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The Classical Piano Method
The Classical Piano Method # Piano Facile # FACILE # Methodes # The Classical Piano Method # Schott Music - Digital # SheetMusicPlus
Piano - easy - Digital
Download
Repertoire Collection 1. This
edition: Sheet music. The
Classical Piano Method.
Downloadable. Schott Music -
Digital ...(+)
Piano - easy - Digital
Download
Repertoire Collection 1. This
edition: Sheet music. The
Classical Piano Method.
Downloadable. Schott Music -
Digital #Q25481. Published by
Schott Music - Digital Drill & Excel On the Piano Book 3 is a 145-page book for the early intermediate student. This includes everything a student will need for their lesson and learning the skill and concepts of playing the piano. It starts with 2 assignment pages for the week?s assignments. Followed by note pages for the student or the instructor to make. The first chapter starts with a recap for books 1 and 2, so no important foundational steps are missed if the intermediate student starts with this book. Then starting with chapter 2, Drill & Excel On the Piano Book 3 introduces new rhythms, the 16th notes and rests, and triplets. The exercises get more challenging for the intermediate student, with lots of special exercises for skills needed. Special exercises include dynamic training, finger independence, finger pedaling, and more. For the scales, playing them in multiple octaves are introduced, along with the 2 new scales, A and F. What?s new in Drill & Excel On the Piano book 3 is TONS of new theory! Diatonic intervals were introduced in the 3rd chapter of book 2, so chromatic (altered) intervals are introduced in the 2nd chapter, along with triads and triad numbers in the 3rd chapter. It doesn?t stop there; it also includes plenty of assignment worksheets, so the student has a repetitive written assignment for deeper learning! And the best part, 60 original songs beautifully written to teach what is taught in each chapter. Songs are melodic and fun to play, introducing a new style of music with each song. The author gives commentary for each song. Most method books merely offer songs with little information, but the ?Drill & Excel On the Piano? book series offers not only plenty of songs, but everything the student needs for all concepts, information, and skill needed to take the early intermediate student to the next level.
We Must Learn to Walk Together
We Must Learn to Walk Together # Piano, Voix et Guitare # FACILE # Musique Sacrée # Lisa Waites # Lisa Waites # We Must Learn to Walk Together # Servant Song Music and Ministry # SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worshi...(+)
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
On The Wing
On The Wing # Piano, Voix # AVANCÉ # Contemporain # Mary Pinard # On The Wing # Abundant Silence # SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1155108 By Mary Pinard. By Andrew List. Contemporary. Score. 46 pages. Abundant Silence #755395. Published by Abun...(+)
Piano,Vocal,Voice - Level 5 - SKU: A0.1155108 By Mary Pinard. By Andrew List. Contemporary. Score. 46 pages. Abundant Silence #755395. Published by Abundant Silence (A0.1155108). On the Wing, A Celebration of Birds is a song cycle which celebrates nature, creativity and its connection to the human spirit. The cycle includes twelve songs set to original poetry about birds written by poet Mary Pinard. Since the dawn of time humans have seen birds as symbols of inspiration, beauty and wonderment. Among these symbols are: love, fidelity, freedom, spirituality, naturalness, constancy, independence, adaptability, innocence, creativity and a deep expression of the human spirit. This song cycle addresses these symbols and takes the listener on a personal journey through the many images represented by birds. I envision On the Wing as a community-building tool to help bring people together to celebrate, study and to take personal responsibility to insure the continuation of birds and their habitat. “On the Wing†explores numerous topics about birds, including their traits, vocalizations, migrations, environments, vanishing species, and address themes of conservation, ecological stewardship, and species preservation.
Shall We Gather at the River
Shall We Gather at the River # Piano seul # INTERMÉDIAIRE # Robert Lowry # Ken Litton # Shall We Gather at the River # Artist of Note, Inc. # SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1450566 Composed by Robert Lowry. Arranged by Ken Litton. Christian,Instructional,Religious,Sacred,Traditional. Score. 3 ...(+)
Piano Solo - Level 3 - SKU: A0.1450566 Composed by Robert Lowry. Arranged by Ken Litton. Christian,Instructional,Religious,Sacred,Traditional. Score. 3 pages. Artist of Note, Inc. #1030191. Published by Artist of Note, Inc. (A0.1450566). Shall We Gather at the RiverRobert Lowry, 1864Easy intermediate PIANOFrom the author/composer of How Can I Keep from Singing, Low in The Grave He Lay/Christ Arose, All the Way My Savior Leads Me, We’re Marching to Zion and I Need Thee Every Hour comes this classic hymn of longing for heaven, worship and fellowship by Robert Lowry, 1864.On a ministry visit to a grieving family he was asked, “Pastor, we have parted at the river of death. Will we meet again by the river of life?” Lowry assured her from Revelation 22:1 they they would. Then, later that afternoon he wrote both the words and the music of Shall We Gather at the River.The arrangement may serve as well as an early goal for a progressing piano student as for an intermediate to advanced player this coming Sunday.The intro announces the tune and calls the first line of the chorus to mind. After setting the meditative mood the first stanza is presented in right hand melody with left hand accompaniment that only occasionallyis rhythmically active beyond beat three. Then, the easily playable key change takes the vision to the bank of the “shining river” by way of a brief, flowing left hand figuration. A few easily-managed major seven chords and an expressive dotted eighth note or two later the “melody of peace” concludes with echoes of the intro, bringing both heart and hands to rest.All this from the places you go for the best in downloadable resources:Sheet Music Directsheetmusicdirect.comSheet Music Plussheetmusicplus.comAs well as via Hal Leonard InStore™ retailers.Also…be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard!
All Weather Friends - Jazz Waltz - Solo Piano
All Weather Friends - Jazz Waltz - Solo Piano # Piano seul # INTERMÉDIAIRE/AVANCÉ # Jazz # Olly Wedgwood # All Weather Friends - Jazz Wal # OllysPianoSheets # SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.961560 Composed by Olly Wedgwood. Concert,Jazz,Standards. Score. 3 pages. OllysPianoSheets #5335091. Published by OllysPi...(+)
Piano Solo - Level 4 - SKU: A0.961560 Composed by Olly Wedgwood. Concert,Jazz,Standards. Score. 3 pages. OllysPianoSheets #5335091. Published by OllysPianoSheets (A0.961560). Friends shouldn't just hang out in fair weather, so here is All Weather Friends, a gentle swing waltz ideal for established intermediate players at about the Grade 4-5 standard (ABRSM).The melody and accompaniment is based upon a classic jazz waltz rhythm, so to get into the feel of this piece, you may find it useful to first practice clapping this rhythm:Remember that the quaver eighth notes are swung.The trick with this piece is to let the melody sing out above the jazz waltz accompaniment, so keep an ear on the melody at all times.In bar 21, the semiquaver 16th notes can be played a little faster than written, which will create more of a 'turn' ornament. Have a listen to the performance recording clip (above) at about halfway through to get the idea.This jazz waltz piano sheet music provides excellent practice for working on phrasing and sustain pedal technique. Occasionally, you may find a couple of hand position changes that risk disrupting the flow of the melodic phrase. In these instances, try a touch of sustain pedal to smooth out the transition. An example of this can be found in bar 31.After the repeated opening melody, the middle section moves into the key of G minor, featuring a rising arpeggio-based accompaniment with sustain pedal. There is a lot of quaver eighth-note movement in this section, so be sure to keep this rhythm smoothly swinging in the usual triplet manner:This middle section reaches a crescendo at bar 37 with a rippling chord effect between both hands. Try experimenting with different ways of splitting up these chords - you could ripple up from the left hand to the right hand, or try rippling both hands at the same time. Stick with whatever sounds good to you!After a poco rall the original melody returns via a D.C. al Coda. As is the convention for first and second time repeat bars, take the second time bar on the D.C. and then to the Coda.The play-along MP3 backing track for this sheet music is also available to download at Sheet Music Plus.Explore more fun piano sheet music by Olly Wedgwood at https://OllysPianoSheets.com I hope you enjoy All Weather Friends, whatever the weather!
All Weather Friends - Jazz Waltz - Solo Piano
All Weather Friends - Jazz Waltz - Solo Piano # Piano seul # INTERMÉDIAIRE/AVANCÉ # Jazz # Olly Wedgwood # All Weather Friends - Jazz Wal # OllysPianoSheets # SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.961566 Composed by Olly Wedgwood. Concert,Jazz,Standards. Score. 3 pages. OllysPianoSheets #5792833. Published by OllysPi...(+)
Piano Solo - Level 4 - SKU: A0.961566 Composed by Olly Wedgwood. Concert,Jazz,Standards. Score. 3 pages. OllysPianoSheets #5792833. Published by OllysPianoSheets (A0.961566). Friends shouldn't just hang out in fair weather, so here is All Weather Friends, a gentle swing waltz ideal for established intermediate players at about the Grade 4-5 standard (ABRSM).The melody and accompaniment is based upon a classic jazz waltz rhythm, so to get into the feel of this piece, you may find it useful to first practice clapping this rhythm:Remember that the quaver eighth notes are swung.The trick with this piece is to let the melody sing out above the jazz waltz accompaniment, so keep an ear on the melody at all times.In bar 21, the semiquaver 16th notes can be played a little faster than written, which will create more of a 'turn' ornament. Have a listen to the performance recording clip (above) at about halfway through to get the idea.This jazz waltz piano sheet music provides excellent practice for working on phrasing and sustain pedal technique. Occasionally, you may find a couple of hand position changes that risk disrupting the flow of the melodic phrase. In these instances, try a touch of sustain pedal to smooth out the transition. An example of this can be found in bar 31.After the repeated opening melody, the middle section moves into the key of G minor, featuring a rising arpeggio-based accompaniment with sustain pedal. There is a lot of quaver eighth-note movement in this section, so be sure to keep this rhythm smoothly swinging in the usual triplet manner:This middle section reaches a crescendo at bar 37 with a rippling chord effect between both hands. Try experimenting with different ways of splitting up these chords - you could ripple up from the left hand to the right hand, or try rippling both hands at the same time. Stick with whatever sounds good to you!After a poco rall the original melody returns via a D.C. al Coda. As is the convention for first and second time repeat bars, take the second time bar on the D.C. and then to the Coda.I hope you enjoy All Weather Friends, whatever the weather!Explore more fun piano sheet music by Olly Wedgwood at https://ollyspianosheets.com
"Wade in the Water" from Crossing Jordan for soprano, cello and piano
"Wade in the Water" from Crossing Jordan for soprano, cello and piano # Piano, Voix # INTERMÉDIAIRE/AVANCÉ # Spiritual # Maria Thompson Corley # "Wade in the Water" # Maria Thompson Corley # SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1284056 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditiona...(+)
Piano,Vocal,Voice - Level 4 - SKU: A0.1284056 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditional. Score. 8 pages. Maria Thompson Corley #875229. Published by Maria Thompson Corley (A0.1284056). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7) # 2 Pianos, 4 mains # INTERMÉDIAIRE/AVANCÉ # Contemporain # dislocation I mean a degree of # Jenni Roditi # RITUALISE, Between the Octaves # Jenni Roditi # SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...(+)
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
The Oath of Silence, An Opera in Four Acts, Piano Vocal Score
The Oath of Silence, An Opera in Four Acts, Piano Vocal Score # Piano, Voix et Guitare # AVANCÉ # James Nathaniel Holland # The Oath of Silence, An Opera # James Nathaniel Holland # SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 5 - SKU: A0.1284659 Composed by James Nathaniel Holland. 21st Century,Contemporary,Opera. Score. 143 pages. James Natha...(+)
Guitar,Piano,Vocal,Voice - Level 5 - SKU: A0.1284659 Composed by James Nathaniel Holland. 21st Century,Contemporary,Opera. Score. 143 pages. James Nathaniel Holland #875835. Published by James Nathaniel Holland (A0.1284659). PIANO VOCAL SCORE.  This four act contemporary opera, original libretto and music, by 21st century American composer James Nathaniel Holland is the story of the triumph of Love over Evil, however delayed, and the power of keeping steadfast to one’s righteous promise.  Based on the German fairy tale The Six Swans, in a kingdom, during Saxon times, the murderous daughter of an evil entity, Ravia, infiltrates and takes over the lives of a royal family due to the King’s rash promise to marry her many years before. The royal children are sent away by their father for safety to a hidden, woodland cottage, but Ravia discovers where they are and hexes the younger siblings, turning them into swallows.  Usha, the eldest, escapes and flees to the wilderness and is visited by the apparition of her dead mother who explains what is going on and that Usha must swear an oath of silence for six years to break the spell and change her siblings back into human form.Five years pass and a dashing and kind king, Rohric, of another kingdom, finds Usha while hunting, falls in love with and marries her, but Usha must remain silent and cannot reveal who she is.  Ravia, who now is sole queen of the old kingdom, is invited by Rohric’s nobles with hope to secure a “proper†wedding for Rohric.  Usha is accused falsely of killing her own child by the two and is sentenced to be burned at the stake, but as the bell tolls she finally can declare her innocence.  To the crowd’s amazement her siblings change back, all truth is revealed, and for Ravia’s failure, she is dragged back to hell by demons.  Singers:  King Alfred (bass), Ravia (soprano), Princess Usha (mezzo), Queen Mother Arna (soprano), the royal siblings (children’s/boy’s chorus), King Rohric (Tenor), The Evil Noble (baritone), An angel/a demon (bass), SATB ChorusScored for full orchestra.  Instrumentation:  picc/treble recorder, fl12, ob12, eh, cl12, bsn12, hrn 123, tpt123, trom12, tba, timp, perc.12 (bd, crash cym, ride cym with soft mallets and stick, glk, chimes, snar, tri), hrp, stringsDuration:  2 hoursFull Orchestral Score (concert pitch), Piano Vocal Score and Instruments Parts 1 (woodwinds, brass, perc.) and Parts 2 (harp and strings) sold separately.
The Raymond Variations for Piano (Set 1)
The Raymond Variations for Piano (Set 1) # Piano seul # INTERMÉDIAIRE/AVANCÉ # S # these include a   # The Raymond Variations for Pia # S. G. Potts # SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.499760 Composed by S. G. Potts. 20th Century,Contemporary,Romantic Period,Standards. Score. 18 pages. S. G. Potts #351210...(+)
Piano Solo - Level 4 - SKU: A0.499760 Composed by S. G. Potts. 20th Century,Contemporary,Romantic Period,Standards. Score. 18 pages. S. G. Potts #3512109. Published by S. G. Potts (A0.499760). The Raymond Variations for Piano (Set 1), received its world premiere on 2nd December 2015 at the 1901 Arts Club London, performed by Lorraine Womack-Banning as part of a memorial tribute concert to her late husband Raymond Banning (former professor of pianoforte at Trinity College London). The Variations are based on the three Andantino themes which form a central part of the ‘Raymond Overture’ written in 1851 by French composer Ambroise Thomas: 1811-1896. There are nine piano variations in total; these include a mix of both full and short partial variations (including a very short declamatory two chord introductory variation). The variations are not numbered or set-apart in a conventional manner, rather they form part of a continuous whole, and are separated only by bridge passages and/or cadence points; they last a little under eight minutes in duration, and strongly exploit the passionate elements of Thomas’s themes. They have been written for the most part in an accessible tonal style (with a passing nod to Messrs. Beethoven and J.S. Bach) and are based predominately in the home key of D minor, but they do also take advantage of many 20th and 21st century harmonic techniques where deemed appropriate: e.g. added note chords; cluster chords; percussive chords, and melodic deflection. In particular, the interval of the major 7th and its enharmonic equivalent(s) (the most distinctive interval in the main andantino theme from the overture) is heard in various different guises throughout the variations: this includes its inversion the minor 2nd which has a very distinctive sharp dissonant quality. Much play is made of these intervals – to somewhat humorous effect in variation 8 (the joker in the pack) heard some three quarters into the set, here the dissonant interval is pounded out double forte before hastily leading into some boisterous cluster harmonic instability; then quietly begins variation 9 which duly brings the set to a close. Look out for the sting in the tail!
The Water
The Water # Piano, Voix et Guitare # INTERMÉDIAIRE # Johnny Flyyn, Laura Marling # SRS Music # The Water # SRS Music # SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1273356 By Johnny Flyyn, Laura Marling. By Johnny Flynn. Arranged by SRS Music. Folk,Rock. Score. 8 pages. ...(+)
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1273356 By Johnny Flyyn, Laura Marling. By Johnny Flynn. Arranged by SRS Music. Folk,Rock. Score. 8 pages. SRS Music #865508. Published by SRS Music (A0.1273356). From NPR, 11/1/2010:Â Certain songs sound as if they could have been written 100 or more years ago. In some cases, that's even a good thing. Take British singer-songwriter Johnny Flynn's The Water. Long before Flynn, many Celtic troubadours have strummed uncomplicated chords like these and sung about venturing out onto a body of water as a way of cleansing and rediscovery. Lines like So wide is my river even recall coffee-house standards like The Water Is Wide.The most inventive songwriters take such time-worn tropes and give them mouth-to-mouth resuscitation. Built on a steady, unwavering drone of acoustic and electric guitars, mandolin, cello and light percussion, The Water sounds both ancient and modern. The track glistens without sounding fusty. Singing about how the river runs deep / and the larger fish creep, Flynn channels the stolid, dour delivery of many pub-folkies before him, but could just as easily be fronting an especially austere indie band.This arrangement is written for voice, piano, violin, and acoustic guitar, but can be played in other configurations. A second voice could take the place of violin. The piano part carries the melody so it can be played as an instrumental piece as well.(This title is also available for solo piano from SRS Music).
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7) # 2 Pianos, 4 mains # Classique # dislocation I mean a degree of # Jenni Roditi # CURVE, Between the Octaves - A # Jenni Roditi # SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published b...(+)
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
Rhapsody - Wind of the Sea
Rhapsody - Wind of the Sea # Piano seul # Contemporain # Brendan Reeves This pie
# Brendan Reeves # Rhapsody - Wind of the Sea # Brendan Reeves # SheetMusicPlus
Piano Solo - SKU: A0.1029349 Composed by Brendan Reeves. 20th Century,Contemporary. Score. 7 pages. Brendan Reeves #4830773. Published by Brendan Reeves...(+)
Piano Solo - SKU: A0.1029349 Composed by Brendan Reeves. 20th Century,Contemporary. Score. 7 pages. Brendan Reeves #4830773. Published by Brendan Reeves (A0.1029349). Rhapsody – Wind of the Sea By Brendan Reeves This piece, Rhapsody – Wind of the Sea, takes the listener on a melodic ride over the waves and winds of the ocean. The piece is grounded in an E major 7th chord which, despite being a 7th chord, serves tonic function throughout the piece. The piece begins with several arpeggios in moderato, which are meant to symbolize rolling waves. Much like waves, they are not in perfect time. The piece is very felt and performed with passion rather than strict attention to meter. Dynamic is the primary focus. The melody is presented three times in the beginning of the piece, after which the dream sequence begins. The dream sequence is characterized by stanzas differentiated by dynamic marking. This crescendos into the next section symbolizing the wind on the sea, beginning on Measure 53. The transition is from a previously stable tonic E major 7th chord. With the naturalization of the D, it becomes an E dominant 7th chord and becomes the V7 chord of A major (Secondary Dominant). In an instant flourishing A lydian scale, the listener is taken into a new melodic world in A lydian. The piece then diminishes back down into the waves of the dream pattern at measure 70. The piece finishes off tempo with one last final, symbolic, arpeggio; a calm after the tempest.
Give This To Mother
Give This To Mother # Piano, Voix # Stephen Foster # Give This To Mother # Johns Hopkins University Sheridan Libraries # SheetMusicPlus
Piano and voice - SKU: LV.20387 Composed by Stephen Foster. Battlefields, Soldiers, War casualties, Bayonets, Drums, Mothers & children, Gifts, Religion...(+)
Piano and voice - SKU: LV.20387 Composed by Stephen Foster. Battlefields, Soldiers, War casualties, Bayonets, Drums, Mothers & children, Gifts, Religion. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.20387). Give This To Mother. Written and Composed Stephen C. Foster. Published 1864 by H. Waters, 481 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Battlefields, Soldiers, War casualties, Bayonets, Drums, Mothers & children, Gifts, Religion. First line reads Take I pray thee this small locket, Brother soldier ere I die.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
Pocket Piano Proficiency: the quickest way to understand and learn the skills you need
Pocket Piano Proficiency: the quickest way to understand and learn the skills you need # Piano seul # Folklorique/Traditionel # Dr # Pocket Piano Proficiency: the # Deborah Rambo Sinn at The Underground Conservatory # SheetMusicPlus
Piano Solo - SKU: A0.1296630 Composed by Dr. Deborah Rambo Sinn, Author. Traditional. Score. 276 pages. Deborah Rambo Sinn at The Underground Conservato...(+)
Piano Solo - SKU: A0.1296630 Composed by Dr. Deborah Rambo Sinn, Author. Traditional. Score. 276 pages. Deborah Rambo Sinn at The Underground Conservatory #886807. Published by Deborah Rambo Sinn at The Underground Conservatory (A0.1296630). Finally, a piano skills book that you don't have to lug around! This 260+ page book fits on your phone or tablet and can be opened in any PDF reader, like Adobe Acrobat or forScore. Pocket Piano Proficiency: a revolutionary way to learn the skills you need offers basic piano skills in a new way. Author and veteran piano instructor Deborah Rambo Sinn wanted to find a solution for getting students to learn these solidly and efficiently–along with finding a way to combine this with developing excellent aural skills. Ultimately, she sought a way to quickly make these skills relevant to understanding larger concepts of music theory. Traditionally, it takes a long time of learning individual skills before a student can grasp how they all work together. Pocket Piano Proficiency flips this model, introducing tasks in chunks of like material. The circle of fifths appears from the first pages, demonstrating connections between keys from the start. The book’s pedagogical organization moves students from the easiest to more complex skills, allowing them to scaffold successfully from one chapter to the next. The eBook format allows for a new way of learning these skills that a black and white printed book does not afford. Each page contains several layers of helpful material that can be accessed by zooming in and out. Because only one level of information can be accessed at a time, students need to assimilate information from around the page to successfully complete each task (see video.) Additionally, the use of color cues for tasks further organizes each chapter. As an example, red is used for the simplest keys or most common concepts. Additionally, the use of color cues for tasks further organizes each chapter. As an example, red is used for the simplest keys or most common concepts.
The Old Rugged Cross early intermediate piano solo
The Old Rugged Cross early intermediate piano solo # Piano seul # FACILE # George Bennard # Amanda Tero # The Old Rugged Cross early int # Amanda Tero # SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1416895 Composed by George Bennard. Arranged by Amanda Tero. Christian,Easter,Holiday,Religious,Sacred. Score. 10 pages. ...(+)
Piano Solo - Level 2 - SKU: A0.1416895 Composed by George Bennard. Arranged by Amanda Tero. Christian,Easter,Holiday,Religious,Sacred. Score. 10 pages. Amanda Tero #998485. Published by Amanda Tero (A0.1416895). If you want a nice but easy arrangement of The Old Rugged Cross for early intermediate piano players, this solo is a good option. It’s in the key of G and has simple patterns that Level 2-3 students can learn.This early intermediate piano solo of The Old Rugged Cross is made for students who want easier patterns. The left hand has nice patterns that are easy to learn. The right hand plays a single-note melody in the middle and high registers.It is arranged in a traditional style with a few rich chords, but nothing too jazzy.For church services, recitals, and Easter music events, The Old Rugged Cross early intermediate piano sheet music solo will capture the listeners and cause them to ponder.Similar in level to most Level 2-3 piano curricula and ABRSM Level 2-3.The basic format of The Old Rugged Cross early intermediate piano solo is: introduction, verse/chorus, interlude, verse/chorus, ending.6 pages. Key of G major.Approx. 3:00 performance time. Musical Elements In The Old Rugged Cross Early Intermediate Piano Solo Sheet Music Key of G major Time signature: 3/4 Tempo: reflective, slow Note values: dotted half notes, half notes, dotted quarter notes, quarter notes, eighth notes Note reading: right hand treble clef D4 to C6, left hand bass clef G2 to F4 Ledger lines (up to 2 lines) Ties Left hand cross over right hand Left hand features similar patterns Right hand single-note melody Accidentals Practice Tips for The Old Rugged Cross Early Intermediate Piano Solo Sheet Music Encourage the pianist to take their time as they play this old favorite. The left hand should be flowing and smooth, but not too fast.As the student is learning The Old Rugged Cross, find the patterns that are different, as that will help them from having surprises in the middle of repeating left hand patterns.