Strange Beautiful Music by Joe Satriani

By Joe Satriani

(Play It love it Is). Note-for-note transcriptions with tab for all 14 songs on Satch's 2002 liberate, his 8th full-length studio recording.

Includes a bio of Joe, a guitar notation legend, and those titles: abdominal Dancer * Chords of existence * Hill Groove * the adventure * brain hurricane * Mountain track * New final Jam * Oriental Melody * Seven String * Sleepwalk * Starry evening * The traveller * What Breaks a center * You kept My existence.

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By Joe Satriani

(Play It love it Is). Note-for-note transcriptions with tab for all 14 songs on Satch's 2002 liberate, his 8th full-length studio recording.

Includes a bio of Joe, a guitar notation legend, and those titles: abdominal Dancer * Chords of existence * Hill Groove * the adventure * brain hurricane * Mountain track * New final Jam * Oriental Melody * Seven String * Sleepwalk * Starry evening * The traveller * What Breaks a center * You kept My existence.

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But it does contain some chromatic harmonies that would anticipate the work of the Second Viennese School by several decades. Guntram was the first of a number of Strauss's operas that featured preludes but no meaningful interludes-a second category of Strauss's operas would do just the opposite. The importance Strauss attached to GUl1tram has, over the years, proved to be sadly out of prop0l1ion of its intrinsic value as a lasting work of art. The very great prominence of its many themes in the famous 'Works of 45 46 Del Mar, Richard Strauss, 1:95.

47 In summary, Strauss's first operatic venture ended in failure but not before he had demonstrated certain skills in composing for the female voice and had begun, albeit in a very modest way, to incorporate his tone poem instrumental skills into the body of the opera with calculated effect. But the trauma of this particular experience would lead him back to compose a second cycle of tone poems over the next five years. Strauss himself had once remarked that the entire opera Guntram was a 'prelude' to his further operatic work.

Structurally, musical analysts have debated over many years whether the piece was in fi:ee sonata or rondo fonn. A recent exhaustive analysis ofthe work suggests that it is neither but rather a structural process in dialogue with several generic traditions. 3D But more important than the form and structure of the work was Strauss's use of accelerations of tempi, metre, and harmonic progression, as well as elaborate orchestration, as an input to tone painting. Indeed, Don Juan is the first truly Straussian piece with no quotations or copying from his predecessors.

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