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The Man I Love: Score
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1
Excerpt from the Last Part of Ariadne Auf Naxos
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
(+)
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
6.3 €
#
Guitar
#
Richard Strauss
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
The Woman in Red - I Just Called To Say I Love You (Easy/Intermediate Level, Accompaniment Guitar)
Guitar
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
(+)
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
#
Guitar
#
Stevie Wonder
#
Tomplay
The Woman in Red - I Just Called To Say I Love You (Very Easy Level, Accompaniment Guitar)
Guitar
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
(+)
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
#
Guitar
#
Stevie Wonder
#
Tomplay
The Woman in Red - I Just Called To Say I Love You (Easy Level, Accompaniment Guitar)
Guitar
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
(+)
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
#
Guitar
#
Stevie Wonder
#
Tomplay
The Woman in Red - I Just Called To Say I Love You (Intermediate/Advanced Level, Accompaniment Guitar)
Guitar
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
(+)
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
#
Guitar
#
Stevie Wonder
#
Tomplay
The Woman in Red - I Just Called To Say I Love You (Intermediate Level, Accompaniment Guitar)
Guitar
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
(+)
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
#
Guitar
#
Stevie Wonder
#
Tomplay
Crazy Little Thing Called Love
Guitar
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1269176 By Queen. By Fred…
(+)
Easy Guitar (no TAB) - Level 1 - Digital Download SKU: A0.1269176 By Queen. By Freddie Mercury. Arranged by Igor Sardi Bass. Pop,Rock. Score. 3 pages. Igor Sardi Bass #861713. Published by Igor Sardi Bass (A0.1269176). For version without tab, please contact me - igorsardi@gmail.comI transcribed about 1,000 songs, especially the bass and double bass lines. I will gradually publish them all on this site. My transcriptions are professional, done using only my skills and my ear. There is nothing copied. On my site (www.igorsardi.com) you can also find various collections (Queen, Jaco Pastorius, Flea, etc) and many teaching methods at unbelievable prices!Email:  igorsardi@gmail.comWebsite:  https://www.igorsardi.comInstagram: https://www.instagram.com/igor_sardi_bass/Facebook page:  https://www.facebook.com/igorsardibassFacebook: https://www.facebook.com/igor.sardiYoutube (Over 500 videos): https://www.youtube.com/c/IgorSardiBass36My didactic books:John Deacon: complete study - https://www.igorsardi.com/johndeacon-completestudy        Jaco Pastorius: complete study (volume 1 & 2) - https://www.igorsardi.com/jaco-pastoriusHarmony course - https://www.igorsardi.com/corso-armonia-applicata-per-bassisti  -Walking Bass: Progressive course - https://www.igorsardi.com/walking-bass-course 500 exercises for bass - https://www.igorsardi.com/500-exercises-for-bass Electric bass theory and practice - https://www.igorsardi.com/theory-and-practice-of-bass Setup: complete guide -  https://www.igorsardi.com/theelectricbassworkshop The Fretless Bass - https://www.igorsardi.com/fretless-bass-bookProfession Bass Player - https://www.igorsardi.com/profession-bassplayer Studying classical music on bass - https://www.igorsardi.com/studyingclassicalmusiconbass.
$7.99
7.2 €
#
Guitar
#
Queen
#
2) - https://www
#
Crazy Little Thing Called Love
#
Igor Sardi Bass
#
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
6.3 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.3 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek 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
6.3 €
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Guitar
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Richard Strauss
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for solo classical guitar
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Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
ASTURIAS by Albéniz - Transcr. for guitar by Flavio SALA
Guitar
Guitar, Classical guitar - Advanced Intermediate - Digital Download Composed by Isaac…
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Guitar, Classical guitar - Advanced Intermediate - Digital Download Composed by Isaac Albeniz (1860-1909). Arranged by Flavio Sala. Impressionistic, Post-Romantic, Repertoire. Score. 7 pages. Published by Flavio Sala
Isaac Albéniz (1860– 1909) è, senza dubbio, il vero fondatore della musica spagnola moderna.<br> <br> Bambino prodigioe instancabile viaggiatore, la sua opera è impregnata dei colori e dei saporidella Spagna, paese che ha amato profondamente per tutta la vita. L’influenzadel Flamenco è accertata: Albéniz era un habitué delle taverne dove si cantavae suonava questo genere. ASTURIAS, ispirato dalla Granaína (stile flamenco di Granada) è uno di quei brani che ha superato i confinidella musica prettamente classica, raggiungendo un pubblico planetario.<br> <br> Questatrascrizione, pur conservando alcune idee geniali di Andrés Segovia (latonalità di Mi minore, le terzine a partire dalla terza frase, gli armonicinella sezione centrale), presenta una scrittura chitarristica più precisa, curatanei minimi particolari e una maggiore coerenza con l’originale. Diteggiature esoluzioni nuove per la mano sinistra danno vita a una partitura fresca, riccadi sonorità inedite.<br> <br> Bojano, 16 Settembre 2020.<br> <br> Flavio Sala.<br> <br> * * *<br> <br> Isaac Albéniz (1860 - 1909) is, without doubt, the truefounder of modern Spanish music.<br> <br> Child prodigy and tireless traveler, his works are full of colorsand flavors of Spain, a country he has deeply loved all his life. The influenceof Flamenco is proven: Albéniz was a regular in taverns where this genre wassung and played. ASTURIAS, inspired by the Granaína(flamenco style of Granada) is one of those pieces that went beyond theboundaries of purely classical music, reaching a global audience.<br> <br> This transcription, while retaining some brilliant ideas ofAndrés Segovia (the key of E minor, the triplets starting from the third phrase,the harmonics in the central section), presents a more precise guitar writing,with attention to the smallest details and greater coherence with the original.New fingerings and solutions for the left hand give life to a fresh score, fullof new sounds.<br> <br> Bojano, September 16,2020.<br> <br> Flavio Sala.
$10.00
9.01 €
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Guitar
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Isaac Albeniz (1860-1909)
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ASTURIAS by Albéniz - Transcr. for guitar by Flavio SALA
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Flavio Sala
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SheetMusicPlus
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