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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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COR
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DIDGERIDOO
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Ain't Got Far to Go
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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
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Vous avez sélectionné:
Ain't Got Far to Go
Partitions à imprimer
14 partitions trouvées
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Ain T Got Far To Go
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Ensemble de saxophones
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Contemporain
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Jess Glynne
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Jonathan Eno BEM
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Ain T Got Far To Go
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Jonathan Eno
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - SKU: A0.936665 By Jess Glynne. By Finlay Graham Dow Smith, Janee...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - SKU: A0.936665 By Jess Glynne. By Finlay Graham Dow Smith, Janee Bennett, Jessica Hannah Glynne, and Knox Brown. Arranged by Jonathan Eno BEM. Contemporary. 24 pages. Jonathan Eno #5803377. Published by Jonathan Eno (A0.936665). This arrangement of Ain't Got Far To Go is incredible! It gives your 2nd altos a bit of the limelight and will be a sure fire winner in any concert. Why not add optional drums to really give it some drive. As part of the Saxophonix series from www.hhmusic.co.uk this chart keeps you interested with some tasty textures during the optional solo section. You can listen to the world famous Hot House Saxophonix perform this arrangement on all streaming platforms including: https://open.spotify.com/artist/0yJpRZxHG1GA38gv43QM5d?si=Bz9kCSaGRam4AsA1mOk_wQhttps://music.apple.com/gb/album/aint-got-far-to-go-single/1518827029This is perfect for schools and students!Coming soon...Hot House Tutor Booxwww.facebook.com/bigbangsheetwww.twitter.com/bigbangsheetwww.hhmusic.co.ukwww.bbmusic.co.uk
$14.99
Ain't Got Far To Go
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Finlay Dow Smith, Janee Bennet
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Tyler Meacham
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Ain't Got Far To Go
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Tyler Meacham
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 4 - SKU: A0.500438 Composed by Finlay Dow Smith, Janee Bennett, Jessica Hannah Glynne, and Knox Brown. Arranged by Ty...
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Choral Choir (SATB divisi) - Level 4 - SKU: A0.500438 Composed by Finlay Dow Smith, Janee Bennett, Jessica Hannah Glynne, and Knox Brown. Arranged by Tyler Meacham. A Cappella,Pop. Octavo. 14 pages. Tyler Meacham #113623. Published by Tyler Meacham (A0.500438). This is an a cappella arrangement of Ain't Got Far To Go by Jess Glynne, originally arranged for a cappella group Twisted Measure.
$3.00
Ain't Got Far To Go
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Chorale SSAA
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INTERMÉDIAIRE
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Jess Glynne
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Katherine Bodor
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Ain't Got Far To Go
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Katherine Bodor
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SheetMusicPlus
Choral Choir,Choral (SSAA) - Level 3 - SKU: A0.1365041 By Jess Glynne. By Finlay Dow Smith, Janee Bennett, Jessica Hannah Glynne, and Knox Brown. Arrang...
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Choral Choir,Choral (SSAA) - Level 3 - SKU: A0.1365041 By Jess Glynne. By Finlay Dow Smith, Janee Bennett, Jessica Hannah Glynne, and Knox Brown. Arranged by Katherine Bodor. A Cappella,Contemporary,Pop. 14 pages. Katherine Bodor #949342. Published by Katherine Bodor (A0.1365041). A cappella arrangement, voicing is SSSAA +Lead +VP.
$3.99
Ain't Got Far to Go
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Chorale 3 parties
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Pop musique
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Andrew Knox Brown, Finlay Smit
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Bryan Sharpe
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Ain't Got Far to Go
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Chorus - SKU: AX.00-PO-0006122 Composed by Andrew Knox Brown, Finlay Smith, Janee Bennett, and Jessica Glynne. Arranged by Bryan Sharpe. Choral. 15 page...
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Chorus - SKU: AX.00-PO-0006122 Composed by Andrew Knox Brown, Finlay Smith, Janee Bennett, and Jessica Glynne. Arranged by Bryan Sharpe. Choral. 15 pages. Alfred Music - Digital Sheet Music #00-PO-0006122. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0006122). UPC: 038081548579.
$2.25
Ain't Got Far To Go
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Chorale SATB
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INTERMÉDIAIRE
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Pop musique
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Jess Glynne
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Ben Bram
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Ain't Got Far To Go
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Ben Bram Music
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SheetMusicPlus
SATB - Intermediate - Digital Download By Jess Glynne. Arranged by Ben Bram. Score. 11 pages. Published by Ben Bram Music...
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SATB - Intermediate - Digital Download By Jess Glynne. Arranged by Ben Bram. Score. 11 pages. Published by Ben Bram Music
$150.00
Ain't Got Far to Go - 5 Prints by Jess Glynne - SAB Choir + Piano
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Chorale 3 parties
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Jess Glynne
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Ain't Got Far to Go - 5 Prints
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Musicnotes
Performed by: Jess Glynne: Ain't Got Far to Go Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet musi...
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Performed by: Jess Glynne: Ain't Got Far to Go Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: SAB Choir + Piano, instruments: Lead Vocal;SAB Choir;Piano Accompaniment; 10 pages -- Electronica~~Club/Dance~~Dance-Pop~~House
$2.25
Ain't Got Far to Go by Jess Glynne - Piano/Vocal/Guitar, Singer Pro
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Piano, Voix et Guitare
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Jess Glynne
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Ain't Got Far to Go
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Musicnotes
Performed by: Jess Glynne: Ain't Got Far to Go Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet musi...
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Performed by: Jess Glynne: Ain't Got Far to Go Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar;Singer Pro, instruments: Voice;Piano;Guitar;Backup Vocals; 6 pages -- Club/Dance~~Electronica~~Dance-Pop~~House
$5.50
The Poohratorio (Winnie the Pooh - the Expotition to the North Pole)
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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David Warin Solomons
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The Poohratorio
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David Warin Solomons
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1271090 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Score. 37 pag...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1271090 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Score. 37 pages. David Warin Solomons #863483. Published by David Warin Solomons (A0.1271090). Here is my 1976 Oratorio on Winnie the Pooh (Poohratorio) for alto voice, spoken parts, guitar and various optional other instrumentsGreat fun for young and old. It uses the whole of Chapter 8 of A A Milne's Now we are six -The expotition to the North Pole, which is now in the public domain in the USA.The pdf file is the score based on the alto and guitar parts with spoken voices provided in text on the score.CHAPTER 8 ...IN WHICH CHRISTOPHER ROBIN LEADS AN EXPOTITION TO THE NORTH POLEONE fine day Pooh had stumped to the top of the Forest to see if his friend Christopher Robin was interested in Bears at all. At breakfast that morning (a simple meal of marmalade spread lightly over a honeycomb or two) he had suddenly thought of a new song. It began like this:Sing Ho! For the life of a Bear.When he had got as far as this, he scratched his head, and thought to himself That's a very good start for a song, but what about the second line? He tried singing Ho, two or three times, but it didn't seem to help. Perhaps it would be better, he thought, if I sang Hi for the life of a Bear. So he sang it . . . but it wasn't. Very well, then, he said, I shall sing that first line twice, and perhaps if I sing it very quickly, I shall find myself singing the third and fourth lines before I have time to think of them, and that will be a Good Song. Now then:Sing Ho! for the life of a Bear! Sing Ho! for the life of a Bear! I don't much mind if it rains or snows, 'Cos I've got a lot of honey on my nice new nose! I don't much care if it snows or thaws, 'Cos I've got a lot of honey on my nice clean paws! Sing Ho! for a Bear! Sing Ho! for a Pooh! And I'll have a little something in an hour or two! He was so pleased with this song that he sang it all the way to the top of the Forest, and if I go on singing it much longer, he thought, it will be time for the little something, and then the last line won't be true. So he turned it into a hum instead.  ..... etc.
$27.00
Let Us Break Bread Together
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Gospel Spirituel
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Anonymous
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Paul Thurmond
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Let Us Break Bread Together
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Paul Thurmond
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.828261 Composed by Anonymous. Arranged by Paul Thurmond. Christian,Gospel,Sacred,Spiritual. Score. 4 pages. Paul Thurmond...
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Piano Solo - Level 4 - SKU: A0.828261 Composed by Anonymous. Arranged by Paul Thurmond. Christian,Gospel,Sacred,Spiritual. Score. 4 pages. Paul Thurmond #4969095. Published by Paul Thurmond (A0.828261). Tune: LET US BREAK BREADUse: Prelude, Offertory, CommunionThis song is an African-American spiritual. Some of the text may date back as far as the 18th century. Although it has been used in communion since at least the Civil War, that may not have been its original intent.I have heard lectures given by researchers who claim that many African-American spirituals contain coded messages, intended for slaves, about secret meetings, clandestine worship services, and escape plans. Some songs are even said to contain maps.The texts are innocuous on the surface, so as to not alert the slave owners. Some of the double meanings seem obvious in retrospect:When Israel was in Egypt land,Let My people go.Oppressed so hard they could not stand,Let My people go.And:Steal away, steal away, steal away to Jesus!Steal away, steal away home. I ain’t got long to stay here.In Let Us Break Bread Together, this curious line may have a double meaning:When I fall on my knees, with my face to the rising sunCommunion needn’t take place at daybreak, nor while facing east. The lyrics could be a pointer to a specific time and place for a prohibited meeting.Whatever its original meaning, this and many other African-American spirituals are now an important part of many worship traditions.
$4.99
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
"Andrew ""Knox"" Brown": Ain't Got Far to Go - choir (SAB / 3-Part Mixed, a cappella)
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Chorale
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INTERMÉDIAIRE
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"Andrew ""Knox&
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Virtualsheetmusic
Instantly printable sheet music by "Andrew ""Knox"" Brown" for choir (SAB / 3-Part Mixed, a cappella) of MEDIUM skill level. / choral...
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Instantly printable sheet music by "Andrew ""Knox"" Brown" for choir (SAB / 3-Part Mixed, a cappella) of MEDIUM skill level. / choral
$6.23
St. Louis Blues
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Piano seul
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AVANCÉ
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W
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Timothy Stapay
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St. Louis Blues
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1224471 Composed by W.C. Handy. Arranged by Timothy Stapay. Blues,Film/TV,Jazz,Singer/Songwriter,Standards. Score. 8 page...
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Piano Solo - Level 5 - SKU: A0.1224471 Composed by W.C. Handy. Arranged by Timothy Stapay. Blues,Film/TV,Jazz,Singer/Songwriter,Standards. Score. 8 pages. Timothy Stapay #820575. Published by Timothy Stapay (A0.1224471). This arrangement of St. Louis Blues is written as performed by piano artist, Liberace. He performed this on his t.v. show and record albums. The Saint Louis Blues (or St. Louis Blues) is a popular American song composed by W. C. Handy in the blues style and published in September 1914. It was one of the first blues songs to succeed as a pop song and remains a fundamental part of jazz musicians' repertoire. Benny Goodman, Louis Armstrong, Cab Calloway, Bing Crosby, Bessie Smith, Eartha Kitt, Count Basie, Glenn Miller, Guy Lombardo, Liberace, and the Boston Pops Orchestra (under the directions of both Arthur Fiedler and Keith Lockhart) are among the artists who have recorded it. Lyrics:I hate to see that evening sun go down, I hate to see that evening sun go down, 'Cause my lovin' baby done left this town. If I feel tomorrow, like I feel today, If I feel tomorrow, like I feel today, I'm gonna pack my trunk and make my getaway. Oh, that St. Louis woman, with her diamond rings, She pulls my man around by her apron strings. And if it wasn't for powder and her store-bought hair, Oh, that man of mine wouldn't go nowhere. I got those St. Louis blues, just as blue as I can be, Oh, my man's got a heart like a rock cast in the sea, Or else he wouldn't have gone so far from me. I love my man like a schoolboy loves his pie, Like a Kentucky colonel loves his rocker and rye I'll love my man until the day I die, Lord, Lord. I got the St. Louis blues, just as blue as I can be, Lord, Lord! That man's got a heart like a rock cast in the sea, Or else he wouldn't have gone so far from me. I got those St. Louis blues, I got the blues, I got the blues, I got the blues, My man's got a heart like a rock cast in the sea, Or else he wouldn't have gone so far from me, Lord, Lord!Władziu Valentino Liberace (May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!
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Waltz Op 69 No 2 (Arranged for Guitar)
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Classique
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Frederic Chopin
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Brian Streckfus
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Waltz Op 69 No 2
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Inst...
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Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.
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