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13 sheet music found
<
1
Attaining
#
C Instruments
#
Jazz
#
John Coltrane
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Attaining
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Hal Leonard - Digital
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SheetMusicPlus
C Instrument - Digital Download SKU: HX.1039674 By John Coltrane. This edition: scorch. Jazz. Real Book - Melody/Chords. 2 pages. Hal Leonard - Digital #...
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C Instrument - Digital Download SKU: HX.1039674 By John Coltrane. This edition: scorch. Jazz. Real Book - Melody/Chords. 2 pages. Hal Leonard - Digital #45911. Published by Hal Leonard - Digital (HX.1039674).
$1.99
Etudes in the Third Octave (version for F recorders)
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Treble (Alto) Recorder
#
INTERMEDIATE
#
James Devor
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Etudes in the Third Octave
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JDevor Music, LLC
#
SheetMusicPlus
Alto Recorder,Recorder Solo - Level 3 - Digital Download SKU: A0.1374647 Composed by James Devor. Contemporary,Early Music,Renaissance. Individual part. ...
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Alto Recorder,Recorder Solo - Level 3 - Digital Download SKU: A0.1374647 Composed by James Devor. Contemporary,Early Music,Renaissance. Individual part. 10 pages. JDevor Music, LLC #959175. Published by JDevor Music, LLC (A0.1374647). Etudes in the Third Octavefor improving solo recorder playing (version for F recorders)The intention of this book is to introduce the third octave of the recorder to intermediate and advanced students no matter their age. The first section introduces each chromatic pitch from Eb6 to C7 (the highest possible pitch on a standard F alto recorder) in a pedagogically appropriate fashion. Each etude should be practiced slowly at first, focusing on correct fingering, phrasing and articulation prior to attaining full tempo. All of these etudes are purposefully composed using a variety of rhythmic and harmonic materials. On some of the fingering charts, ‘bell’ is included underneath the fingering. This indicates that the bell is to be closed either by pushing it up against the leg or the use of a bell key. Throughout the musical examples this is also reminded to the student by the usage of the ‘+’ sign.The second and third sections take students through recommended exercises in octaves, fifths, and major/minor scales. The goal here is to practice clean and swift transitions between notes, especially when in distant registers.The last section comprises two page-long ‘Grand Etudes’, which each reinforce and combine material from earlier in this book. Each one is about a minute long and uses the entire range of the instrument. When practicing these, be sure to attempt to keep the sound of the recorder consistent across both low and high registers.
$5.99
Etudes in the Third Octave (version for C recorders)
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Recorder
#
INTERMEDIATE
#
James Devor
#
Etudes in the Third Octave
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JDevor Music, LLC
#
SheetMusicPlus
Recorder Solo - Level 3 - Digital Download SKU: A0.1374642 Composed by James Devor. Contemporary,Early Music,Renaissance. Individual part. 10 pages. JDev...
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Recorder Solo - Level 3 - Digital Download SKU: A0.1374642 Composed by James Devor. Contemporary,Early Music,Renaissance. Individual part. 10 pages. JDevor Music, LLC #959170. Published by JDevor Music, LLC (A0.1374642). Etude in the Third Octavefor improving solo recorder playing (version for C recorders)The intention of this book is to introduce the third octave of the recorder to intermediate and advanced students no matter their age. The first section introduces each chromatic pitch from Bb6 to G6 (the highest possible pitch on a standard soprano recorder) in a pedagogically appropriate fashion. Each etude should be practiced slowly at first, focusing on correct fingering, phrasing and articulation prior to attaining full tempo. All of these etudes are purposefully composed using a variety of rhythmic and harmonic materials. On some of the fingering charts, ‘bell’ is included underneath the fingering. This indicates that the bell is to be closed either by pushing it up against the leg or the use of a bell key. Throughout the musical examples this is also reminded to the student by the usage of the ‘+’ sign.The second and third sections take students through recommended exercises in octaves, fifths, and major/minor scales. The goal here is to practice clean and swift transitions between notes, especially when in distant registers.The last section comprises two page-long ‘Grand Etudes’, which each reinforce and combine material from earlier in this book. Each one is about a minute long and uses the entire range of the instrument. When practicing these, be sure to attempt to keep the sound of the recorder consistent across both low and high registers.
$5.99
Un Lugar Entre Las Estrellas
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Piano solo
#
INTERMEDIATE/ADVANCED
#
Santiago AbadÃa
#
Un Lugar Entre Las Estrellas
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ABADIA MUSIC
#
SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1345981 Composed by Santiago AbadÃa. 21st Century,Classical,Contemporary,Film/TV,Spiritual. Score. 12 ...
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Piano Solo - Level 4 - Digital Download SKU: A0.1345981 Composed by Santiago AbadÃa. 21st Century,Classical,Contemporary,Film/TV,Spiritual. Score. 12 pages. ABADIA MUSIC #930870. Published by ABADIA MUSIC (A0.1345981).  Un Lugar Entre Las Estrellas (A Place Among The Stars) is a piece for piano inspired by the Greco-Roman myth of Astrea, the virgin goddess of purity and justice to whom, Zeus, granted a place among the stars configuring the Virgo Constellation.The piece thrives as an archaic chant formed by a six note motif transits through several tonalities leading into an epic ascension which, after attaining its peak, returns back to the original chant and renovates it. This process, which symbolizes the myth of the descent and ascension to the stars, repeats itself until, after the last ascension, a cadenza suspended in a non gravitational field plays out Astrea's definitive transfiguration and eternal delightful shining in the skies.Duration: ca. 5minThe recording of Un Lugar Entre Las Estrellas by pianist Jordi Castellà for AbadÃa Music is available on music streaming platforms and digital stores.https://santiagoabadia.fanlink.to/Un-Lugar-Entre-Las-EstrellasUn Lugar Entre Las EstrellasCopyright © 2023 Santiago AbadÃa Parada | AbadÃa Music | All rights reserved. ISMN 979-0-69230-624-5.
$9.99
A Place Among The Stars
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Piano solo
#
INTERMEDIATE/ADVANCED
#
Santiago AbadÃa
#
A Place Among The Stars
#
ABADIA MUSIC
#
SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1345961 Composed by Santiago AbadÃa. 21st Century,Classical,Contemporary,Film/TV,Spiritual. Score. 12 ...
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Piano Solo - Level 4 - Digital Download SKU: A0.1345961 Composed by Santiago AbadÃa. 21st Century,Classical,Contemporary,Film/TV,Spiritual. Score. 12 pages. ABADIA MUSIC #930873. Published by ABADIA MUSIC (A0.1345961). A Place Among The Stars is a piece for piano inspired by the Greco-Roman myth of Astrea, the virgin goddess of purity and justice to whom, Zeus, granted a place among the stars configuring the Virgo constellation.. The piece thrives as an archaic chant formed by a six note motif transits through several tonalities leading into an epic ascension which, after attaining its peak, returns back to the original chant and renovates it. This process, which symbolizes the myth of the descent and ascension to the stars, repeats itself until, after the last ascension, a cadenza suspended in a non gravitational field plays out Astrea's definitive transfiguration and eternal delightful shining in the skies.Duration: ca. 5minThe recording of A Place Among The Stars by pianist Jordi Castellà for AbadÃa Music is available on music streaming platforms and digital stores.https://santiagoabadia.fanlink.to/A-Place-Among-The-StarsA Place Among The StarsCopyright © 2023 Santiago AbadÃa Parada | AbadÃa Music | All rights reserved. ISMN 979-0-69230-625-2.
$9.99
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
'A golden time ...' from Ariadne auf Naxos
#
Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
#
INTERMEDIATE
#
Classical
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Overture from Ariadne auf Naxos
#
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...
(+)
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
Ben Hur Chariot Race March
#
Brass Quintet: 2 trumpets, horn, trombone, tuba
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1894, he was the manager of th
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Edward Taylor Paull
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Judith Katz
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Ben Hur Chariot Race March
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Imagine Music - Digital
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SheetMusicPlus
Brass quintet - Digital Download SKU: IZ.CMS164 Composed by Edward Taylor Paull. Arranged by Judith Katz. Score and Parts. 24 pages. Imagine Music - Digi...
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Brass quintet - Digital Download SKU: IZ.CMS164 Composed by Edward Taylor Paull. Arranged by Judith Katz. Score and Parts. 24 pages. Imagine Music - Digital #CMS164. Published by Imagine Music - Digital (IZ.CMS164). 9 x 12 in inches.While doing some research on pre-20th Century American composers, I came across the name of Edward Taylor Paull. In all of my years as a flutist, conductor, and now writer, I never heard of Paull before, but I was curious enough to look for any sound files of his music, and came across both live piano performances and piano roll performances of the Ben HurChariot Race March on YouTube.Edward Taylor Paul, known in some circles as The Other March King was born on February 16th, 1858. In Gerrardstown, Virginia, now West Virginia. While not too much is known about his early years, we do know that his adult years were spent as itinerant musician, instrument sales person, selling pianos and organs, composer, as well as publisher.The Civil War era had Patrick Sarsfield Gillmore as the most famous bandleader and composer. As children of this era, John Philip Sousa and Edward Taylor Paull, were destined to follow in Gillmore's footsteps. While Sousa became successful through his work as both conductor and composer, even attaining the moniker of March King, the road to success and fame was more difficult for Paull. We do know, that by 1878, he was the manager of a music store that sold pianos and organs, eventually going bankrupt, and having to be bailed out by his own father. By 1894, he was the manager of the Richmond Music Publishing Company, and this was the same year that he was issued his first copyright on the Ben Hur Chariot Race March This was originally written for piano, particularly, the parlour piano. This was to become one of many marches and parlour piano compositions by 'E.T, Paull. He may not have been the most skilled musician of his era, but he was wise enough to realize how popular marches became in 1880's and '90's.Paull's compositions were also associated with beautiful color covers. He was fortunate to live in Richmond, Virginia, and the lithography company of A. Hoen & Company, provided him the highest quality and richly-colored art work for his compositions. This company was unique, in that they used a five- color process, which added depth to the color. Thepopularity of marches, plus the great covers, both contributed to the 60,000 copies that the Ben Hur Chariot Race March sold in its first printing. Not bad, for a first composition.Paull found inspiration for his march from the novel Ben Hur, written and published by General Lew Wallace in 1880. Paull dedicated his composition to Wallace, who sold many copies of his book. Eventually, there was a stage play and three film renditions; one in 1907, 1925, and 1959. Some time in the 1920's, the Sousa Band recorded the Ben Hur Chariot Race March, and of course, the MGM, 1925 film version, helped in a renewed popularity of Paull's composition.Edward Taylor Paull died in 1924, and his wife retained the copyright, until it went into public domain. What remains today are a few music examples in the Library of Congress collection, as well as some 78's and piano rolls. While I did my research on this piece, I tried to find any applicable Sousa manuscripts of a possible arrangement, but I could not findany. I usually write for woodwinds, but in this case, I thought that a brass quintet would sound far better. I also chose a moderate tempo, so as not to lose some of the nuances of the original composition.
$12.00
Heko Wakenya Wote
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Thomas Mwanyumah
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Thomas Mwanyumah
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Heko Wakenya Wote
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Thomas Mwanyumah
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SheetMusicPlus
Alto Saxophone,Clarinet,Drums,Euphonium,Flute,Horn,Oboe,Tenor Saxophone,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1072608 Composed by Thomas Mwany...
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Alto Saxophone,Clarinet,Drums,Euphonium,Flute,Horn,Oboe,Tenor Saxophone,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1072608 Composed by Thomas Mwanyumah. Arranged by Thomas Mwanyumah. African,Contemporary. Accompaniment. Duration 158. Thomas Mwanyumah #3638329. Published by Thomas Mwanyumah (A0.1072608). This is a piece congratulating all the Kenyans on attaining many years of independence. .
$5.00
Overture to "A Lucky Star" A 1920s Musical, Full Orchestra Score and Individual Parts
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Chamber Orchestra
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INTERMEDIATE
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James Nathaniel Holland
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Overture to "A Lucky Star" A 1
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James Nathaniel Holland
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.730508 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Jazz,Musical/Show,Patrio...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.730508 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Jazz,Musical/Show,Patriotic. Score and parts. 74 pages. James Nathaniel Holland #5955675. Published by James Nathaniel Holland (A0.730508). Overture to American composer James Nathaniel Holland's early 1920s-styled musical A Lucky Star. The story about coming to terms with where you're from while attaining your dreams. Featured are 4 popular songs: A Lucky Star; O Baby, You Treat Me Too Rough; New York The City, The Town of Your Dreams; and Indiana. Perfect for period 20s jazz concert or opening to pops orchestra concert. Full score in concert pitch and individual instrument parts included. Instr: picc, fl12, ob12, cl12, bsn, hrn12, tpt, trmb, timp, drum set, piano (w/opt. banjo), strings. Duration: 8:28.
$15.95
John Coltrane: Attaining - voice & other instruments (real book)
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Melody line, (Lyrics) and Chords
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INTERMEDIATE
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Jazz
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John Coltrane
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Virtualsheetmusic
Instantly printable sheet music by John Coltrane for voice & other instruments (real book) of MEDIUM skill level. / jazz
Instantly printable sheet music by John Coltrane for voice & other instruments (real book) of MEDIUM skill level. / jazz
$3.97
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