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1
Chorus and Aria from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
(+)
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
6.42 €
#
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
6.42 €
#
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…
(+)
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
6.42 €
#
Guitar
#
Richard Strauss
#
Excerpt from the Last Part of 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
6.42 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Saints and Fireworks: The Music of Gordon Mizzi, Volume Two
Guitar
Guitar (all) - Intermediate - Digital Download SKU: M0.22170EB Composed by Gordon M…
(+)
Guitar (all) - Intermediate - Digital Download SKU: M0.22170EB Composed by Gordon Mizzi. Adult Contemporary. Classic. E-book. Mel Bay Publications - Digital Sheet Music #22170EB. Published by Mel Bay Publications - Digital Sheet Music (M0.22170EB). ISBN 9781619112094. 8.75x11.75 inches.This collection of the work of the Maltese composer, Gordon Mizzi, for solo guitar is being made available to the public for the first time. Saints and Fireworks, The Music of Gordon Mizzi Volume Two is the second of two albums of Gordon Mizzi's music, which are available from Mel Bay Publications. This album takes its title from the  CD, Gordon Mizzi, Saints and Fireworks that has been recorded by Carlos Bonell, one of today's most celebrated guitarists and which is available from Spearhead Music. The individual track recordings are also available as downloads from itunes, amazon.com and other sites.This album contains a diverse collection of original works as well as transcriptions of Renaissance and Maltese folk music by Gordon Mizzi. The Branles de Malte by Jean d'Estr+¬e were originally composed by the French Knights of St. John in Malta in 1551 for the Dauphin of France. Gordon Mizzi has made guitar transcriptions of these five dances and this is the first time that they are being published. The Branles de Malte by Adrian Le Roy are also included. There are a number of original compositions. Saints and Fireworks, a piece in two movements, vividly represents Malta's village festas. Island Scenes are six musical portraits of towns and villages dotting the landscape of Malta.They include Valletta- Barrakka Gardens, San Giljan-After the Feast, Mdina- Citt+á Notabile, the dreamy Comino-The Blue Lagoon, Sliema- The Tower, and the pulsatingly brash Paceville -Sin City. Three Love Poems : Hula, Lahaina and Hana are influences from Hawaii. There are also two cradle songs Child Don't Cry and Ninna Nanna as well as folk inspired melodies such as Night Crossing and il- Maltija. The guitarist will find a veritable pot pourri of scents and sounds in this album.
$17.99
16.51 €
#
Guitar
#
Gordon Mizzi
#
Saints and Fireworks: The Music of Gordon Mizzi, Volume Two
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Mountains of Stowe, I Stand Strong
Guitar
Guitar - Digital Download SKU: A0.1070387 Composed by Apostolos Paraskevas. 20th Ce…
(+)
Guitar - Digital Download SKU: A0.1070387 Composed by Apostolos Paraskevas. 20th Century,Romantic Period,World. Full Performance. Duration 203. Silver Sickle Publications #6102999. Published by Silver Sickle Publications (A0.1070387). Mountains of Stowe, 2015 is a two-movement piece commissioned by and dedicated to guitarist Adam Holzman. The first movement I Stand Strong reflects the serenity and isolation someone might feel when surrounded by the mountains of Stowe, Vermont in the U.S.A. The second movement …and the Sky is the Limit written in an ABA cyclic form is full of rhythmic gestures starting with the combination of 7/8, 2/4, 5/8 and 3/4 in the first four measures that leads to a slow movement as an attempt to sing a Greek song in those vast territories and to portray the thankfulness of being there and experience the presence of the amazing beauty of it. When asked why he commissioned this piece, Holzman replied, My wife and I spend our summers in Stowe. We love being there, celebrate the summer and spend time outside. We have family and friends who come and share a few days with us and Apostolos is a dear friend who has been coming for several years. We talked about the possibility of him writing a piece that reflected Stowe and the mountains. When asked about the piece, Paraskevas responded, I always write music for the person behind the instrument, so while composing every note of this piece I had Adam in my mind; the way he plays, the way he breathes the way he lives his life. The work is written for the mountains of Stowe through Adam’s eyes and heart and I am the vehicle who translates it.
$1.99
1.83 €
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Guitar
#
Apostolos Paraskevas
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Mountains of Stowe, I Stand Strong
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Silver Sickle Publications
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SheetMusicPlus
Mountains of Stowe, and The Sky is The Limit
Guitar
Guitar - Digital Download SKU: A0.1070388 Composed by Apostolos Paraskevas. 20th Ce…
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Guitar - Digital Download SKU: A0.1070388 Composed by Apostolos Paraskevas. 20th Century,Romantic Period,World. Full Performance. Duration 260. Silver Sickle Publications #6103003. Published by Silver Sickle Publications (A0.1070388). Mountains of Stowe, 2015 is a two-movement piece commissioned by and dedicated to guitarist Adam Holzman. The first movement I Stand Strong reflects the serenity and isolation someone might feel when surrounded by the mountains of Stowe, Vermont in the U.S.A. The second movement …and the Sky is the Limit written in an ABA cyclic form is full of rhythmic gestures starting with the combination of 7/8, 2/4, 5/8 and 3/4 in the first four measures that leads to a slow movement as an attempt to sing a Greek song in those vast territories and to portray the thankfulness of being there and experience the presence of the amazing beauty of it. When asked why he commissioned this piece, Holzman replied, My wife and I spend our summers in Stowe. We love being there, celebrate the summer and spend time outside. We have family and friends who come and share a few days with us and Apostolos is a dear friend who has been coming for several years. We talked about the possibility of him writing a piece that reflected Stowe and the mountains. When asked about the piece, Paraskevas responded, I always write music for the person behind the instrument, so while composing every note of this piece I had Adam in my mind; the way he plays, the way he breathes the way he lives his life. The work is written for the mountains of Stowe through Adam’s eyes and heart and I am the vehicle who translates it.
$1.99
1.83 €
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Guitar
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Apostolos Paraskevas
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Mountains of Stowe, and The Sky is The Limit
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Silver Sickle Publications
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SheetMusicPlus
Sweet Caroline
Guitar
Guitar - Level 3 - Digital Download SKU: A0.1214983 By Neil Diamond. By Neil Diamon…
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Guitar - Level 3 - Digital Download SKU: A0.1214983 By Neil Diamond. By Neil Diamond. Arranged by Dan Jones www.danjonesguitarist.com. Classical,Pop,Singer/Songwriter. 55 pages. DanJonesGuitarist #811570. Published by DanJonesGuitarist (A0.1214983). Sweet Caroline - by Neil DiamondArranged for Guitar Quartet (with Optional Bass Guitar) by Dan Joneswww.danjonesguitarist.comThis arrangement is designed for advanced-intermediate ensembles, but could also be used by professional groups seeking something original and popular for repertoire or encore works.Your download provides you with:⦠  A score showing notes and TAB⦠  A score with only notes (to facilitate page turns)⦠  All parts in notes only⦠  All parts in notes and TAB⦠  A bass guitar part is provided, but the arrangement will work effectively with or without this part.Sweet Caroline was released as a single by Neil Diamond in 1969. It enjoyed immediate chart success in the US, and further success in the UK in 1971. In recent years, it has had a resurgence in popularity, as it has been sung by supporters at sporting events due to its epic, stadium-rock quality. It is therefore much-known and loved by audiences of all generations.This arrangement is designed for advanced-intermediate ensembles, but could also be used by professional groups seeking something original and popular for repertoire or encore works.Your download provides you with:⦠  A score showing notes and TAB⦠  A score with only notes (to facilitate page turns)⦠  All parts in notes only⦠  All parts in notes and TAB⦠  A bass guitar part is provided, but the arrangement will work effectively with or without this part.For a wealth of arrangements for guitar in ensemble or solo, writings, original works, teaching material, compositions and much more, please visit www.danjonesguitarist.com
$7.95
7.3 €
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Guitar
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Neil Diamond
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Sweet Caroline
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DanJonesGuitarist
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SheetMusicPlus
Sonidos Negros
Guitar
Composed by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part…
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Composed by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 13 pages. Richard Hirsch #695686. Published by Richard Hirsch
A Flamenco guitar solo in the Tarantas style. The Tarantas is a free-flowing slow moving Fandango from the region of Almeria which was earlier a principal mining region of Spain. The style is therefore sometimes called Mineras. Tarantas has long been one of my favorite Flamenco pieces for the guitar. It is notated in the key of B minor, based on a so-called “Andalusian” cadence consisting of the chords B minor - A major (open B and E) - G major (open B and E) - F# major (with open G, B, and E). These dark and indefinite sounding chords allow plenty of room for the guitarist to open up emotionally with the audience.The material for the piece consists mostly of traditional themes that I have woven into a compositional whole along with a few of my own creations (falsetas). Songs for Tarantas are often expressions of loss of a loved-one in some mining tragedy. The long legato passages demand a complete mastery of the technique and should be played as fluidly as possible. The fanning (abanico) rasqueados in the finish of the piece can be new to guitarists coming to Flamenco from classical guitar. Demonstrations of this type of rasqueado can be found at my YouTube sites: https://youtu.be/sB-rDGtXK34 and https://youtu.be/OVBbUZFIj2s. Another type of rasqueado used frequently in the piece is a soft four finger rasqueado (cami) preceded by and followed by a brush up and down over the strings with the thumb (p-camip), accompanied by legatos on the base strings.The piece is accessible for advanced intermediate to advanced guitarists. As the Tarantas is played sens mesure, not demanding any competence of special flamenco rhythms, it is also a flamenco piece readily playable by classical guitarists. Classical guitarists should however be aware that the thumb plays the dominant role even in the more melodic passages.
$6.99
6.41 €
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Guitar
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Richard Hirsch
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Sonidos Negros
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Richard Hirsch
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SheetMusicPlus
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