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All Creatures of our God and King Late Intermediate Piano Solo
All Creatures of our God and King Late Intermediate Piano Solo
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Lasst Uns Erfreuen
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Amanda Tero
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eighth notes vs
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All Creatures of our God and K
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Amanda Tero
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1417376 Composed by Lasst Uns Erfreuen. Arranged by Amanda Tero. Christian,Religious,Sacred. Score. 10 pages. Amanda Tero...
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Piano Solo - Level 4 - SKU: A0.1417376 Composed by Lasst Uns Erfreuen. Arranged by Amanda Tero. Christian,Religious,Sacred. Score. 10 pages. Amanda Tero #998921. Published by Amanda Tero (A0.1417376). Delight your audience with the All Creatures of our God and King piano solo, designed for late intermediate players. Ideal for church performances or recitals, this piece includes lively triplets in both hands, making it an exciting show-stopper.The late intermediate piano solo of All Creatures of our God and King includes popular elements like fast triplets, octaves, polyrhythms (2 against 3), and a dramatic ending.I arranged All Creatures of our God and King as a traditional hymn with a contemporary flair. The driving triplets give it a “rock†feel while low left hand octaves add depth of sound. There are a lot of patterns which makes this late intermediate solo easier to learn–the challenge is getting it up to speed fluently!For church services, recitals, and spring/summer music events, All Creatures of our God and King late intermediate piano sheet music solo will capture the listeners with delight and excitement.Similar in level to most Level 4-5 piano curricula and ABRSM Level 4.The basic format of All Creatures of our God and King late intermediate piano solo is: introduction, verse, interlude, verse, ending.6 pages. Key of C major.Approx. 2:00 performance time. Musical Elements In All Creatures of our God and King late intermediate piano solo Sheet Music Key of C major Time signature: 4/4 Tempo: fast, exuberant Note values: whole notes, dotted half notes, half notes, dotted quarter notes, quarter notes, eighth notes, eighth note triplets Note reading: right hand treble clef C4 to C7, left hand bass clef C1 to G4 Ledger lines (up to 5 lines) Harmonic octaves in left hand and right hand Triplets Polyrhythms (2 against 3; eighth notes vs. eighth note triplets) Fermata Practice Tips for All Creatures of our God and King late intermediate piano solo This is an exciting arrangement that the student may be tempted to play faster than possible. Encourage the student to breathe while they play to keep the tempo steady and manageable (I like recommending breathing in for one measure, out for one measure).There may be the temptation to have a heavy pulse for each beat, but focus on phrasing an entire measure or two.If the student struggles to bring out the measure for the first verse, experiment with “shadow playing,†where the student only plays the actual melody notes and “shadow plays†(puts their finger on the key, but doesn’t press down) all other notes.
$5.99 ≈
5.54€
Still Shall We Rise
Still Shall We Rise
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Gavin Koh
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Still Shall We Rise
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Gavin Koh
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.874514 Composed by Gavin Koh. Concert,Contemporary,Standards. Score. 7 pages. Gavin Koh #5968253. Published by Gavin Koh ...
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Piano Solo - Level 4 - SKU: A0.874514 Composed by Gavin Koh. Concert,Contemporary,Standards. Score. 7 pages. Gavin Koh #5968253. Published by Gavin Koh (A0.874514). Still Shall We Rise is an original composition by myself. In all this turmoil taking place on a global level, surely humanity will never give up. Don't ever lose hope! For Still Shall We Rise to overcome all adversity placed before us. I hope you love this piece as much as I enjoyed composing it.Follow the composer at https://www.facebook.com/gavinkoh1970
$3.99 ≈
3.69€
Fantasia Sonata in D Major for piano solo - Ludwig van Beethoven (Unv 12 / deest 45) - Reconstructio
Fantasia Sonata in D Major for piano solo - Ludwig van Beethoven (Unv 12 / deest 45) - Reconstructio
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven, Cees Nie
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Fantasia Sonata in D Major for
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Upstream Music
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.933520 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Classical. Score. 48 pages. Upstream Music #482215. Publishe...
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Piano Solo - Level 4 - SKU: A0.933520 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Classical. Score. 48 pages. Upstream Music #482215. Published by Upstream Music (A0.933520). There are many more unfinished than completed compositions of Beethoven that have been preserved. ln these fragments one sees ideas for individual works. A large number of sketchbooks and sketches from the composer were preserved and are housed in libraries and private collections all over the globe. Some sketches are no more than brief experiments or short elaborated ideas, but there are also fragments preserved that nearly give us a complete picture of a composition. In the so-called Kafka sketchbook, which was published in 1970 in London, approximately 500 fragments of manuscripts were bundled that stem from 1786 - 1799. The Fantasia Sonata in D (deest 45) for piano forte in three parts, was hidden in the archives since 1792. This sonata of the young Beethoven, with striking similarities to the Moonlight sonata and the Pastorale has never been performed on stage. Young pianotalent Martin Oei played it for the first time in the Concertgebouw Amsterdam, October 21st, 2012. The large, over 1100 bars comprising torso now known as Fantasia Sonata in D from 1792, cannot be called a sketch anymore, although Beethoven has not completed the work and used many ideas in other, later works. The reconstruction of the sketches was done by the Dutch Beethoven musicologist and composer Cees Nieuwenhuizen. The piece was probably written in Bonn, three years before he started to write his first official piano sonata of a series of 32 sonatas. In November 1792 Beethoven went from Bonn to Vienna to study with the famous composer Joseph Haydn (1732–1809). Beethoven rapidly proceeded to make his mark as a brilliant keyboard performer and as a gifted young composer with a number of works to his credit. In 1795 his first mature published works appeared, and his career was officially launched. Striking harmonies The re-using of previously drafted material is quite common in Beethoven's works. Apparently the material wasn't yet ripe enough at the time of its origination, or perhaps Beethoven changed his mind with regards to the new composition. This could very well be so regarding the torso from Kafka’s sketchbook that we now call the Piano Fantasia sonata in D. This piece contains 1100 bars of music, not taking into account the alternative bars. The piece is composed by Beethoven in 1792 - 1793 and was set up as a tripartite sonata in D with remarkable abnormalities in terms of form and content. There are striking harmonies that cannot be found in other works composed in that same period. It’s possible that the composer didn’t have the courage to publish it or that indeed the time was not yet ripe for it. Finally the composer let the draft go and never came back to it. Or did he? Thematic similarities We find phrases in several later works that share similarities with ideas and themes from Fantasia sonata in D. The first part of Fantasia sonata has the same theme as the trio of the third movement of Symphony no. 7 (in A Major Opus 92). Even the key and also the rhythm in 3/4 time are the same. This cannot be a coincidence. Similar mood and thematic parallels can be found in the Pastorale, the Sonata for piano no. 15 (Opus 28): it is striking that this piece is also composed in D and in 3/4 time. We find similar dramatic expression in the Sonata for piano no. I 7 in d minor Opus 31 no. 2. The second movement of the Fantasia sonata nearly has the same theme as the second movement of the Sonata for piano no. 23 in minor (the Appassionato Opus 57). Martin Oei, Daiel Wayenberg, Cees Nieuwenhuizen at The World Premiere in The Concertgebouw Beethoven begins the third movement of the Fantasia sonata with the main theme of the first movement, but now in e minor. lts appearance in minor is an entirely new idea. Nevertheless Beethoven doesn't elaborate the idea any further because it disappears after 29 bars. Now a new agitated theme starts in d minor, which was announced in the first movement, but now reappears in its complete.
$29.00 ≈
26.81€
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prlude,Premire Fanfare, and La Mort de Cordlia,Toomai des lphants, Rodrigue et Chimne: Prlude l?acte 1p. Le Martyre de Saint Sbastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pellas et Mlisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphe-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sbastien and La Bote joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
36.01€
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septime regrettent!!!, Petite Valse,Ftes galantes, and Prlude ?L?Histoire de Tristan?
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pellas et Mlisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphe-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sbastien and La Bote joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
36.01€
Piano Sonata in F Minor - III. Funeral March
Piano Sonata in F Minor - III. Funeral March
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Gabriel Lagos
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Gabriel Lagos
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Piano Sonata in F Minor - III.
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Lagos Music
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1254257 By Gabriel Lagos. By Gabriel Lagos. Arranged by Gabriel Lagos. 19th Century,Classical,March,Romantic Period. Scor...
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Piano Solo - Level 4 - SKU: A0.1254257 By Gabriel Lagos. By Gabriel Lagos. Arranged by Gabriel Lagos. 19th Century,Classical,March,Romantic Period. Score. 5 pages. Lagos Music #847828. Published by Lagos Music (A0.1254257). The third movement is done! Plenty of crunchy diminished and augmented fifth intervals in this work to give it some darkness. I also chose to keep the register fairly low. The feeling I'm trying to capture: despair; knowing that everyone's fate is to fade into the wind and there's nothing anyone can do about it. There's nothing wrong with that; I've come to a place where I no longer fear death, but it's a reality of life that, at times, is impossible to ignore. There is a positive side, though. For one, the contrasting section is in A flat major and picks up tempo briefly! Before inevitably falling back into F minor... Also, on a funny note, the entire main theme is based off of an old song I wrote for my high school rock band (in like, 2004-ish?), using a commonly used chord progression: I, VI, iv, V7. This was when I was first learning to write music but I remember always thinking it would sound good as a funeral march. The song was called One More Life and the lyrics were about shedding the old, beginning anew, asking the universe for one more life. It feels good to finally have written this movement, though. I hope you enjoy it :)Thank you,Gabe.
$4.99 ≈
4.61€
I'm Gonna Sit Right Down And Write Myself A Letter
I'm Gonna Sit Right Down And Write Myself A Letter
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Billy Williams
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I'm Gonna Sit Right Down And W
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Martyn Johnson
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1427036 By Billy Williams. By Fred E. Ahlert and Joe Young. Arranged by Martyn Clive Johnson (aka Martycli Piano Guy). 20...
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Piano Solo - Level 4 - SKU: A0.1427036 By Billy Williams. By Fred E. Ahlert and Joe Young. Arranged by Martyn Clive Johnson (aka Martycli Piano Guy). 20th Century,Broadway,Comedy,Jazz,Musical/Show,Ragtime. Score. 8 pages. Martyn Johnson #1007767. Published by Martyn Johnson (A0.1427036). My arrangement is a tribute to the old Fat's Waller recording. It's not copied from that rendition at all but I have arranged it as a stride piano piece and hope it exudes some of the joy that Mr Waller brought to it.I take it through three iterations in C, Db and D major, going up a semi-tone each time - so plenty of practice in trickier keys. I don't include dynamics in my notation nor fingering and pedalling as I prefer to leave these to the discretion of the individual pianist. You will never get two piano teachers to agree on these things. I like to give the reader the notes as simply as possible and leave the interpretation up to them. Similarly with voicings - some notes will be held longer instinctively by the pianist than others and do not need to be placed in separate voicings to make them difficult to read.The stride piano left hand often contains 10ths which can be too large a span for some pianists. The solution is to roll them or to just play them as a single bass note on the root of the chord or as an octave.This is a wonderfully joyous piece and I hope you get as much pleasure from learning and playing it as I did arranging it.
$4.99 ≈
4.61€
C major scale RH studies (piano) 2021
C major scale RH studies (piano) 2021
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Bryan Kujawa
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C major scale RH studies
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Bryan Kujawa
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.816788 Composed by Bryan Kujawa. Instructional. Score. 2 pages. Bryan Kujawa #6456301. Published by Bryan Kujawa (A0.8167...
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Piano Solo - Level 4 - SKU: A0.816788 Composed by Bryan Kujawa. Instructional. Score. 2 pages. Bryan Kujawa #6456301. Published by Bryan Kujawa (A0.816788). This is a new 2021 product for piano students to really get comfortable with the C major scale. The left hand plays a C major triad in root position the entire time. The right hand does lots of work. All fingerings are provided. It goes up to 4 octaves. There are lots of time signature changes, the purpose of that is to keep each exercise within a given measure. The student should be very very comfortable with the C major scale after this. 2 page PDF, 17 measures, clean layout.
$1.99 ≈
1.84€
The Doomsday Clock
The Doomsday Clock
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Blaze Scheuerman
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The Doomsday Clock
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Blaze Scheuerman
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1047338 By Blaze Scheuerman. By Blaze Scheuerman. 20th Century,Classical,Contemporary,Romantic Period. Score. 10 pages. B...
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Piano Solo - Level 4 - SKU: A0.1047338 By Blaze Scheuerman. By Blaze Scheuerman. 20th Century,Classical,Contemporary,Romantic Period. Score. 10 pages. Blaze Scheuerman #651896. Published by Blaze Scheuerman (A0.1047338). The Doomsday Clock is a piece that primarily shows anxiety and being overwhelmed. I composed this piece my senior year of high school. At the time I could feel the impending deadline of college piano auditions approaching, and this coupled with a hand injury caused me to be very stressed out and feel that I was unable to put in the time needed to practice and prepare. I chose the name “Doomsday Clock†as I felt that the event that was slowly creeping closer was actually going to be the destruction of my dreams. The intro starts up bleak as the main character feels lost and afraid. The baseline hints at something to come that keeps inching closer and closer. Then at measure 8 it hits him, the thing to come is inevitable and can’t be stopped. He tries to reason with it, but it does not budge. This forces him to go into a mad scuffle in order to keep up and be ahead, as seen in measure 13. What then proceeds is a series of highs and lows, such as in measure 24 where the main character is terrified of what is to come and in measure 33 where he begins to believe he can do it. The piece then modulates to C major, where the main character feels that he is ahead and going to be successful. But every time he states a confident line, it seems to deteriorate or break down. Eventually he leads back into the mad scuffle and reaches his lowest point in measure 74. Here he feels lost and is about to give up when something encourages him to keep on going. It manifests a childlike voice reminding him of why he started this journey in the first place, and it convinces him to not give up and instead keep on going (seen in the Eb major section in the style of the intro). He eventually reaches the end and makes it, almost collapsing at the finish.
$5.99 ≈
5.54€
Heart
Heart
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Niccolò Trivieri
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Niccolò Trivieri
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Heart
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Niccolò Trivieri
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1337248 By Niccolò Trivieri. By Niccolò Trivieri. Arranged by Niccolò Trivieri. Contemporary,Film/TV,New Age,Pop...
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Piano Solo - Level 4 - SKU: A0.1337248 By Niccolò Trivieri. By Niccolò Trivieri. Arranged by Niccolò Trivieri. Contemporary,Film/TV,New Age,Pop,Spiritual. Score. 6 pages. Niccolò Trivieri #923057. Published by Niccolò Trivieri (A0.1337248). A message from the author:This piece is very important to me, each note has its own meaning. The video - with its simple sound and visual effects - tells a story, but... I leave the pleasure of discovering new worlds with this music to your imagination! Inebriate yourself with the mystery of these particular, dark harmonies... and surprise yourself with unexpected sparks of light scattered here and there. This music is for you if you love rainy days, atmospheres of nostalgic beauty and some disturbing little vibes from exploring abandoned houses: there is magic in everything around us, just open your eyes and listen more carefully. This piece came to you for a reason: never stop believing in what your Heart feels; even if you can't prove it at the moment and even if the world works against you. If your Heart is right, in the end you will always have answers, you will always get what you want. Heart was born precisely from this feeling... the certainty that sooner or later, everything will arrive. This composition is definitely a message: in the certainty that it will reach the right person, it is (obviously) also dedicated to all of you who listen to it and play it, so that it can inspire you to never give up and explore the innermost parts of yourself... as a musician, this is my main mission and my joy! May this piece resonate in as many places as possible! Thank you so much.NiccolòP.S. there are some suggestions in the score to make the piece a little easier and with fewer jumps. Also feel free to make a few small changes to the rhythm of the irregular groups only if they are too difficult for you (even if they have a precise meaning) playing them simultaneously with the accompaniment notes of the left hand, and not 'out of phase'. After all, the most important thing is... Heart!
$5.00 ≈
4.62€
March of the Minotaurs
March of the Minotaurs
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Gavin Koh
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March of the Minotaurs
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Gavin Koh
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.874446 Composed by Gavin Koh. 20th Century,Concert,Instructional. Score. 6 pages. Gavin Koh #4359577. Published by Gavin ...
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Piano Solo - Level 4 - SKU: A0.874446 Composed by Gavin Koh. 20th Century,Concert,Instructional. Score. 6 pages. Gavin Koh #4359577. Published by Gavin Koh (A0.874446). March of the Minotaurs is an interesting little piece inspired by Edvard Grieg's In the Hall of the Mountain King and Maurice Ravel's Bolero. It features ostinatos that gradually get more complex as the song progresses. This piece can be used for a recital performance or even for classroom study. Here is the writeup for the piece: How do whip up an army of minotaurs into shape for a march? Maybe the March of the Minotaurs might give you an insight into what you have to do. I sincerely hope you will enjoy listening to this.Follow the composer at https://www.facebook.com/gavinkoh1970
$3.99 ≈
3.69€
Never Surrender
Never Surrender
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Corey Hart
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Elena Fortin
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Never Surrender
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Elena Fortin
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1085820 Composed by Corey Hart. Arranged by Elena Fortin. Contemporary,Pop,Rock. Score. 5 pages. Elena Fortin #689995. Pu...
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Piano Solo - Level 4 - SKU: A0.1085820 Composed by Corey Hart. Arranged by Elena Fortin. Contemporary,Pop,Rock. Score. 5 pages. Elena Fortin #689995. Published by Elena Fortin (A0.1085820). Never Surrender - arranged by Elena Fortin for intermediate/early advanced piano solo. Never Surrender is a song by Canadian singer Corey Hart. It was originally released in June 1985 as a single from his album Boy in the Box. The song won a Juno award in 1985 for single of the year. A new, updated version of the song was released in 2019 to give a message of hope and resilience during the COVID-19 pandemic. I often arrange songs that have personal meaning to me. Growing up in Canada, Corey Hart was one of those singers that was important to Canadians. His message has stood the test of time--to release an updated version 34 years and still have it remain relevant is amazing to me. I like to choose songs that remain timeless, and that carry an uplifting message. My arrangement is written in 4/4 time, in the key of D major. The arrangement is intended for intermediate to early advanced players because of some difficult rhythms, left hand arpeggiated chords, and the challenge of bringing out the melody and balance it with the left hand accompaniment. If you enjoy this arrangement, please check out my other piano solos on my publisher page. You can also check out my YouTube channel https://www.youtube.com/channel/UCFOzbMUgcFWlmG-nfHOT_Zg (Elena Fortin Music), or my website at www.the-piano-studio.com.
$4.99 ≈
4.61€
Bach: Prelude No. 10 in E Minor (BWV 855: 1) - As played By Vikingur Olafsson
Bach: Prelude No. 10 in E Minor (BWV 855: 1) - As played By Vikingur Olafsson
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and VÃ
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Flavio Regis Cunha
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Bach: Prelude No. 10 in E Mino
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Flavio Regis Cunha
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1148922 By Johann Sebastian Bach and VÃkingur Ólafsson. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. ...
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Piano Solo - Level 4 - SKU: A0.1148922 By Johann Sebastian Bach and VÃkingur Ólafsson. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Easter,Festival,Instructional. Score. 8 pages. Flavio Regis Cunha #749054. Published by Flavio Regis Cunha (A0.1148922). Prelude and Fugue in E minor, BWV 855, is the 10th prelude and fugue for keyboard (harpsichord) in the first book of The Well Tempered Clavier, composed in 1722 by Johann Sebastian Bach. The Prelude in E minor, BWV 855a, features as No. 18 (Praeludium 5) in the 1720 Klavierbüchlein für Wilhelm Friedemann Bach. BWV 855a may also refer to both this Prelude and a Fughetta in the same key, an early version of BWV 855. Ólafsson teamed up with director Magnús Leifsson to shoot the video in a fish processing plant in Iceland, complete with grand piano. They use the fish, an early Christian symbol, to allude to the mysticism and timelessness of Bach’s music – as changeable as water, it has to be understood at a metalevel, given the many different ways in which composition, transcription and performance can be interwoven. Everything is there in Bach’s music, says the pianist, who transports the composer’s keyboard writing to new shores on his latest recording. Icelandic pianist VÃkingur Ólafsson releases video featuring music from his new album, Johann Sebastian Bach.Advanced Intermediate Format: Concert, 9 x 12 inches 8 pagesPLUS: Engraved and Published with Urtext Kapellmeister Music Fonts.
$5.99 ≈
5.54€
ISADAR - In Search For The Meaning Of Christmas (complete collection)
ISADAR - In Search For The Meaning Of Christmas (complete collection)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Public Domain, as performed
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Isadar
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ISADAR - In Search For The Mea
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SheetMusicPlus
Piano Solo, Collection / Songbook - Advanced Intermediate - Digital Download Composed by Public Domain, as performed and recorded by Isadar. Arranged...
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Piano Solo, Collection / Songbook - Advanced Intermediate - Digital Download Composed by Public Domain, as performed and recorded by Isadar. Arranged by Isadar. Neo-Classical, Christmas, Children's Music, Recital, New Age. 50 pages. Published by Mainya Music Publishing (BMI)
Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story's "The Gift", George Winston's "December", early Windham Hill solo piano artists, and "A Winter's Solstice" compilations.
Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording
Contents:
1. Bring A Torch (Bring A Torch, Jeanette, Isabella)
2. Children Go Where I Send Thee / The Holly & The Ivy
3. Star Of Wonder (We Three Kings of Orient Are)
4. Silent (Silent Night, Holy Night)
5. Midnight (It Came Upon the Midnight Clear)
6. What Child Is This?
7. Greensleeves (homage to Liz Story)
8. Three Ships (I Saw Three Ships, Come Sailing In)
9. The Coventry Carol (Lully, Lulla, Lullay)
10. Sing We Now Of Christmas (Nol Nouvelet)
11. Carol Of The Bells
Album & Songbook review by: Kathy Parsons (MainlyPiano.com):
I have discovered a real wealth of great solo piano Christmas CDs this year! Isadar?s In Search For the Meaning of Christmas definitely falls into this category! Thoughtful, introspective, and a bit moody, Isadar?s arrangements are true to the carols (with some small melody changes in ?Bring a Torch? and ?Carol of the Bells? that bother me just a little) and still seem very personal. ?Bring a Torch?, ?The Holly and the Ivy?, and ?I Saw Three Ships? are given a lighthearted, joyful treatment. ?Star of Wonder (We Three Kings)?, ?What Child Is This??, ?The Coventry Carol?, and ?Sing We Now of Christmas? are all minor, somber, reverent pieces, and all four are given loving arrangements that keep the dark, mysterious nature of the songs and reflect Isadar?s own sensibilities. ?Carol of the Bells? and Isadar's take on Liz Story?s arrangement of ?Greensleeves? are energetic without losing all abandon. ?Silent Night? and ?It Came Upon a Midnight Clear? present us with a very cold, deep solitude - both feel like late night with moonlight reflecting off the snow. Both are moody, but very beautifully so. George Winston?s ?December? is one of my all-time favorite holiday albums, and I feel In Search For the Meaning of Christmas holds up exceptionally well next to it. This is an excellent collection of Christmas music, and I highly recommend it!
In Search For the Meaning of Christmas is the companion songbook to Isadar?s 1999 solo piano release by the same name. Meticulously transcribed note-for-note by David Shenton of New York Music Publishing, the music is faithful to the recording in every way (except for the pianist - YOU!). The scores are clear, concise, and easy to read, and also include chord indications for improvisation or the use of instruments other than or in addition to the piano. Isadar?s arrangements cover a whole range of emotions, from very dark and somber to joyful and buoyant. All of the pieces from the CD are here, including Isadar?s homage to Liz Story and her beautiful version of ?Greensleeves.? My personal favorites of the eleven songs in this book are the bright and cheerful ?Bring A Torch,? ?What Child Is This??, ?Greensleeves,? the darkly gorgeous ?The Coventry Carol,? and ?Sing We Now of Christmas.? Other titles that I really like are ?Children Go Where I Send Thee/The Holly and the Ivy,? ?Star of Wonder (We Three Kings)," ?Carol of the Bells,? and the effervescent ?Three Ships.? ?Silent? (Silent Night) and ?Midnight? (It Came Upon a Midnight Clear) are a bit too dark for my own holiday tastes, but are interesting and very personal arrangements. This book will make a great addition to your holiday sheet music collection and is available from isadar.com and amazon.com.
Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...
Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.
For more information, visit his website at: http://www.isadar.com
$49.99 ≈
46.21€
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