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--INSTRUMENTS--
ACCORDION
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It Isn
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431
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326
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243
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232
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223
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27
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21
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14
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10
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8
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4
2 Pianos, 4 hands
2
Organ, Piano (duet)
1
Piano Quartet: piano, 2 violins, cello
1
Piano Quartet: piano, violin, viola, cello
1
+ 10 instrumentations
-
Retract
Guitars
Guitar
63
Guitar notes and tablatures
60
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53
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33
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29
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4 Guitars (Quartet)
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+ 12 instrumentations
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Retract
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72
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54
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31
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25
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14
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13
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10
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6
Vocal duet, Piano
5
High voice
3
Alto voice, Piano
2
Vocal duet
2
Soprano voice, Piano
1
Choral SSATTB
1
+ 10 instrumentations
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Retract
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80
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56
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49
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39
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36
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36
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32
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30
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30
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28
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28
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25
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25
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24
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23
2 Clarinets (duet)
22
Recorder
18
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14
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12
2 Oboes (duet)
10
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10
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10
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10
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10
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10
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9
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7
Ocarina
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7
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6
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5
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5
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Oboe, Flute
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5
Saxophone ensemble
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Oboe
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English Horn
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Harmonica
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2 Recorders (duet)
4
Eb Instruments
3
Clarinet, Cello (duet)
3
Oboe and viola (duet)
3
3 Clarinets (trio)
3
Flute, Clarinet and Bassoon.
3
Oboe, Cello
3
Flute, Violoncello
3
Flute, Trumpet (duet)
3
Flute and Guitar
2
English horn, Piano
2
Bass Clarinet
2
Flute Quintet : 5 flutes
2
Piccolo
2
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2
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1
Bagpipe
1
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1
3 Saxophones (trio)
1
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1
Flute Trio: 3 flutes
1
Recorder Quartet
1
+ 69 instrumentations
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Retract
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57
Trumpet
36
French horn
31
Trombone (band part)
30
Trumpet, Piano
29
Brass Quintet: 2 trumpets, horn, trombone, tuba
29
Trombone
29
Trombone and Piano
22
French horn (band part)
14
Tuba (band part)
14
2 Trombones (duet)
14
Tuba
13
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12
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12
2 Trumpets (duet)
12
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9
Trumpet, Trombone (duet)
6
2 French horns (duet)
5
Brass Quartet: 4 trombones
5
Brass Quartet: 2 trumpets, horn, trombone
4
English Horn
4
2 Tubas (duet)
3
Bass Clef Instruments
3
Tuba and Piano
3
Bb Instruments
3
English horn, Piano
2
Brass Quartet
2
Euphonium
2
Tuba and Organ
2
Tuba or Euphonium or Saxhorn
2
Brass Quartet: 4 horns
1
Euphonium, Piano (duet)
1
4 Tubas
1
2 Euphoniums and 2 Tubas
1
+ 29 instrumentations
-
Retract
Strings
String Quartet: 2 violins, viola, cello
95
Violin
54
Cello
44
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40
Viola, Piano
35
Viola
32
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30
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28
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18
Double Bass
17
2 Cellos (duet)
17
Harp
15
Violin (band part)
14
String Trio: violin, viola, cello
13
String Trio: 2 violins, cello
12
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9
Viola (band part)
7
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7
Violin, Viola (duet)
7
Piano Trio: Violin, Viola, Piano
5
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4
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3
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3
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3
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3
Violin, Clarinet, Piano (trio)
2
Cello, String Bass (duet)
2
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2
Harp, Flute (duet)
1
4 Cellos
1
String Trio: 3 cellos
1
Cello (band part)
1
String Trio: 3 violins
1
Harp, Violin, Violoncello
1
+ 29 instrumentations
-
Retract
Orchestra & Percussion
Concert band
95
Orchestra
72
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40
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34
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32
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15
Jazz Ensemble
14
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13
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9
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8
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6
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6
Jazz combo
6
2 Xylophones
5
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4
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4
Drum (band part)
3
Timpani
3
Vibraphone (band part)
3
Xylophone
3
Percussion Ensemble
2
Woodwind Quartet: any 4 woodwinds
1
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Guitar
Sheetmusic to print
63 sheet music found
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1
26
51
Say It Isn't So
#
Guitar
#
INTERMEDIATE
#
Hall & Oates
#
Andrés Rivas
#
Say It Isn't So
#
Andrés Rivas
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1157356 By Hall & Oates. By Daryl Hall. Arranged by Andrés Rivas. 20th Century,Blues,Classical,Film/T...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1157356 By Hall & Oates. By Daryl Hall. Arranged by Andrés Rivas. 20th Century,Blues,Classical,Film/TV,Pop. Individual part. 4 pages. Andrés Rivas #757683. Published by Andrés Rivas (A0.1157356). Classical guitar arrangement with tablature from Say It Isn't So.
$40.00 ≈
¥289.11
The Winner Takes It All
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Guitar
#
INTERMEDIATE
#
ABBA
#
Derek Hasted
#
The Winner Takes It All
#
Derek Hasted
#
SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1283320 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Derek Hasted. 20th Century,Pop. 28 pages. ...
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Guitar - Level 3 - Digital Download SKU: A0.1283320 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Derek Hasted. 20th Century,Pop. 28 pages. Derek Hasted #874514. Published by Derek Hasted (A0.1283320). THE WINNER TAKES IT ALL - Great concert piece for 4 GUITARS or larger ensemblePrimarily for Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar only.Derek Hasted writes This is a concert crowd-pleaser perfect for intermediate or advanced intermediate guitarists!One reason ABBA songs are so memorable isn’t the strong melody line, it’s all the other clever harmonies and countermelodies that lurk just under the surface to make a crafted masterpiece.My arrangement uses guitar-friendly shapes to capture the whole song and many of the countermelodies that make the original such a great listen.The dynamics on the score tie in with the orchestration, so that the quiet sections are slow-moving and the louder sections are busy, adding yet more notes before the previous ones fade away. I’ve added just a little fingering here and there if there’s really only one place on the neck to play what’s on the page. Elsewhere, please choose the sweet spot that gives you, the player, the best mix of tone, sustain, playability and confidence.I hope you enjoy performing this as much as the audience will enjoy hearing it!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99 ≈
¥36.07
It Came Upon a Midnight Clear
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Guitar
#
INTERMEDIATE
#
Rock
#
The Candlelight Guitarist
#
Bradley Powell
#
It Came Upon a Midnight Clear
#
Geofonica Artistworks
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1316386 By The Candlelight Guitarist. By Edmund Sears and Richard Storrs Willis. Arranged by Bradley Pow...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1316386 By The Candlelight Guitarist. By Edmund Sears and Richard Storrs Willis. Arranged by Bradley Powell. Christian,Christmas,Classical,Holiday,Religious. Individual part. 3 pages. Geofonica Artistworks #904878. Published by Geofonica Artistworks (A0.1316386). This arrangement of It Came Upon A Midnight Clear is an excerpt from Christmas Suite 1225 - a new album by The Candlelight Guitarist (aka Bradley Powell). It features fingerstyle classical guitar, with a fresh chordal interpretation, moving bass and internal lines, and other distinctive stylistic features. It Came Upon A Midnight Clear can be seen and heard in the Candlelight Guitarist YouTube video of Christmas Suite 1225 (Part 1) beginning at 0:20.ABOUT: Brad Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. When not making music, Brad is often out hiking with his four dogs. Brad has also played as the solo guitarist for Disney's Princess Breakfast Adventure at Disney's Grand Californian Resort by Disneyland, playing for the Disney Princesses (Belle, Tiana, Jasmine, Rapunzel, Mulan, Aurora, Ariel, Pocahontas, and Cinderella).COMMENTS FROM LONG-ESTABLISHED REVIEWERS (for this and other Candlelight Guitarist recordings)...Dr. Beth - Amazon.com #1 Hall of Fame reviewerBrad has a knack for putting together gentle, soothing guitar medleys which provide the perfect background or relaxation soundtrack.Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age RetailerThe Candleight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals.Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWERBradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart. ...  Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences.Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell..
$2.99 ≈
¥21.61
Let It Go
#
Guitar
#
EASY
#
Film/TV
#
Idina Menzel
#
Tyler Adams
#
Let It Go
#
Adams Arrangements
#
SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1151990 By Idina Menzel. By Kristen Anderson-Lopez and Robert Lopez. Arranged by Tyler Adams. Film/TV,Po...
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Solo Guitar - Level 2 - Digital Download SKU: A0.1151990 By Idina Menzel. By Kristen Anderson-Lopez and Robert Lopez. Arranged by Tyler Adams. Film/TV,Pop. Individual part. 1 pages. Adams Arrangements #752196. Published by Adams Arrangements (A0.1151990). This short and simple guitar arrangement of Let It Go includes sheet music and tabs, so you can learn any way you want! Enjoy playing this solo guitar arrangement of Let It Go! Disney guitar sheet music.
$4.99 ≈
¥36.07
It's A Small World
#
Guitar
#
Walt Disney
#
Children
#
Robert & Richard Sherman
#
It's A Small World
#
Hal Leonard - Digital
#
SheetMusicPlus
Solo Guitar - Digital Download SKU: HX.403829 Composed by Robert & Richard Sherman. This edition: scorch. Children,Disney. Individual part. 2 pages. Hal ...
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Solo Guitar - Digital Download SKU: HX.403829 Composed by Robert & Richard Sherman. This edition: scorch. Children,Disney. Individual part. 2 pages. Hal Leonard - Digital #411270. Published by Hal Leonard - Digital (HX.403829).
$4.99 ≈
¥36.07
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Guitar
#
EASY
#
Brian Streckfus
#
Guitar Chord Progression Gener
#
Brian Streckfus
#
SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Br...
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Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670). This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!Objective:Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. What Scales/Modes are being harmonized? C Major (+jazz version) A (natural) minor (+jazz version) A harmonic minor (+jazz version) B Locrian D Dorian E Phyrigian F Lydian G Mixolydian Features: Slowly increases in physical and theoritcal difficulty at the same time. Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. These chord progressions are a great composition aid. Guitar chord diagrams Traditional notation with letter names on the note heads Roman numerals color coded Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. Tips: Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled! Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.
$1.99 ≈
¥14.38
Away In a Manger
#
Guitar
#
Christmas
#
J
#
Robert McCormack
#
Away In a Manger
#
Robert McCormak
#
SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.483131 Composed by J. R. Murray and W. J. Kirkpatrick. Arranged by Robert McCormack. Christmas,Classical,Holiday,P...
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Solo Guitar - Digital Download SKU: A0.483131 Composed by J. R. Murray and W. J. Kirkpatrick. Arranged by Robert McCormack. Christmas,Classical,Holiday,Praise & Worship,Standards. Individual part. 2 pages. Published by Robert McCormak (A0.483131). This arrangement of the Christmas Carol, Away In a Manger, combines the two well known versions of the song. The arpeggiated introduction also serves as a bridge between the two iterations. It isn't as difficult as it appears and sounds as it climbs to the 15th fret G as the position changes are pretty user friendly. A peaceful and pleasant arrangement for a peaceful and pleasant song. Enjoy.
$2.99 ≈
¥21.61
If I Fell
#
Guitar
#
INTERMEDIATE
#
Rock
#
The Beatles
#
NATHAN L HATICO
#
If I Fell
#
Nathan L. Hatico
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1045112 By The Beatles. By John Lennon and Paul McCartney. Arranged by NATHAN L HATICO. Classical,Contem...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1045112 By The Beatles. By John Lennon and Paul McCartney. Arranged by NATHAN L HATICO. Classical,Contemporary,Jazz,Pop,Rock. Individual part. 4 pages. Nathan L. Hatico #649677. Published by Nathan L. Hatico (A0.1045112). This arrangement was inspired by Earl Klugh's recording of the song on his Naked Guitar CD. The melody line switches back and forth between the upper and lower registers and some sections have been reharmonized. This arrangement will work played in strict time, but I prefer to play it freely and expressively. It isn't too difficult and should be accessible to the intermediate level player.
$4.99 ≈
¥36.07
Idina Menzel: Let It Go (from Frozen) - guitar solo
#
Guitar
#
BEGINNER
#
Walt Disney
#
Children
#
Idina Menzel
#
Virtualsheetmusic
Instantly printable sheet music by Idina Menzel for guitar solo of VERY EASY skill level. / children,disney,film/tv,movies
Instantly printable sheet music by Idina Menzel for guitar solo of VERY EASY skill level. / children,disney,film/tv,movies
$4.97 ≈
¥35.92
Idina Menzel: Let It Go (from Frozen), (beginner) - guitar solo
#
Guitar
#
BEGINNER
#
Walt Disney
#
Film/TV
#
Idina Menzel
#
Virtualsheetmusic
Instantly printable sheet music by Idina Menzel for guitar solo of VERY EASY skill level. / disney,film/tv,movies,children
Instantly printable sheet music by Idina Menzel for guitar solo of VERY EASY skill level. / disney,film/tv,movies,children
$4.97 ≈
¥35.92
Idina Menzel: Let It Go (from Frozen), (intermediate) - guitar solo
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Guitar
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INTERMEDIATE
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Walt Disney
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Children
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Idina Menzel
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Virtualsheetmusic
Instantly printable sheet music by Idina Menzel for guitar solo of MEDIUM skill level. / children,disney,film/tv,movies
Instantly printable sheet music by Idina Menzel for guitar solo of MEDIUM skill level. / children,disney,film/tv,movies
$8.97 ≈
¥64.83
Idina Menzel: Let It Go (from Frozen) - guitar solo
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Guitar
#
INTERMEDIATE
#
Walt Disney
#
Children
#
Idina Menzel
#
Virtualsheetmusic
Instantly printable sheet music by Idina Menzel for guitar solo of MEDIUM skill level. / children,disney,inspirational,pop,winter
Instantly printable sheet music by Idina Menzel for guitar solo of MEDIUM skill level. / children,disney,inspirational,pop,winter
$6.97 ≈
¥50.38
Robert B. Sherman: It's A Small World for guitar solo
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Guitar
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INTERMEDIATE
#
Walt Disney
#
Children
#
Robert B. Sherman
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Virtualsheetmusic
Instantly printable sheet music by Sherman Brothers for guitar solo of MEDIUM skill level. / children,disney,pop
Instantly printable sheet music by Sherman Brothers for guitar solo of MEDIUM skill level. / children,disney,pop
$5.97 ≈
¥43.15
Robert B. Sherman: It's A Small World for guitar solo
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Guitar
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INTERMEDIATE
#
Walt Disney
#
Children
#
Robert B. Sherman
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Virtualsheetmusic
Instantly printable sheet music by Sherman Brothers for guitar solo of MEDIUM skill level. / children,disney,pop
Instantly printable sheet music by Sherman Brothers for guitar solo of MEDIUM skill level. / children,disney,pop
$6.97 ≈
¥50.38
Larry Williams Compositions- The Guitar Book
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Guitar
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INTERMEDIATE/ADVANCED
#
Larry Williams
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Larry Williams Compositions- T
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Larry Andrew Williams
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Will...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1167528 Composed by Larry Williams. Contemporary,Folk,Jazz. Individual part. 80 pages. Larry Andrew Williams #767908. Published by Larry Andrew Williams (A0.1167528). A WORD FROM THE COMPOSER Is anyone interested in new reading material anymore? I know that when I was a kid in nineteen hundred and something, the quest for new musical pieces was always one of the funnest aspects of the whole musical journey. Of course I did learn that it would take a long time to  nd those few that would resonate with me for a lifetime, but it was always fun trying them all out. It still is, in fact. Well, times change and people change, but I’d still like to believe that same factor carries on. You know, the one about trying out all that music to get to the few you keep. And what about the few we do keep? For guitar players, was it always a classic from the usual suspects, like Albeniz, Sor, Tarrega,, Granados, Rodrigo, Brouwer, Barrios, Villa-Lobos, or anything by Bach?Was it something our band director or private instructor, one of our friends, or our parents wrote? Or – Heaven forbid- something that maybe we ourselves wrote? Or some “unknown guy.â€Â Consider this.Just how often did some unknown composer's piece greatly affect us as we waded through a daunting pile of the familiar from the known masters? And since some, if not most of these classics are required reading, how often did we even get around to giving this unknown guy's piece a try?And furthermore, was this unknown guy - shudder...alive? Let’s face it. In the composer arena, we the living, stand no chance against the deceased (God rest their souls) But by saying “they don’t write ‘em like that anymore,†are we denying ourselves new ground to be broken, doors to be opened, frontiers to be discovered? And isn’t that pioneering spirit just plain ol’ curiosity when it comes right down to it? Well I believe the key lies within the carrying out of these notions that curiosity places in us. It’s climbing the mountain simply because it is there. So, for right now, I’m that unknown guy and I would only urge you to break new ground every day. Lots of trends, ideas, and interests will come and go in your life, but always hang on to that curiosity. It’s what makes the world a smaller neighborhood. Larry Williams.
$20.00 ≈
¥144.56
Chorus and Aria from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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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
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
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 ≈
¥50.59
'A golden time ...' from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
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 ≈
¥50.59
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
#
INTERMEDIATE
#
Classical
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
(+)
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 ≈
¥50.59
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