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1
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - 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 ≈
£5.42
Over The Rainbow
Over The Rainbow
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Comédie Musicale
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Film/TV
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Judy Garland
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Richard Hirsch
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and 3&
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Over The Rainbow
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicu...
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Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99 ≈
£3.86
Bourrée in E MInor
Bourrée in E MInor
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Richard Hirsch
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Bourrée in E MInor
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1340077 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Classical,Instructional,Standards. Indivi...
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Solo Guitar - Level 4 - SKU: A0.1340077 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Classical,Instructional,Standards. Individual part. 3 pages. Richard Hirsch #925741. Published by Richard Hirsch (A0.1340077). I offer the famous Bourrée from Bach’s First Suite for Lute in E minor notated for solo acoustic guitar. The notation is accompanied by tablature and extensive left and right hand fingering as an aid to the student. The fingering aims to be as economical and as ergonomic as possible. If played according to the tablature and left hand fingering, the left hand flows smoothly from one position to another over the fretboard. This is especially important in the second part of the piece where Bach takes us on a tour of the harmonic space related to the key of E minor. The piece is a good introduction to the full potential of the fretboard as there are many alternative left hand fingerings, among which I have chosen those I feel fit together and enable flow best. Notice especially how the little finger plays an important role in guiding the left hand from one position to another. The fingering for the right hand is also good for the practice of alternating the index and middle fingers in the melody while the thumb plays the bases.This piece has become part of the standard repertoire for classical guitar, but is also a piece that sounds equally good on a steel string acoustic guitar. The steel strings make the piece sound like it is being played on a harpsichord. I first heard the piece as a boy of 15 back in 1960 in a recording by Chet Atkins playing on a steel string electric guitar!The piece has been transcribed from the original score for Lute and notated for guitar by many guitarists over the years. I hope my version contributes to its continued popularity, making the piece even more accessible and relevant to intermediate students of acoustic guitar.I have chosen a tempo of 130bpm for the notation which I think gives the piece a lively but not overly stressed quickness appropriate for a courtly dance.
$4.99 ≈
£3.86
Sunday Morning
Sunday Morning
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Steve Adams
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Sunday Morning
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Steve Adams
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.966741 Composed by Steve Adams. Contemporary,Latin,Standards. Individual part. 2 pages. Steve Adams #3037619. Published ...
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Solo Guitar - Level 4 - SKU: A0.966741 Composed by Steve Adams. Contemporary,Latin,Standards. Individual part. 2 pages. Steve Adams #3037619. Published by Steve Adams (A0.966741). Left and Right hand challenges; bright uplifting tune with syncopated rhythms.
$6.99 ≈
£5.41
Mauro Giuliani: 24 Etudes Op.100 for Classical Guitar
Mauro Giuliani: 24 Etudes Op.100 for Classical Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Mauro Giuliani
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Socrates Arvanitakis
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Mauro Giuliani: 24 Etudes Op.1
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1250788 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 93 pages. ...
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Solo Guitar - Level 4 - SKU: A0.1250788 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 93 pages. Socrates Arvanitakis #845053. Published by Socrates Arvanitakis (A0.1250788). PREFACE & Editorial NotesThe 24 studies op.100  by Mauro Giuliani are in general of a moderate difficulty and their didactic purposes can be perceived as the solid establishment of an intermediate level of technique and the advancement into a higher level, so some of them may be a little more difficult than the rest. At the same time, most of them are entertaining musical pieces with high aesthetic value and can also be studied and played for musical enjoyment.Notes1 Metronome marks are editorial suggestions and should not be taken too literally.2 Staff size has been reduced by different percentages for studies no. 11, 12, 13, 14, 15, 16 & 24 so that they can be rendered in a two-page view as the rest of the pieces.3 This volume is offered  with decorated and undecorated pages (as two books in one) so that the user can chose which version he prefers and construct his printed or digital book accordingly. Blank pages have been added to be used or omitted for the arrangement of left and right hand pages.
$15.00 ≈
£11.61
18 Etudes Progressives Pour La Guitare Op.51
18 Etudes Progressives Pour La Guitare Op.51
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Mauro Giuliani
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Socrates Arvanitakis
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18 Etudes Progressives Pour La
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1254258 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 77 pages. ...
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Solo Guitar - Level 4 - SKU: A0.1254258 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 77 pages. Socrates Arvanitakis #847831. Published by Socrates Arvanitakis (A0.1254258). PREFACE & Editorial NotesThe 18 studies op.51 by Mauro Giuliani are in general of a moderate difficulty andtheir didactic purposes can be perceived as the solid establishment of anintermediate level of technique and the advancement into a higher level, so some ofthem may be a little more difficult than the rest. At the same time, most of them areentertaining musical pieces with high aesthetic value and can also be studied andplayed for musical enjoyment.Notes1 Metronome marks are editorial suggestions and should not be taken too literally.2 This volume is offered with decorated and undecorated pages (as two books in one)so that the user can chose which version he prefers and construct his printed ordigital book accordingly. Blank pages have been added to be used or omitted for thearrangement of left and right hand pages. Navigating the Thematic Index1 click on the photo of any piece: Go to relevant decorated page2 click the header of any titled page: Return to the index3 click on the title of any displayed piece: Interchange between decorated/undecorated pages.
$15.00 ≈
£11.61
Yesterday
Yesterday
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Rock
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The Beatles
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Richard Hirsch
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Yesterday
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1095456 By The Beatles. By John Lennon and Paul McCartney. Arranged by Richard Hirsch. 20th Century,Instructional,Pop,Re...
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Solo Guitar - Level 4 - SKU: A0.1095456 By The Beatles. By John Lennon and Paul McCartney. Arranged by Richard Hirsch. 20th Century,Instructional,Pop,Renaissance,Standards. Individual part. 5 pages. Richard Hirsch #699472. Published by Richard Hirsch (A0.1095456). An arrangement of the Beatles classic for solo acoustic guitar. The arrangement tries to capture the sense of remorse and loss expressed in the song using arpeggio-like minor chords with many open strings and the same note played on different strings. The arrangement is inspired by a similarity I find in the melody to older pieces by John Dowland and the folk melody Greensleeves. I strive to give the piece an old-fashioned, almost Renaissance, character in accord with its basic modal nature. Some parts of the arrangement may be interpreted as a sort of Fantasia based on the original melody. A nice piece for an encore to a program of early music for the guitar! As the notation is accompanied by tablature, I refrain from giving left-hand fingering and leave the right-hand fingering to the taste and discretion of the performer. The piece is within reach of intermediate to advanced guitarists. The piece also works well as an introduction to locating notes in the higher, seventh, ninth, and tenth positions and could therefore serve as instruction for less advanced guitarists, especially since the piece is played at a slow to moderate tempo.
$6.99 ≈
£5.41
Love Is Blue (l'amour Est Bleu)
Love Is Blue (l'amour Est Bleu)
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Paul Mauriat
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John Pinno
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Love Is Blue
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John Pinno
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1081736 By Paul Mauriat. By Andre Popp, Brian Blackburn, and Pierre Cour. Arranged by John Pinno. Classical,Contemporary...
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Solo Guitar - Level 4 - SKU: A0.1081736 By Paul Mauriat. By Andre Popp, Brian Blackburn, and Pierre Cour. Arranged by John Pinno. Classical,Contemporary,Pop. Individual part. 1 pages. John Pinno #685863. Published by John Pinno (A0.1081736). An instrumental arrangement for solo classical guitar by John Pinno, of the tune from the mid 1960s, Love Is Blue. This arrangement is in standard music notation, and has been fully supplied with right and left hand fingerings. Note to purchasers of arrangements and/or compositions by John Pinno published on Sheet Music Plus/ArrangeMe: ~For any comments and/or questions, email to jpinno093@hotmail.com with subject of “sheet music plus†~Please also see my other publications on Sheet Music Plus at http://www.sheetmusicplus.com/publishers/john-pinno-sheet-music/3002745 ~This includes arrangements and/or compositions for solo classical guitar, classical guitar duos and quartets, Christmas arrangements for solo guitar and guitar quartets, classical ensemble arrangements for voice and guitar, flute and guitar, and other combinations, and also works for recorder ensembles.
$8.00 ≈
£6.19
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - 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 ≈
£5.42
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - 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 ≈
£5.42
Big Drum
Big Drum
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Richard Hirsch
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Big Drum
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568....
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Solo Guitar - Level 4 - SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99 ≈
£3.86
Jesus, Joy of Man's Desiring
Jesus, Joy of Man's Desiring
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Richard Hirsch
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Jesus, Joy of Man's Desiring
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1234273 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Classical,Country,Folk. Individ...
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Solo Guitar - Level 4 - SKU: A0.1234273 Composed by Johann Sebastian Bach. Arranged by Richard Hirsch. Baroque,Christian,Classical,Country,Folk. Individual part. 7 pages. Richard Hirsch #829813. Published by Richard Hirsch (A0.1234273). I offer an arrangement of Bach’s all-time favourite Jesus, Joy of Man’s Desiring for solo acoustic or classical guitar. I have arranged the piece in 4/4 time in a folk-fingerpicking style giving it something of an American folk-country character, perhaps verging on a gospel. The arrangement follows the original as faithfully as possible with the melody and choral sections interwoven. I think the piece survives the time-change operation beautifully, retaining the joyful and praiseful character of Bach’s original. The piece is a joy to play and to listen to.The arrangement is accessible to intermediate to advanced students of acoustic or classical guitar. Any student of guitar who has mastered the basics of thumb-index-middle fingerpicking  (thumb, thumb, index, middle, thumb, index) will have fun with the piece.I give extensive left hand fingering accompanied by tabs as a guide to the intermediate students of guitar. Right hand fingering is given for the first playing of the repetitive passages and in passages where it might be difficult for the performer to find appropriate  fingering. Otherwise I expect the fingering to be more or less self-evident, leaving it to the individual taste and style of the interpreting guitarist.I have set the tempo to Presto for the arrangement to keep close to lively nature of the original, but the arrangement can also be played much slower, somewhere around Metronome 130. This results in a shift in mood towards a ragtime blues, verging on a spiritual. This great music is a never-ending source of inspiration.The piece is a nice follow-up to my folk-fingerpicking arrangements for Freight Train and The Entertainer.
$4.99 ≈
£3.86
El círculo mágico - El amor brujo
El círculo mágico - El amor brujo
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Manuel de Falla
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Nick Mordal
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El círculo mágic
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Nick Mordal
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.946416 By Manuel de Falla. By Manuel de Falla. Arranged by Nick Mordal. 20th Century,Classical,Folk,Latin,Romantic Perio...
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Solo Guitar - Level 4 - SKU: A0.946416 By Manuel de Falla. By Manuel de Falla. Arranged by Nick Mordal. 20th Century,Classical,Folk,Latin,Romantic Period. Individual part. 1 pages. Nick Mordal #6294915. Published by Nick Mordal (A0.946416). This is the slow and melancholic part of the Falla ballet El Amor Brujo. The quiet intimacy of guitar serves it right. Techniques used in the arrangement include barre, stretching the left hand out of conventional positioning and precise string selection for the chord voicings. One of Manuel de Falla's composition specialties was in the realm of ballet music. Most of the pieces from the ballet are fast and rhythmic, but this one is different. It fits very nicely on guitar and has not been transposed. There are a few tricky spots to bring the melody out, and one awkward stretch at the beginning of the first phrase. But it really sounds great once you get the muscle memory built up.Â
$5.00 ≈
£3.87
Fugue
Fugue
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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J
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John Pinno
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Fugue
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John Pinno
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.775523 Composed by J. S. Bach (1685-1750). Arranged by John Pinno. Baroque,Concert. Individual part. 7 pages. John Pinno...
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Solo Guitar - Level 4 - SKU: A0.775523 Composed by J. S. Bach (1685-1750). Arranged by John Pinno. Baroque,Concert. Individual part. 7 pages. John Pinno #6459275. Published by John Pinno (A0.775523). An arrangement for solo classical guitar of the Fugue, from the first Sonata for unaccompanied violin by J.S. Bach. This arrangement has been transposed to A minor from the original G minor, and is in traditional music notation. This includes right and left hand fingerings where appropriate.
$9.00 ≈
£6.97
The Complete Laurindo Almeida Anthology of Guitar Solos
The Complete Laurindo Almeida Anthology of Guitar Solos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Contemporain
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Laurindo Almeida
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The Complete Laurindo Almeida
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Mel Bay Publications, Inc - Digital Sheet Music
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SheetMusicPlus
Composed by Laurindo Almeida. Edited by Ron Purcell. For Guitar (Classical). Classic. Intermediate-Advanced. E-book. 176 pages. Published by Mel Bay Publication...
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Composed by Laurindo Almeida. Edited by Ron Purcell. For Guitar (Classical). Classic. Intermediate-Advanced. E-book. 176 pages. Published by Mel Bay Publications, Inc - Digital Sheet Music
ISBN 9781609744083. Laurindo Almeida (1917-1995) belongs to an elite group of Brazilian/American guitarists, who by composing important works for the guitar reinstated the instrument in his native country as worthy of serious musical study. Stylistically, his compositions synthesize his classical background, Afro-Brazilian rhythms, traditional Brazilian music, and American jazz. This collection presents Almeida's solos preserving the original left and right hand fingerings. The fingering is unique and tells us something about his skills as a professional guitarist. It also reflects the Brazilian school of guitar technique in the 1930's. Written in standard notation only.
$29.99 ≈
£23.21
Killer Technique: Classical Guitar
Killer Technique: Classical Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Gohar Vardanyan
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Killer Technique: Classical Gu
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Composed by Gohar Vardanyan. For Guitar (Classical). Technique. Killer Technique. Intermediate-Advanced. Book. 20 pages. Published by Mel Bay Publications - Dig...
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Composed by Gohar Vardanyan. For Guitar (Classical). Technique. Killer Technique. Intermediate-Advanced. Book. 20 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619114708. All the exercises in "Killer Technique: Classical Guitar" are either based on or inspired by challenging passages and patterns that appear in compositions. Technical elements and passages have been stripped down and transformed into exercises to help the reader concentrate on specific targets through repetition. The exercises cover various techniques, such as finger independence in both hands, different types of shifts, in-context slurs, in-context arpeggios, scales, tremolo and switches between different technical elements. The exercises are presented in standard notation and tablature. Explanations and instructions are also provided. By using standard notation, the exercises include detailed information regarding fingerings and strings. Tablature versions of the exercises are also included, however, the rhythm and finger information is written in standard notation.The exercises are divided into two main sections: right-hand and left-hand. Each section consists of different categories specific to that hand. The exercises are not written in any particular order within each category - by practicing these exercises, the reader will master difficult technical transitions when they are encountered in compositional contexts.
$9.99 ≈
£7.73
Essential Baroque Guitar
Essential Baroque Guitar
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Stephen Siktberg
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Essential Baroque Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Composed by Stephen Siktberg. Solos. Style. E-book. Mel Bay Publications - Digital Sheet Music #30637EB. Published by Mel Bay Publications - Digital S...
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Composed by Stephen Siktberg. Solos. Style. E-book. Mel Bay Publications - Digital Sheet Music #30637EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619117310.
A comprehensive volume of musical selections from the masters of the Baroque period. Pieces selected for this book required little alteration from their original manuscripts and preserve their composers' original intent. Left-hand fingerings have been included extensively, right-hand fingerings are left up to the performer. Requirements for altered tunings and suggestions for capo use are indicated at the beginning of each piece where applicable. Contains suggested barres, natural harmonics and ornamentations. Written in standard notation. An excellent collection for the library of any classic guitarist.
$19.99 ≈
£15.47
Sorry Seems To Be The Hardest Word
Sorry Seems To Be The Hardest Word
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Rock
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Elton John
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David Jaggs
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Sorry Seems To Be The Hardest
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David Jaggs
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SheetMusicPlus
Guitar, Classical Guitar - Advanced Intermediate - By Elton John. Arranged by David Jaggs. Solo Part. 5 pages. Published by David Jaggs...
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Guitar, Classical Guitar - Advanced Intermediate - By Elton John. Arranged by David Jaggs. Solo Part. 5 pages. Published by David Jaggs
Here is a unique arrangement of Elton John's hit, "Sorry Seems to be the Hardest Word" arranged for classical guitar by David Jaggs. Some arrangements don't come easily but this one seems to sit perfectly on the guitar, from the melody line to the piano instrumental part and gels together into a great arrangement. Due to popular demand, as with all of David's new arrangements it also comes in a version with tablature available on this website. Both right and left hands are fingered in the trickier passages.
$7.99 ≈
£6.18
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