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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
As I Roved Out
Sheetmusicplus
Non classifié
26
Piano & claviers
Piano seul
5
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2
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2
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7
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5
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1
Vents
Hautbois, Piano (duo)
1
Flûte traversière et Piano
1
Clarinette
1
Cuivres
Trompette
1
Cordes
Harpe
4
Quatuor à cordes: 2 violons, alto, violoncelle
3
Violon et Piano
1
4 Violoncelles
1
Alto, Piano
1
Contrebasse, Piano (duo)
1
Violon
1
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FLUTE A DIX…
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FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
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HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
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VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
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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
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ASIE
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CHRISTIAN (contempor…
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FUNK
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JAZZ MANOUCHE - SWIN…
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MEDIEVAL - RENAISSAN…
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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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SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
As I Roved Out
SheetMusicPlus
Partitions à imprimer
75 partitions trouvées
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As I Roved Out
Small Ensemble Accordion,Acoustic Guitar,Banjo,Fiddle,Harp,Medium Voice,Piccolo - Digital …
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Small Ensemble Accordion,Acoustic Guitar,Banjo,Fiddle,Harp,Medium Voice,Piccolo - Digital Download SKU: A0.495668 Composed by Traditional. Arranged by Alan Wagstaff. Celtic,Folk,Irish,Traditional. Score and parts. 6 pages. Published by Alan Wagstaff (A0.495668). As I Roved Out is a traditional Irish folk song arranged for a folk ensemble: flute, accordion, whistle, banjo, fiddle, and harp.
$2.50
2.3 €
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Traditional
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Alan Wagstaff
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As I Roved Out
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Alan Wagstaff
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SheetMusicPlus
As I Roved Out On A Bright May Morning for harp (no levers required)
Harpe
Lever Harp - Level 2 - Digital Download SKU: A0.1237406 By Kim Kirkman. By Traditio…
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Lever Harp - Level 2 - Digital Download SKU: A0.1237406 By Kim Kirkman. By Traditional Irish. Arranged by Kim Kirkman. Celtic,Folk,Irish,Traditional. Score. 2 pages. Kim Kirkman #832920. Published by Kim Kirkman (A0.1237406). The beautiful Air 'As I Roved Out'Arranged for lever harp, no levers requiredLovely accompaniment with alternative chord progression for the repeated melody.
$1.99
1.83 €
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Harpe
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Kim Kirkman
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Kim Kirkman
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As I Roved Out On A Bright May Morning for harp
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Kim Kirkman
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SheetMusicPlus
As I Roved Out On A Bright May Morning for lever harp
Harpe
Lever Harp - Level 2 - Digital Download SKU: A0.1237405 By Kim Kirkman. By Traditio…
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Lever Harp - Level 2 - Digital Download SKU: A0.1237405 By Kim Kirkman. By Traditional Irish. Arranged by Kim Kirkman. Celtic,Folk,Irish,Traditional. Score. 2 pages. Kim Kirkman #832919. Published by Kim Kirkman (A0.1237405). The beautiful Air 'As I Roved Out'Arranged for lever harp in D (2 sharps) No additional lever changesLovely accompaniment with alternative chord progression for the repeated melody.
$1.99
1.83 €
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Harpe
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Kim Kirkman
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Kim Kirkman
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As I Roved Out On A Bright May Morning for lever harp
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Kim Kirkman
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SheetMusicPlus
As I Roved Out On A Bright May Morning for piano (no black notes required)
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1237407 By Kim Kirkman. By Traditio…
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Piano Solo - Level 2 - Digital Download SKU: A0.1237407 By Kim Kirkman. By Traditional Irish. Arranged by Kim Kirkman. Celtic,Folk,Irish,Traditional. Score. 2 pages. Kim Kirkman #832921. Published by Kim Kirkman (A0.1237407). The beautiful Air 'As I Roved Out'Arranged for piano, no black notes requiredLovely accompaniment with alternative chord progression for the repeated melody.
$1.99
1.83 €
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Piano seul
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Kim Kirkman
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Kim Kirkman
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As I Roved Out On A Bright May Morning for piano
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Kim Kirkman
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SheetMusicPlus
As I Roved Out
Instruments en Do
C Instrument - Level 2 - Digital Download SKU: A0.1235865 By Loreen McKennitt. By T…
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C Instrument - Level 2 - Digital Download SKU: A0.1235865 By Loreen McKennitt. By Traditional Irish. Arranged by Kim Kirkman. Celtic,Folk,Irish,Traditional. Lead Sheet / Fake Book. 1 pages. Kim Kirkman #831370. Published by Kim Kirkman (A0.1235865). Lovely folk song, very poignantWritten out in a singable key with lyrics underneath and chords.Perfect for performance and learning.
$1.99
1.83 €
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Instruments en Do
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Loreen McKennitt
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Kim Kirkman
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As I Roved Out
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Kim Kirkman
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SheetMusicPlus
As I Roved Out (Solo Fingerstyle Arrangement)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1437953 By Traditional. By Harriso…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1437953 By Traditional. By Harrison Marsh. Arranged by Harrison Marsh. Celtic,Folk,Irish,Multicultural,Traditional,World. Individual part. 3 pages. Harrison Marsh #1018019. Published by Harrison Marsh (A0.1437953). A Traditional Irish Air arranged for solo fingerstyle guitar. This arrangment is standard tuning also makes an effective extended intro to the song.
$2.50
2.3 €
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Guitare
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Traditional
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Harrison Marsh
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As I Roved Out
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Harrison Marsh
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SheetMusicPlus
As I Roved Out
Guitare
Solo Guitar - Digital Download SKU: A0.889964 Composed by Traditional. Arranged by …
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Solo Guitar - Digital Download SKU: A0.889964 Composed by Traditional. Arranged by Robin Hill. Folk,Holiday,World. Individual part. 4 pages. Robin Hill #3453899. Published by Robin Hill (A0.889964). Arrangement for two guitars of this beautiful, traditional Irish tune. The arrangement is by Robin Hill. (Author of 'The Guitar Gymnasium'.
$4.99
4.59 €
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Guitare
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Traditional
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Robin Hill
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As I Roved Out
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Robin Hill
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SheetMusicPlus
As I Roved Out
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Digital Download SKU: A0.1084133 By John Carpenter. By Traditional. Arranged by John Carpenter. Celtic,Irish,Traditional. Brass Band. 32 pages. John Carpenter #688335. Published by John Carpenter (A0.1084133). Duet for Cornet and Euphonium.
$25.00
23.01 €
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John Carpenter
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John Carpenter
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As I Roved Out
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John Carpenter
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SheetMusicPlus
As I Roved Out
Piano Facile
C Instrument - Level 1 - Digital Download SKU: A0.1110766 Composed by Traditional. …
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C Instrument - Level 1 - Digital Download SKU: A0.1110766 Composed by Traditional. Arranged by Dean Wiers-Windemuller and Vincent Frank. Children,Folk,Instructional,Traditional. Lead Sheet / Fake Book. 1 pages. Riverside Guitar School #713065. Published by Riverside Guitar School (A0.1110766). Lead sheet arrangement of traditional folk song, key of E minor, 1 page.
$1.99
1.83 €
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Piano Facile
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Traditional
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As I Roved Out
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Riverside Guitar School
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SheetMusicPlus
Because I Love You (the Postman Song)
Instruments en Do
C Instrument - Level 4 - Digital Download SKU: A0.503339 By Stevie B. By Warren Bro…
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C Instrument - Level 4 - Digital Download SKU: A0.503339 By Stevie B. By Warren Brooks. Arranged by John Fries. 20th Century,Pop,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #115483. Published by John Fries (A0.503339). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. This is a rare song with a subtitle that appears just once in the verse section of the lyrics. The opening line, I got your letter from the postman just the other day proved to be a powerful phrase for this song about a man trying desperately to hold on to his girl. The song became better known as The Postman Song instead of the more common title Because I Love You. This arrangement is in a key that works better instrumentally.
$3.99
3.67 €
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Instruments en Do
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Stevie B
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John Fries
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Because I Love You
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John Fries
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SheetMusicPlus
Because I Love You (the Postman Song)
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201309 By Stevie B. …
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201309 By Stevie B. By Warren Brooks. Arranged by John Fries. 20th Century,Pop,Standards. Score. 3 pages. John Fries #799963. Published by John Fries (A0.1201309). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. This is a rare song with a subtitle that appears just once in the verse section of the lyrics. The opening line, I got your letter from the postman just the other day proved to be a powerful phrase for this song about a man trying desperately to hold on to his girl. The song became better known as The Postman Song instead of the more common title Because I Love You. This arrangement is in a key that works better instrumentally.
$4.99
4.59 €
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Piano, Voix et Guitare
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Stevie B
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John Fries
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Because I Love You
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John Fries
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SheetMusicPlus
I've Tried
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1039325 By Jackaleen Justice…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1039325 By Jackaleen Justice - Angelical Realm. By Jackaleen Justice - Angelical Realm. Arranged by Jackaleen Justice - Angelical Realm. Country,Traditional. Score. 3 pages. Angelical Realm #644235. Published by Angelical Realm (A0.1039325). I’ve Tried Song Description Song Creation A fundamental idea behind each lyric in this song was developed by the Lyricist and Composer, Jackaleen Justice, who poured her heart and soul into the makings of this musical artwork. The lyrics attempt to depict a time in her life when she felt the same way as the singer in dealing with a challenging situation on her journey through life. In creating this musical artwork, the composer wanted to evoke an idea of a long-term relationship and being hurt often over many years. Throughout the years, many people around the world have been hurt in relationships. The song’s Composer wanted to help those around the world who have been in similar position to be able to relate to those feelings through this piece of musical artwork. Song Composition While creating the rhythm for this song, the composer aimed for a moderately slow tempo. After the lyrics were added, the target of approximately 80 - 90 beats per minute became unattainable, resulting in 78 beats per minute instead. In the end, it proved to be a much better tempo for the song, because it made the final piece sound much more polished and superior. Song Completion This musical piece is perfect for someone looking for a well-written and well-composed song that has rhythm that makes it stand out from all the others. With the right vocalist, this song has great potential in the music industry.
$19.99
18.4 €
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Piano, Voix
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Jackaleen Justice - Angelical Realm
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I've Tried
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Angelical Realm
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SheetMusicPlus
As I roved out
Piano seul
Composed by Traditional. Edited by Patrick Steinbach. Arranged by Wolfgang Loll. Copyright…
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Composed by Traditional. Edited by Patrick Steinbach. Arranged by Wolfgang Loll. Copyright 2012 Schott Music GmbH & Co. KG, Mainz. 2 pages. Published by Schott Music (S9.Q13283). - - - Schott Music
$2.99
2.75 €
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Piano seul
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Traditional
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Wolfgang Loll
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As I roved out
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Schott Music
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SheetMusicPlus
Brighter Than the Flames
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1039829 Composed by David M. St…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1039829 Composed by David M. Sterrett. Classical,Patriotic. Score and parts. 56 pages. David Sterrett Music #644674. Published by David Sterrett Music (A0.1039829). I feel honored and thankful to have been asked by Greg Hustis and the Music In the Mountains festival in Durango, Colorado to compose a piece honoring local firefighters and first responders following a deadly outbreak of wildfires around that region during the summer of 2018. When I learned about the fires, my heart went out to all the people affected. As the fires closed in from all around, beautiful mountain landscapes were burnt black, homes were threatened, and residents were forced to evacuate; however, the city and peoples’ homes were ultimately kept safe and no one was injured, all because of the fearless efforts of those who laid their lives on the line. My inspiration for the music, as well as the title, came directly from these heroes whose courage and effort proved to shine brighter than the flames. Although this piece was originally commissioned in response to this disaster in 2018, at its heart the piece is a tribute to all the brave heroes out there who fight in countless ways in the midst of disasters every day to keep all of us and our communities safe.
$59.99
55.21 €
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Orchestre
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David M
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Brighter Than the Flames
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David Sterrett Music
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download 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
3.67 €
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Chorale TTBB
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Radio/video
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1101579 By System of a Dow…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1101579 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Moshe Gordon Radian. A Cappella,Rock. Octavo. 83 pages. Moshe Gordon Radian #704933. Published by Moshe Gordon Radian (A0.1101579). An a cappella arrangement of System Of A Down's Radio/Video—a track from the album Mezmerize. I've been recording improvised a cappella arrangements of songs since high school as a hobby, originally dubbing them as demos to entice friends from my high school's choir to join and record the full parts. I originally recorded Radio/Video in 2012, years after high school, having the crazy idea of trying to arrange a metal song, without being able to scream. I did a decent job and uploaded it to YouTube and forgot about it for years (intense university and startup years). During one of the Covid lockdowns, I was browsing an a cappella Facebook group and came across Noa Gruman's YouTube video doc on choirs during Covid (https://www.youtube.com/watch?v=86IHL4FWUu8), and through it, I discovered the Hellscore choir (https://www.youtube.com/hellscoreacappella), an Israeli metal a cappella group. After starting a new job, I've decided to support various creators I've been following, including Noa - and discovered the option to have monthly sessions with her by supporting her through Patreon. After discussing some vocal techniques, I asked Noa if she would be willing to listen to and comment on my old metal arrangement, to which she agreed. Rather than just doing that, I rerecorded a new version of the arrangement, with new ideas and taking advantage of some improved vocal techniques. Noa gave me a very useful critique but suggested that it would be more efficient to also put the arrangement down in musical notation. And so, for the first time in my life, I sat down to actually write a musical arrangement. This piece is the result of this months-long process, which is itself born of a decade old project of mine. I would be excited to have you perform this arrangement with a full choir—I would love to hear the result! I will be re-recording it myself in the near future. I sincerely hope you'll enjoy this piece.
$1.99
1.83 €
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Chorale SATB
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System of a Down
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Moshe Gordon Radian
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Radio/video
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Moshe Gordon Radian
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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
6.44 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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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
6.44 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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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.
$7.00
6.44 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.44 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
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