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| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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$3.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Anthology of Easier Classical Piano Piano solo Hal Leonard
(174 Favorite Piano Pieces by 44 Composers). Composed by Various. For Piano Solo...(+)
(174 Favorite Piano Pieces by 44 Composers). Composed by Various. For Piano Solo. Misc. 326 pages. Published by Hal Leonard
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hal Leonard Blues Keyboard Method Piano solo [Sheet music + Audio access] Hal Leonard
Foreword by Chuck Leavell. Piano Instruction. Softcover Audio Online. 64 pag...(+)
Foreword by Chuck Leavell.
Piano Instruction. Softcover
Audio Online. 64 pages.
Published by Hal Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 100 Ultimate Soul, Funk and RandB Grooves for Piano/Keyboards Piano solo [Sheet music + Audio access] - Intermediate/advanced ADG productions
Arranged by Andrew D. Gordon. Soul, funk, RandB, instructional. Book and onli...(+)
Arranged by Andrew D. Gordon. Soul, funk, RandB, instructional. Book and online audio. Published by ADG Productions (AD.ADG168).
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Selected Piano Studies (Edizione Italiana) Piano solo Volonte and Co
Composed by Carl Czerny (1791-1857). Book Only. Volonte e Co #VOLMB281. Pu...(+)
Composed by Carl Czerny
(1791-1857). Book Only.
Volonte e Co #VOLMB281.
Published by Volonte e Co
$14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Blues Keyboard Play-Along Trax Piano solo [Sheet music + CD] - Beginner Mel Bay
By Steve Czarnecki and David Barrett. For Keyboard (All). Play Along. School of ...(+)
By Steve Czarnecki and David Barrett. For Keyboard (All). Play Along. School of Blues. Blues. Level: Beginning. Book/CD Set. Size 8.75x11.75. 24 pages. Published by Mel Bay Publications, Inc.
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Piano Masterworks - Intermediate Level Piano solo - Intermediate Schirmer
(Schirmer's Library of Musical Classics). Composed by Various. For Piano. Piano ...(+)
(Schirmer's Library of Musical Classics). Composed by Various. For Piano. Piano Collection. Softcover. 208 pages. G. Schirmer #LB2110. Published by G. Schirmer
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Jazz Piano Voicings - Volume 54 Maiden Voyage Piano solo [Sheet music] - Intermediate/advanced Jamey Aebersold Jazz
By Jamey Aebersold (Transcriber). For piano, keyboard, organ. Transcribed piano ...(+)
By Jamey Aebersold (Transcriber). For piano, keyboard, organ. Transcribed piano voicings from Volume 54 of the Aebersold series. Level: intermediate, advanced. Book. Published by Jamey Aebersold Jazz.
$15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Premier Piano Express, Spanish Edition (Book 4) Piano solo [Sheet music + Audio access] - Easy Alfred Publishing
Book 4. An All-In-One Accelerated Course. Composed by Dennis Alexander, Martha...(+)
Book 4. An All-In-One
Accelerated Course. Composed
by Dennis Alexander, Martha
Mier, E. L. Lancaster, Gayle
Kowalchyk, and Victoria
Mcarthur.
Method/Instruction; Piano -
Alfred's Premier Piano
Course. Premier Piano
Course. Children. Book;
Digital Download. 96 pages.
Alfred Music #00-47958.
Published by Alfred Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Premier Piano Express--Spanish Edition Piano solo [Sheet music + Audio access] Alfred Publishing
Book 2. An All-In-One Accelerated Course. Composed by Dennis Alexander, Gayle ...(+)
Book 2. An All-In-One
Accelerated Course. Composed
by Dennis Alexander, Gayle
Kowalchyk, E. L. Lancaster,
Victoria Mcarthur, and
Martha Mier.
Method/Instruction; Piano -
Alfred's Premier Piano
Course. Premier Piano
Course. Children. Book; CD-
ROM. Alfred Music #00-47924.
Published by Alfred Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Premier Piano Express, Book 3 Piano solo [Sheet music + CD-ROM] Alfred Publishing
An All-In-One Accelerated Course. Composed by Dennis Alexander, Gayle Kowalchy...(+)
An All-In-One Accelerated
Course. Composed by Dennis
Alexander, Gayle Kowalchyk,
E. L. Lancaster, Victoria
McArthur, and Martha Mier.
Book; CD-ROM;
Method/Instruction; Piano -
Alfred's Premier Piano
Course. Premier Piano
Course. Children. 96 pages.
Published by Alfred Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Premier Piano Express, Book 1 Piano solo [Sheet music + CD-ROM] - Beginner Alfred Publishing
(An All-In-One Accelerated Course). Composed by Dennis Alexander, Gayle Kowalchy...(+)
(An All-In-One Accelerated Course). Composed by Dennis Alexander, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Martha Mier. For Piano. Book; CD-ROM; Method/Instruction; Piano - Alfred's Premier Piano Course. Premier Piano Course. Children. Beginner. 96 pages. Published by Alfred Music
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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| Brun, Jérémy / Reynaud,
Armand : Kenny Barron :
The book - Relevés et
Analyses
Français Piano solo [Sheet music] Lemoine, Henry
Transcriptions et analyses par Armand Reynaud et Jérémy Brun
Je su...(+)
Transcriptions et analyses par Armand Reynaud et Jérémy Brun
Je suis honoré d'écrire quelques mots à propos d'un des plus grands pianistes, Kenny Barron. Il a été une figure importante de la scène New Yorkaise durant quarante ans et il fait partie de l'élite des pianistes de jazz dans le monde.
J'ai tout d'abord rencontré Mr Barron en 1977 dans un haut lieu du duo piano/basse, au Bradley's, dans Greenwich Village. Je l'ai entendu à Cincinnati (dans la ville où j'habitais) en 1974 avec le Quartette de Yusef Lateef et fus très impressionné. Au Bradley's, il était chaleureux et a été très encourageant avec moi, pianiste de 21 ans récemment arrivé à Big Apple (New York). Le moment venu, il me laissa m'asseoir avec son bassiste, le grand Buster Williams - ce fut un réel plaisir.
Lorsque j'ai commencé à réaliser des CD pour le bénéfice de Classical Action : Performing Arts Against AIDS, dans le début des années 90, je lui ai demandé de participer au second enregistrement Fred Hersch and Friends : The Duo Album en jouant un duo avec moi. Cette organisation collecte des fonds vraiment nécessaires pour les services de personnes atteintes du Sida et la prévention. Kenny, sans attendre, donna de son temps et joua magnifiquement. Il apparaît aussi sur le disque suivant, The Richard Rodgers Centennial Solo Jazz Piano Album .
Nous avons également joué à deux pianos à New York au Town Hall et deux fois au Jazz Standard, pour mon plus grand plaisir. C'est un partenaire merveilleux et compréhensif, disposé à tout essayer. Bien qu'il soit difficile de l'identifier, et je ne veux le mettre dans aucune sorte de boîtes, je perçois son style comme étant en grande partie influencé par McCoy Tyner (les lignes longues et claires) et Tommy Flanagan (le phrasé et l'utilisation de l'espace). Il a réussi à obtenir le statut rare de maître du jazz par la vertu de sa longévité, sa profondeur et sa musicalité. Nous partageons tous les deux une passion pour la musique de Monk, Strayhorn et de l'American Popular Songbook et nous sommes tous les deux de grands partisans de l'idée de rendre ce que nous avons absorbé en enseignant aux jeunes pianistes et en devenant leurs mentors.
En plus, il a une personnalité chaleureuse et engageante - il est d'un grand soutien, a un grand sens de l'humour et une attitude posée. Je suis très heureux que ce livre puisse apporter un éclairage sur le parcours du pianiste Kenny Barron - je suis sûr que cela sera d'une grande valeur musicale et historique pour tous ceux qui suivent l'évolution du piano jazz. / Jazz / Partition /
54.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Piano Fantasy Piano solo Boosey and Hawkes
Comme le président de la Juilliard, William Schuman a demandé une pièce majeu...(+)
Comme le président de la Juilliard, William Schuman a demandé une pièce majeure de son ami proche de la célébration du cinquantième anniversaire de l'école. Copland pensé le Juilliard anniversaire un idéal occasion pour la première de 'Piano Fantasy' dont il rédigeait en l'honneur de William Kapell. Copland a admis qu'il était difficile d'écrire, ' notamment les sections rapides. ' Il a expliqué, ' mon but était de suggérer la qualité de la fantasy, une séquence préméditée et spontanée d'événements que devait transporter l'écouteur le long, alors qu'à il même temps illustrent clairement, si quelque peu non conventionnelles, principes structurels. ' Bien que le travail n'était pas prêt à la date pour laquelle il a été commandé, Schuman a organisé un concert spécial pour la création par le pianiste William Masselos. Copland, a commenté, ' Lucky pour moi que le président de la Juilliard était un compositeur! ' / Piano
31.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Laverne A. - Chords In
Motion - Piano Piano solo Jamey Aebersold Jazz
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has dra...(+)
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ? a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy?he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book?encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation
24.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Bela Bartok: Mikrokosmos
for piano Volume 3-4 BB
105: Piano Solo:
Instrumental Piano solo EMB (Editio Musica Budapest)
Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in peda...(+)
Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a "classical" piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from "Imitation and Inversion," "Ostinato," and "Free Variations," concerning compositional technique, to mood pieces and pieces with programmatic ideas such as "Notturno," "Boating," "From the Diary of a Fly," or the famous "Six Dances in Bulgarian Rhythm." Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók Complete Edition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.
23.99 GBP - Sold by Musicroom UK | |
| Nancy Faber Randall
Faber: Level 1 - Lesson
Book CD - 2nd Edition:
Piano: Piano solo [Sheet music + CD] - Beginner Faber Piano Adventures
2nd Edition-Piano Adventures - Level 1 continues the intervallic orientation to ...(+)
2nd Edition-Piano Adventures - Level 1 continues the intervallic orientation to reading across the full range of the Grand Staff. The 5-finger position approach is presented here in a fresh musically appealing way.This lesson book organises materials into units which represent major concepts and skills and revises and reinforces concepts introduced earlier. The pieces represented in this book also cover a range of styles.This method truly brings a sense of adventure to learning the piano and encourages and motivates studentâ??s to learn with its diverse range of repertoire and resources. CD of backing tracks with orchestrations by Edwin McLean.
12.60 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Works (WEISSENBERG
ALEXIS) Piano solo - Intermediate/advanced Schott
Par WEISSENBERG ALEXIS. This book presents pianists and ambitious amateur musici...(+)
Par WEISSENBERG ALEXIS. This book presents pianists and ambitious amateur musicians with unfamiliar, surprisingly flamboyant and often
witty compositions. These piano works are by one of the greatest pianists of the twentieth Century, one of the most recent all-round musical grand masters: Alexis Weissenberg, who was born in Sofia on 26 July 1929 and died in Lugano on 8 January 2012.
This first edition includes all Weissenberg’s surviving completed piano works, apart from those written for two pianos and for piano duet, stage works and the Romance for piano and violin. Fingerings and pedal markings by Alexis Weissenberg are printed in italics (fingerings and allocation of notes between hands, too) or in large type (pedal markings); recommendations added by the editor are shown in roman font (fingerings and allocation of notes between hands) or in smaller type (pedal markings). / Niveau : Intermédiaire à Avancé / Recueil / Piano
37.74 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Carl Czerny: Selected
Piano Studies (Edizione
Italiana): Piano:
Instrumental
Italiano Piano solo Volonte and Co
The majority of works by Czerny are confusing to most Piano academics. Out of th...(+)
The majority of works by Czerny are confusing to most Piano academics. Out of these the following are still the classics: Op. 139 261 299 335 337 355 365 453 553 599 636 718 740 755 802 821 823 834 et 849. Each one of these volumes contains numerous exercises some contain more than a hundred. It is of course impossible for aspiring pianists to study them all and it is difficult for Piano teachers to sort them out and organise them into the ones that could be the most interesting in a logical and progressive way.This is exactly what Heinrich Germer has tried to do. Germer an outstanding teacher and German pianist was born in Sommerdorfin 1839 and died in Dresde in 1913. He was 18 years old when Cerny died at the age of 66 years. Germer had great luck in knowing the first generation of pianists he was studying and saw the need to reorganise this huge quantity of didactic material. Germer's success was down to the fact that his systematic organisation of Czerny's work split into three volumes continues to be the three used by contemporary piano teachers. Germer did not make hardly any changes to Czerny collections. And there is more - he adds dynamic text for phrasing and pedals so that there is more musicality in the books making the exercises more enjoyable to play. He changes some archaic armatures for more modern ones. He revises Czerny's method on regrouping notes by placing bar values making reading rhythms a lot easier. He corrected numerous printing errors. In the longest pieces he adds capital letters to indicate the beginning of each movement same or part period which helps pupils to know blocks it would be better for him to practise. The revision work undergone by Germer introduces order and the results obtained for the Piano teachers that use them are very satisfying.
12.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| La La Land (Organ Piano
Keyboard): Organ:
Instrumental Album Piano solo Hal Leonard
E-Z Play Today #66-9 selections from this Academy Award winning movie musical a...(+)
E-Z Play Today #66-9 selections from this Academy Award winning movie musical arranged for keyboard organ or piano in easy to read and play E-Z Play Today notation.
12.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Vivaldi Essential Gold
Collection Piano Piano solo [Sheet music] - Intermediate Chester
The Essential Collection continues with a folio of the greatest works by Antonio...(+)
The Essential Collection continues with a folio of the greatest works by Antonio Vivaldi. The pieces include his celebrated Violin Concertos and, of course, movements from the Four Seasons, all arranged as Piano solos for you to learn and enjoy. / Classique / Partition /
20.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Late Piano Pieces D817
D915 D946: Piano:
Instrumental Work Piano solo Barenreiter
Following the newly engraved publications of Schubert?s ?Moments Musicaux? (BA 9...(+)
Following the newly engraved publications of Schubert?s ?Moments Musicaux? (BA 9647) and ?Impromptus? (BA 9648) the composer?s late Piano works are now published in a scholarly-critical Urtext edition that will meet the demands of today?s performers. Schubert?s popular ?Ungarische Melodie? D 817 inspired by gypsy melodies was composed in 1824; his ?Allegretto in C minor? D 915 was written in the spring of 1827; a little later at the latest in 1828 he also wrote his ?Drei Klavierstücke? D 946 which are closely related in form to his ?Moments Musicaux?.Suggestions on performance practice optimum page turns and fingering which takes intoconsideration essential aspects of performance practice of Schubert?s time as well as the performance on modern concert Pianos are all included in this edition.Based on the Urtext of the ?New Schubert Edition?Newly engraved Urtext edition with optimum page turnsWith fingering and information on performance practice (Ger/Eng)In-depth foreword (Ger/Eng) and critical commentary (Eng)ContentsUngarische Melodie (Hungarian Melody) D 817Allegretto in C minor D 915Drei Klavierstücke (Three Piano Pieces) D 946Mario Aschauer studied Piano historical Keyboard instruments conducting and musicology in Linz Salzburg and Vienna. He performs as a soloist and chamber musician with among others the Austrian ?Calamus-Consort? and has developed a wide-ranging repertoire on the Fortepiano Cembalo and Organ. Mario Aschauer has been a collaborator for the ?New Schubert Edition? since 2008 and is a teacher at the University of Vienna. In his research he concentrates on the historical performance practice of European art music of the 17th 19th centuries.
11.50 GBP - Sold by Musicroom UK | |
| Bela Bartok: Mikrokosmos
for piano Volume 5-6 BB
105: Piano Solo:
Instrumental Piano solo EMB (Editio Musica Budapest)
Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in peda...(+)
Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a "classical" piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from "Imitation and Inversion," "Ostinato," and "Free Variations," concerning compositional technique, to mood pieces and pieces with programmatic ideas such as "Notturno," "Boating," "From the Diary of a Fly," or the famous "Six Dances in Bulgarian Rhythm." Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók Complete Edition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.
23.99 GBP - Sold by Musicroom UK | |
| Library Of Piano
Entertainment Piano solo [Sheet music] Amsco Wise Publications
A collection of celebrated song hits and showstoppers for solo piano. Here you w...(+)
A collection of celebrated song hits and showstoppers for solo piano. Here you will find over 75 legendary jazz and blues standards, showtunes, rags, novelty numbers, and encores. Turn these pages to enjoy great musical moments of the cabaret, stage, and concert hall - or bring to life the jazz and blues clubs of days gone by. Explore the musical genius of Jermone Kern, Irving Berlin and George Gershwin - the dramatic power of George M. Cohan, W.C. Handy, Jelly Roll Morton, and John Philip Sousa - the elegant styles of Scott Joplin, Zez Confrey, James Scott, and Eubie Blake - and much, much more. / Rép International / Recueil / Piano
17.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Library Of Baroque
Music: Piano: Mixed
Songbook Piano solo [Sheet music] - Intermediate/advanced Amsco Wise Publications
The Library Of Baroque Music is an enormously expansive collection of the greate...(+)
The Library Of Baroque Music is an enormously expansive collection of the greatest works produced during that prolific period that flourished between the Renaissance and Classical eras. All arranged for soloPiano this volume features works drawn from all the major Baroque composers including some of the greatest pieces of music ever composed. The progression and development of music during the Baroqueperiod can be heard in these pieces providing you not only with a window into musical history but also many exciting additions to your repertoire. The retrospective 'Baroque' label was applied to a diverse rangeof European compositions—often combining a spirit of experimentation with elaborate new musical structures. Dominated primarily by the Harpsichord and Organ this period also saw the rise and development of larger-scale forms suchas the concerto and oratorio. This superb volume is comprised of Keyboard and ensemble works from all the major Baroque composers arranged for Piano. Featuring Arne Boyce Buxtehude Corelli Couperin Gibbons Lully Pachelbel Purcell Rameau and Vivaldi the composers here include some of the most respected and revered figures in musical history. The Library Of Baroque Music spans compositionsof many of these masters ranging from Frescobaldi in the early 1600s to Pergolesi a century later and the famous three - J.S. Bach Handel and Domenico Scarlatti. Baroque music socalled for its ornateness was characterised by a bold exploration of counterpoint and new harmonic possibilities. This was variously expressed through the work of perhaps fifty or so major European composers. By the timeBaroque began to segue into a new Classical period around 1750 it had already irrevocably changed and expanded the possibilities of music. The works that precipitated this change are available to play in this
24.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Holy Holy Holy: Piano:
Instrumental Album Piano solo Shawnee Press
Piano/Organ Duets-9 songs arranged for piano and organ duet including: Fairest ...(+)
Piano/Organ Duets-9 songs arranged for piano and organ duet including: Fairest Lord Jesus £ Holy Holy Holy £ In the Garden £ O Sacred Head Now Wounded £ and more. 2 books provided one for each player.
39.99 GBP - Sold by Musicroom UK | |
| Bela Bartok: Mikrokosmos
for piano Volume 1-2 BB
105: Piano Solo:
Instrumental Piano solo EMB (Editio Musica Budapest)
Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in peda...(+)
Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a "classical" piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from "Imitation and Inversion," "Ostinato," and "Free Variations," concerning compositional technique, to mood pieces and pieces with programmatic ideas such as "Notturno," "Boating," "From the Diary of a Fly," or the famous "Six Dances in Bulgarian Rhythm." Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók Complete Edition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.
19.99 GBP - Sold by Musicroom UK | |
| Cecil Bolton: Concerto
Highlights: Piano:
Instrumental Album Piano solo - Intermediate Cramer Music
Over 20 favourite concerto movements arranged for piano solo by Cecil Bolton. Fr...(+)
Over 20 favourite concerto movements arranged for piano solo by Cecil Bolton. From Rachmaninov's Second Piano Concerto to Mozart's Clarinet Concerto this collection features many of your favourites!
8.95 GBP - Sold by Musicroom UK | |
| Carl Nielsen: Chaconne
Op.32: Piano:
Instrumental Work Piano solo Carl Nielsen Edition
Carl Nielsen's Chaconne Op.32 for Piano solo dating from 1916. The present scor...(+)
Carl Nielsen's Chaconne Op.32 for Piano solo dating from 1916. The present score is a photographic reproduction of the work as it appears in Carl Nielsen Works - Published by the Carl Nielsen Edition The Royal Library Copenhagen - Piano and Organ Works Series II. Vol. 12
21.95 GBP - Sold by Musicroom UK | |
| Carl Nielsen: Festival
Prelude For The New
Century: Piano:
Instrumental Work Piano solo [Sheet music] - Intermediate Carl Nielsen Edition
Carl Nielsen's Festival Prelude for the New Century (Fest-Præludium ved aarhund...(+)
Carl Nielsen's Festival Prelude for the New Century (Fest-Præludium ved aarhundredeskiftet) for Piano solo was composed in 1900.The present score is a photographic reproduction of the work as it appears inCarl Nielsen Works - Published by the Carl Nielsen Edition The Royal Library Copenhagen - Piano and Organ Works Series II. Vol. 12
4.14 GBP - Sold by Musicroom UK | |
| Carl Nielsen: A Dream
About 'Silent Night':
Piano: Instrumental Work Piano solo - Intermediate Carl Nielsen Edition
Carl Nielsen's A Dream About 'Silent Night' (Drømmen om 'Glade Jul') for Piano ...(+)
Carl Nielsen's A Dream About 'Silent Night' (Drømmen om 'Glade Jul') for Piano solo dating from 1905. The present score is a photographic reproduction of the work as it appears in Carl Nielsen Works - Published by the Carl Nielsen Edition The Royal Library Copenhagen - Piano and Organ Works Series II. Vol. 12
4.14 GBP - Sold by Musicroom UK | |
| Birthday Capriccio. Piano
(HAYES MORGAN) Piano solo [Sheet music] Stainer and Bell
Par HAYES MORGAN. / Répertoire / Piano
7.37 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Strides. Book 2. Piano
(HAYES MORGAN) Piano solo [Sheet music] Stainer and Bell
Book 2. Par HAYES MORGAN. / Recueil / Piano
10.64 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Strides. Book 1. Piano
(HAYES MORGAN) Piano solo [Sheet music] Stainer and Bell
Book 1. Par HAYES MORGAN. / Recueil / Piano
10.64 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Jimmy Peart: How To Play
Reggae Keyboard: Piano:
Instrumental Tutor Piano solo [Sheet music + CD] Hal Leonard
Reggae music continues to grow in popularity. This folio thoroughly explores the...(+)
Reggae music continues to grow in popularity. This folio thoroughly explores the many sounds of this music for the piano and organ player. This step-by-step method illustrated the various rhythmic and melodic techniques unique toreggae music and the accompanying CD allows you to hear the exercises and play along with them.Also included is information on such topics as keyboard and equipment setup and exercise suggestions. A chord dictionary roundsout this unique package that will benefit every keyboard player.
25.99 GBP - Sold by Musicroom UK | |
| Aulis Sallinen: Canti Per
Vallis Gratiae: Piano:
Instrumental Work Piano solo [Sheet music] Novello & Co Ltd.
Aulis Sallinen's Canti Per Vallis Gratiae is a work for Piano and Organ dedicat...(+)
Aulis Sallinen's Canti Per Vallis Gratiae is a work for Piano and Organ dedicated to the Naantali Music Festival. The first performance of this piece took place in June 2015 at the Naantali Church. The work lasts approximately 12 1/2 minutes. This work features two separate playing scores.
19.99 GBP - Sold by Musicroom UK | |
| The Cinematic Piano
Playlist Piano solo [Sheet music] Faber Music Limited
Par . The Cinematic Piano Playlist is an incredible collection of over 30 themes...(+)
Par . The Cinematic Piano Playlist is an incredible collection of over 30 themes from film, gaming and TV, arranged for intermediate piano solo. Featuring film themes from theThe Cinematic Piano Playlist is an incredible collection of over 30 themes from film, gaming and TV, arranged for intermediate piano solo. Featuring film themes from the likes of Hans Zimmer, John Williams and Rachel Portman, alongside tracks from gamers? favourites, Assassin?s Creed, Minecraft, Final Fantasy and Halo. / Date parution : 2023-03-11/ Recueil / Piano
19.71 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
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