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Vous avez sélectionné:
Isolation I for Piano
Partitions à imprimer
11 partitions trouvées
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1
Isolation I for Piano
Isolation I for Piano
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Piano seul
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INTERMÉDIAIRE
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Contemporain
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Julien-Pierre McKenzie
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Isolation I for Piano
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Julien-Pierre McKenzie
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1033114 Composed by Julien-Pierre McKenzie. Contemporary. Score. 6 pages. Julien-Pierre McKenzie #6093041. Published by J...
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Piano Solo - Level 3 - SKU: A0.1033114 Composed by Julien-Pierre McKenzie. Contemporary. Score. 6 pages. Julien-Pierre McKenzie #6093041. Published by Julien-Pierre McKenzie (A0.1033114). Piece for solo piano.
$1.99 ≈
1.84€
Rachmaninoff: Zdes' Khorosho, Op. 21, No. 7 (as played by Yo Yo Ma and Kathryn Stott) for VIOLIN and
Rachmaninoff: Zdes' Khorosho, Op. 21, No. 7 (as played by Yo Yo Ma and Kathryn Stott) for VIOLIN and
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Violon et Piano
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INTERMÉDIAIRE
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Jazz
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YO YO MA and Kathryn Stott
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Flavio Regis Cunha
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Rachmaninoff: Zdes' Khorosho,
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Flavio Regis Cunha
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SheetMusicPlus
Small Ensemble Piano,Violin - Level 3 - SKU: A0.601828 By YO YO MA and Kathryn Stott. By Sergei Rachmaninoff. Arranged by Flavio Regis Cunha. 20th Centu...
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Small Ensemble Piano,Violin - Level 3 - SKU: A0.601828 By YO YO MA and Kathryn Stott. By Sergei Rachmaninoff. Arranged by Flavio Regis Cunha. 20th Century,Classical,Contemporary,Contest,Festival,Instructional. 8 pages. Flavio Regis Cunha #6669111. Published by Flavio Regis Cunha (A0.601828). Rachmaninoff: Zdes' Khorosho, Op. 21, No. 7 (as played by Yo Yo Ma and Kathryn Stott) ARRANGED for VIOLIN and Piano.___________________________________________ЗдеÑÑŒ хорошо (Zdes' khorosho, How nice is here) was written in April 1902, in a sweet moment in the composer's life: he had overcome a creative block and had just married his cousin Natalia Sarina. Zdes' khorosho is n. 7 from Twelve Romances, op. 21, a beautiful song that talks about the bond between man, nature and God. It’s also a love song; One of the things I like the most is the balance between contemplation and passion that Rachmaninov accomplishes. The poem, by the Countess Glafira Adolfovna Einerling, a contemporary writer of the composer who wrote under the pseudonym of Galina, simply describes a sunset. I don't know if the landscape portrayed is similar to what Rachmaninov could see from his home but no doubt he felt it part of his own; he even changed the beginning of the poem so he said that the nice place was here. Zdes' khorosho is a song full of lyricism, seemingly simple but demanding for the singer (please pay attention to the pianissimo at the last verse, which seems to arise from nowhere), with an exquisite accompaniment. Some scholars think that the true essence of Rachmaninov is found in songs like that, rather than in his athletic piano concerts.Songs of Comfort and Hope is inspired by the series of recorded-at-home musical offerings that Ma began sharing in the first days of the COVID-19 lockdown in the United States. Over the course of the last year, Yo-Yo Ma’s #SongsofComfort grew from a self-shot video of AntonÃn Dvořák’s Goin’ Home into a worldwide effort that has reached more than 20 million people. Ma and Stott marked the next chapter in the project with this album, offering consolation and connection in the face of fear and isolation. The album includes 21 new recordings, which span modern arrangements of traditional folk tunes, canonical pop songs, jazz standards, and mainstays from the western classical repertoire.Official Video by Yo-Yo Ma and Kathryn Stott, performing Rachmaninoff 'Zdes' khorosho' from Songs of Comfort and Hopehttps://youtu.be/bcBcXV3lmKs 8 pages.
$4.99 ≈
4.62€
Solitude is Oneself [piano]
Solitude is Oneself [piano]
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Piano seul
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INTERMÉDIAIRE
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Contemporain
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Juan María Solare
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Solitude is Oneself [piano]
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Juan Maria Solare
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SheetMusicPlus
Piano Solo - Intermediate - Composed by Juan María Solare. Contemporary Classical, Post-Romantic, Neo-Classical, Repertoire, Funeral. Score. ...
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Piano Solo - Intermediate - Composed by Juan María Solare. Contemporary Classical, Post-Romantic, Neo-Classical, Repertoire, Funeral. Score. 8 pages. Published by Juan Maria Solare
Solitudeis Oneself: Three piano pieces:
1 NeverUnderestimate the Difficulties of Simple Things
2 Too MuchBut Still Not Enough
3 Waitingfor Perfection is Waiting Forever
Tranquil, relaxing, "chill",minimalist, expressive music for solo piano.
You can "use" this music formeditation, study, learning, sleeping, relax or praying.
The phrase wherethe title (Solitude is Oneself)comes from belongs to Javier Adriz (1948-2011), Argentine poet, one ofmy best teachers and friends (the original Spanish reads "La soledad es uno mismo").
Don'tsee any negative aspects in Solitude. In Spanish there is only one word forSolitude and Loneliness (namely "Soledad"). Loneliness is a state ofisolation, without dialog, feeling abandoned and without external points ofreference. But I conceive Solitude as a highely creative state, in which one isfaced to what one actually wants to achieve, with one's thoughts, with one'sself.
NeverUnderestimate the Difficulties of Simple Things. Lots of times I have seenthis in several persons - and in myself: when something is simple, easy anduncomplicated, we tend to underestimate it too much and its hidden difficultiesend up tackling us. We leave to the last moment a text that seems easy tolearn, and we do not assimilate it as we could. Or a chess game that is(really) won, but we feel over-confident, we play with superficiality, we makeslight mistakes one after the other and loose control of the situation.
Thistitle can be understood as self-referent: this particular piano piece seems tobe simple... until you try to perform it really well and record it.
About the ArtWork / Cover Art of Solitudeis Oneself:
It shows a human face (concretely the composer's)faced simmetrically to its silhouette, in black. This illustration alludes tothe title: Solitude is Oneself. Is oneself (the person) facing his ownsolitude, his internal misterious being. A real human facing his own shadow. Itis not a negative shadow: is the shadow of which Shamanism speaks, the ownshadow from where one draws strength.
The music is dedicated to Mr. Cadmiel Prez from Repblica Dominicana.
Solitude isOneself was recorded by the composer and released as single on Friday 17August 2018 on Spotify, Deezer, Apple Music, Qobuz, Tidal, Amazon mp3 and nearly all streaming platforms you canimagine.
In Spotify is here:
https://open.spotify.com/album/6KffxzDSVYJqZuNEK3Bj0h
In Bandcamp is here:
https://juanmariasolare.bandcamp.com/album/solitude-is-oneself
If you readSpanish you can find more about this music here:
https://es.quora.com/blog/musica-neoclasica/La-soledad-es-uno-mismo-m%C3%BAsica-para-piano
$3.00 ≈
2.78€
How Long Will You Forget Me?
How Long Will You Forget Me?
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Piano seul
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INTERMÉDIAIRE
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Musique Sacrée
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Bill Whitley
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How Long Will You Forget Me?
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Musica Semplice
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SheetMusicPlus
Piano - Level 3 - SKU: A0.1247228 By Bill Whitley. By Bill Whitley. Christian,Classical,Contemporary,Religious,Sacred. Full Performance. Duration 134. M...
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Piano - Level 3 - SKU: A0.1247228 By Bill Whitley. By Bill Whitley. Christian,Classical,Contemporary,Religious,Sacred. Full Performance. Duration 134. Musica Semplice #841773. Published by Musica Semplice (A0.1247228). Exploring feelings of abandonment and isolation....In 1985, while still thinking of myself as songwriter, a mentor presented me with the challenge of setting three Psalms to music.  But the catch was that these settings would have to be solo piano pieces: Songs Without Words.How Long Will You Forget Me? (Psalm 13) was the first composition to come out of that challenge and my first notated instrumental piece. Out of the Depths (Psalm 130) was the second. (I still have yet to compose the third one.)I've written and discarded more pieces than I can count, but this  simple little piece has stuck with me.  I can see sparks in it of works that were to come later.  Simple and naive as it is, it still sounds like my own voice.
$1.99 ≈
1.84€
How Long Will You Forget Me?
How Long Will You Forget Me?
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Piano seul
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INTERMÉDIAIRE
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Musique Sacrée
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Bill Whitley
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How Long Will You Forget Me?
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Musica Semplice
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1247123 By Bill Whitley. By Bill Whitley. Chamber,Classical,Contemporary,Religious,Sacred. Score. 4 pages. Musica Semplic...
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Piano Solo - Level 3 - SKU: A0.1247123 By Bill Whitley. By Bill Whitley. Chamber,Classical,Contemporary,Religious,Sacred. Score. 4 pages. Musica Semplice #841677. Published by Musica Semplice (A0.1247123). Exploring feelings of abandonment and isolation....In 1985, while still thinking of myself as songwriter, a mentor presented me with the challenge of setting three Psalms to music. But the catch was that these settings would have to be solo piano pieces: Songs Without Words.How Long Will You Forget Me? (Psalm 13) was the first composition to come out of that challenge and my first notated instrumental piece. Out of the Depths (Psalm 130) was the second. (I still have yet to compose the third one.)I've written and discarded more pieces than I can count, but this simple little piece has stuck with me. I can see sparks in it of works that were to come later. Simple and naive as it is, it still sounds like my own voice.
$4.99 ≈
4.62€
Preludes for Uncertainty I - III (Isolation, Restricted, Contemplation)
Preludes for Uncertainty I - III (Isolation, Restricted, Contemplation)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Jennifer Bowman
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reaches).
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Preludes for Uncertainty I - I
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Jennifer Bowman
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.909403 Composed by Jennifer Bowman. 20th Century,Contemporary,Jazz,New Age. Score. 9 pages. Jennifer Bowman #5336977. Pub...
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Piano Solo - Level 4 - SKU: A0.909403 Composed by Jennifer Bowman. 20th Century,Contemporary,Jazz,New Age. Score. 9 pages. Jennifer Bowman #5336977. Published by Jennifer Bowman (A0.909403). Preludes for Uncertainty is a set of nineteen original piano compositions written in 2020. This download includes preludes I - III. I. Isolation is a slow piece with a repetitive LH figure, a melody alternating between hopeful and despairing. II. Restricted is a passacaglia-type piece with a chord progression that repeats throughout. III. Contemplation is written in the style of a chorale, with rich chords and slow rhythmic changes. Level is upper intermediate/early advanced (large jumps & reaches). I hope you can empathize with this music during this difficult time in our history. More information at www.jenniferbowmanmusic.com.
$8.99 ≈
8.32€
I Am A Rock
I Am A Rock
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Piano seul
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INTERMÉDIAIRE
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Rock
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Simon And Garfunkel
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Rimskyfarby
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I Am A Rock
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Rimskyfarb
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.878478 By Simon And Garfunkel. By Paul Simon. Arranged by Rimskyfarby. Pop,Rock. Score. 4 pages. Rimskyfarb #4835015. Pub...
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Piano Solo - Level 3 - SKU: A0.878478 By Simon And Garfunkel. By Paul Simon. Arranged by Rimskyfarby. Pop,Rock. Score. 4 pages. Rimskyfarb #4835015. Published by Rimskyfarb (A0.878478). I Am a Rock deals with isolation and emotional detachment. That said, it still is a stella work to perform.In this intermediate arrangement by Rimskyfarby, those special-sounding 'wintery' trills have been carefully thought out so that they are easy to perform. Enjoy:).
$4.99 ≈
4.62€
Isolation - Joshua Tindall - Bundle
Isolation - Joshua Tindall - Bundle
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Ensemble Jazz
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INTERMÉDIAIRE
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Joshua Tindall
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Isolation - Joshua Tindall - B
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JLT Studio
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.896422 Composed by Joshua Tindall. 20th Century,Contemporary,Film/TV,Video Game. Score and parts. 10 pag...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.896422 Composed by Joshua Tindall. 20th Century,Contemporary,Film/TV,Video Game. Score and parts. 10 pages. JLT Studio #6062261. Published by JLT Studio (A0.896422). Composing loops and drones form the basis of this composition. A simple drone style bassline in unison from the Cello and Double bass provide a nice moody texture throughout the piece. The piano is the main feature of this piece, utilising a granular piano effect and a sample of locusts to give this piece a mysterious atmosphere with some familiarity.How to play:While this piece can work in a band setting, I feel that the piano player is the most active and will need some good friends who are ok playing very simple lines with little variation if they wish to play the other parts.I feel it's best to set this up for a solo performance with a little more effort and preparation. I think it's best to use a midi-controller keyboard with both a sustain pedal and expression pedal. I suggest programming the bass with a click track or metronome, the locusts and granular effect will need their volume to be assigned to the expression pedal so you can bring them in and out as needed. In regards to the piano loop, while I have provided a transcription of what I played in the track, you are free to use this as inspiration to create your own.Performance time - 3 minIf you happen to record or film this piece, feel free to tag #JLTStudio ... I would love to see it!
$10.00 ≈
9.26€
Journey Within
Journey Within
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Piano seul
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INTERMÉDIAIRE
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Contemporain
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Jackie Perks
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Journey Within
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Jackie Perks
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.912972 Composed by Jackie Perks. Contemporary. Score. 3 pages. Jackie Perks #5993473. Published by Jackie Perks (A0.91297...
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Piano Solo - Level 3 - SKU: A0.912972 Composed by Jackie Perks. Contemporary. Score. 3 pages. Jackie Perks #5993473. Published by Jackie Perks (A0.912972). During this time of the great pandemic and isolation at home, it has allowed my mind to go on a journey to explore things present and past, and to dream of what may lie ahead. After a long quiet period, my musical mind has become active again and this music was born on the spot. I really hope you enjoy playing my music and thanks so much for your support! Much peace and love to all of you. ~Jackie.
$4.99 ≈
4.62€
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Pitch and Rhythm - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00 ≈
9.26€
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Pitch and Rhythm - Bass Clef,
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Co...
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00 ≈
9.26€
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Isolation I for Piano
