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--INSTRUMENTS--
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
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FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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HARPE
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LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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ORGUE
PERCUSSION
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Partitions à imprimer
17 partitions trouvées
<
1
2023/4: 1. Beginning
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Piano seul
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FACILE
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Classique
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Matthew Colson
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una corda) at your discretion
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2023/4: 1. Beginning
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Matthew Colson
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1405561 Composed by Matthew Colson. 21st Century,Classical,Romantic Period. Score. 4 pages. Matthew Colson #988619. Publi...
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Piano Solo - Level 2 - SKU: A0.1405561 Composed by Matthew Colson. 21st Century,Classical,Romantic Period. Score. 4 pages. Matthew Colson #988619. Published by Matthew Colson (A0.1405561). 2023/4 is a collection of 11 pieces for solo piano. They are all written in ¾ time and were composed throughout 2023.Beginning is the first piece out of eleven. This piece was written before 2023/4 came into fruition. The idea was to welcome the new year with delicacy and determination. I generally do not put pedal markings in my music - please use pedals (sustain & una corda) at your discretion. About the composer:Matthew Colson is a hobby composer from New England. He began writing little piano pieces in 2003. Since then, he has written several pieces, ranging from piano to orchestral. His music has been performed live in the United States and Australia. To listen to his original compositions, please visit his YouTube page: EmceeMusic42If you perform my music, I’d love to hear it! For any business or personal correspondence: emceemusic42@gmail.com.
$2.50
The Soldiers Pass
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Piano seul
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INTERMÉDIAIRE
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Classique
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Jose Valladares
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Jose Valladares
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The Soldiers Pass
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Circlesquare Music
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1368475 By Jose Valladares. By Vladimir Rebikoff. Arranged by Jose Valladares. Classical. Score. 1 pages. Circlesquare Mu...
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Piano Solo - Level 3 - SKU: A0.1368475 By Jose Valladares. By Vladimir Rebikoff. Arranged by Jose Valladares. Classical. Score. 1 pages. Circlesquare Music #952822. Published by Circlesquare Music (A0.1368475). The Soldier's Pass by Vladimir Rebikov is a piano composition that reflects the composer's innovative style and emotional depth. Vladimir Rebikov, often spelled as Rebikoff, was a Russian composer and pianist known for his exploratory approach to harmony and his contributions to the early modernist movement in music. Born in 1866, Rebikov was a contemporary of composers like Rachmaninoff and Scriabin and is noted for his expressive and at times, unconventional musical language.While specific details about The Soldier's Pass may not be widely documented, we can infer certain characteristics based on Rebikov's general compositional style and the thematic title of the piece:Evocative and Programmatic: Rebikov was known for his programmatic approach to composition, often seeking to convey a narrative or depict a scene through his music. The Soldier's Pass likely tells a story or captures a mood associated with a soldier's experience, perhaps reflecting themes of journey, conflict, or reflection.Innovative Harmonies: Rebikov was an early innovator in exploring new harmonic structures, including whole-tone scales and unconventional chord progressions. The Soldier's Pass may feature interesting and unexpected harmonic shifts that add depth and complexity to the music.Expressive Melody and Rhythm: Given the military theme, the piece might incorporate rhythmic elements that evoke the idea of marching or movement. The melody could be strong and pronounced, conveying a sense of determination or solemnity that aligns with the soldier's narrative.Emotional Depth: Rebikov's music is often characterized by its emotional intensity. The Soldier's Pass would likely embody this quality, offering a rich tapestry of feelings that resonate with the listener and invite introspection.Pedagogical Value: Despite his innovative approach, Rebikov's music is accessible and has been used for educational purposes. The Soldier's Pass might serve as a valuable piece for developing pianists, offering insights into early modernist techniques and expressive playing.Atmospheric and Descriptive: Rebikov had a talent for creating atmospheric music that paints a vivid picture in the listener's mind. The Soldier's Pass would likely be descriptive and immersive, drawing the performer and the audience into the scene it portrays.
$8.99
March of the Nutcracker
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Peter Ilyich Tchaikovsky
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Xavier Santiago
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March of the Nutcracker
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Xavier Santiago
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.921895 Composed by Peter Ilyich Tchaikovsky. Arranged by Xavier Santiago. Instructional,Standards. Score and parts....
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String Orchestra - Level 4 - SKU: A0.921895 Composed by Peter Ilyich Tchaikovsky. Arranged by Xavier Santiago. Instructional,Standards. Score and parts. 58 pages. Xavier Santiago #5010961. Published by Xavier Santiago (A0.921895). Continuously a most loved with crowds and entertainers, this recognizable piece has been capably masterminded with string orchestra while keeping the fervor and vitality of the original. The cross-rhythms, accidentals, and virtuosic center area highlighting first violins makes this determination an exceptional educating piece for string orchestra. .
$19.99
Prelude and Dance for String Quartet
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Ethan Tai
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Prelude and Dance for String Q
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Ethan T.
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SheetMusicPlus
Cello,Viola,Violin - Level 3 - Interactive Download SKU: A0.1425553 Composed by Ethan Tai. This edition: Interactive Download. Classical. 21 pages. Durat...
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Cello,Viola,Violin - Level 3 - Interactive Download SKU: A0.1425553 Composed by Ethan Tai. This edition: Interactive Download. Classical. 21 pages. Duration 255. Ethan T. #5m6PuZBVwNWzz7ecR9FHpe. Published by Ethan T. (A0.1425553). Key: B minor.A small string quartet about 4 minutes long with 2 movements, a Prelude followed a Dance. There is a short break in between the two movements via a fermata to allow the quartet to transition into the Dance from the Prelude. Program Notes: The slow and passionate opening of the Prelude gives way to a more melancholic melody, passed around the quartet by the violins and cello. A new, more hopeful and animated melody is introduced by the violin and viola shortly after the first theme, but is cut short by the sudden introduction of a short and more subtle transition, led by the violin, viola, and cello, which then leads into a yearning melody. The melody is passed back and forth between the violin and viola in a call and response gesture, as if the viola and violin are having a romantic conversation with each other. The dreamy melody slowly fades into a peaceful moment of silence and a resolution between the violin and viola, signaling the end of the Prelude. Suddenly, a lighthearted and spirited violin melody is introduced, leading into the Dance. The melody by the violin is passed around the quartet by the violins and viola, eventually leading to the climax of the Dance. A determined and more driving melody is passed around through the quartet, led by the violins and cello, which then gives way to a shorter, but slower and more delicate theme, led by the cello. The theme quickly resolves into another peaceful and resolute moment of silence as the Dance comes to an end, signaling the end of the performance.
$2.99
Rachmaninov 3rd concerto (Mov't 1, 2nd theme)
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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RACHMANINOV
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Paul Taylor
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Rachmaninov 3rd concerto
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Paul Taylor
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.803351 Composed by RACHMANINOV. Arranged by Paul Taylor. Romantic Period. Score. 2 pages. Paul Taylor #6252647. Pu...
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Piano,Vocal,Voice - Level 3 - SKU: A0.803351 Composed by RACHMANINOV. Arranged by Paul Taylor. Romantic Period. Score. 2 pages. Paul Taylor #6252647. Published by Paul Taylor (A0.803351). The author is determined to make the concerto literature available to the pianist in the form of solos that incorporate not only the solo piano part, but parts of the orchestra as well in order to make a satisfying solo piece for the pianist.
$1.99
Waltz of the Flowers
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Piano seul
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INTERMÉDIAIRE
#
Classique
#
Peter Ilyich Tchaikovsky
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Michael Woytiuk
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Waltz of the Flowers
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Michael Woytiuk
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.875703 Composed by Peter Ilyich Tchaikovsky. Arranged by Michael Woytiuk. Christmas,Romantic Period. Score. 4 pages. Mich...
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Piano Solo - Level 3 - SKU: A0.875703 Composed by Peter Ilyich Tchaikovsky. Arranged by Michael Woytiuk. Christmas,Romantic Period. Score. 4 pages. Michael Woytiuk #4840925. Published by Michael Woytiuk (A0.875703). Here you will find a version of the Waltz of the flowers that has maintained all the swirling energy of the original composition presented at the intermediate piano level. Fingerings has been suggested that will make this masterpiece quite accessible for all determined pianists. Enjoy!
$4.99
JOYFUL, JOYFUL - Score Only
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Cloches
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DÉBUTANT
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Classique
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Ludwig van Beethoven
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Linda Mckechnie
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JOYFUL, JOYFUL - Score Only
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Linda McKechnie
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SheetMusicPlus
Handbell - Level 1 - SKU: A0.1221586 Composed by Ludwig van Beethoven. Arranged by Linda Mckechnie. Classical,Standards,Traditional. Score. 3 pages. Lin...
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Handbell - Level 1 - SKU: A0.1221586 Composed by Ludwig van Beethoven. Arranged by Linda Mckechnie. Classical,Standards,Traditional. Score. 3 pages. Linda McKechnie #817892. Published by Linda McKechnie (A0.1221586). This arrangement starts out with the basic Ringing technique which should give the ringers confidence in performing simple notation of quarter and half notes. Then, the pluck, thumb or hand damp is introduced in the music. The director should determine which of the above three techniques best suite the physical ability of the ringer. A hand damp may be an alternative for the thumb damp- determined by the size of the bell and size of hand.$15 for 15 copies.
$15.00
Lockvogel Waltz (2 clarinets and bassoon)
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2 Clarinettes, Basson
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INTERMÉDIAIRE
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Classique
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Johann Strauss Jr
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Catriona Melville-Mason
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Lockvogel Waltz
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C Melville-Mason
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet - Level 3 - SKU: A0.956592 Composed by Johann Strauss Jr. Arranged by Catriona Melville-Mason. Concert,...
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet - Level 3 - SKU: A0.956592 Composed by Johann Strauss Jr. Arranged by Catriona Melville-Mason. Concert,Romantic Period,Standards. 9 pages. C Melville-Mason #6365915. Published by C Melville-Mason (A0.956592). The Austrian Johann Strauss II (1825 – 1899) was a prolific composer of light music, particularly dance tunes such as waltzes, polkas and quadrilles. His father (also Johann) was determined that his children should not follow him into the ‘music business’, so young Johann Jr studied the violin in secret. He was only able to follow his musical ambitions once his parents had separated and, even then, had to deal with opposition from his father. Because of the success of his compositions, Johann Strauss II is often given credit for the popularity of the waltz in 19th Century Vienna. He was known to his contemporaries as ‘The Waltz King’. This piece is taken from his Lockvogel Waltzer, Op. 118.
$4.50
Overture to Dardanus
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Classique
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Jean-Philippe Rameau
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Myrick Crampton
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Overture to Dardanus
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MDC Music LLC
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SheetMusicPlus
Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1159545 Composed by Jean-Philippe Rameau. Arranged by Myrick Crampton. Classical. 22 pages. ...
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Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1159545 Composed by Jean-Philippe Rameau. Arranged by Myrick Crampton. Classical. 22 pages. MDC Music LLC #759204. Published by MDC Music LLC (A0.1159545). 6 Flutes: F1-4/AF4/BF5/C6The Overature to one of Rameau's most famous works. Here's a little music history for you.Dacier's examination of contemporary newsletters (nouvelles a la main) allows us to follow the shifting opinions almost day by day. There was a solid body of Rameau supporters - they were nicknamed ramoneurs, a word which means chimney-sweep - determined to applaud the opera at all costs and turn its performance into a triumph. And there were the usual discontented reactionaries, with the old complaints of discordant harmony and no melody - the stock-in-trade of musical anti-modernists at all periods. The work was so stuffed with music, they declared, that for three whole hours no one in the orchestra had time even to sneeze.Excerpt fromJean-Phillipe RameauCuthbert GirdlestoneCount me a ramoneur!Tempo: 90/120Duration: 4 minutes 30 secondsFlute Choir.
$12.00
Canon in D (includes Note-Names)
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Piano seul
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INTERMÉDIAIRE
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Classique
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Kent D
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Kent D
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Canon in D
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Read Piano Music Now
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1194503 By Kent D. Smith. By Johann Pachelbel. Arranged by Kent D. Smith of 'Read Piano Music Now' and 'Piano With Kent' ...
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Piano Solo - Level 3 - SKU: A0.1194503 By Kent D. Smith. By Johann Pachelbel. Arranged by Kent D. Smith of 'Read Piano Music Now' and 'Piano With Kent' (R). Classical,Film/TV,Holiday,Instructional,Wedding. Score. 3 pages. Read Piano Music Now #793871. Published by Read Piano Music Now (A0.1194503). Pachelbel's original Canon in D, professionally scored and arranged for solo piano. LETTER-NAMES included! This exclusive, professional arrangement is specially designed so that it can be repeated as many times as desired. This makes it perfect for public performance at weddings and other special occasions, where the duration can be determined by you. (Once your performance is done, simply play the provided ending!)Exclusively from Kent D. Smith of 'Read Piano Music Now' and 'Piano With Kent' (R).Format: Printable PDF. Page size: Standard (8.5 x 11).Pages: Three (3).Based strictly on Pachelbel's original trio for strings and keyboard (from Canon and Gigue for 3 violins and basso continuo).
$6.95
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
#
Richard Strauss
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Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Leyenda- Asturias by Isaac Albeniz
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Guitare
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Classique
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Isaac Albeniz
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Apostolos Paraskevas
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Leyenda- Asturias by Isaac Alb
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Silver Sickle Publications
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SheetMusicPlus
Guitar - SKU: A0.1070385 Composed by Isaac Albeniz. Arranged by Apostolos Paraskevas. Concert,Standards,World. Full Performance. Duration 412. Silver Si...
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Guitar - SKU: A0.1070385 Composed by Isaac Albeniz. Arranged by Apostolos Paraskevas. Concert,Standards,World. Full Performance. Duration 412. Silver Sickle Publications #5041833. Published by Silver Sickle Publications (A0.1070385). Asturias, original title Preludio, also called Asturias-Leyenda is a solo piano piece written in the early 1890s by Catalan composer and pianist Isaac Albéniz using rolled chords that effectively evoke the strumming of a guitar. In fact, the version usually played is a transcription of the original piano piece for guitar. Despite being called Asturias-which is the name of a northern region of Spain the piece powerfully evokes the distinctive flamenco, or gypsy, music of Andalusia, the southernmost region of the country. Written while he was living outside his homeland, it was intended to conjure the Alhambra, the palace and fortress of the Moorish, monarchs of Granada. The composition has two main melodies. First comes a determined, driving theme that builds in energy. A more melancholy middle section follows. After the contemplative middle section, the opening melody returns and brings the piece to its conclusion.
$1.99
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
The Young Richard Strauss
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Piano seul
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AVANCÉ
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Classique
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Richard Strauss
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The Young Richard Strauss
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Schott Music - Digital
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SheetMusicPlus
Piano - advanced - SKU: S9.Q5812 Early Piano Music. Composed by Richard Strauss. This edition: Sheet music. 19th century - piano - tonal language...
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Piano - advanced - SKU: S9.Q5812 Early Piano Music. Composed by Richard Strauss. This edition: Sheet music. 19th century - piano - tonal language. Downloadable. Op. 2. Schott Music - Digital #Q5812. Published by Schott Music - Digital (S9.Q5812). The tonal language of the young Richard Strauss is still characterized by the traditions of the 19th Century; indeed, the musical content of the composer’s early piano works is determined to a large extent by his response to the examples of Schubert, Mendelssohn and Schumann. These previously unpublished piano pieces appear for the first time in this edition. The “Sonatinas†in several movements and a “Fantasie†from the year 1874 - whose level of difficulty is comparable with the Sonatinas by Kuhlau and Clementi and with early pieces by Mozart - are versatile pieces suitable for teaching purposes.
$29.99
Le quattro stagioni, Violin Concerto in F Minor, RV 297 Winter : II. Largo
Piano Solo,Piano Duet,Piano Accompaniment,Violin,Piano Trio,Guitar,Guitar Chords determined and added with Easy to read Guitar Fretboards as an option. Multi-use: Piano Solo,Piano Solo with Accompanim
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Classique
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Antonio Vivaldi
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Teo Barry Vincent
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Le quattro stagioni, Violin Co
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Givnology Wellness Arts, Canada
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SheetMusicPlus
Composed by Antonio Vivaldi (1678-1741). Arranged by Teo Barry Vincent. Baroque Period, Repertoire. Individual Part, Score, Set of Parts. 2 pages. Published by ...
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Composed by Antonio Vivaldi (1678-1741). Arranged by Teo Barry Vincent. Baroque Period, Repertoire. Individual Part, Score, Set of Parts. 2 pages. Published by Givnology Wellness Arts, Canada (S0.262601). - Individual Part,Score,Set of Parts - Baroque Period,Repertoire - Givnology Wellness Arts, Canada
$2.49
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Determination