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Mike Oldfield used a fragment of the piece in his track "Romance" on his 2005 album Light + Shade. The Buck 65 song "The Outskirts" from the 2007 album Situation uses this piece as backing. Cantopop singer Eason Chan included this piece on his 2011 album title release, Stranger Under My Skin. It is a bilingual English and Cantonese song with ...
The term romance (Spanish: romance/romanza, Italian: romanza, German: Romanze, French: romance, Russian: романс, Portuguese: romance, Romanian: romanţă) has a centuries-long history. Applied to narrative ballads in Spain, it came to be used by the 18th century for simple lyrical pieces not only for voice, but also for instruments alone.
The particular work in question here, is in fact strictly an original guitar piece (with arrangements being mentioned in the article: link). Anyone looking for information on the work would include the word "guitar" in a google search: e.g. Romance guitar and not Romance composition. A move to Romance (guitar piece) would be the most appropriate.
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Romance (guitar piece) Romance for bassoon (Elgar) Romance in A minor (Bruch) Romance in F minor (Dvořák) Romance No. 1 (Beethoven) Romance No. 2 (Beethoven) Romance, Op. 37 (Saint-Saëns) Russian romance
The narrower fretboard of the romantic guitar allowed the left-hand thumb to be used by some guitarists to fret the sixth string although Fernando Sor deprecates this in his method, recommending that the left-hand thumb remain at the rear centre of the neck and noting that the "high" thumb position aids neither bass-string fingering nor support ...
The romantic guitar eventually led to a different type of guitar in Spain: the fan-braced Spanish guitars of Torres, which may be seen as the immediate precursor of the modern classical guitar. In the 20th century, many non-guitarist composers wrote for the instrument, whereas previously only players of the instrument had done so.
Romance S.169, the theme of which is based on the song "O pourquoi donc" ("Why, oh Why"), is a piece of music written in 1848 by the Hungarian composer Franz Liszt during a visit to Moscow. It bears some resemblance to Chopin's Nocturne in E minor , [ 1 ] as both pieces commence with broken E-minor chords.