Paul Adrian Moldez
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SheetMusicPlus
Guitar Finger Independence Method
Guitare
Guitar - Intermediate - Digital Download SKU: M0.30969MEB Folk. Ebook and online au…
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Guitar - Intermediate - Digital Download SKU: M0.30969MEB Folk. Ebook and online audio. 137 pages. Mel Bay Publications - Digital Sheet Music #30969MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30969MEB). ISBN 9781513472911. 8.75X11.75 inches.As a guitarist, have you ever dreamed of playing contrapuntal bass lines and melodies? Or maybe you would like to sound more like a pianist, able to perform fluently with independent right and left hands.Playing multiple lines simultaneously can be one of the most physically and mentally demanding challenges posed by the guitar. Using the concept of planted notesùa fretting-hand finger that remains in place while the other fingers play scale-like passages or arpeggiosù this book will methodically guide you towards right and left-hand finger independence.Written in standard notation and tablature, this no-nonsense revolutionary method is the first of its kind. Together with 95 online audio recordings, it will help you build finger independence in both hands, approaching that of a pianist. Includes access to online audio.
$24.99
23.17 €
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Guitare
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Guitar Finger Independence Method
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Complete Book of Guitar Chords, Scales, and Arpeggios
Guitare
By William Bay. For Guitar (All). All Styles. 296 pages. Published by Mel Bay Publications…
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By William Bay. For Guitar (All). All Styles. 296 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609741761. We believe this to be the most complete and thorough book of its kind in print! The Scale Section contains major and minor scales in numerous forms and positions. The Arpeggio Section contains a multi- octave presentation of each chord-related arpeggio. The Chord Section presents carefully voiced, powerful-sounding chords in every key. In addition, chord spelling, chord notes, and scale tones are shown. A wealth of information for daily practice performance.
$24.99
23.17 €
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Guitare
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William Bay
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Complete Book of Guitar Chords, Scales, and Arpeggios
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
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Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Guitar. The Praxis System. Downloadable. Op. Vol. 3. Advance Music #Q54673. Published by Advance Music
The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or ...
$23.99
22.25 €
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Guitare
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Guitar Compendium
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Advance Music
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SheetMusicPlus
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
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Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Theorie. The Praxis System. Downloadable. Op. Vol. 1. Advance Music #Q54672. Published by Advance Music
English.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or
$23.99
22.25 €
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Guitare
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Guitar Compendium
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Advance Music
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SheetMusicPlus
Mauro Giuliani: Sonatina in C op.71 no.1
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1392100 Composed by Mauro Giuliani…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. Socrates Arvanitakis #975591. Published by Socrates Arvanitakis (A0.1392100). PREFACE AND BRIEF ANALYTICAL NOTESThe three sonatinas op.71 by Mauro Giuliani in C, G, and D were first published in 1816 in Vienna and were intended as student pieces of progressive difficulty. In parallel with this intention they are also fully developed three-movement works which reveal Giulianiâ??s technique as a composer with harmony, counterpoint, and structure.They certainly have the time length and the variety of full scale sonatas, but here Giuliani has chosen to use the supporting structures of sonatas met in movements other than the first, such as Menuetto and Trio, Rondo, Marcia and Trio, Scherzo and Trio, etc,  rather than sonata form itself.As it stands, this first sonatina in C has the following three movements:1 Maestoso (Moderato) which is a set of a theme and three variations, or better termed as a set of mathematical divisions reminiscent of an earlier era, as the accompaniment of the theme is given in crotchets, quavers, quaver triplets, and semi-quavers.2 Menuetto-Trio-Menuetto da capo written typically in the subdominant key of F and fully developed as per classical 19th century usage.3 Rondo. This movement is also written in a classical rondo style and form as an A-B-A-C-B-A-codetta  structure, with a typical tonal scheme of A in the tonic Key (C), B in the dominant key (G), and C in the relative minor key (Am).Therefore in this work we do not meet with structural innovations of any kind, but with strong affirmation of already existing and well established early 19th century structural norms, but the beautiful personal melodic and harmonic style of Giuliani and even his routine guitaristic nuances and formulas are present in all three movements and can be enjoyed as always.TECHNICALThis publication keeps each separate movement within the limit of two pages, thus avoiding page turns. It is published with two versions of the same pieces given in undecorated and decorated pages for the user to select which version he prefers to print out. Blank pages have been provided for insertion/deletion for the correct placement of left-right hand pages.Metronome marks are only editorial suggestions that need not be taken too literally.Sibelius Mp3 archive has been extracted for this publication using Note Performer playback engine.Socrates ArvanitakisLondon 2024.
$6.00
5.56 €
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Guitare
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Mauro Giuliani
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Socrates Arvanitakis
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Mauro Giuliani: Sonatina in C op.71 no.1
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Socrates Arvanitakis
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SheetMusicPlus
Composer's Desk Reference for the Classic Guitar
Guitare
By Christopher Kachian. For Guitar (Classical). Classic. 76 pages. Published by Mel Bay Pu…
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By Christopher Kachian. For Guitar (Classical). Classic. 76 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609744724. Traditionally the classic guitar has been either excluded or inadequately represented in orchestration textbooks, resulting in much misinformation about its technique, its practicality in various performance contexts, and its character. The guitar's unique tuning, broad timbral variety and intimate nature pose a formidable challenge to non-guitarist composers, for whom an extensive amount of time would be required to gain even a minimal hands-on acquaintance. For most composers this is an unrealistic expectation, leading to time-consuming consultations and extensive drafting or rewriting. The purpose of this book is to provide the non-guitarist composer with the fundamental tools needed to write idiomatically for the guitar. The first of its kind for the guitar, the reference was written in consultation with dozens of composers and conceived with three types of end users in mind: Experienced composers with a concern for writing idiomatically for the guitar. Guitarists who are commissioning a work from a composer who has never written for the instrument. Libraries that wish to add this essential sourcebook to their music reference section.The very structure of the book reflects the composer's own intuition by addressing such questions as: How is the guitar constructed? What does successful guitar music look like? How is the guitar played? How does the guitarist interpret music and express emotion? Which musical elements and gestures are most effective? How do these elements combine to create an effective pacing of idioms? By examining the parameters of successfully written pieces, The Composer's Desk Reference for the Classic Guitar provides an expedient resource of ideas and illustrations contributing to the fluency of both first-time and seasoned guitar composers.
$17.99
16.68 €
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Guitare
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Christopher Kachian
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Composer's Desk Reference for the Classic Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.49 €
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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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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.49 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.49 €
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Guitare
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Richard Strauss
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Rod Whittle
#
for solo classical guitar
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Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Tremolo from the Regondi Nocturne (Op.19)
Guitare
Solo Guitar - Digital Download SKU: A0.899137 Composed by Giulio Regondi. Arranged …
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Solo Guitar - Digital Download SKU: A0.899137 Composed by Giulio Regondi. Arranged by Rod Whittle. Romantic Period. Individual part. 4 pages. Maggie Creek Music #4349081. Published by Maggie Creek Music (A0.899137). for solo classical guitar (tremolo) 4 pp (7 min.)GIULIO REGONDI (1823 - 72) Regondi was born in Switzerland, but lived in France and, mostly, the United Kingdom. He was a child prodigy of the guitar, with Fenando Sor dedicating a piece to him when he was just nine. He composed for the guitar and also the concertina. His works for solo guitar comprise etudes, a set of variations and some larger compositions. The tremolo section of the Nocturne (op.19) - subtitled 'Reverie' – must be some of the most wonderful music written for tremolo guitar. In the Nocturne it is split between sections of different style and content, but its effectiveness as a piece is fully satisfied without these interspersed parts, nice as they are, and its persuasive theme quite naturally repeats to end with a superb coda (which also finishes the actual Nocturne). The original score has no dynamics except for the end, and I have not added any. However, the piece is impossible to play without inferring some loudness, tempo and accentuation changes. There is that Romantic period element to it. I have added fingering. I like to settle into a barre position where possible – it often lets the bass accompaniment ring through (e.g. the D in the first few bars) and simplifies the playing. But it hardly needs saying that fingering, helpful if it is good, is a kind of curse if it is bad or just wrong, and it is never mandatory. It is always instructive with tremolo pieces to first play some of the top line (e.g. of the first few bars) without tremolo to properly reveal its melody. The style needs plenty of practice to achieve fidelity to this musical meaning; that is always the aim. Then listen carefully as the lower part is added. The bass is very important, as mentioned, but the harmonies of the broken chords are vital too. The Nocturne is brilliant counterpoint.
$5.00
4.64 €
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Guitare
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Giulio Regondi
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Rod Whittle
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4 pp
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Tremolo from the Regondi Nocturne
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Maggie Creek Music
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SheetMusicPlus
Prelude Op.9 No.1
Guitare
Solo Guitar - Digital Download SKU: A0.899138 Composed by A. Scriabin. Arranged by …
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Solo Guitar - Digital Download SKU: A0.899138 Composed by A. Scriabin. Arranged by Rod Whittle. 20th Century. Individual part. 1 pages. Maggie Creek Music #4349093. Published by Maggie Creek Music (A0.899138). for solo classical guitar (tremolo) 3 pp (4 min.)Alexander Scriabin 1872-1915 Some relevant facts about Scriabin are: He was Russian – he was born and died in Moscow. He was a child prodigy of the piano, and a great admirer of Chopin. His piano and orchestral compositions are finely crafted, the latter uniting aesthetics with religion. Both are naturally laced with the Russian temperament, and show an embrace of the harmonic revolution of his time. The prelude (Op.9 No.1) is an early piece exhibiting Scriabin's melodic flair. It's form is a kind of condensed sonata – ABA with a coda. The 'B' section of roving, moderately distant, harmonies, and the 'coda' with its binding bass line are equal to the theme, as they should be. I am very fond of the tremolo style, and here it highlights the marvelous counterpoint of the piece.
$5.00
4.64 €
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Guitare
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A
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Rod Whittle
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Prelude Op.9 No.1
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Maggie Creek Music
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SheetMusicPlus
The Guitarist's Guide to Fingernails
Guitare
By Rico Dwight Stover. For Guitar (Classical). Classic. 28 pages. Published by Mel Bay Pub…
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By Rico Dwight Stover. For Guitar (Classical). Classic. 28 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609745943. Presented in this informative text is a concise, clear picture of the fingernail, its anatomy, what affects its health, how to combat weak nail problems, how to obtain strong, healthy nails and what products to buy. Included is an analysis of all currently available artificial nail systems (acrylics, wraps, gels and glue on tips) with a discussion of the potential health risks involved. The Guitarist's Guide to Fingernails also introduces a revolutionary new artificial nail system that is nontoxic, removable yet effective, with no risks to the health of your natural fingernail. An absolute must for guitarist's of all kinds!
$9.99
9.26 €
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Guitare
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Rico Dwight Stover
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The Guitarist's Guide to Fingernails
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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