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The Strong
Not classified
855
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717
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212
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145
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582
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184
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107
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80
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62
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59
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8
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2
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11
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11
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10
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9
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9
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9
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8
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8
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8
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8
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6
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6
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6
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5
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5
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5
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3
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3
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
+ 71 instrumentations
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Retract
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87
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83
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44
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43
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38
Trumpet (band part)
38
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33
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29
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25
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19
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18
Trumpet, Saxophone (duet)
18
English horn, Piano
16
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16
2 Trumpets (duet)
15
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15
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15
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15
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11
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8
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8
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7
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3
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1
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1
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1
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1
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187
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66
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55
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49
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8
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1
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1
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You've selected:
The Strong
Guitar
Sheetmusic to print
69 sheet music found
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1
26
51
Over The Rainbow
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Broadway
#
Film/TV
#
Judy Garland
#
Richard Hirsch
#
and 3&
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Over The Rainbow
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Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99
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
#
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...
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
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
Mountains of Stowe, I Stand Strong
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Guitar
#
Apostolos Paraskevas
#
Mountains of Stowe, I Stand St
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Silver Sickle Publications
#
SheetMusicPlus
Guitar - Digital Download SKU: A0.1070387 Composed by Apostolos Paraskevas. 20th Century,Romantic Period,World. Full Performance. Duration 203. Silver Si...
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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
Mountains of Stowe, and The Sky is The Limit
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Guitar
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Apostolos Paraskevas
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Mountains of Stowe, and The Sk
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Silver Sickle Publications
#
SheetMusicPlus
Guitar - Digital Download SKU: A0.1070388 Composed by Apostolos Paraskevas. 20th Century,Romantic Period,World. Full Performance. Duration 260. Silver Si...
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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
The Finest Pieces from his Repertoire
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Guitar
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INTERMEDIATE
#
Classical
#
Narcisio Yepes
#
The Finest Pieces from his Rep
#
Schott Music - Digital
#
SheetMusicPlus
Guitar - intermediate - Digital Download Masters of the Guitar. Composed by Narcisio Yepes. This edition: Sheet music. Spanien, Gitarre, Sammlung. Gu...
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Guitar - intermediate - Digital Download Masters of the Guitar. Composed by Narcisio Yepes. This edition: Sheet music. Spanien, Gitarre, Sammlung. Guitar Archive. Downloadable. Schott Music - Digital #Q16340. Published by Schott Music - Digital
The Spanish guitarist Narciso Yepes (1927-1997) was one of the great masters of his instrument and was regarded as the greatest guitarist of Spain, apart from André.s Segovia and Emilio Pujol. Pupil of Vicente Asensio, he had a strong connection with the flamenco. in 1947, Yepes made the breakthrough with the performance of Joaquí.n Rodrigo's 'Concierto de Aranjuez'. As a composer, Yepes was internationally recognised because of his film music of 'Jeux interdits' (René. Clé.ment, 1952). Yepes added numerous transcriptions to the repertoire of the acoustic guitar. The newly compiled anthology contains the most beautiful pieces from the repertoire of this brilliant virtuoso.
$19.99
Strong Enough
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Guitar
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INTERMEDIATE
#
Sheryl Crow
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Gary Wolk
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Strong Enough
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Gary Wolk Music
#
SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1350733 By Sheryl Crow. By Bill Bottrell, Brian MacLeod, David Baerwald, David Ricketts, Kevin Gilbert, and S...
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Guitar - Level 3 - Digital Download SKU: A0.1350733 By Sheryl Crow. By Bill Bottrell, Brian MacLeod, David Baerwald, David Ricketts, Kevin Gilbert, and Sheryl Crow. Arranged by Gary Wolk. 20th Century,Folk,Rock. 7 pages. Gary Wolk Music #935557. Published by Gary Wolk Music (A0.1350733). An instrumental version of the Sheryl Crow song, arranged for Guitar Quartet.
$19.99
Time in the Past
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Guitar
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INTERMEDIATE
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Marco William Duranti
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Time in the Past
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Marco William Duranti
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1243384 By Marco William Duranti. By Marco William Duranti. 21st Century,Classical,Contemporary. Full Perform...
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Guitar - Level 3 - Digital Download SKU: A0.1243384 By Marco William Duranti. By Marco William Duranti. 21st Century,Classical,Contemporary. Full Performance. Duration 151. Marco William Duranti #838345. Published by Marco William Duranti (A0.1243384). Time in the Past This is one of my early works that was originally written back in 1987. It is a well balanced piece with a very strong melody that pleases the ear. It gives the listener a pleasant feeling, something that could have been composed in the Classical period and this explains the title.
$1.99
Time in the Past
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Guitar
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INTERMEDIATE
#
Marco William Duranti
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Time in the Past
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Marco William Duranti
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1243377 By Marco William Duranti. By Marco William Duranti. 21st Century,Classical,Contemporary. Individ...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1243377 By Marco William Duranti. By Marco William Duranti. 21st Century,Classical,Contemporary. Individual part. 2 pages. Marco William Duranti #838338. Published by Marco William Duranti (A0.1243377). Time in the Past This is one of my early works that was originally written back in 1987. It is a well balanced piece with a very strong melody that pleases the ear. It gives the listener a pleasant feeling, something that could have been composed in the Classical period and this explains the title.
$3.49
The Long Walk Home
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Guitar
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INTERMEDIATE
#
Celtic/Irish
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John David Morgan
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John David Morgan
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The Long Walk Home
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John David Morgan
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.518698 By John David Morgan. By John David Morgan. Arranged by John David Morgan. Celtic,Contemporary,Fo...
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Solo Guitar - Level 3 - Digital Download SKU: A0.518698 By John David Morgan. By John David Morgan. Arranged by John David Morgan. Celtic,Contemporary,Folk,Irish,New Age. Individual part. 10 pages. John David Morgan #129409. Published by John David Morgan (A0.518698). A folky flavored melody evolking the sence of where you've been and the attempt to return home. Musicall this piece has lots of strong melodic ideas and interesting twists and turns.
$4.00
He is My Stronghold
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Guitar
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Sacred music
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Mark Greer
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He is My Stronghold
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The CHOSEN Company, LLC
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SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.980803 Composed by Mark Greer. Children,Christian,Praise & Worship,Sacred. Individual part. 2 pages. The CHOSEN Co...
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Solo Guitar - Digital Download SKU: A0.980803 Composed by Mark Greer. Children,Christian,Praise & Worship,Sacred. Individual part. 2 pages. The CHOSEN Company, LLC #5022597. Published by The CHOSEN Company, LLC (A0.980803). Beautiful song about how God is our support through all of life's ups and downs.
$3.99
Mack the Knife
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Guitar
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EASY
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Jazz
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Louis Armstrong
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Mack the Knife
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Tomplay
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...
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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
3.99€
Mack the Knife (Beginner Level, Solo Guitar)
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Guitar
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BEGINNER
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Jazz
#
Louis Armstrong
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Mack the Knife
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Tomplay
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...
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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
2.99€
Mack the Knife (Very Easy Level, Solo Guitar)
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Guitar
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BEGINNER
#
Jazz
#
Louis Armstrong
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Mack the Knife
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Tomplay
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...
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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
4.99€
What A Wonderful World
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Guitar
#
INTERMEDIATE
#
Louis Armstrong
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Richard Hirsch
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and 3&
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What A Wonderful World
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Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Centu...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Century,Multicultural,Pop,Standards,World. Individual part. 8 pages. Richard Hirsch #755336. Published by Richard Hirsch (A0.1155054). Taking inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement in polyrhythmic 4/4 time of What a Wonderful World for solo acoustic guitar. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The tune is really happy and up-lifting. If there are any little folks (kids two to four years old) around listening, they will have a hard time sitting still. My grandson (two and a half) really got going when I played it for him. I can hardly resist the urge to dance to the tune while playing myself! The arrangement is in the spirit of the Canarios by Gaspar Sanz for classical guitar and is meant to have the nature of a dance. The repetitive alternating thumb and index and middle finger cycle going through the broken chords with the melody woven in works to give the arrangement an almost hypnotic character. The fingering for the right hand is given in first section and is basically the same throughout the piece. The fingering for the left hand can, I believe, be easily figured out from the tablature. The arrangement is within the reach of intermediate students of the acoustic guitar; anyone who has mastered the basics of fingerstyle fingerpicking guitar, and can be played on both nylon and steel string acoustic guitars. The short and long glissandos and the arpeggios of natural harmonics resembling the kalimba (thumb harp) together with the drone effects of the enharmonic tones in the chords give an added dash of African spice to the piece.
$4.99
Mauro Giuliani: Sonatina in C op.71 no.1
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Guitar
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INTERMEDIATE
#
Classical
#
Mauro Giuliani
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Socrates Arvanitakis
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Mauro Giuliani: Sonatina in C
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Socrates Arvanitakis
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual ...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. Socrates Arvanitakis #975591. Published by Socrates Arvanitakis (A0.1392100). PREFACE AND BRIEF ANALYTICAL NOTESThe three sonatinas op.71 by Mauro Giuliani in C, G, and D were first published in 1816 in Vienna and were intended as student pieces of progressive difficulty. In parallel with this intention they are also fully developed three-movement works which reveal Giulianiâ??s technique as a composer with harmony, counterpoint, and structure.They certainly have the time length and the variety of full scale sonatas, but here Giuliani has chosen to use the supporting structures of sonatas met in movements other than the first, such as Menuetto and Trio, Rondo, Marcia and Trio, Scherzo and Trio, etc,  rather than sonata form itself.As it stands, this first sonatina in C has the following three movements:1 Maestoso (Moderato) which is a set of a theme and three variations, or better termed as a set of mathematical divisions reminiscent of an earlier era, as the accompaniment of the theme is given in crotchets, quavers, quaver triplets, and semi-quavers.2 Menuetto-Trio-Menuetto da capo written typically in the subdominant key of F and fully developed as per classical 19th century usage.3 Rondo. This movement is also written in a classical rondo style and form as an A-B-A-C-B-A-codetta  structure, with a typical tonal scheme of A in the tonic Key (C), B in the dominant key (G), and C in the relative minor key (Am).Therefore in this work we do not meet with structural innovations of any kind, but with strong affirmation of already existing and well established early 19th century structural norms, but the beautiful personal melodic and harmonic style of Giuliani and even his routine guitaristic nuances and formulas are present in all three movements and can be enjoyed as always.TECHNICALThis publication keeps each separate movement within the limit of two pages, thus avoiding page turns. It is published with two versions of the same pieces given in undecorated and decorated pages for the user to select which version he prefers to print out. Blank pages have been provided for insertion/deletion for the correct placement of left-right hand pages.Metronome marks are only editorial suggestions that need not be taken too literally.Sibelius Mp3 archive has been extracted for this publication using Note Performer playback engine.Socrates ArvanitakisLondon 2024.
$6.00
'A golden time ...' 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
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
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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...
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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
Overture from Ariadne auf Naxos
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Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
Chorus and Aria from Ariadne auf Naxos
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Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
#
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...
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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
Four Folk Songs
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Guitar
#
INTERMEDIATE
#
Folkloric/Traditional
#
Bella Bartok
#
Rod Whittle
#
#
Four Folk Songs
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899139 Composed by Bella Bartok. Arranged by Rod Whittle. Folk. Individual part. 4 pages. Maggie Creek M...
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Solo Guitar - Level 3 - Digital Download SKU: A0.899139 Composed by Bella Bartok. Arranged by Rod Whittle. Folk. Individual part. 4 pages. Maggie Creek Music #4349077. Published by Maggie Creek Music (A0.899139). for solo classical guitar 4 pp (7 min.)BELA BARTOK Welcome to the enchanting world of Bartok’s folk music. These pieces have been transcribed from arrangements for flute and guitar. Bela Bartok, considered one of the 20th century’s most important composers, was born in Hungary in 1881. A prodigy, he was a professor at the Budapest Music Academy by the age of 26. His interest in traditional music led him to make many journeys (with his colleague Zolta Kodaly) through Hungary, Romania and Slovakia collecting songs and dances, the styles of which were synthesised into compositions of his own. He emigrated to the USA in 1940 where he died five years later of leukaemia. The pieces are deceptively simple, and it would be a mistake to take their natural forms, clear melodies, tonal harmonies and strong rhythms as an invitation to play inattentively. Quite the contrary. They stand any amount of playing, but only when the composing is heeded, the dynamics observed, and modulations anticipated.
$5.00
The Best of the 60s for Guitar, Intermediate, Vol. 3
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Guitar
#
INTERMEDIATE
#
Rock
#
Pop music
#
Louis Armstrong,Jimi Hendrix,T
#
Le meilleur des années 60' po
#
Tomplay
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...
(+)
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
19.99€
The Best of the 60s for Guitar, Beginner, Vol. 3
#
Guitar
#
BEGINNER
#
Rock
#
Pop music
#
Louis Armstrong,Jimi Hendrix,T
#
Le meilleur des années 60' po
#
Tomplay
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...
(+)
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
19.99€
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