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Simple waltz for guitar solo
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You've selected:
Simple waltz for guitar solo
Sheetmusic to print
14 sheet music found
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1
Guitar Waltz in A minor
Guitar Waltz in A minor
#
Guitar
#
BEGINNER
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Contemporary
#
William Hooper
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Guitar Waltz in A minor
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William O Hooper
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SheetMusicPlus
Solo Guitar - Level 1 - Digital Download SKU: A0.972840 Composed by William Hooper. Contemporary. Individual part. 1 pages. William O Hooper #6167441. Pu...
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Solo Guitar - Level 1 - Digital Download SKU: A0.972840 Composed by William Hooper. Contemporary. Individual part. 1 pages. William O Hooper #6167441. Published by William O Hooper (A0.972840). A simple waltz for Guitar.
$1.99 ≈
1.79€
Simple waltz for guitar solo
Simple waltz for guitar solo
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Guitar
#
BEGINNER
#
#
David Warin Solomons
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Simple waltz for guitar solo
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David Warin Solomons
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SheetMusicPlus
Composed by David Warin Solomons (1953-). For Guitar. 20th Century, Repertoire. Easy/Beginner. Sheet Music Single. Published by David Warin Solomons ...
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Composed by David Warin Solomons (1953-). For Guitar. 20th Century, Repertoire. Easy/Beginner. Sheet Music Single. Published by David Warin Solomons
$3.00 ≈
2.71€
Suite for guitar and orchestra (mp3)
Suite for guitar and orchestra (mp3)
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Guitar
#
Contemporary
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David Warin Solomons
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Suite for guitar and orchestra
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David Warin Solomons
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SheetMusicPlus
Guitar - Digital Download SKU: A0.1059303 Composed by David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 650. David Warin Solomo...
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Guitar - Digital Download SKU: A0.1059303 Composed by David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 650. David Warin Solomons #511059. Published by David Warin Solomons (A0.1059303). Performance of my suite for guitar and orchestra by András Csáki and the Budapest Scoring Symphonic Orchestra under Péter Illényi in 2015. The suite comprises: Dreaming, Folksy Waltz, Sanctus and Benedictus, with Hosannas, and finally Distant Storm It has elements of Romantic and Renaissance music, flamenco, Latin American, a bit of Celtic square dancing, classical minuets and a general joie de vivre mixed with a little spirituality. Dreaming is a romantic getting to know you scene between guitar and orchestra, with slow harmonic progressions in the strings and melodic imitations and dialogues between guitar and woodwind and then also between guitar and harp. A simple waltz follows, in which the flutes take up new melodies and the guitar initially just provides accompaniment but joins in the conversation as the movement progresses. The Sanctus and Benedictus section reflects the rhythms of the Latin words of the mass, with the Osanna after each main part being a little faster and reminsicent of some of the lute works of Vincenzo Galilei. The harmonic ideas of the Sanctus also colour the slower parts of the last movement, Distant Storm, but the main part of this final movement is a rhythmically exciting dialogue between the various sections of the orchestra and the guitar, leading to an abrupt conclusion, possibly the first thunderclap of a distant but approaching storm, or possibly just a bit of fun. Score and parts:https://www.sheetmusicplus.com/title/20143223?aff_id=175705
$3.50 ≈
3.16€
Everlasting waltz for those who are gone for solo guitar with TAB
Everlasting waltz for those who are gone for solo guitar with TAB
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Guitar notes and tablatures
#
INTERMEDIATE/ADVANCED
#
Omar Felipe Merchán
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Everlasting waltz for those wh
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Omar Felipe
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SheetMusicPlus
Guitar - Level 4 - Digital Download SKU: A0.922271 Composed by Omar Felipe Merchán. 20th Century,Classical,New Age,Renaissance. Guitar Tab. 3 pages. O...
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Guitar - Level 4 - Digital Download SKU: A0.922271 Composed by Omar Felipe Merchán. 20th Century,Classical,New Age,Renaissance. Guitar Tab. 3 pages. Omar Felipe #5991215. Published by Omar Felipe (A0.922271). Everlasting waltz for those who are gone is a little waltz for solo guitar in the key of G minor. It´s done in a deep melancholic mood that reflects the pain of loves ones who left. The melodic line is very simple and always cantabile (singable). The ostinato rhythm highlights the inexorable passage of time and helps to recreate our dance with the those we lost. You will find a bit of New Age and others influences.
$2.40 ≈
2.16€
Chopin: Waltz in A Minor arr. for guitar
Chopin: Waltz in A Minor arr. for guitar
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Guitar
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Fr
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Andrew Howes
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Chopin: Waltz in A Minor arr.
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.951450 Composed by Fr. Chopin. Arranged by Andrew Howes. Instructional,Romantic Period,Standards. Individual part....
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Solo Guitar - Digital Download SKU: A0.951450 Composed by Fr. Chopin. Arranged by Andrew Howes. Instructional,Romantic Period,Standards. Individual part. 2 pages. Andrew Howes #6744137. Published by Andrew Howes (A0.951450). A simple and straightforward arrangement for students of about UK Grade III standard.
$5.00 ≈
4.51€
Neobaroque suite for two guitars
Neobaroque suite for two guitars
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2 Guitars (duet)
#
INTERMEDIATE
#
David Warin Solomons
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Neobaroque suite for two guita
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David Warin Solomons
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.576078 Composed by David Warin Solomons. 20th Century,Baroque. Score and ...
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Instrumental Duet Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.576078 Composed by David Warin Solomons. 20th Century,Baroque. Score and parts. 15 pages. David Warin Solomons #2030461. Published by David Warin Solomons (A0.576078). Four movements (Festino, Pensively, Waltz and Celebration) in a simple neo-baroque style (7 to 8 minutes in length). The sound sample is an electronic preview a video can be seen at https://www.youtube.com/watch?v=M3CNCyKyPb0.
$10.00 ≈
9.02€
Waltz from childhood
Waltz from childhood
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Guitar
#
BEGINNER
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Valery Dzyabenko
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Valery Dzyabenko
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Waltz from childhood
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Valery Dzyabenko
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SheetMusicPlus
Solo Guitar - Level 1 - Digital Download SKU: A0.978148 Composed by Valery Dzyabenko. Arranged by Valery Dzyabenko. Blues,Children,Contemporary,Standards...
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Solo Guitar - Level 1 - Digital Download SKU: A0.978148 Composed by Valery Dzyabenko. Arranged by Valery Dzyabenko. Blues,Children,Contemporary,Standards,World. Individual part. 3 pages. Valery Dzyabenko #6383677. Published by Valery Dzyabenko (A0.978148). A very simple piece of music for completing the first year of classical guitar studies. Key in A minor. Waltz can be performed at any tempo. Playing time 1.10.
$2.00 ≈
1.80€
Waltz in the rain for solo guitar with TAB
Waltz in the rain for solo guitar with TAB
#
Guitar notes and tablatures
#
INTERMEDIATE/ADVANCED
#
Omar Felipe Merchán
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Waltz in the rain for solo gui
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Omar Felipe
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SheetMusicPlus
Guitar - Level 4 - Digital Download SKU: A0.922270 Composed by Omar Felipe Merchán. 20th Century,Jazz,New Age. Guitar Tab. 3 pages. Omar Felipe #59839...
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Guitar - Level 4 - Digital Download SKU: A0.922270 Composed by Omar Felipe Merchán. 20th Century,Jazz,New Age. Guitar Tab. 3 pages. Omar Felipe #5983985. Published by Omar Felipe (A0.922270). Small piece for solo guitar with a simple and cantabile melodic line and some impressionist harmonies. It makes a good match with Last waltz to dance alone. You will find the intensive use of open strings that creates a complex arpeggio.
$2.40 ≈
2.16€
Five Etudes in DADGAD Tuning
Five Etudes in DADGAD Tuning
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Guitar notes and tablatures
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BEGINNER
#
Fingerstyle/Fingerpicking
#
Keith Stevens
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Five Etudes in DADGAD Tuning
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SheetMusicPlus
Composed by Keith Stevens. Etudes and Exercises, Technique Training, New Age. Individual Part, Solo Part, Tablature. 8 pages. Published by Andemil...
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Composed by Keith Stevens. Etudes and Exercises, Technique Training, New Age. Individual Part, Solo Part, Tablature. 8 pages. Published by Andemil
Five simple pieces in DADGAD tuning. Over the years, DADGAD tuning has become an important part of my guitar playing, as well as my arranging and composing. As a teacher, I have also had a number of people contact me about helping them learn to play in this wonderful tuning. These Etudes, or studies, are a response to having music that is easily accessible to beginners to this tuning, without being too difficult. That being said, these Etudes are not for guitar players in the beginning stages of learning. Rather, they are for guitarists wishing to begin exploring DADGAD tuning. Players should have a basic knowledge of fingerpicking and chord playing, as well as knowledge of reading tablature.
The pieces are as follows:
Cool Water Falls
Deep Red
Lazy jig
Shades of Green
Final Waltz
$3.99 ≈
3.60€
Moon River
Moon River
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Guitar
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EASY
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Jazz
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Henry Mancini
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Barney Kessel
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Moon River
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Cesar Leandro Miguel
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SheetMusicPlus
Solo Guitar - Level 2 - Digital Download SKU: A0.914775 By Henry Mancini. By Henry Mancini. Arranged by Barney Kessel. Jazz. Individual part. 2 pages. Ce...
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Solo Guitar - Level 2 - Digital Download SKU: A0.914775 By Henry Mancini. By Henry Mancini. Arranged by Barney Kessel. Jazz. Individual part. 2 pages. Cesar Leandro Miguel #5743461. Published by Cesar Leandro Miguel (A0.914775). This one is a beautiful jazz waltz performed by Barney Kessel and composed by Henry Mancini for the Breakfast at Tiffany's soundtrack. Mr. Kessel does a simple and effective interpretation of the tune, giving it an soft atmosphere with his jazz guitar.This version don't include tabs, and is easy to other C instruments to read.A nice and easy tune great to get started into jazz tunes.Hope you like it! Good studies!Best regards, Cesar
$13.99 ≈
12.62€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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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 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.31€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.31€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
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INTERMEDIATE
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Classical
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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 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.31€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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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
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00 ≈
6.31€
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