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A Great Man Is Hard to Find
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Vous avez sélectionné:
A Great Man Is Hard to Find
Piano seul
Partitions à imprimer
4 partitions trouvées
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1
Beautiful Savior (all My Days)
Beautiful Savior (all My Days)
#
Piano seul
#
INTERMÉDIAIRE
#
Musique Sacrée
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Tim Hughes
#
Stephen R
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Beautiful Savior
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Stephen R Dalrymple
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.818275 By Tim Hughes. By Stuart Townend. Arranged by Stephen R. Dalrymple (Dalrymple Designs). Christian,Praise & Worship...
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Piano Solo - Level 3 - SKU: A0.818275 By Tim Hughes. By Stuart Townend. Arranged by Stephen R. Dalrymple (Dalrymple Designs). Christian,Praise & Worship,Sacred. Score. 16 pages. Stephen R Dalrymple #4765185. Published by Stephen R Dalrymple (A0.818275). Beautiful Savior by Stuart Townend ♫ This arrangement is licensed. Beautiful Savior by Stuart Townend © 1998 Thankyou Music (PRS) Admin. Worldwide by capitolcmgpublishing.com excluding Europe which is Admin. by kingswaysongs.com All Rights Reserved. Used by Permission. ♫ with Fairest Lord Jesus (see verse 4) Lyrics by German Jesuits as Schönster Herr Jesu, 17th C. Published in Münster Gesangbuch, 1677. Translated by Joseph A. Seiss, 1873. Melody CRUSADER’S HYMN Silesian folk tune from Schlesische Volkslieder, 1842. Arranged by Richard S. Willis, 1850 ♫ The first verse shows our Savior’s mercy for us, the second his grace. The third looks forward to our future in Him. The chorus uses names and titles of Christ to ascribe Him worship. The verses are modal, the chorus, major. What a great song! ♫ piano solo arrangement by Stephen R Dalrymple ♫ performed/sequenced by the arranger ♫ slide presentation by Stephen R Dalrymple  ♫ This .pdf file includes 2 files: 1) Letter size piano score 2) Small page piano score for performing from a 10 inch tablet. (Tell your computer which pages you want to print. You can find programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.) ♫ The YouTube video contains the full recording.
$6.00 ≈
5.54€
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
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
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 septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ?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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André 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 André 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 ≈
35.95€
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
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
(+)
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: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l?acte 1p. Le Martyre de Saint Sébastien: 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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André 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 André 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 ≈
35.95€
Bohemian Rhapsody - Piano Solo
Bohemian Rhapsody - Piano Solo
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Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Rock
#
Queen
#
Mario Stallbaumer
#
Bohemian Rhapsody - Piano Solo
#
Mario Stallbaumer
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download By Queen. Arranged by Mario Stallbaumer. 6 pages. Published by Mario Stallbaumer...
(+)
Piano Solo - Advanced Intermediate - Digital Download By Queen. Arranged by Mario Stallbaumer. 6 pages. Published by Mario Stallbaumer
With these piano sheets, you can play ?Bohemian Rhapsody? on piano!
It?s an accurate piano arrangement of the whole piece, including all parts, full melody & instrumental solos.
I believe this is the most accurate piano arrangement of the song you will find anywhere.
It?s a ?Bohemian Rhapsody? piano version in the song?s original key, it?s playable, and it sounds fantastic!
I also created sheet music of the same piano arrangement with the song?s full lyrics - you can get it here: https://www.sheetmusicplus.com/title/21155920
?Bohemian Rhapsody? was, of course, written by the one and only Freddie Mercury.
It was included on Queen?s 1975 album ?A Night at the Opera? and became one of Queen?s biggest hits. Today, it is considered by many to be the best classic rock song of all time.
There?s a good reason why the 2018 biographical film about Freddie Mercuy (played by Rami Malek) is named after this song - arguably his greatest composition.
?Bohemian Rhapsody? is famous for its diverse parts: from the a-capella-intro to rock ballad verses, from hard rock guitar solos to operatic sections.
?Bohemian Rhapsody? really is the whole package - and all parts of it can sound surprisingly great on piano, if played right!
In my experience, many arrangements of the song seem to be lacking something: They are not accurate, don?t sound powerful enough, there are important parts or even whole sections missing.
So I took my time to create a piano arrangement of the song which I feel does justice to this wonderful piece.
I hope you enjoy playing it as much as I do!
Here are the full lyrics to ?Bohemian Rhapsody?:
?Is this the real life?
Is this just fantasy?
Caught in a landslide
No escape from reality
Open your eyes
Look up to the skies and see
I'm just a poor boy, I need no sympathy
Because I'm easy come, easy go
A little high, little low
Anyway the wind blows, doesn't really matter to me, to me
Mama, just killed a man
Put a gun against his head
Pulled my trigger, now he's dead
Mama, life had just begun
But now I've gone and thrown it all away
Mama, oh oh
Didn't mean to make you cry
If I'm not back again this time tomorrow
Carry on, carry on, as if nothing really matters
Too late, my time has come
Sends shivers down my spine
Body's aching all the time
Goodbye everybody I've got to go
Gotta leave you all behind and face the truth
Mama, oh oh (anyway the wind blows)
I don't want to die
Sometimes wish I'd never been born at all
I see a little silhouetto of a man
Scaramouch, Scaramouch will you do the Fandango
Thunderbolt and lightning very very frightening me
Gallileo, Gallileo, Gallileo, Gallileo, Gallileo, figaro, magnifico
I'm just a poor boy and nobody loves me
He's just a poor boy from a poor family
Spare him his life from this monstrosity
Easy come easy go will you let me go
Bismillah, no we will not let you go, let him go
Bismillah, we will not let you go, let him go
Bismillah, we will not let you go, let me go
(Will not let you go) let me go (never, never let you go) let me go (never let me go)
Oh oh no, no, no, no, no, no, no
Oh mama mia, mama mia, mama mia let me go
Beelzebub has a devil put aside for me for me for me
So you think you can stop me and spit in my eye
So you think you can love me and leave me to die
Oh baby can't do this to me baby
Just gotta get out just gotta get right outta here
Oh oh oh yeah, oh oh yeah
Nothing really matters
Anyone can see
Nothing really matters
Nothing really matters to me
Anyway the wind blows?
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