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You've selected:
Three Scenes in Nature
Sheetmusic to print
8 sheet music found
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1
Three Scenes in Nature
Oboe, Piano (duet)
Small Ensemble A Clarinet,B-Flat Clarinet,Oboe,Piano - Level 4 - Digital Download SKU: …
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Small Ensemble A Clarinet,B-Flat Clarinet,Oboe,Piano - Level 4 - Digital Download SKU: A0.1029078 Composed by William C. Horsley. Contemporary. Score and parts. 38 pages. William Horsley #4627213. Published by William Horsley (A0.1029078). Three Scenes in Nature:
$9.99
9.09 €
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Oboe, Piano (duet)
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William C
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Three Scenes in Nature
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William Horsley
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SheetMusicPlus
Scenes from Literature: The Infernal Whirlwind
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.1028659 Composed by Christian Rober…
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Piano Solo - Level 5 - Digital Download SKU: A0.1028659 Composed by Christian Robert Hendricks. 20th Century,Concert,Contemporary. Score. 14 pages. C.R. Hendricks #3664869. Published by C.R. Hendricks (A0.1028659). The first in a series of solo piano works inspired by scenes from literature, The Infernal Whirlwind is both a representation of and reaction to Canto V in Dante's Inferno. Dante and his guide Virgil enter the second level of Hell, where the souls of people who gave into lust are condemned. At first Dante hears but a faint sound of commotion, but upon fully entering the level he encounters a massive tempest of souls being buffeted about. He recognizes some famous figures here and there. Eventually, his attention is drawn to two figures, the primary one being Francesca da Rimini. She tells of how, after reading of Sir Lancelot, she and her brother-in-law allowed themselves to love each other. Dante, deeply moved by the pathos of Francesca's story and disturbed by the continuous whirlwind, faints.Composers such as Rachmaninov and Tchaikovsky have been inspired by Francesca da Rimini specifically, but The Infernal Whirlwind is more concerned with what the whirlwind itself represents: the control lust and desire held on these souls, both while living and in the afterlife. The central theme is a twelve-tone row, but the work is not truly serialist in construction or conception: It rather represents the winding, ranging, unsettled nature of passion itself, and of the whirlwind.The piece lasts about 5 minutes, and is for an advanced player. In the beginning it requires use of all three pedals (una corda, sostenuto, sustain). Perhaps the main influence is Liszt, and one could find useful a Lisztian approach to performance. .
$8.95
8.14 €
#
Piano solo
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Christian Robert Hendricks
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Scenes from Literature: The Infernal Whirlwind
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C.R. Hendricks
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SheetMusicPlus
Shallow
Cello, Guitar (duet)
Instrumental Duet Cello,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.7…
(+)
Instrumental Duet Cello,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.798075 By Lady Gaga. By Andrew Wyatt, Anthony Rossomando, Mark Ronson, and Stefani Germanotta. Arranged by Inacio Saldanha. Pop. Score and parts. 6 pages. Inacio Saldanha #4351207. Published by Inacio Saldanha (A0.798075). Shallow is a song performed by American singer-songwriter Lady Gaga and American actor and filmaker Bradley Cooper. It was released on September 27, 2018, by Interscope Records as the lead single from the soundtrack for the 2018 film, A Star Is Born (2018). Shallow was written by Gaga with Andrew Wyatt, Anthony Rossomando and Mark Ronson, and produced by Gaga with Benjamin Rice. It is heard three times in the film, most prominently during a sequence when Cooper's character Jackson Maine invites Gaga's character Ally to perform it onstage with him. The scene was filmed in front of a live audience at the Greek Theater in Los Angeles.Shallow is a pivotal moment in A Star Is Born, since it speaks about Ally and Jackson's conversations. Gaga wrote it from Ally's point-of-view with the self-aware lyrics asking each other if they are content being who they are. A country and folk pop power ballad, Shallow finds Gaga and Cooper trading verses and gradually moves toward the final chorus with a vocal run by Gaga. The recording is interspersed with the sound of audience noise and applause. Gaga premiered it on DJ Zane Lowe's Beats 1 radio show while giving an interview about the film. An accompanying music video was also released, showing Gaga and Cooper singing Shallow onstage, interspersed with scenes from A Star Is Born.The track received positive reviews from music critics who praised Gaga's vocals, the dramatic nature of the composition and the songwriting, while feeling it worthy of award nominations. Commercially, the song topped the record charts in more than a dozen countries, including the US Billboard Hot 100, and reached the top five in many other nations. It received numerous accolades, including the Academy Award for Best Original Song, the Golden Globe Award for Best Original Song, the Critics' Choice Movie Award for Best Song, as well as four Grammy Award nominations, including Record of the Year and Song of the Year while winning Best Pop Duo/Group Performance and Best Song Written for Visual Media. The song was performed live at the 61st Annual Grammy Awards, the 91st Academy Awards, and serves as the encore to Gaga's Las Vegas residency show, Enigma. (Wikipedia).Arranged for Cello and Guitar. Key of E minor. Intermediate. Audio file made from midi engine
$7.99
7.27 €
#
Cello, Guitar (duet)
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Lady Gaga
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Shallow
#
Inacio Saldanha
#
SheetMusicPlus
Shallow
String Quartet: 2 violins, viola, cello
String Quartet String Quartet,Viola - Level 4 - Digital Download SKU: A0.798072 By …
(+)
String Quartet String Quartet,Viola - Level 4 - Digital Download SKU: A0.798072 By Lady Gaga. By Andrew Wyatt, Anthony Rossomando, Mark Ronson, and Stefani Germanotta. Arranged by Inacio Saldanha. Pop. Score and parts. 14 pages. Inacio Saldanha #4350551. Published by Inacio Saldanha (A0.798072). Shallow is a song performed by American singer-songwriter Lady Gaga and American actor and filmaker Bradley Cooper. It was released on September 27, 2018, by Interscope Records as the lead single from the soundtrack for the 2018 film, A Star Is Born (2018). Shallow was written by Gaga with Andrew Wyatt, Anthony Rossomando and Mark Ronson, and produced by Gaga with Benjamin Rice. It is heard three times in the film, most prominently during a sequence when Cooper's character Jackson Maine invites Gaga's character Ally to perform it onstage with him. The scene was filmed in front of a live audience at the Greek Theater in Los Angeles.Shallow is a pivotal moment in A Star Is Born, since it speaks about Ally and Jackson's conversations. Gaga wrote it from Ally's point-of-view with the self-aware lyrics asking each other if they are content being who they are. A country and folk pop power ballad, Shallow finds Gaga and Cooper trading verses and gradually moves toward the final chorus with a vocal run by Gaga. The recording is interspersed with the sound of audience noise and applause. Gaga premiered it on DJ Zane Lowe's Beats 1 radio show while giving an interview about the film. An accompanying music video was also released, showing Gaga and Cooper singing Shallow onstage, interspersed with scenes from A Star Is Born.The track received positive reviews from music critics who praised Gaga's vocals, the dramatic nature of the composition and the songwriting, while feeling it worthy of award nominations. Commercially, the song topped the record charts in more than a dozen countries, including the US Billboard Hot 100, and reached the top five in many other nations. It received numerous accolades, including the Academy Award for Best Original Song, the Golden Globe Award for Best Original Song, the Critics' Choice Movie Award for Best Song, as well as four Grammy Award nominations, including Record of the Year and Song of the Year while winning Best Pop Duo/Group Performance and Best Song Written for Visual Media. The song was performed live at the 61st Annual Grammy Awards, the 91st Academy Awards, and serves as the encore to Gaga's Las Vegas residency show, Enigma. (Wikipedia).Arranged for Viola Quartet. Key of E minor. Advanced Intermediate. Audio file made from midi engine
$14.99
13.63 €
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String Quartet: 2 violins, viola, cello
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Lady Gaga
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Shallow
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Inacio Saldanha
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.37 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.37 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.37 €
#
Guitar
#
Richard Strauss
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.37 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
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