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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…
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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
6.35 €
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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
Reflections: Ten Solos for Guitar
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1411011 Composed by Michael Reardo…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1411011 Composed by Michael Reardon. Classical,Jazz. Individual part. 35 pages. Songburd Music #993382. Published by Songburd Music (A0.1411011). Reflections is a set of ten solo pieces for classical guitar that focuses on connecting compositional ideas and moments expressed in the framework of each piece of this collection.Vesta, Gaia and Lakshmi assume some connection to mythology as these titles take their names from three notable Roman, Greek and Hindu goddesses.  Vesta, Gaia and Lakshmi are classical pieces, but they are not without jazz influence, using the major scale modes to convey a sense of mood and atmosphere that is commonly found in impressionism.  Pulse No. 1 and No. 2 follow the idea of maintaining a steady beat over changing meter to influence the way the music is perceived.  The melody at the end of Pulse No. 1 creates the melodic material of Pulse No. 2, which can be thought of as an extension to No. 1.  Inspired by minimalist and popular music these pieces are not melodically and harmonically complex, and what makes them of interest is how the feeling of the beat is different in each piece.Chiasma Nos. 1, 2 and 3 are pieces that find common ground in “linking,†created by using similar compositional devices such as chord shapes and patterns, which gives the impression of crossing over or exchanging information from one piece to another.Sleeping Muse is a three-movement work inspired by the famous 1910 bronze sculpture of Constantin Brâncuși’s “Sleeping Muse,†with each movement expressing some reflection or meditation on Brâncuși’s work, illustrating the notion of drifting off to sleep, dreaming and waking, while characterizing the impact of our dreams on reality.Synesthesia is a highly chromatic piece with distantly related harmonic progressions that gives the listener the sense of seeing the different colors in the score and/or hearing the colors in the music.The abstract nature of these pieces encourages the performer to reflect and draw their own conclusions of imagery and story within the music.
$19.99
18.12 €
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Guitar
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Michael Reardon
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Reflections: Ten Solos for Guitar
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Songburd Music
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SheetMusicPlus
in memoriam Aretha Franklin: a sonata-prelude and fugue in C minor for solo guitar
Guitar
Solo Guitar - Level 5 - Digital Download SKU: A0.1102997 Composed by Jeremiah Lawso…
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Solo Guitar - Level 5 - Digital Download SKU: A0.1102997 Composed by Jeremiah Lawson. Blues,Classical,Rock. Individual part. 7 pages. Jeremiah Lawson #706323. Published by Jeremiah Lawson (A0.1102997). This is a 7-page score for solo guitar in two-movements, both in C minor. The opening sonata-prelude has an exposition, development and recapitulation and uses two themes, both of which use the gesture of a rising second as either core thematic or accompaniment material. There are places indicated in the score where a performer can improvise embellishments or substitutions in the return of Theme 1 in the recapitulation. The fugue is written in three voices with a subject and countersubject. It has two expositions, the first based on the primary form and the second on a somewhat free retrograde form of the initial fugue subject. I use fragmented forms of the subject to create blues and 5/4 episodes after the grand stretto that signals the structural climax of the fugue. This work is pretty difficult but although I wrote it on classical guitar it may also be played on acoustic or electric guitars with whatever timbre modifications strike your fancy.
$5.00
4.53 €
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Guitar
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Jeremiah Lawson
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in memoriam Aretha Franklin: a sonata-prelude and fugue in C minor for solo guitar
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Jeremiah Lawson
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SheetMusicPlus
Christmas and Carols to download for guitar solo
Guitar
This is an exclusive arrangements for guitar solo of EASY/MEDIUM skill level from the orig…
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This is an exclusive arrangements for guitar solo of EASY/MEDIUM skill level from the original composition by Miscellaneous. This title is available as instant sheet music download. Contents: o little town of bethlehem,angels from the realms of glory,go tell it on the mountain,i saw three ships,o come little children,once in royal david's city,the friendly beasts,the holly and the ivy,the huron carol,the snow lay on the ground,the three kings of the orient are,the twelve days of christmas,wexford carol, The 12 days of Christmas, etc.,no.3,oh little town of bethlehem / christmas,winter,holiday,christian,inspirational,traditional,hymn,sacred,advent,carol,festival
$7.75
7.03 €
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Guitar
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Christmas and Carols to download for guitar solo
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Virtualsheetmusic
Christmas and Carols to download for guitar solo
Guitar
This is an exclusive arrangements for guitar solo of EASY/MEDIUM skill level from the orig…
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This is an exclusive arrangements for guitar solo of EASY/MEDIUM skill level from the original composition by Miscellaneous. This title is available as instant sheet music download. Contents: angels we have heard on high,away in a manger,carol of the birds,god rest ye merry gentlemen,good king wenceslas,hark the herald angels sing,i heard the bells on christmas day,it came upon the midnight clear,o come o come immanuel,o come o come emmanuel, o holey night,o holly night,pat a pan,pat-a-pan,sussex carol,we gather together to ask the lord blessing ,jingle bells, o come all ye faithful, the first nowell, joy to the world, we wish you a merry christmas, the coventry carol, deck the halls, what child is this, o christmas tree, silent night, carol of the bells, twinkle twinkle little star, jesu joy of man desiring, Greensleeves, greensleaves, jesu joy of man desiring, green sleeves, greensleves, the first noel,o holy night,o little town of bethlehem,angels from the realms of glory,go tell it on the mountain,i saw three ships,o come little children,once in royal david's city,the friendly beasts,the holly and the ivy,the huron carol,the snow lay on the ground,the three kings of the orient are,the twelve days of christmas,wexford carol, The 12 days of Christmas,etc.,no.1,no.2,no.3,douce nuit, sainte nuit,oh little town of bethlehem / christmas,winter,holiday,christian,inspirational,traditional,hymn,sacred,advent,carol,festival
$14.99
13.59 €
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Guitar
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Christmas and Carols to download for guitar solo
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Virtualsheetmusic
Élégie
Guitar
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey.…
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Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
3.58 €
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Guitar
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Francis Bebey
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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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
6.35 €
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Guitar
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Richard Strauss
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for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.35 €
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Guitar
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Richard Strauss
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.35 €
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Guitar
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Richard Strauss
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for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
The Vampire: A Dramatic Theme
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.914739 Composed by Sol Paul Levy (…
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Solo Guitar - Level 4 - Digital Download SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 pages. Eric J Roth #4593125. Published by Eric J Roth (A0.914739). 6 pages (2 pages of music) formatted for 8.5x11 printing.Sol Paul Levy, born in Chicago, Illinois in 1881, was a composer, arranger and performer of silent film music. He attended All Hallows College in Dublin, Ireland and served as first clarinetist in bands led by John Philip Sousa and Arthur Pryor. Levy led the foreign orchestrating department for Victor Records – which was the first music company to produce the disc record – and was a founder of Belwin Music. Levy compiled a series of photoplay cues for piano that was published in H.S. Gordon’s 1914 Motion Picture Collection. He also wrote songs, the most famous of which was That Naughty Waltz. Sol Paul Levy died in New York in 1920. During the Silent Film Era (1896-1936), showings usually featured live music, which helped to provide dramatic and emotional cues for the audience. The first public silent film shown in 1895 was accompanied by a guitarist. Soon after, films were commonly accompanied by either a pianist, organist, or chamber orchestra. Accompanists often improvised or compiled music from the classical, theatrical or popular repertories using a cue sheet identifying the effects or moods to be conveyed. While some films produced full scores or detailed cue sheets containing excerpts of music unique to that film, a repertoire of generic music soon developed to provide accompanists with music that they could adapt as needed. With titles such as Dramatic Conflict, Dramatic Tension, Heavy Mysterioso, and Weird Oriental Theme, Sol Paul Levy’s scores clearly served this purpose. The Vampire: A Dramatic Theme, composed in 1917, could have been easily adapted to any of the more than twenty films about vampires that appeared between 1909 and 1930. The score exists in three versions: one for small orchestra with piano conductor, one for chamber orchestra without piano, and one for chamber orchestra without timpani. Instruments included piano, flute, clarinet, two cornets, trombone, two timpani, two violins, viola, cello, and bass. Despite being composed for small orchestra, the piece, composed in A minor, is well suited to the guitar once instrumental and octave doublings are removed. While a solo guitar cannot produce the power and volume of a chamber orchestra, it certainly can evoke the intended mood. Except in a few instances owing to the limitations of the guitar, all original dynamic markings have been retained. All fingerings, of course, are editorial. Please note that some of the fingerings in the score may differ than those used in the linked YouTube Video.
$3.99
3.62 €
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Guitar
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Sol Paul Levy
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The Vampire: A Dramatic Theme
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Eric J Roth
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SheetMusicPlus
In Motion - for Guitar Orchestra
Guitar
Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.971811 Composed by Brit…
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Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.971811 Composed by Britt Andrew Burns. Contemporary. Score and parts. 24 pages. Indie Classical Publications #3141393. Published by Indie Classical Publications (A0.971811). IN MOTION was written in the Summer of 2017 as a result of a friend's suggestion. This is the first time I have attempted to compose for a guitar orchestra ensemble, which has only emerged in recent years. This somewhat syncopated work is meant to be both fun for the performers and the audience. The 5th Guitar 's sixth string must be tuned down to drop-D tuning. The rest of the guitars are in standard tuning. It is recommended to double each part with at least three guitarists if possible. The key signatures represent A Dorian and F Lydian. Level: grade 4 (intermediate). Duration: About 2 minutes, 5 seconds. Instrumentation: Five Nylon-String Guitars (15 players or more).
$25.00
22.67 €
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Guitar
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Britt Andrew Burns
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In Motion - for Guitar Orchestra
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Indie Classical Publications
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SheetMusicPlus
Peated Waltzes
Guitar
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4303 Composed by Luciano Lima. Scor…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4303 Composed by Luciano Lima. Score. 8 pages. Les Productions d'OZ - Digital #DZ 4303. Published by Les Productions d'OZ - Digital (ZZ.DZ-4303). Dedicated to world renowned guitarist David Russell, Peated Waltzes is a three-movement piece that pays homage to the peated whiskies of Islay, the southernmost island of the Inner Hebrides of Scotland. The opening movement, Earthy Smoke, Sea Salt and Iodine, attempts to portray the distinctive character of the single malts of that region. Based on the Gaelic folk song The Praise of Islay (Moladh na Landaidh), the second movement’s title comes from one the song’s last verses, O, may long their wild notes flow. The third movement’s theme was extracted from the letters of Laphroaig, one of the most iconic Scotch whiskies, whose name’s meaning inspired the title, By the Broad Bay. In the second part, the traditional Celtic melody, An Islay Pipe Reel, is quoted. At the end, themes of the previous movements are recalled and intertwined, as if trying to emulate the long and lingering finish of an Islay dram.Dédié au guitariste de renommée mondiale David Russell, « Peated Waltzes » est une pièce en trois mouvements qui rend hommage aux whiskies tourbés d’Islay, l’île la plus méridionale des Hébrides intérieures d’Écosse. Le mouvement d'ouverture, « Earthy Smoke, Sea Salt and Iodine », tente de dépeindre le caractère distinctif des single malts de cette région. Basé sur la chanson folklorique gaélique « L'éloge d'Islay » (Moladh na Landaidh), le titre du deuxième mouvement vient de l'un des derniers couplets de la chanson, « O, que leurs notes sauvages coulent longtemps ». Le thème du troisième mouvement est extrait des lettres de Laphroaig, l’un des whiskies écossais les plus emblématiques, dont la signification du nom a inspiré le titre « By the Broad Bay ». Dans la deuxième partie, la mélodie celtique traditionnelle « An Islay Pipe Reel » est citée. À la fin, les thèmes des mouvements précédents sont rappelés et entrelacés, comme pour tenter d'imiter la finale longue et persistante d'un drame d'Islay.
$5.95
5.39 €
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Guitar
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the Broad Bay
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Luciano Lima
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Peated Waltzes
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Les Productions d'OZ - Digital
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SheetMusicPlus
Jesu, Joy of Man's Desiring (from Herz und Mund und Tat und Leben, BWV 147)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1343840 Composed by Johann Sebasti…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1343840 Composed by Johann Sebastian Bach. Arranged by Matthew Nace. Advent,Baroque,Christmas,Classical,Religious. Individual part. 69 pages. Matthew Nace #929349. Published by Matthew Nace (A0.1343840). This dual arrangement of one of Bach’s best-known compositions includes a solo arrangement for classical/finger-style guitar (with optional duet part) and an arrangement for guitar ensemble.  It has been prepared with reference to Bach’s original score, respecting Bach’s original key, harmony, and form, and can be performed together with other faithful arrangements of the piece, such as Alfred Reed’s arrangement for concert band.The solo part is optimized for performance by a guitarist of intermediate skill, at times prioritizing the chorale over the triplet accompaniment.  The optional duet part covers the missing accompaniment and is suitable for a guitarist of late-beginner skill.The guitar ensemble has been arranged for three to six independent guitar parts (triplet melody; bass line; a separate, chordal part for the chorale; two optional inner-harmony parts; and an optional continuo part that could also be played on any other chordal instrument) plus an optional part for bass guitar (or other bass instrument).  Alternatively, the solo guitar arrangement covers the Guitar 4 and 5 (bassline and chorale) parts and doubles most of the Guitar 1 (triplet melody) parts.  All parts for the guitar ensemble are intended for late beginner guitarists.  They are provided in standard notation (fully edited with extensive fingerings) and in tablature.The package also includes many additional parts to reinforce the chorale (either the melody or the complete, four-part texture), including choir (in the original German or in English) or a variety of possible instrumental quartets, including woodwinds, saxophones, brass, chamber orchestra, or recorder consort.  These parts allow a valuable and rare opportunity for a solo guitarist or a guitar ensemble to perform together with other ensembles.
$9.99
9.06 €
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Guitar
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Johann Sebastian Bach
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bass line
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Jesu, Joy of Man's Desiring
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Matthew Nace
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SheetMusicPlus
À vos guitares, prêts, jouez! Vol. 4
Guitar
This fourth booklet is dedicated to ensemble playing through five trios and three quartets…
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This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end of primary school with a few years of experience and the beginning of secondary school. Some pieces are written in a homorhythmic manner and can constitute an introduction to ensemble music, while others are rather polyrhythmic. They can constitute a first contact with the following techniques and effects: staccato, pizzicato, accent, louré, natural harmonic, percussion or crossed strings. This volume is therefore intended for guitarists who already know the notes in first position. Two pieces include a more advanced part with an introduction to playing in 5th position. These are short pieces that do not present technical challenges other than those allowing you to achieve the effects and play expressively.You will find in the scores indications of nuances, timbre, attack and fingerings which constitute suggestions for work and not prescriptions. Teachers and students are therefore invited to make interpretation choices different from those proposed or to try to convincingly render those already written.The pieces were composed or arranged by UQAM music education students as part of a course aimed at equipping musicians for teaching guitar in the school system. Many of them are musicians from different backgrounds (composition, performance, world music, etc.), which explains the creativity found in the pieces. All the pieces have been the subject of an audio recording available on the Productions d’Oz website and on YouTube. Search for À vos guitares, prêt, joue! Vol. 4.Isabelle Héroux, editor, professor, Department of Music, UQAM.Louis-Edouard Thouin-Poppe, assistant editor, arranger and engraver.Ce quatrième cahier est consacré au jeu en ensemble grâce à cinq trios et trois quatuors de styles variés (tango, ballade, rock…) appropriés pour la fin du primaire avec quelques années d’expérience et le début du secondaire. Certaines pièces sont écrites de manière homorythmique et peuvent constituer une initiation à la musique d’ensemble, alors que d’autres sont plutôt polyrythmiques. Elles peuvent constituer un premier contact avec les techniques et effets suivants : staccato, pizzicato, accent, louré, harmonique naturelle, percussion ou cordes croisées. Ce volume s’adresse donc aux guitaristes qui connaissent déjà les notes en première position. Deux pièces comportent une partie plus avancée avec une initiation au jeu en Ve position. Ce sont des pièces courtes qui ne présentent pas de défis techniques outre ceux permettant de réaliser les effets et de jouer de manière expressive. Vous trouverez dans les partitions des indications de nuances, de timbre, d’attaque et de doigtés qui constituent des suggestions de travail et non des prescriptions. Ainsi, les enseignants et les élèves sont invités à faire des choix d’interprétation différents de ceux qui sont proposés ou à tenter de rendre de manière convaincante ceux déjà écrits.Les pièces ont été composées ou arrangées par des étudiants en enseignement de la musique de l’UQAM dans le cadre d’un cours qui vise à outiller les musiciens pour l’enseignement de la guitare dans le système scolaire. Beaucoup d’entre eux sont des musiciens provenant d’horizons différents (composition, interprétation, musique du monde, etc.) ce qui explique la créativité que l’on retrouve dans les pièces. Toutes les pièces ont fait l’objet d’un enregistrement audio disponible sur le site des Productions d’Oz et sur YouTube. Recherchez À vos guitares, prêts, jouez! Vol. 4.Isabelle Héroux, éditrice, professeure, Département de musique, UQAM.Louis-Edouard Thouin-Poppe, assistant éditeur, arrangeur et graveur
Song List: 1. Songe d'une nuit de printemps 2. Nostalgie 3. Tres guitarras 4. Jeu froid (étude rock) 5. Le dernier souffle 6. Manhattan 7. Baile de la passion 8. Corsaires 9. Cerisier Japonais
$9.95
9.02 €
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Guitar
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À vos guitares, prêts, jouez! Vol. 4
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SheetMusicPlus
"March" from The Nutcracker Suite
Guitar
Guitar - Level 3 - Digital Download SKU: A0.1310417 By Guitar Trio. By Pyotr Tchaik…
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Guitar - Level 3 - Digital Download SKU: A0.1310417 By Guitar Trio. By Pyotr Tchaikovsky. Arranged by Marcus Gerakos. 19th Century,Christmas,Classical,March. 2 pages. Marcus Gerakos #899476. Published by Marcus Gerakos (A0.1310417). This is my arrangement for three guitars. The parts have been adapted from the original orchestral score. It's a shortened arrangement designed to be performed with other pieces from The Nutcracker Suite. Year after year this arrangement has proven both engaging and educational for my middle school guitar students.
$10.00
9.07 €
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Guitar
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Guitar Trio
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"March" from The Nutcracker Suite
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Marcus Gerakos
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SheetMusicPlus
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