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It's Complicated
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Vous avez sélectionné:
It's Complicated
Partitions à imprimer
198 partitions trouvées
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176
It's Complicated
It's Complicated
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Piano seul
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INTERMÉDIAIRE
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Louis Landon
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It's Complicated
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Landon Creative, Inc.
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.761929 Composed by Louis Landon. Concert,Contemporary,Instructional,Standards. Score. 5 pages. Landon Creative, Inc. #632...
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Piano Solo - Level 3 - SKU: A0.761929 Composed by Louis Landon. Concert,Contemporary,Instructional,Standards. Score. 5 pages. Landon Creative, Inc. #6329789. Published by Landon Creative, Inc. (A0.761929). The song, It's Complicated, is on the THANKSGIVING PIANO album and was released on April 24, 2020. Recorded at the Peace Palace, Sedona, AZ on a Steinway B July - December 2019 You can hear the whole album on Spotify, Apple Music and Pandora Radio The album is also available for downloading at iTunes, Amazon and Bandcamp All music produced, arranged, composed & performed by Louis Landon All music published byLandon Creative, Inc. BMI Louis Landon is a Steinway Artist Music mastering by Tim Jessup, Sedona, AZ We Give Thanks mastering by Michael McDonald, Eugene, OR CD design and photos by Louis Landon
$5.25
Home is a Complicated Word (for voice and piano)
Home is a Complicated Word (for voice and piano)
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Piano, Voix
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INTERMÉDIAIRE
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Aaron Lee
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Home is a Complicated Word
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J. Aaron Lee
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.726320 Composed by Aaron Lee. 20th Century,Classical,Contemporary. Score. 7 pages. J. Aaron Lee #334598. Published...
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Piano,Vocal,Voice - Level 3 - SKU: A0.726320 Composed by Aaron Lee. 20th Century,Classical,Contemporary. Score. 7 pages. J. Aaron Lee #334598. Published by J. Aaron Lee (A0.726320). This song presents an immigrant's perspective years after adapting to life in a new country, far away from their native home. It is an accessible song that, despite using some chromatic harmony, does not demand that it's listener be overly familiar with contemporary music. It would easily fit into a light concert or recital and is approximately 3.5 minutes in duration. For more music from Aaron Lee, you can visit www.musicoflee.com.
$2.99
Does Anybody Really Know What Time It Is?
Does Anybody Really Know What Time It Is?
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Rock
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Chicago
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Michael Compton
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Does Anybody Really Know What
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Kreechur Kumfort Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.833865 By Chicago. By Robert Lamm. Arranged by Michael Compton. Pop,Rock. 16 pages. Kreechur Kumf...
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Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.833865 By Chicago. By Robert Lamm. Arranged by Michael Compton. Pop,Rock. 16 pages. Kreechur Kumfort Publishing #6448459. Published by Kreechur Kumfort Publishing (A0.833865). Does Anybody Really Know What Time It Is? is a song that was included on Chicago's 1969 debut album Chicago Transit Authority and released as a single in 1970. According to composer Robert Lamm, it was the first song recorded for the album. The song was not released as a single until two tracks from the band's second album, Make Me Smile and 25 or 6 to 4, had become hits. It reached No. 7 in the U.S. and No. 2 in Canada. Said Lamm: [It's] not a complicated song, but it’s certainly a quirky song. But that was my intent. I wanted to write something that wasn’t ordinary, that wasn’t blues-based, that didn’t have ice cream changes, and would allow the horns to shine and give Lee Loughnane a solo. This arrangement is for saxophone quintet (soprano, alto, two tenors, and baritone) and the melody is passed around the ensemble a bit. The arrangement is suitable for intermediate level players.
$15.00
General's Suite Macarthur Patton - Score Only
General's Suite Macarthur Patton - Score Only
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Jerrald K Goldsmith
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Chris Siddall
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General's Suite Macarthur Patt
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Chris Siddall Music Publishing
#
SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1450384 Composed by Jerrald K Goldsmith. Arranged by Chris Siddall. Film/TV. 39 pages. Chris Siddall Music Publishing...
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Full Orchestra - Level 4 - SKU: A0.1450384 Composed by Jerrald K Goldsmith. Arranged by Chris Siddall. Film/TV. 39 pages. Chris Siddall Music Publishing #1030115. Published by Chris Siddall Music Publishing (A0.1450384). When composer Jerry Goldsmith was asked to write the score for MacArthur, people were surprised that he accepted the project because they wondered what he would have left to say, musically, after Patton. Jerry‘s feeling was that MacArthur was a totally different person, and it would be a real challenge to write about another military figure but do it in a different manner. He said “it‘s much more flamboyant in a different sort of way, and it was an interesting task“. Patton enjoyed resounding critical praise and has since been elevated to the designation of a classic. The film won Academy Awards for nearly all of its major players, with composer Jerry Goldsmith being an unfortunate exception. Goldsmith had already written many scores for World War II topics in his short mainstream career, but none would prove as memorable in any part as the march from Patton, a concert hall staple for the composer throughout his career. Despite the dominance of this theme and the fact that only roughly thirty minutes of music was employed in such a long picture, the effect of his score on the film is far more complicated than many people may realize. While the famous march, with all its bravado from brass, flutes, and snare, easily represents the identity of the character and war, Goldsmith’s work for the film actually spends more time dwelling on the deeper meanings of life that the general himself explored.Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$19.99
Dancing Line OST - The Sailor's Tale
Dancing Line OST - The Sailor's Tale
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Piano seul
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INTERMÉDIAIRE
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Lukasz Michalski
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Violetta
#
Dancing Line OST - The Sailor'
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Violetta
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1015830 Composed by Lukasz Michalski. Arranged by Violetta. Pop,Video Game. Score. 3 pages. Violetta #4982963. Published ...
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Piano Solo - Level 3 - SKU: A0.1015830 Composed by Lukasz Michalski. Arranged by Violetta. Pop,Video Game. Score. 3 pages. Violetta #4982963. Published by Violetta (A0.1015830). The Sailor's Tale is a song that has a unique and different tune than others. For those of you who loves this piece but feel that it's too complicated to be played by a single piano, this sheet will help you simplify the song. This music sheet has a medium difficulty level and suits people of all ages.
$5.00
Bock's Best - Volume 3
Bock's Best - Volume 3
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Piano seul
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Fred Bock
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Bock's Best - Volume 3
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Fred Bock Music Company
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SheetMusicPlus
Piano - SMP Level 6 (Late Intermediate) SKU: HL.8738356 Piano Solo. Arranged by Fred Bock. Piano solo. Fred Bock Publications. Christmas. Collecti...
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Piano - SMP Level 6 (Late Intermediate) SKU: HL.8738356 Piano Solo. Arranged by Fred Bock. Piano solo. Fred Bock Publications. Christmas. Collection (no lyrics). With introductory text (does not include words to the songs). 59 pages. Fred Bock Music Company #BG0679. Published by Fred Bock Music Company (HL.8738356). ISBN 9781934596166. UPC: 073999383560. 9x12 inches.This complete book of tremendous piano solos features just about every song that comes to mind for this sepcial season. From Silent Night and Hark, the Herald Angels Sing, to Go Tell It on the Mountain, all of these favorites are created in Fred Bock's unique piano styling. This Christmas book sells all year long! About SMP Level 6 (Late Intermediate) 4-note chords in both hands with large stretches and leaps. Irregular and complicated rhythms.
Song List
: Angels, We Have Heard On High Away In A Manger Deck the Halls God Rest Ye Merry Gentlemen Good King Wenceslas Go, Tell It on the Mountains Hark! The Herald Angels Sing It Came Upon the Midnight Clear Jingle Bells Joy To The World Lo, How a Rose E'er Blooming Now Is Born The Divine Christ Child O Christmas Tree O Come,, All Ye Faithful O Come, O Come, Emmanuel O Little Town of Bethlehem O Holy Night Sheep And Shepherd Medley Silent Night First Noel, The There's A Song In The Air We Three Kings We Wish You a Merry Christmas What Child Is This While By The Sheep While The Shepherd's Watch Thier Flocks By Night
$19.99
Someday
Someday
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Zane Kuchera
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Someday
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Zane Kuchera Music
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1421017 By Zane Kuchera. By Music by Zane Kuchera and Words by Keith Gilman. Jazz,Pop,Singer/Songwriter. Sc...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1421017 By Zane Kuchera. By Music by Zane Kuchera and Words by Keith Gilman. Jazz,Pop,Singer/Songwriter. Score. 6 pages. Zane Kuchera Music #1002422. Published by Zane Kuchera Music (A0.1421017). 2/12/21 Zane Kuchera Music release “Someday†(Pop/R&B) - A lover who has a Jekyll/Hyde personality... but it's complicated. Words: Keith Gilman, music & performance: Zane Kuchera https://song.link/gbmqGV6sN56Jh.
$4.99
Complicated
Complicated
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Saxophone Alto
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FACILE
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Avril Lavigne
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Amorel
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Complicated
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Amorel
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SheetMusicPlus
Alto Saxophone Solo - Level 2 - SKU: A0.1291566 By Avril Lavigne. By Avril Lavigne, David Scott Alspach, Graham Edwards, and Lauren Christy. Arranged by...
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Alto Saxophone Solo - Level 2 - SKU: A0.1291566 By Avril Lavigne. By Avril Lavigne, David Scott Alspach, Graham Edwards, and Lauren Christy. Arranged by Amorel. 21st Century,Pop,Rock. Individual part. 2 pages. Amorel #882190. Published by Amorel (A0.1291566). Complicated is the first single by Canadian singer Avril Lavigne, from her 2002 album Let Go. The song was written by Avril and The Matrix (Scott Spock, Lauren Christy, and Graham Edwards). It was certified Double Platinum in Australia for more than 140,000 albums sold, according to ARIA data, and was awarded Platinum in Brazil by ABPD for more than 100,000 paid downloads. The single remained in first place on Contemporary Hit Radio for eleven consecutive weeks.Billboard magazine created a list of the 100 most popular hits of the 2000s, in which the song Complicated reached 83rd position on the Hot 100, 23rd on Pop Songs and Adult Pop Songs and 89th on Radio Songs. It was also placed 20th on Blender magazine's list of The 500 best songs in music history.
$4.99
Complicated
Complicated
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Piano Facile
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DÉBUTANT
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Pop musique
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Avril Lavigne
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Joe Cox
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Complicated
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Joe Cox
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 1 - SKU: A0.715173 By Avril Lavigne. By Avril Lavigne, David Scott Alspach, Graham Edwards, and Lauren...
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Instrumental Duet Instrumental Duet,Piano - Level 1 - SKU: A0.715173 By Avril Lavigne. By Avril Lavigne, David Scott Alspach, Graham Edwards, and Lauren Christy. Arranged by Joe Cox. Pop. Score and parts. 5 pages. Joe Cox #2845809. Published by Joe Cox (A0.715173). Complicated is the debut single by Canadian singer-songwriter Avril Lavigne, released in 2002 from her debut album, Let Go. At the time of this publication, the song had 123,519,033 views on YouTube. 123,519,034 after I watched it! In this duet for student and teacher, the student's hands are set in the F major position. A keyboard chart is included.
$4.99
Helen's Meadow -A Modern Jig for Flute Clarinet and Piano.
Helen's Meadow -A Modern Jig for Flute Clarinet and Piano.
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Grant Horsley
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Helen's Meadow -A Modern Jig f
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Grant Horsley
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 3 - SKU: A0.1468526 Composed by Grant Horsley. Celtic,Contest,Festival,Folk,Irish...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 3 - SKU: A0.1468526 Composed by Grant Horsley. Celtic,Contest,Festival,Folk,Irish,Multicultural,Wedding,World. 32 pages. Grant Horsley #1046843. Published by Grant Horsley (A0.1468526). THE PIANO ACCOMPANIMENT TRACK IS AVAILABLE AS AN MP3. Helen's Meadow is in ternary form and is a modern jig. 6/8 time and in D minor.There is nothing more complicated than crotchets and quavers throughout-hence I anticipate a competent intermediate player will be fine with it. The influence is Scottish/Irish/Celtic/Folk I've kept the instrumental parts as equal as possible. I have set it to intermediate level but to enable you to judge, the whole score is on the youtube link. It is around 3 mins 30 long. It is a ideal for concerts, recitals, weddings, special occasions etc.Price is for the score and parts.Flute Duet and Violin Duet versions are also available.
$5.99
"Helen's Meadow" A Modern Jig for Violin Duet and Piano
"Helen's Meadow" A Modern Jig for Violin Duet and Piano
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2 Violons (duo)
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INTERMÉDIAIRE
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Grant Horsley
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"Helen's Meadow" A M
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Grant Horsley
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SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.785768 Composed by Grant Horsley. Celtic,Folk,Holiday,Irish,Wedding. 32 pages. Grant Horsley #6214843. Published ...
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Violin Duet Violin - Level 3 - SKU: A0.785768 Composed by Grant Horsley. Celtic,Folk,Holiday,Irish,Wedding. 32 pages. Grant Horsley #6214843. Published by Grant Horsley (A0.785768). Helen's Meadow is in ternary form and is a modern jig. 6/8 time and in D minor.THE PIANO ACCOMPANIMENT TRACK IS AVAILABLE AS AN MP3. There is nothing more complicated than crotchets and quavers throughout-hence I anticipate a competent intermediate player will be fine with it. Â I have not included bowing marks as I have left it to the individual player. The influence is Scottish/Irish/Celtic/FolkTo enable you to judge, the youtube link gives you the entire score. It is around 3 mins 45 long.The price is for full score and parts.It is a ideal for concerts, recitals, weddings, special occasions etc.
$5.99
It Really Doesn't Matter (from Gilbert & Sullivan's Ruddigore) for Wind Quintet
It Really Doesn't Matter (from Gilbert & Sullivan's Ruddigore) for Wind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Sir Arthur Seymour Sullivan
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Robert Newth
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It Really Doesn't Matter
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Robert Newth
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 4 - SKU: A0.845588 Composed by Sir Arthur Seymour Sullivan. Arranged by Robert Newth. Broadway,Film/TV,Musica...
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Woodwind Ensemble,Woodwind Quintet - Level 4 - SKU: A0.845588 Composed by Sir Arthur Seymour Sullivan. Arranged by Robert Newth. Broadway,Film/TV,Musical/Show,Opera. 16 pages. Robert Newth #3519261. Published by Robert Newth (A0.845588). It Really Doesn't Matter, or 'The Matter Trio', from Gilbert and Sullivan's comic opera Ruddigore, is one of the classic examples of patter songs, where the singer almost 'speaks' the complicated words out at incredible pace. This song was also featured in the movie version of The Pirates of Penzance, although it does not feature in the original show.This arrangement for woodwind quintet features Clarinet in A, to save the player from having to read in six sharps! The PDF download includes a full score and all five parts: Flute, Oboe, Clarinet in A, Horn in F, and Bassoon.https://www.youtube.com/watch?v=GjXzCd_TiSc
$8.99
The Old Devil's Grin
The Old Devil's Grin
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Piano seul
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FACILE
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Eralys Fernandez
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The Old Devil's Grin
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Eralys Fernandez
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.947247 Composed by Eralys Fernandez. Contemporary,Instructional,Jazz,World. Score. 1 pages. Eralys Fernandez #2013793. Pu...
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Piano Solo - Level 2 - SKU: A0.947247 Composed by Eralys Fernandez. Contemporary,Instructional,Jazz,World. Score. 1 pages. Eralys Fernandez #2013793. Published by Eralys Fernandez (A0.947247). This piece has a jazz- pop melody. The left hand has a simple sequence making it easier to concentrate in a more complicated rhythm in the right hand. It is an ideal piece to develop good rhythmic coordination skills.
$3.99
Grandpa's Boots
Grandpa's Boots
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Piano seul
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INTERMÉDIAIRE
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Kim S
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Grandpa's Boots
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Kim S. Bean
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.961670 Composed by Kim S. Bean. Contemporary,Folk,Standards. Score. 2 pages. Kim S. Bean #6027895. Published by Kim S. Be...
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Piano Solo - Level 3 - SKU: A0.961670 Composed by Kim S. Bean. Contemporary,Folk,Standards. Score. 2 pages. Kim S. Bean #6027895. Published by Kim S. Bean (A0.961670). Grandpa's Boots is a 2 page intermediate level piece in the key of D major. It is the first piece from a set of pieces entitled Fiddle Tunes for Keys. This set of pieces was inspired by three separate encounters with fiddle music and beautiful scenery in the Shenandoah River Valley. There is narration in the recordings that tells the sweet story of how a young couple meet. Grandpa's Boots is a fast paced, rhythmic piece imitating an impromptu boot stomping dance performed to fiddle playing. There are parallel thirds, octave leaps, chord inversions, staccatos, accents, and complicated rhythms. Other pieces available in this suite are: Meadow Song, A Jig For Grandma, True Love's Promenade and River of Remembrances.
$4.99
Love Story
Love Story
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Violoncelle (partie séparée)
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INTERMÉDIAIRE
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Pop musique
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Taylor Swift
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K
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Love Story
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Vlazville Music-Digital
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SheetMusicPlus
Cello Solo - Level 3 - SKU: A0.737379 By Taylor Swift. By Taylor Swift. Arranged by K. Wreede. Pop. Individual part. 1 pages. Vlazville Music-Digital #6...
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Cello Solo - Level 3 - SKU: A0.737379 By Taylor Swift. By Taylor Swift. Arranged by K. Wreede. Pop. Individual part. 1 pages. Vlazville Music-Digital #6487889. Published by Vlazville Music-Digital (A0.737379). Taylor Swift's very popular song arranged here with some of the complicated rhythms simplified but with a lot of very fun string crossings and even some extra notes to fill in the harmony between the vocals. It's great for students, weddings, recitals, camps, and just for fun.
$5.99
Yesterday's Blues
Yesterday's Blues
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Piano seul
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Miriam Daly
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Yesterday's Blues
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Miriam Daly
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SheetMusicPlus
Piano Solo - SKU: A0.947434 Composed by Miriam Daly. Blues,Country,Folk. Score. 4 pages. Miriam Daly #5895389. Published by Miriam Daly (A0.947434). ...
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Piano Solo - SKU: A0.947434 Composed by Miriam Daly. Blues,Country,Folk. Score. 4 pages. Miriam Daly #5895389. Published by Miriam Daly (A0.947434). This is a 2 minute blues in the key of C for the advanced intermediate student. It utilizes a lot of triplet in triplet figures. I have found although there is a lot of EASY material for boogie learners, and at the other end of the spectrum, complicated transcriptions, I needed to write intermediate pieces for my students to fill the material gap.(Music Cover Photo by Oleg Kuzmin on Unsplash)miriamdaly.com
$3.50
John's Montuna
John's Montuna
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Ensemble Jazz
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John Philips
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John's Montuna
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John Philips Music Service
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - SKU: A0.947270 Composed by John Philips. Jazz,Latin. Score and parts. 25 pages. John Philips Music Service #3867639. Publi...
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Jazz Ensemble Jazz Ensemble - SKU: A0.947270 Composed by John Philips. Jazz,Latin. Score and parts. 25 pages. John Philips Music Service #3867639. Published by John Philips Music Service (A0.947270). First adjust the tempo. This is Latin Big Band. Montunos are played at 175 or more, like sambas and merenges. The idea is a simple structure of 2,4,8 or 16 bars for solos, the harmonic content is limited so the soloist must be very clever. The piano is Cuban Style and written out. Will open for solos. Drums, bass & piano must be played as is to get the effect. . Good for programs or dances. . The rhythm section must play as written for the best effect. You must have a full time claves player---without claves you are not playing LATIN MUSIC.If you want a Maynard or Buddy chart, look elsewhere. This series of charts uses nothing more complicated than eighth notes, are not frantic or screamers, extreme ranges and are hemi-demi-semi-quaver free. They depend on intonation and the players being not intimidated by what he is asked to play. There is no contest to see how high you can go before you need oxygen , how many notes you can play in 9 seconds or before your bell overheats , or how long it takes the audience to cover their earsRelaxed and confident players always play more in tune. Good harmonies, lines and realistic rhythm patterns will produce a good result that will swing and be enjoyed by player and listener alike.
$15.00
When You Got It, Flaunt It from THE PRODUCERS
When You Got It, Flaunt It from THE PRODUCERS
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Contemporain
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Mel Brooks
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W
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PARTS.
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When You Got It, Flaunt It fro
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Diamond S Music
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SheetMusicPlus
Large Ensemble - Level 4 - SKU: A0.790051 Composed by Mel Brooks. Arranged by W. Brent Sawyer. Contemporary. Score and parts. 48 pages. Diamond S Music ...
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Large Ensemble - Level 4 - SKU: A0.790051 Composed by Mel Brooks. Arranged by W. Brent Sawyer. Contemporary. Score and parts. 48 pages. Diamond S Music #3554319. Published by Diamond S Music (A0.790051). WHEN YOU’VE GOT IT, FLAUNT IT from the musical THE PRODUCERS - VOCAL SOLO in the KEY of C with 10 Piece Band accompaniment. FULL SCORE & PARTS. This is a funny and jazzy arrangement of the comedically exuberant song from the hit Broadway musical written by Mel Brooks. The 10 piece accompaniment is scored for: Tenor Sax, Trumpet 1 & 2, Trombone, Piano, Synth (Strings), Guitar, Bass, Drums, Percussion. The Producers is a musical adapted by Mel Brooks and Thomas Meehan from Brooks's 1967 film of the same name. As in the film, the story concerns two theatrical producers who scheme to get rich by overselling interests in a Broadway flop. Complications arise when the show unexpectedly turns out to be successful. Max and Ulla, Swedish bombshell who wants to audition for their next play. She auditions for them by singing When You've Got It, Flaunt It. The producers are impressed, mostly by her beauty, and hire her to be their secretary-slash-receptionist. Other similar arrangements from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$40.99
Circles - Concerto for Cello & (H.S.) String Orchestra
Circles - Concerto for Cello & (H.S.) String Orchestra
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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the end, everyone is bowing an
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Eric Moore
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Circles - Concerto for Cello &
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Cello Loft
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.878900 Composed by Eric Moore. Contemporary,Instructional,Standards. Score and parts. 83 pages. Cello Loft #3420919...
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String Orchestra - Level 4 - SKU: A0.878900 Composed by Eric Moore. Contemporary,Instructional,Standards. Score and parts. 83 pages. Cello Loft #3420919. Published by Cello Loft (A0.878900). Written for an advanced high school cellist to play with his/her own school orchestra. This is a great way to feature a fantastic cellist while introducing the whole orchestra (and audience) to some accessible trends in contemporary music. The orchestra students were *very* excited and engaged with this piece, and the audience absolutely loved it.Compositional goals included:Accessible introduction to contemporary music.Fun and engaging parts for each section of the orchestraHighlight both cellist and orchestra with parts that sound difficult but are relatively simple.Clear-cut form and motivic material as a starting point for discussion of composition.Circles is 11:00 long, in 4 movements with no breaks.Mvt I. Circles begins high-energy and includes sweeping arpeggio figures and measured tremolo oscillations. The energy dissipates and a simple lyrical theme emerges, battling complications as they arise in the orchestra.Mvt II. Passacaglia is built over an exotic vamp and includes jete (to imitate castanets), col legno, snap pizz and instrument slaps. Mvt III. Lament begins with the soloist doing slow pizzicato arpeggiations while the orchestra bows weeping chords. Eventually, everyone is pizzicato, echoing and transforming the solo line. A cello cadenza recalls material from the Passacaglia. The soloist introduces triple-stop string crossings that lead into the fourth movement.Mvt IV. Coda is fast, with the triple stops in the solo part as a moto perpetuo, while the string sections come in one-by-one underneath. By the end, everyone is bowing and we circle back to the opening material of the 1st movement. The Soloist should be fluent through 3 octaves.Orchestra parts are easier and generally require fluency through 4th position. Written in 2011-12 and premiered by Eric with the Mountain View High School (Loveland, CO), Peter Toews conducting. Recording is of that premier. Eric can provide a MIDI if desired.Eric is happy to work with the orchestra and/or soloist via Skype (or a similar arrangement).
$20.00
The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
I Gave My Love a Cherry (The Riddle Song ["The Twelfth of Never"])
I Gave My Love a Cherry (The Riddle Song ["The Twelfth of Never"])
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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English Folk Song by way of Am
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F
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I Gave My Love a Cherry
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1130062 Composed by English Folk Song by way of American Appalachians. Arranged by F. Lesl...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1130062 Composed by English Folk Song by way of American Appalachians. Arranged by F. Leslie Smith. Celtic,Children,Folk,Irish,Traditional,Wedding. Score and parts. 28 pages. Sweetwater Brass Press #730439. Published by Sweetwater Brass Press (A0.1130062). The origins of this lullaby can be traced back to 15th-century England. Pioneers from the British Isles brought it with them to the American Appalachians. Written in three verses, its lyrics tell of four seemingly impossible gifts the singer gave my love. The first verse describes each gift: cherry that has no stone, a chicken that has no bone. a story that has no end and a baby with no cryin'. The second verse poses the riddle: how can such items exist? The third provides the answers: A cherry when it's bloomin', it has no stone. A chicken when it's pippin', it has no bone. The story of I love you, it has no end. A baby when it's sleepin', has no cryin'. This Riddle Song has enjoyed somewhat of a revival since mid-20th century, making appearances in various movies, TV shows and recordings. In 1956, Jerry Livingston and Paul Francis adapted The Riddle Song tune, added an original bridge and created new lyrics; Johnny Mathis recorded it as The Twelfth of Never, giving the haunting melody probably its greatest surge in popularity. This arrangement is in G major and opens with an upbeat introduction. For the first statement of the melody, tempo slows and Trumpets alternate the lead. On the second time through, tempo speeds up slightly and tuba takes the lead. For the third, tempo is back to the opening speed and Horn in F plays the melody. On the fourth time through, Trumpets and Trombone frame the tune in a call-and-response form. In the fifth, Trombone takes the lead. In the sixth and final statement, Horn in F and Trombone play melody at half speed while Trumpets play a fairly complicated counterpoint (at what may seem like double speed!). This, until the last phrase (A baby when it's sleepin'), when the melody switches over to Trumpets and Trombone takes the counterpoint. Trumpet 1 plays its A above the staff a number of times. Tuba's lowest note is its F down below the staff. Otherwise, notes for all instruments are well within normal playing range. Because of the recommended tempo, the countermelody at measures 68-83 could be problematic for Trumpets and Trombone and may require a little extra work. Completed in 2022, performance time runs about 3 minutes, 42 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95
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
'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
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - 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
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
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It's Complicated
