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Vous avez sélectionné:
Bach Air
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Piano seul
Partitions à imprimer
13 partitions trouvées
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1
Bachiana Dodecafonica - 6 Preludes and Fugues for Solo Piano
Bachiana Dodecafonica - 6 Preludes and Fugues for Solo Piano
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Piano seul
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AVANCÉ
#
Contemporain
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Richard St
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Bachiana Dodecafonica - 6 Prel
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Richard St. Clair
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.939695 Composed by Richard St. Clair and Richard St. Clair. 20th Century,Contemporary. Score. 31 pages. Richard St. Clair...
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Piano Solo - Level 5 - SKU: A0.939695 Composed by Richard St. Clair and Richard St. Clair. 20th Century,Contemporary. Score. 31 pages. Richard St. Clair #3000997. Published by Richard St. Clair (A0.939695). 6 preludes and fugues, each set of prelude and fugue based on a twelve-tone row derived from preludes of J. S. Bach in the Well-Tempered Clavier. Thus, the music has both tonal and atonal features. Total duration: 19 minutes. The MP3 Audio Clip is a computer-generated soundfile.
$18.99 ≈
$26.25
Brother James Air The Lord's My Shepherd Advanced Piano
Brother James Air The Lord's My Shepherd Advanced Piano
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Piano seul
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AVANCÉ
#
English tune
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Gene Roberson
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Brother James Air The Lord's M
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Gene Roberson
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1185671 Composed by English tune. Arranged by Gene Roberson. 20th Century,Baroque,Classical,Sacred,Spiritual. Score. 4 pa...
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Piano Solo - Level 5 - SKU: A0.1185671 Composed by English tune. Arranged by Gene Roberson. 20th Century,Baroque,Classical,Sacred,Spiritual. Score. 4 pages. Gene Roberson #785340. Published by Gene Roberson (A0.1185671). Advanced Piano Arrangement with JS BACH Overtones and style (From Violin Partita Sinfonia in D Major)Recital Worship service Solo.
$4.99 ≈
$6.90
Bach : Suite n° 3 en ré majeur, BWV 1068 - II. Air (sur la corde de sol) (niveau difficile, avec orchestre)
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Piano seul
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AVANCÉ
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Classique
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Bach
#
Suite n° 3 en ré majeur, BWV
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Tomplay
Telechargez la partition Piano Suite n° 3 en re majeur, BWV 1068 - II. Air (sur la corde de sol) (niveau difficile, avec orchestre) de Bach. Partition pour ...
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Telechargez la partition Piano Suite n° 3 en re majeur, BWV 1068 - II. Air (sur la corde de sol) (niveau difficile, avec orchestre) de Bach. Partition pour Piano avec accomp. orchestre -- Classique
5.99€ ≈
$8.99
Prelude 12 in Bb Minor Dorian
Prelude 12 in Bb Minor Dorian
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Piano seul
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AVANCÉ
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Contemporain
#
Brian Golden
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Brian Golden
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Prelude 12 in Bb Minor Dorian
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Brian Golden
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812808. Published by Brian Golden (A0.1216197). Prelude 12 in Bb Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99 ≈
$8.28
Prelude 2 in A Minor Aolian
Prelude 2 in A Minor Aolian
#
Piano seul
#
AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 2 in A Minor Aolian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden...
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Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
$8.28
Prelude 4 in D Minor Phrygian
Prelude 4 in D Minor Phrygian
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Piano seul
#
AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 4 in D Minor Phrygian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden ...
(+)
Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden #790596. Published by Brian Golden (A0.1191080). Prelude 4 in D Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
$8.28
Prelude 5 in Bb Major Lydian
Prelude 5 in Bb Major Lydian
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Piano seul
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AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
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Prelude 5 in Bb Major Lydian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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$8.28
Prelude 13 in F# Major Ionian
Prelude 13 in F# Major Ionian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 13 in F# Major Ionian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843062. Published by Brian Golden (A0.1248571). Prelude 13 in F# Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
$8.28
Prelude 8 in C Minor Aolian
Prelude 8 in C Minor Aolian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 8 in C Minor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden #812802. Published by Brian Golden (A0.1216191). Prelude 8 in C Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99 ≈
$8.28
(they Long To Be) Close To You
(they Long To Be) Close To You
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Piano seul
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AVANCÉ
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The Carpenters
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Timothy Stapay
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(they Long To Be) Close To You
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1230943 By The Carpenters. By Burt Bacharach and Hal David. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Songwrite...
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Piano Solo - Level 5 - SKU: A0.1230943 By The Carpenters. By Burt Bacharach and Hal David. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Songwriter,Standards. Score. 4 pages. Timothy Stapay #826633. Published by Timothy Stapay (A0.1230943). This arrangement of Close To You is written as performed by famous piano artist, Liberace.(They Long to Be) Close to You is a song written by Burt Bacharach and Hal David. The best-known version is that recorded by American duo the Carpenters for their second studio album Close to You (1970) and produced by Jack Daugherty. Released on May 14, 1970, the single topped both the US Billboard Hot 100 and Adult Contemporary charts. It also reached the top of the Canadian and Australian charts and peaked at number six on the charts of both the UK and Ireland. The record was certified gold by the Recording Industry Association of America (RIAA) in August 1970. Lyrics:[Verse 1]Why do birds suddenly appearEvery time you are near?Just like me, they long to beClose to you[Verse 2]Why do stars fall down from the skyEvery time you walk by?Just like me, they long to beClose to you[Bridge]On the day that you were born the angels got togetherAnd decided to create a dream come trueSo they sprinkled moon dust in your hair of goldAnd starlight in your eyes of blue[Verse 3]That is why all the girls in town (Girls in town)Follow you (Follow you) all around (All around)Just like me, they long to beClose to you[Bridge]On the day that you were born the angels got togetherAnd decided to create a dream come trueSo they sprinkled moon dust in your hair of goldAnd starlight in your eyes of blue [Verse 3]That is why all the girls in town (Girls in town)Follow you (Follow you) all around (All around)Just like me, they long to beClose to youJust like me (Just like me), they long to beClose to you[Outro]Wha, close to youWha, close to youHa, close to youWha, close to youWha, close to youWha, close to youWha, close to youWhaWładziu Valentino Liberace(May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!
$8.99 ≈
$12.42
Pensées Nocturnes No. 1
Pensées Nocturnes No. 1
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Piano seul
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AVANCÉ
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Raphaël Novarina
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Pensées Nocturnes No. 1
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Raphaël Novarina
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1423054 Composed by Raphaël Novarina. 21st Century,Classical,Contemporary. Score. 10 pages. Raphaël Novarina #1004411. ...
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Piano Solo - Level 5 - SKU: A0.1423054 Composed by Raphaël Novarina. 21st Century,Classical,Contemporary. Score. 10 pages. Raphaël Novarina #1004411. Published by Raphaël Novarina (A0.1423054). Raphaël Novarina is a French composer and Pianist born in Paris in 1980, that composes in a variety of musical styles and setting, but mainly focuses on contemporary classical piano. Novarina also manages a music label. Novarina has an extensive collection of albums. His Solo Piano series has over ten albums of original solo piano music. The style of each album varies, but Novarina’s compositional styles are always based in the rich European classical tradition of forms and harmonic and melodic developments. Each album contains solid playing and themed around various forms. For example, Solo Piano VIII, is comprised of ten Etudes. While Solo Piano VII is all Funeral Marches. Now Novarina is releasing Solo Piano X, which has a theme of suites. The album contains ten suites composed by Novarina. A suite, in Western classical music, is an ordered set of instrumental pieces. Originating in the late 14th century as a pairing of dance tunes and grew in scope to comprise up to five dances, sometimes with a prelude. The separate movements were often thematically and tonally linked. In the Baroque era, the suite was an important musical form, also known as Suite de danses, Partita or Ouverture (after the theatrical “overture” which often included a series of dances) as with the orchestral suites of Christoph Graupner, Telemann and J.S. Bach.
$8.00 ≈
$11.06
Hybrid Studies
Hybrid Studies
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Piano seul
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AVANCÉ
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Classique
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Hakan Ali Toker
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Hakan Ali Toker
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Hybrid Studies
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Hakan Ali Toker
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1285388 By Hakan Ali Toker. By Frederic F. Chopin. Arranged by Hakan Ali Toker. 19th Century,20th Century,Classical,Roman...
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Piano Solo - Level 5 - SKU: A0.1285388 By Hakan Ali Toker. By Frederic F. Chopin. Arranged by Hakan Ali Toker. 19th Century,20th Century,Classical,Romantic Period. Score. 106 pages. Hakan Ali Toker #876505. Published by Hakan Ali Toker (A0.1285388). A set of 12 etudes, all based on music by Chopin. The first 10 etudes are created by cross-breeding music by Chopin with the work of another composer. The texture of one work has been applied to the harmony of another. The last two are created by a different approach: work by one composer has been recreated in the style of another. All based on ideas of Prof. Douglas HofstadterNo. 1: Texture of J. S. Bach's C Major Prelude BWV 846 from book I of the Well-tempered Clavier applied to the harmony of F. F. Chopin's C Major Etude Op. 10 no. 1No. 2: Vice versaNo. 3: Texture of J. S. Bach's ce minor Prelude BWV 847 from book I of the Well-tempered Clavier applied to the harmony of F. F. Chopin's c minor Etude Op. 25 no. 12Â No. 4: Vice versaNo. 5: Texture of F. F. Chopin's Etude Op. 10 No. 6 applied to the harmony of the composer's own Prelude in A Major Op. 28 no. 7No. 6: Variations on F. F. Chopin's Prelude in c minor Op. 28 no. 20, each variation based on a different etude by Chopin himselfNo. 7: Texture of F. F. Chopin's Etude in A Flat Major Op. 25 no.1 applied to the harmony and melody of F. Loewe's song I Could Have Danced All Night from My Fair LadyNo. 8: Texture of F. F. Chopin's Etude in C Major Op. 10 no.1 applied to the harmony of the the composer's own Etude in c minor Op. 25 no. 12No. 9: Vice VersaNo. 10: Texture of F. F. Chopin's Prelude in f# minor Op. 28 no. 8 and his Fantaisie-Impromptu in c# minor Op. 66 applied to the harmony and melody of A. DvorÌŒaÌk's Humoresque Op. 101 no. 7No. 11: S. S. Prokofiev's Waltz Op. 65 no. 6 in the style of F. ChopinNo. 12: F. F. Chopin's Waltz in f#minor Op. 69 no. 2 in the style of S. S. Prokofiev.
$20.00 ≈
$27.64
Jesus Shall Reign Where'er the Sun
Jesus Shall Reign Where'er the Sun
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Piano seul
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AVANCÉ
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John Hatton
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Paul Thurmond
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Jesus Shall Reign Where'er the
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Paul Thurmond
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Th...
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Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
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$6.90
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