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Vous avez sélectionné:
Would You Rather
expert
Piano seul
Partitions à imprimer
5 partitions trouvées
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1
I'll Be Seeing You
I'll Be Seeing You
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Piano seul
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AVANCÉ
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Etta James
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Timothy Stapay
#
I'll Be Seeing You
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Timothy Stapay
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1270685 By Etta James. By Irving Kahal and Sammy Fain. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Sin...
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Piano Solo - Level 5 - SKU: A0.1270685 By Etta James. By Irving Kahal and Sammy Fain. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 6 pages. Timothy Stapay #863059. Published by Timothy Stapay (A0.1270685). This arrangement of I'll Be Seeing You is written as performed by legendary piano artist, Liberace. It's based on a rare piano solo version rather than thevocal version, that Liberace would often sing on his shows. I'll Be Seeing You is a popular song about missing a loved one, with music by Sammy Fain and lyrics by Irving Kahal.  Published in 1938, it was inserted into the Broadway musical Right This Way, which closed after fifteen performances. The title of the 1944 film I'll Be Seeing You was taken from this song at the suggestion of the film's producer, Dore Schary. The song is included in the film's soundtrack. Lyrics:I'll be seeing you in all the old familiar placesThat this heart of mine embraces all day throughIn that small cafe, the park across the wayThe children's carousel, The chestnut trees, the wishing wellI'll be seeing you in every lovely summer's dayIn everything that's light and gayI'll always think of you that wayI'll find you in the morning' sunAnd when the night is newI'll be looking at the moonBut I'll be seeing youI'll find you in the morning sunAnd when the night is newI'll be looking at the moonBut I'll be seeing you.
$8.99 ≈
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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
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Brian Golden
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Brian Golden
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Prelude 12 in Bb Minor Dorian
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Brian Golden
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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 ≈
¥43.48
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 ≈
¥43.48
Soaring On New Horizons
Soaring On New Horizons
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Piano seul
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AVANCÉ
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Contemporain
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Benjamin Amos
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Soaring On New Horizons
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Benjamin Amos
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1012015 Composed by Benjamin Amos. Contemporary. Score. 15 pages. Benjamin Amos #3545621. Published by Benjamin Amos (A0....
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Piano Solo - Level 5 - SKU: A0.1012015 Composed by Benjamin Amos. Contemporary. Score. 15 pages. Benjamin Amos #3545621. Published by Benjamin Amos (A0.1012015). Don't let the introduction deceive you, Soaring On New Horizons is a lively and thrilling piece. After the first melodic section, listen for the arpeggios to take-off to the adventure on new horizons. A very artistic piece, Soaring On New Horizons is uniquely geared to performance in which both the music and the performer fly (or at least his fingers do). Moreover, at a jaw-dropping finish, if fingers could fly, then they would have just dived into a stunning landing; and if they could breathe, they would most certainly be out of breath.One musical work that greatly influenced and inspired many of the musical techniques was Scherzo No.2 by Chopin.On the score side of things, 15 pages long, the music is in the key of E major and is mostly in 6/8 with many exceptions. Most arpeggios are written as a performer would efficiently play them (switching between hands)-- which makes the score an easier sight-read but also gives the appearance of choppiness rather than flow. This piece is without a doubt an advanced piece mainly for one reason: speed. With a relatively high tempo, changes in meter make timing difficult, but the real challenge comes with the lightning fast arpeggios in the second section.      .
$2.99 ≈
¥21.70
Feu follet
Feu follet
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Piano seul
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AVANCÉ
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Contemporain
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1909, Landowska and her husban
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Wanda Landowska
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Zellev
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Feu follet
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Zellev Music
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1281191 Composed by Wanda Landowska. Arranged by Zellev. 20th Century,Classical,Contemporary,Folk,New Age. Score. 7 pages...
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Piano Solo - Level 5 - SKU: A0.1281191 Composed by Wanda Landowska. Arranged by Zellev. 20th Century,Classical,Contemporary,Folk,New Age. Score. 7 pages. Zellev Music #872533. Published by Zellev Music (A0.1281191). Key Signature: Fâ?¯ minorTime Signature: 3/4Tempo: Allegro vivace (143)Difficulty: AdvancedWanda Landowska (July 5, 1879 - August 16, 1959) was a Polish harpsichordist and composer who led the revival of the popularity of the harpsichord in the early 1900s. She was one of the earliest advocates and scholars on historically informed performance practices, and she made the first-ever recording of J.S. Bach's Goldberg Variations on the harpsichord.Landowska was born in Warsaw in 1879 and started playing the piano when she was four years old. As a child, she studied with Jan KleczyÅ?ski and then Aleksander Michalowski. Kleczynski noticed in her lessons that she had an affinity for older Baroque music, and he didn't want to impose his sensibilities onto the already apparent musical prodigy. Consequently, her mother decided that Kleczynski was too lenient of a teacher and sent her to study with the stricter Michalowski, who was a Chopin specialist. When she was 16 years old, Landowska moved to Berlin to study composition with Heinrich Urban, but was discouraged by the rigid curriculum. However, while in Berlin she composed songs and orchestral works, and she met her future husband, Henry Lew. In 1900, the young couple moved to Paris and got married. There she became associated with the Schola Cantorum, and was introduced to Vincent D'Indy, Albert Schweitzer, and other prominent performers and musicologists of the era.Throughout the next ten years, Landowska toured Europe and Russia, and dedicated herself to researching the authentic performance practices of older music. Her husband assisted her in this research, and they often utilized libraries that they encountered while touring. She concluded that it's more appropriate to play Baroque keyboard music on the harpsichord rather than on the piano. By 1909, Landowska and her husband published the book Musique Ancienne, which was the culmination of all of their research regarding the performance practices of Baroque music. She also started teaching harpsichord classes in 1913 at the Hochschule für Musik in Berlin.Ten years later, Landowska made her debut in the United States, performing with the Philadelphia Orchestra conducted by Stokowski. Also in 1923, she performed in the world premiere of Manuel de Falla's El retablo de maese Pedro, where she met Francis Poulenc and asked him to write a harpsichord concerto for her. She also commissioned a concerto from Falla in 1925, which would prove to be a modern masterpiece. In 1929, Landowska performed the premiere of Poulenc's Concert champêtre in Paris. By this time, she had settled in a town north of Paris, and was teaching from her school L'Ã?cole de Musique Ancienne, which she established in 1925. She offered private and group courses and an annual summer concert series that was very popular. Landowska taught and performed in this capacity until 1940, when she had to abandon the school, her extensive library, and her home because of World War II. With the assistance of her student Denise Restout, she escaped to Portugal and then sailed to the United States, and eventually settled in Lakeville, Connecticut. She continued to perform and teach in the U.S., and at the age of 70 she recorded the complete Well-Tempered Clavier, which was highly acclaimed. Landowska was 80 years old when she passed away in Lakeville in 1959.
$3.79 ≈
¥27.51
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