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You've selected:
Promise Me This
GUITAR
Sheetmusic to print
12 sheet music found
<
1
Oh Promise Me for Fingerstyle Guitar
Guitar
Solo Guitar - Level 2 - Digital Download SKU: A0.1181372 By FERNANDO LUIZ NEVES. By…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1181372 By FERNANDO LUIZ NEVES. By FERNANDO LUIZ NEVES. Arranged by FERNANDO LUIZ NEVES. Broadway,Christian,Film/TV,Musical/Show,Praise & Worship,Wedding. Individual part. 2 pages. Fernando Neves #781213. Published by Fernando Neves (A0.1181372). Oh Promise Me is a popular song written by Reginald De Koven with lyrics by Clement Scott. It was composed in 1887 for the operetta Robin Hood, which was first performed in Chicago. The song quickly became a popular and beloved standard, and has been recorded by many different artists over the years. Its enduring popularity has led to its use in numerous films, TV shows, and other media. This song is perfect for weddings, reflection moments, services or solo guitar shows. Score with Tablature, Fingering and Chords. 2 pages.
$9.99
9 €
#
Guitar
#
FERNANDO LUIZ NEVES
#
Oh Promise Me for Fingerstyle Guitar
#
Fernando Neves
#
SheetMusicPlus
Promise Me
Guitar notes and tablatures
Solo Guitar - Level 4 - Digital Download SKU: A0.944449 By Beverley Craven. By Beve…
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Solo Guitar - Level 4 - Digital Download SKU: A0.944449 By Beverley Craven. By Beverley Craven. Arranged by Alexander kessler. Contemporary. Individual part. 7 pages. Alexander kessler #5985517. Published by Alexander kessler (A0.944449). Arrangement only includes sheet music and TAB for (Fingerstyle guitar) . I hope you enjoy playing this arrangement.
$5.00
4.51 €
#
Guitar notes and tablatures
#
Beverley Craven
#
Promise Me
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Alexander kessler
#
SheetMusicPlus
Me Against The Mountain
Guitar - Level 3 - Digital Download SKU: A0.1320135 Composed by Ian Munsick, Jeremy…
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Guitar - Level 3 - Digital Download SKU: A0.1320135 Composed by Ian Munsick, Jeremy Spillman, and Randy Montana. Arranged by Kyle Pudenz. 21st Century,Contemporary,Country,Pop,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #908665. Published by ViolinVagabond Music (A0.1320135). Bring the newest wave of outlaw country to your next gig with ease. This is a gig-ready chart of a very cool tune that can be adapted to a wide variety of ensembles or played as an instrumental version. Not reinventing the wheel hear, however I am, in fact, a professional arranger so I can promise you that if nothing else this arrangement comes with the following guarantees.This chart is 3 things:- ACCURATE (nobody got time for incorrect transcriptions)- UNIVERSAL (you'll get lead sheets with AND without guitar chords & lyrics, in order to best fit your ensemble's needs)- SIGHT READABLEOh, and most importantly, it's cheap. So for the low low price of 5 bucks, save yourself a couple hours of headache transcribing this tune yourself and proceed to your gig with confidence. Consider this my small act of paying it forward to the next poor sap who unexpectedly finds this tune on a set list.Vocal version (with guitar chords) and instrumental version (treble clef) included. And yes, I tabbed out the fiddle leads for you :).
$4.99
4.5 €
#
Ian Munsick, Jeremy Spillman, and Randy Montana
#
Me Against The Mountain
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ViolinVagabond Music
#
SheetMusicPlus
Long Live Cowgirls
Guitar - Level 3 - Digital Download SKU: A0.1320152 By Ian Munsick & Cody Johnson. …
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Guitar - Level 3 - Digital Download SKU: A0.1320152 By Ian Munsick & Cody Johnson. By Aby Gutierrez, Ian Munsick, and Phil O'Donnell. Arranged by Kyle Pudenz. 21st Century,Contemporary,Country,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #908681. Published by ViolinVagabond Music (A0.1320152). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. I got called in to play this tune as an instrumental duo at a wedding. Admittedly, it takes a very specific type of wedding for this to be the vibe for the entrance of the bridesmaids, but perhaps you too may find yourself in this same situation. Fortunately I am here to help!Whether you're performing this with a vocalist or as an instrumental solo/ensemble like me, this chart has everything you need. Chords/lyrics version AND an instrumental (treble clef) lead sheet are included, all for the low low price of about 5 bucks. While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a cocktail hour I have questions.My promises to you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to songs like these wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$4.99
4.5 €
#
Ian Munsick & Cody Johnson
#
Long Live Cowgirls
#
ViolinVagabond Music
#
SheetMusicPlus
Heartbeats
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1268428 By Jose Gonzalez. By Karin…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1268428 By Jose Gonzalez. By Karin Dreijer Andersson and Olof Dreijer. Arranged by Pablo Alcázar. 21st Century,Pop,Singer/Songwriter,Wedding. Individual part. 6 pages. Pablo Alcázar #860970. Published by Pablo Alcázar (A0.1268428). Arrangement for solo guitar of the famous song Heartbeats. This arrange by Pablo Alcázar, professional guitarist arranger and composer, is for intermediate players that want a challenge to play or for professional guitarist that want some new repertoire for wedding gigs or concerts. It includes the full voice melody line aswell as the full guitar line from the original song. This arrangement uses the 3º string on F# and the 6º string on D and the reading doesn't include the real notes you are playing but the translation of a normal tuning reading to make things easier. Also you can check the strings on the tablature in case you need to play in different positions.This is the Lyrics of the song:One night to be confusedOne night to speed up truthWe had a promise, babeFour hands and then awayBoth under influenceWe had divine senseTo know what to sayMind is a razor bladeTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noOne night of magic rushThe start a simple touchOne night to push and screamAnd then reliefTen days of perfect huesThe colors red and blueWe had a promise, babeWe were in loveTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enoughAnd youYou knew the hand of the devilAnd youKept us awake with wolves teethSharing different heartbeatsIn one nightTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enough.
$4.99
4.5 €
#
Guitar
#
Jose Gonzalez
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Heartbeats
#
Pablo Alcázar
#
SheetMusicPlus
Kosmos Place 1
Guitar - Digital Download SKU: A0.1066774 Composed by THEMIS KOUTRAS. Christian,Gos…
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Guitar - Digital Download SKU: A0.1066774 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 324. THEMIS KOUTRAS #5196707. Published by THEMIS KOUTRAS (A0.1066774). This a song in parable inspired by the holy spirit and a PROMISE of GOD that it is a prophesy song that we will progress to the space mission even to reach beyond the universe and creating new world up there as finishing the work GOD began to do to other worlds is that it is a sign up there he left it unfinished work he finished earth so to see how determined planet earth is to learn of him and take after the real true GOD rather then false gods to see if we will finish off those worlds up there in order to transport life there from here declaring these new worlds will then be part of planet earth the space mission today has the ability power to do this and I believe one day they will do this it has a final meaning that the space ships will mean we will travel without technology it is that the nick name space ship is given by me for the name of the holy spirit because his beyond all-powerful I know in parable because he will ascend us up high without a space ship as he already has for me for I been in the always given eternal life I have now returned back here the moment I left in time and space ye true ye I have been everywhere up there by the power of the holy spirit as he accended me up high in the always
$3.99
3.6 €
#
THEMIS KOUTRAS
#
Kosmos Place 1
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THEMIS KOUTRAS
#
SheetMusicPlus
10,000 Reasons (bless The Lord)
Guitar - Level 2 - Digital Download SKU: A0.1213599 By Matt Redman. By Jonas Myrin …
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Guitar - Level 2 - Digital Download SKU: A0.1213599 By Matt Redman. By Jonas Myrin and Matt Redman. Arranged by Kyle Pudenz. Christian,Praise & Worship,Religious,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #810792. Published by ViolinVagabond Music (A0.1213599). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. Indeed, I got called in to sub on a solo violin wedding gig on less than 24 hours' notice, and found this song right at the top of the list. Having not played or listened to it in... a while, I decided to display some semblance of due dilligence and write out a version that would work in the range of a solo instrumental violin. Then, and don't ask me where this sudden magnanimous streak came from, I decided to spin up the same chart with lyrics and chord diagrams just in case I ever needed to play it with a vocalist.Out of the goodness of my heart, ALL of the above is available to you for the low low price of (insert current minimum price for SMP chart). While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a church service I have questions.It's nothing spectacular, but here's what I can promise you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to worship songs wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$3.99
3.6 €
#
Matt Redman
#
10,000 Reasons
#
ViolinVagabond Music
#
SheetMusicPlus
Come Home To You
Guitar - Level 3 - Digital Download SKU: A0.1320143 By Ian Munsick. By Dave Villa, …
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Guitar - Level 3 - Digital Download SKU: A0.1320143 By Ian Munsick. By Dave Villa, Ian Munsick, Jamie Kenney, and Niko Moon. Arranged by Kyle Pudenz. 21st Century,Contemporary,Country,Pop,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #908674. Published by ViolinVagabond Music (A0.1320143). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. Indeed, I got called in to sub on a wedding gig on less than a week's notice, and found this song right at the top of the list. Having not played or listened to it... ever, I decided to display some semblance of due dilligence and write out a version that would work in the range of a solo instrumental violin. Then, and don't ask me where this sudden magnanimous streak came from, I decided to spin up the same chart with lyrics and chord diagrams just in case I ever needed to play it with a vocalist.Out of the goodness of my heart, ALL of the above is available to you for the low low price of about 5 bucks. While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a cocktail hour I have questions.It's nothing spectacular, but here's what I can promise you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to songs like these wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$4.99
4.5 €
#
Ian Munsick
#
Come Home To You
#
ViolinVagabond Music
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitar
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
6.31 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
(+)
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
6.31 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitar
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
6.31 €
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Guitar
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Richard Strauss
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.31 €
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Guitar
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Richard Strauss
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for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
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