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| Piano Music for 1 Hand
Piano solo - Intermediate/advanced Schirmer
Gavotte (Bach) Fantasy In A Flat,op76#1(alkan) Klavierstuck (C.p.e.bach) E...(+)
Gavotte (Bach)
Fantasy In A Flat,op76#1(alkan)
Klavierstuck (C.p.e.bach)
Etude For L.h. (Bartok)
9 Etudes For L.h. (Berens)
Etude For L.h. (Berger)
Etude Op.36 (Blumenfeld)
Etude No. 3,op.273 (Bonimici)
Etude In E Flat Minor,op.10#6
Etude For One Hand (Czerny)
Capriccio In E Flat,op.26#2
Elegy (Godowsky)
Meditation (Godowsky)
Etude For L.h.(op.19) Greulich
Four-voiced Fugue (Kalkbrenner)
Exercise In Arpeggio (Kohler)
Melody(weber's Freischutz)kohler
Rhythmic Studies (Kohler)
3 Folk Songs For L.h. (Kohler)
Hungary's God (Liszt)
La Ricordanza (Marxsen)
Etude,op.92,#4 (Moskowski)
Scherzo (Reger)
Humoreske (Reger)
Romanze (Reger)
Prelude And Fugue (Reger)
see all...
Finale (Son.for L.h.) Reinecke
Moto Perpetuo (Saint-saens)
Nocturne, Op.9,#2 (Scriabin)
Prelude,op.9#1 (Scriabin)
Exercises For L.h.(22,45)tappert
Viennese Pranks (Zichy)
Solfeggietto
Piano Music for 1 Hand (Piano Solo). By Various. Edited by Raymond Lewenthal. Piano Collection. Difficult Class piece for the One Hand Piano Music for Specially Capable Junior Musician (SCJM) event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. SMP Level 8 (Early Advanced). 136 pages. G. Schirmer #ED2773. Published by G. Schirmer
(4)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lieder 9 Med/high Voice/pf Piano solo Schott
Male voices or female voice (medium bis high) and piano SKU: HL.49006366 ...(+)
Male voices or female voice (medium bis high) and piano SKU: HL.49006366 Composed by Hermann Reutter. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1971. 32 pages. Duration 15'. Schott Music #ED 6492. Published by Schott Music (HL.49006366). ISBN 9790001068970. Der ganze Zyklus kann durchaus von einer Manner- oder Frauenstimme gesungen werden. Naturlich wirkt eine Aufteilung - etwa zwischen Mezzosopran und Bariton - farbiger und kontrastreicher. Dann empfiehlt sich folgende Anordnung: Nr. 1-5-6-8 fur Frauenstimme; Nr. 2-3-4-7-9 fur Mannerstimme. $20.99 - See more - Buy online | | |
| Lift Every Voice: 11 Hymn Arrangements for Piano Solo Piano solo - Intermediate MorningStar Music Publishers
Piano solo - Intermediate SKU: MN.15-737 Composed by David Gale. MorningS...(+)
Piano solo - Intermediate SKU: MN.15-737 Composed by David Gale. MorningStar Music Publishers #15-737. Published by MorningStar Music Publishers (MN.15-737). UPC: 688670157370. An eclectic and fresh collection of piano solos based on popular hymns. Useful in many different settings.
$20.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| I Heard the Voice - Music Collection Piano solo GIA Publications
Piano SKU: GI.G-7884 Edited by James Abbington. African American Church M...(+)
Piano SKU: GI.G-7884 Edited by James Abbington. African American Church Music Series. Sacred. Collection. GIA Publications #7884. Published by GIA Publications (GI.G-7884). UPC: 785147788430. English. Recorded Live in Baltimore! Like the previous ?ve recordings and collections, I Heard the Voice highlights some of the ?nest selections from GIA’s African American Church Music series except this time these powerful anthems, spirituals, and gospel selections were recorded before a live audience. Featuring the incomparable Joseph Joubert on Piano and charismatic conductor James Abbington directing a powerful group of Morgan State and Oakwood University grads, this live performance engaged, thrilled, and inspired an enthusiastic crowd. Feel the excitement for yourself—add I Heard the Voice to your growing collection today! Contains a CD recording and one of each of the following octavos: Sing a New World into Being (From New Wine in Old Wineskins, Volume 2, G-7857)* - Jesus, Lay Yo' Head in de Winda' JOUBERT - Praise the Lord, All Ye Nations RANDEGGER - Sanctus SIMON - Study War No More—down by the Riverside JOUBERT - Jesus Is the King BURLEIGH - Holy, Holy, Holy, Lord God Almighty* JOUBERT - The Glorious Medley DICKENSON - I Sing the Mighty Power of God BURTON - If My People WADDLES - Just for Me HOLLAND - Even Me REID - Higest Praise JOUBERT - I Heard the Voice WOOTEN *on CD, but not included in music collection  . $26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jabberwocky Voice, Horn And Piano Score English, French, German Piano solo Schott
Voice (soprano or tenor), horn in F and piano SKU: HL.49043951 For Voi...(+)
Voice (soprano or tenor), horn in F and piano SKU: HL.49043951 For Voice, Horn and Piano. Composed by Gerald Barry. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 2012. 38 pages. Duration 6'. Schott Music #ED13525. Published by Schott Music (HL.49043951). ISBN 9790220134142. UPC: 196288056522. 9.25x12.0x0.136 inches. English - French - German. The intense and surreal musical narrative so apparent in Gerald Barry's hugely successful opera The Importance of Being Earnest returns in a new guise for his latest vocal work Jabberwocky. Setting Lewis Carroll's famous poem, Barry uses the text twice - first in French with expressive legato phrases and then more forcefully in German. $36.00 - See more - Buy online | | |
| Love songs. Collection for voice & piano. 80 arrangements for weddings and celebrations Piano solo Carus Verlag
Voice & piano SKU: CA.240803 Composed by Various. Edited by Friedemann Lu...(+)
Voice & piano SKU: CA.240803 Composed by Various. Edited by Friedemann Luz. LIEDERPROJEKT. Liebeslieder Klavierband Mit 80 Liedern. Wedding. Volume for voice + piano. 112 pages. Carus Verlag #CV 02.408/03. Published by Carus Verlag (CA.240803). ISBN 9790007170806. What would love be without music - or music without love! Many couples associate unforgettable beautiful hours, a first meeting, or first kiss with a particular song. And composers have always been inspired and stimulated by love, have celebrated romantic love and longing from afar, secret love, and jealousy. In her selection of 80 songs from seven centuries, Mirjam James evokes this tremendous feeling with the most beautiful songs ranging from medieval courtly songs, through Beethoven's Ich liebe dich, to the Beatles song And I love her. Many of the songs come from German and English language traditions, but what would such a book be without the fire of southern Europe or a dose of French charm, without the moving melodies of cool northern climes, or the melancholy songs of the Russian soul? A vocal score has been published which contains all of the the songs in the new Carus book of lovesongs in easily playable accompaniments. For many of these songs choral settings by famous composers such as John Dowland, Thomas Morley, Thomas Tallis or Thoinot Arbeau have been adopted, wherever possible, in their original form. In addition, well-known and familiar original settings by Beethoven, Brahms, Benjamin Britten, and other composers will be found in this collection. Songs with entirely new accompaniments have also been included, resulting in a collection of lovesongs offering a distinctive stylistic variety suitable for many different occasions. Score available separately - see item CA.240800. $44.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jazz Voicings for Piano: The Complete Linear Approach Piano solo - Intermediate Alfred Publishing
Part II. Voice Leading, Scales and Chord Progressions. Composed by Dariusz...(+)
Part II. Voice Leading,
Scales and Chord
Progressions. Composed by
Dariusz Terefenko.
Keyboard/Piano;
Method/Instruction; Technique
Musicianship. Jazz. Book.
Alfred Music #01-ADV9049.
Published by Alfred Music
$39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Alfred's Basic Adult Piano Course - All-time Favorites Level 1
Piano solo [Sheet music] - Beginner Alfred Publishing
(52 Titles to Play and Sing). Arranged by Willard A. Palmer, Morton Manus, and D...(+)
(52 Titles to Play and Sing). Arranged by Willard A. Palmer, Morton Manus, and Dennis Alexander. For easy piano and voice. Piano - Alfred's Basic Adult Piano Course. Alfred's Basic Adult Piano Course. Classical and Folk. Difficulty: easy-medium. Collection. Easy piano notation, fingerings and lyrics (on some songs). 96 pages. Published by Alfred Music Publishing
(3)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Janice Kapp Perry Favorites Featuring Marvin Goldstein - Vol 2 - Piano Book Piano solo Jackman Music Corporation
Piano book - Medium-easy to medium SKU: JK.60120 Composed by Janice Kapp ...(+)
Piano book - Medium-easy to medium SKU: JK.60120 Composed by Janice Kapp Perry. Arranged by Marvin Goldstein. Difficulty Easy Medium, Difficulty Medium, Piano Solos, Seasonal Music Mothers Day, Children, Comfort, God the Father, Holy Ghost, Jesus Christ - Example, Jesus Christ - Friend, Jesus Christ - Savior, Love, Motherhood, Prayer. Christian, Inspirational. Jackman Music Corporation #60120. Published by Jackman Music Corporation (JK.60120). John 13:15, 34*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you! Janice Kapp Perry piano solos collection, arranged by Marvin Goldstein, ranging from medium-easy to medium in difficulty. Songs included in this volume: A Child's Prayer The Voice of the Spirit Born of Water, Born of Spirit I'm Trying to Be Like Jesus Well Done, Thou Good and Faithful Servant Just One Little Light In the Arms of His Love The Church of Jesus Christ I Am of Infinite Worth Mother, Tell Me the Story Where Is Heaven? Composer: Janice Kapp Perry Arranger: Marvin Goldstein Difficulty: Medium-easy to medium Reference: John 13:15, 34 *** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you! $11.98 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Zu Bethlehem Geboren Piano Solo Or With 2 Voices (instruments) Ad Lib, German Piano solo Schott
Piano solo or with 2 voices (instruments) ad libitum SKU: HL.49019854 ...(+)
Piano solo or with 2 voices (instruments) ad libitum SKU: HL.49019854 Eine Auswahl bekannter Advents- und Weihnachtslieder. Arranged by Hilger Schallehn. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. 40 pages. Schott Music #ED 21288. Published by Schott Music (HL.49019854). ISBN 9783795748142. UPC: 841886018068. 9.0x12.0x0.186 inches. German. 30 beliebte Weihnachtslieder fur das Musizieren zuhause oder in Schule und Musikschule. Zu den gut klingenden Klaviersatzen wird eine Melodieausgabe fur 1-2 Singstimmen angeboten, die auch fur Melodieinstrumente (Violinen, Floten) geeignet ist. So ergibt sich eine Fundgrube fur das Musizieren in den unterschiedlichsten Besetzungen: mit Klavier und Singstimme, mit Klavier, Gesang und 1-2 Instrumenten, aber auch fur 2 Instrumente und Klavier.Passend zum Klavierheft ist auch eine Ausgabe fur 3-4-stimmigen gemischten Chor erschienen (ED 21301). $18.99 - See more - Buy online | | |
| Songs for Voice and Piano Piano solo PWM (Polskie Wydawnictwo Muzyczne)
Piano (Music For Voice) SKU: HL.133177 Composed by K. Sienkiewicz. PWM. C...(+)
Piano (Music For Voice) SKU: HL.133177 Composed by K. Sienkiewicz. PWM. Classical. Book Only. Polskie Wydawnictwo Muzyczne #10319010. Published by Polskie Wydawnictwo Muzyczne (HL.133177). UPC: 884088980115. $25.99 - See more - Buy online | | |
| Partita Piano solo Schott
Piano (PS) - difficult SKU: HL.49008422 Composed by Heinz Holliger. Sheet...(+)
Piano (PS) - difficult SKU: HL.49008422 Composed by Heinz Holliger. Sheet music. Edition Schott. Classical. Composed 1999. 44 pages. Duration 32'. Schott Music #ED 9459. Published by Schott Music (HL.49008422). ISBN 9790001131940. 12.0x8.75x0.13 inches. Composed in anticipation of the Bach anniversary in 2000. The forms and religious symbolism in Holliger's piece are not restricted in their reference to the Cantor of St Thomas' Leipzig, but include the interwoven contradictory attitudes towards Bach of Schumann and Liszt. A technically and musically demanding concert piece. Prelude (Inner Voice) * Fugue * Barcarole * Sphinxes (Intermezzo I) * petit Csardas obstine * Sphinxes (Intermezzo II) * Ciacona monoritmica. $39.00 - See more - Buy online | | |
| Lieder 3 Voice/pf Piano solo Schott
High Voice Part and Piano SKU: HL.49004475 Composed by Hermann Reutter. T...(+)
High Voice Part and Piano SKU: HL.49004475 Composed by Hermann Reutter. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1945. Op. 61. 20 pages. Duration 8'. Schott Music #ED 3871. Published by Schott Music (HL.49004475). ISBN 9790001046510. $19.99 - See more - Buy online | | |
| Lieder 4 Med Voice/pf Piano solo Schott
Medium Voice Part and Piano SKU: HL.49006367 Composed by Hermann Reutter....(+)
Medium Voice Part and Piano SKU: HL.49006367 Composed by Hermann Reutter. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1972. 16 pages. Duration 6'. Schott Music #ED 6493. Published by Schott Music (HL.49006367). ISBN 9790001068987. $20.99 - See more - Buy online | | |
| Hobbelied High Voice Piano solo Schott
High Voice Part and Piano SKU: HL.49008533 Da streiten sich die Leut h...(+)
High Voice Part and Piano SKU: HL.49008533 Da streiten sich die Leut herum (Hobellied). Composed by Conradin Kreutzer. Edited by Wilhelm Lutz. This edition: Folding. Sheet music. Einzelausgaben (Single Sheets). Classical. 4 pages. Schott Music #ED0 1189. Published by Schott Music (HL.49008533). ISBN 9790001086967. $6.99 - See more - Buy online | | |
| Goethe Lieder 12 High Voice Piano solo Schott
High Voice Part and Piano SKU: HL.49004525 Composed by Armin Knab. This e...(+)
High Voice Part and Piano SKU: HL.49004525 Composed by Armin Knab. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 20 pages. Schott Music #ED 3931. Published by Schott Music (HL.49004525). ISBN 9790001047418. German. $20.99 - See more - Buy online | | |
| Johann Strauss II: Fruhlingsstimmen (Piano) Piano solo Wilhelm Hansen
Fruhlingsstimmen, or Voices of Spring, Op.410 is another popular waltz by Johann...(+)
Fruhlingsstimmen, or Voices of Spring, Op.410 is another popular waltz by Johann Strauss II, arranged here for solo Piano
$8.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Enter, Spring For Children's Voices (ssa) And Piano Piano solo Schott
Children's voices (SSA) and piano SKU: HL.49043937 For children's voic...(+)
Children's voices (SSA) and piano SKU: HL.49043937 For children's voices (SSA) and piano. Composed by Kenneth Hesketh. This edition: Saddle stitching. Sheet music. Choral. Softcover. Composed 2009. 22 pages. Duration 6'. Schott Music #ED13314. Published by Schott Music (HL.49043937). ISBN 9790220134456. 8.5x12.0x0.16 inches. English. Hesketh's work for 3-part children's choir and piano sets two texts about the start of spring by William Blake and an anonymous source. Written for conductor Simon Emery and the Liverpool Philharmonic Youth Choir, Enter, Spring mixes contrapuntal and homophonic textures in the choir, supported by a lively accompaniment. $8.99 - See more - Buy online | | |
| Ancestral Voices Piano solo Chester
SKU: HL.1479248 For Piano. Composed by Brian Elias. Piano. Softcov...(+)
SKU: HL.1479248 For Piano. Composed by Brian Elias. Piano. Softcover. 24 pages. Duration 540 seconds. Chester Music #CH88339. Published by Chester Music (HL.1479248). ISBN 9798350128666. UPC: 196288215301. Ancestral Voices by Brian Elias is a short piano piece with a title taken from Coleridges famous poem Kubla Khan. While the piece is not programmatic, some of the imagery in the poem is the inspiration for the work. It was commissioned by the Music@Malling festival in 2023. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Johann Strauss: His Greatest Piano Solos Piano solo Music Sales
By Alexandra Shealy (Editor). For Piano. Classical. 192 pages. Published by Musi...(+)
By Alexandra Shealy (Editor). For Piano. Classical. 192 pages. Published by Music Sales.
26 titles including The Beautiful Blue Danube, Emperor Waltz, My Vienna, Tales from the Vienna Woods, Voices of Spring, Wine Woman and Song, and Tick Tock Polka.
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 | | |
| Complete Works (JSW) Piano solo Breitkopf & Härtel
Voice, piano SKU: BR.SON-606 Lieder mit Klavierbegleitung ohne Opuszah...(+)
Voice, piano SKU: BR.SON-606 Lieder mit Klavierbegleitung ohne Opuszahl. Composed by Jean Sibelius. Edited by Jukka Tilikainen. Linen. Complete Works. Late-romantic; Early modern. Complete Works. 256 pages. Breitkopf and Haertel #SON 606. Published by Breitkopf and Haertel (BR.SON-606). ISBN 9790004802564. 9 x 12 inches. Jean Sibelius overall composed more than 100 solo songs for voice and piano. Volume 4 mostly contains first editions. These songs were generally unknown. Only a few of them have been available for performers in manuscript copies and have also appeared on concert programs. The volume contains also the first printed Sibelius' work Serenad and in contrast to the other two volumes with solo-songs it contains arrangements for voice and piano for the first time. Sibelius arranged three types of works for voice and piano: songs from incidental music, works for voice and piano, and one choral work. The arrangements were not made for the purpose of producing rehearsal scores, but rather as genuine concert pieces to be used in recitals. Rarely are such arrangements simply reductions of the orchestral score, as rehearsal scores tend to be. Instead, Sibelius gave the piano parts of his arrangements the same dedication and seriousness as he gave his solo songs. The independance of his arrangements is especially pointed to the very virtuoso piano part of the ballad Koskenlaskijan morsiamet Op. 33. $334.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Pop Piano Book Piano solo - Easy Harrison Music Education System
Written by Mark Harrison. For piano. Format: instructional book. With standard n...(+)
Written by Mark Harrison. For piano. Format: instructional book. With standard notation, chord names, instructional text, performance notes, introductory text and glossary of musical terms. Instructional. 498 pages. 9x12 inches. Published by Harrison Music Education Systems.
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Various Arrangements on a Theme - Ito (Yarn) Piano solo Yamaha
Piano solo - Mixed Level SKU: YM.GTP01097599 Composed by Miyuki Nakajima....(+)
Piano solo - Mixed Level SKU: YM.GTP01097599 Composed by Miyuki Nakajima. Piano Pop. J-POP. Score. Yamaha Music Media #GTP01097599. Published by Yamaha Music Media (YM.GTP01097599). ISBN 9784636975994. From easy to advanced level, piano solo to duet. Please enjoy one melody in 12 various styles. CONTENTS 1. Ito: Piano Solo - Entry; 2. Ito: Piano Solo - Easy; 3. Ito: Piano Solo - Intermediate(arr. by Murakami); 4. Ito: Piano Solo - Intermediate(arr. by Anzai); 6. Ito: Piano Solo - Advanced; 7. Ito: Piano Solo in Jazz Style - Advanced; 8. Ito: Voice with Piano accompaniment - Intermediate; 9. Ito: Duet(1P4H) - Intermediate; 10. Ito: 2-part Chorus with Piano accompaniment; 11. Ito: Voice with Piano accompaniment - Advanced: 12. Ito: Melody. $10.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Stephen Hartke Piano Album, Volume. 2: Piano Sonatas Piano solo [Sheet music] Lauren Keiser Music Publishing
Composed by Stephen Hartke. LKM Music. Softcover. Lauren Keiser Music Publishing...(+)
Composed by Stephen Hartke. LKM Music. Softcover. Lauren Keiser Music Publishing #S410028. Published by Lauren Keiser Music Publishing (HL.156535).
$24.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Go Your Own Way; 12 Emotional Piano Pieces Book/cd Piano solo - Easy Schott
Piano - easy to intermediate SKU: HL.49044781 12 Emotional Piano Piece...(+)
Piano - easy to intermediate SKU: HL.49044781 12 Emotional Piano Pieces. Composed by Hans-Guenter Heumann. This edition: Paperback/Soft Cover. Sheet music with CD. Piano Solo. Twelve very emotional New Age pieces for piano take the listeners on a musical journey during which each of them follows his heart and his inner voice. Expressive compositions: melancholy and lamenting, comforting, affectionately soothing, motivating, and. Softcover. 72 pages. Schott Music #ED22262. Published by Schott Music (HL.49044781). ISBN 9783795744878. This third solo album for piano, Go Your Own Way, is dedicated to the eternal question of which path to take in life. Twelve very emotional New Age pieces for piano take the pianist and the audience on a musical journey during which each of them follows his heart and his inner voice. The road of life is often rocky and paved with tears. And yet, everybody should take it as a fighter and leave his own mark. This requires courage and confidence in order not to despair or be broken. The bottom line of all this is that the way is the goal and that everybody has to go it. These expressive compositions are highly nuanced like piano playing, exciting, rich in contrast and exploring boundaries like life: melancholy and lamenting, comforting, affectionately soothing, motivating, confident, breath-taking, and passionate.
Twelve very emotional New Age pieces for piano take the listeners on a musical journey during which each of them follows his heart and his inner voice. Expressive compositions: melancholy and lamenting, comforting, affectionately soothing, motivating, and passionate. $24.99 - See more - Buy online | | |
| Great Is Our Lord Piano solo Theodore Presser Co.
Chamber Music Cello, Harpsichord, Middle Voice I, Middle Voice II, Organ, Piano ...(+)
Chamber Music Cello, Harpsichord, Middle Voice I, Middle Voice II, Organ, Piano SKU: PR.352000170 Der Her Is Gross - for Medium Voices and Continuo (English and German Text). Composed by Heinrich Schutz. Edited by Paul Boepple. Arranged by Paul Boepple. Choral. Score. With Standard notation. Theodore Presser Company #352-00017. Published by Theodore Presser Company (PR.352000170). UPC: 680160055807. Key: G major. $2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Various Arrangements on a Theme Piano solo Yamaha
Yoru ni Kakeru. Composed by Yoasobi. Piano Pop Vocal/Liu Xing Gang Qin. Book. ...(+)
Yoru ni Kakeru. Composed by
Yoasobi. Piano Pop Vocal/Liu
Xing Gang Qin. Book. Yamaha
Music Media #GTP01097719.
Published by Yamaha Music
Media
$9.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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| Go Your Own Way Piano solo Schott
This third solo album for piano, Go Your Own Way, is dedicated to the eternal qu...(+)
This third solo album for piano, Go Your Own Way, is dedicated to the eternal question of which path to take in life. Twelve very emotional New Age pieces for piano take the pianist and the audience on a musical journey during which each of them follows his heart and his inner voice. The road of life is often rocky and paved with tears. And yet, everybody should take it as a fighter and leave his own mark. This requires courage and confidence in order not to despair or be broken. The bottom line of all this is that the way is the goal and that everybody has to go it. These expressive compositions are highly nuanced like piano playing, exciting, rich in contrast and exploring boundaries like life: melancholy and lamenting, comforting, affectionately soothing, motivating, confident, breath-taking, and passionate. / Piano
21.65 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Sebastian Yradier: La
Paloma Habanera
Voice/Piano: Piano
Español Piano solo [Sheet music] Unión Musical Ediciones
La Paloma Habanera Voice/Piano
3.99 GBP - Sold by Musicroom UK | |
| Joaquín Turina: Joaquin
Turina: Canto A Sevilla:
Voice: Vocal Score
Español Piano solo [Sheet music] - Intermediate Unión Musical Ediciones
Written for voice and piano.
17.99 GBP - Sold by Musicroom UK | |
| P.E. Lange Muller: Fem
Sange Op. 1: Voice: Vocal
Work Piano solo - Intermediate/advanced Wilhelm Hansen
Fem Sange Op.1 - 'Sulamith og Salomon' - 5 songs for Voice and Piano expertly c...(+)
Fem Sange Op.1 - 'Sulamith og Salomon' - 5 songs for Voice and Piano expertly composed by P.E. Lange Muller. Text by B.S. Ingemann.
11.50 GBP - Sold by Musicroom UK | |
| Ming Tsao: Third voice
for Bach's 2-Part
Inventions: Piano:
Instrumental Album Piano solo Peters
Third voice for Bach's 2-Part Inventions
39.95 GBP - Sold by Musicroom UK | |
| Just Voices Classic Pop
10 Easy Piano solo Novello & Co Ltd.
Ten easy three-part a cappella arrangements of inspirational songs, for either S...(+)
Ten easy three-part a cappella arrangements of inspirational songs, for either SSA or SAT choirs, with a piano part for convenient rehearsal. All of these rousing pieces are presented in new arrangements by Barrie Carson Turner. Bringing together ten timeless songs of faith, celebration and inspiration, Just Voices: Classic Pop is an ideal introduction to mastering the a cappella style. Perfect for your next concert or as a fun treat for your choir. / Piano
17.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Strauss Voices Of Spring
Piano: Piano:
Instrumental Work Piano solo Novello & Co Ltd.
Strauss Voices Of Spring Piano
6.50 GBP - Sold by Musicroom UK | |
| Johann Strauss: Favorite
Waltzes Polkas And Other
Dances: Piano:
Instrumental Piano solo - Intermediate Dover Publications
The twenty-nine piano arrangements in this superb collection are complete measur...(+)
The twenty-nine piano arrangements in this superb collection are complete measure for measure transcriptions of the best known waltzes and favorite polkas galops quadrilles and polka-mazurkas of Johan Strauss Jr. Neither too facile nor overly difficult they are immensely satisfying for pianists of many levels of accomplishment to play. Reprinted here from authoritative G. Schirmer editions they are presented without cuts the introductions and codas intact the original suggestions for cuts to facilitate dancing retained. Included are Waltz favourites such as 'On the Beautiful Blue Danube' 'Tales from the Vienna Woods' 'Vienna Blood' 'Voices of Spring' 'Roses from theSouth' the 'Emporer Waltz' and highlights from 'Die Fledermaus'. The sparkling 'Pizzicato Polka' 'The Bayadere' galop and 'One Heart One Mind' polka-mazurka are sure to delight pianists with their soaring Straussian spirits and haunting rhythms.
17.30 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Richard Strauss: Johann
Strauss - His Greatest
Piano Solos: Piano:
Instrumental Piano solo Ashley Publications
25 titles including: The Beautiful Blue Danube £ Emperor Waltz £ My Vienn...(+)
25 titles including: The Beautiful Blue Danube £ Emperor Waltz £ My Vienna £ Tales from the Vienna Woods £ Voices of Spring £ Wine Woman and Song £ Tick Tock Polka £ and more.
15.99 GBP - Sold by Musicroom UK | |
| Niemann: Sonatina -
Voices of Autumn Opus 103
Pno: Piano: Instrumental
Work Piano solo [Partition] Alfred Lengnick
Sonatina - Voices of Autumn Opus 103 Pno
5.50 GBP - Sold by Musicroom UK | |
| Dogs And Birds Piano
Method 1 - Blank Rev Piano solo [Sheet music] Faber Music Limited
Arrangeur: Alexander L\'Estrange. These three Christmas songs are arranged for s...(+)
Arrangeur: Alexander L\'Estrange. These three Christmas songs are arranged for soprano, alto, and combined men\'s voices with a straightforward piano accompaniment - ideal for choirs in which the male singers are few or at the stage when their voices are changing. Featured are: Rockin? Around The Christmas Tree, Let It Snow! Let It Snow! Let It Snow! and All I Want For Christmas Is You. The arrangements are part of the Choral Basics Series, which has been carefully designed to provide rewarding, varied repertoire for beginner choirs. Perfect for singers of all ages, the series offers attractive, idiomatic arrangements for SA and SAMen choirs, with carefully considered vocal ranges and straightforward piano accompaniments that support the singers. Embracing world music, spirituals, folk song, pop classics, hit shows and original pieces, this series offers everything a budding choir could wish for. Get into the festive spirit with this trio of wonderful new arrangements for choir, featuring all-time favorites Rockin\' Around the Christmas Tree, Let It Snow and All I Want for Christmas, Is You. Guaranteed to have your audiences reaching for the mistletoe in no time! Choral Basics is a recently created series that offers straightforward and rewarding repertoire for the beginner choir. Perfect for singers of all ages, the series offers simple 3-part choral arrangements for soprano, alto and a combined male voice part. Consultant editor Alex L\'Estrange has brought together an array of repertoire including world music, spirituals, pop classics, show hits andoriginal pieces. Carefully considered for the level, the arrangements pay particular attention to breathing, vocal ranges and technique whilst straightforward piano accompaniments support the vocal lines. The series offers great value for money, as each volume comprises a set of contrasting songs for easy programming./ Méthode / Piano
16.83 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Kevin Olson: Stargazing:
Piano: Instrumental Album Piano solo [Sheet music] - Easy FJH
A lovely gentle melody to be voiced over with a soft accompaniment. This solo f...(+)
A lovely gentle melody to be voiced over with a soft accompaniment. This solo features crossed-hand figures broken chord accompaniment and encourages playing with 'light thumbs.'
1.50 GBP - Sold by Musicroom UK | |
| Keith Snell's Piano
Assignment Notebook
(SNELL KEITH) Piano solo Kjos Music Company
Par SNELL KEITH. Keith Snell?s Piano Assignment Notebook is a practical and conv...(+)
Par SNELL KEITH. Keith Snell?s Piano Assignment Notebook is a practical and convenient place to write weekly lessons for your students, and for students to keep track of their practice time and progress. With plenty of room to write, and sections allocated for repertoire, theory, technic, and sight reading, assignments can be tailored for each student. The book also includes a place to keep information such as important dates, repertoire learned, and teacher contact details. Blank staff pages are provided for theory and composition exercises. Twelve months of invoices at the back of the book keep billing instantly at your finger tips. And as an extra help for students, Keith has provided his Ten Tips for Piano Practice, which can be referred to whenever a little reinforcement is needed. / Date parution : 2022-02-10/ Accessoire / Piano
6.49 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Mary K. Sallee: Rabbits
in the Snow: Piano:
Instrumental Album Piano solo [Sheet music] - Easy FJH
This musical narrative has a light dreamy melody which follows the rabbits on t...(+)
This musical narrative has a light dreamy melody which follows the rabbits on their way. Both hands are voiced (occasionally) with held lower notes while upper notes keep the piece moving. Accelerating staccato triads depict a chase scene before the rabbits finally scurry home. Use this one as an introduction to Impressionism.
1.95 GBP - Sold by Musicroom UK | |
| Sy Johnson: The Erroll
Garner Anthology: Piano:
Instrumental Album Piano solo Cherry Lane
Steve Allen regards Erroll Garner as ?the greatest popular pianist of our centur...(+)
Steve Allen regards Erroll Garner as ?the greatest popular pianist of our century.? Here ? for the first time ever in one collection ? are piano/vocal/guitar arrangements of 35 great Garner compositions including: Dreamstreet ? It Gets Better Every Time ? Left Bank Swing ? Mambo 207 ? Misty ? Moment's Delight ? Mood Island ? Nightwind ? No More Shadows ? One Good Turn ? OtherVoices ? Paris Bounce ? Passing Through ? Solitaire ? That's My Kick ? This Time It's Real ? Trio ? When Paris Cries ? and more! Includes a biography discography performance notes photos and a foreword by Martha Glaser.
21.50 GBP - Sold by Musicroom UK | |
| Bent Sørensen:
Lullabies: Piano:
Instrumental Work Piano solo Wilhelm Hansen
Piano Solo-Lullabies / Vuggeviser for Piano solo was composed by Bent Sørensen ...(+)
Piano Solo-Lullabies / Vuggeviser for Piano solo was composed by Bent Sørensen in 2000. Preface / Programme Note: Some melodies keep haunting me; they will stick in my mind and I will walk about humming them and they will find their way into my music. Two such melodies are the basis for the present piano piece which I call LULLABIES. The first little tune began its life as a ballad in an operatic draft ofmine. Later on – with text by English poet Selima Hill – it became part of my songcycle ROSES ARE FALLING for mezzo soprano and piano. In the latter context it is a love song but I have always had a lullaby-feelingabout this tune and indeed as a lullaby it appears in my opera UNDER THE SKY to text by Peter Asmussen; inthe opera the loved one sings and hums to her beloved and make him come to rest. During LULLABIES the tune will appear a half tone lower with each entry and make its way downwards through the musical texture from upper voice to bassline. The other little melody is a true lullaby which I hummed for my youngest daughter to try and make her go to sleep. Later on it became the backdrop for the last movement of my trombone concerto BIRDS AND BELLS. The two melodies in their original form are reproduced at the beginning of LULLABIES.Bent Sørensen 2000
11.50 GBP - Sold by Musicroom UK | |
| Franz Liszt: The Schubert
Song Transcriptions for
Solo Piano 3: Piano: Piano solo Dover Publications
The Complete Schwanengesang-The foremost pianist-composer of his day Franz Lisz...(+)
The Complete Schwanengesang-The foremost pianist-composer of his day Franz Liszt unselfishly promoted the works of his fellow composers through his brilliant piano transcriptions of their music. Among his most inspired contributions to the literature were his legendary transcriptions of Franz Schubert's songs. This volume the third in the series contains Schubert's complete Schwanengesang and nine other great lieder. Reproduced from extremely rare early editions edited by Liszt himself they retain all the lyric beauty and emotional depth of Schubert's original music yet reflect Liszt's incomparable mastery of the difficult art of transcription from the original medium of voice and pianoto that of solo piano.
20.30 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Casting Crowns: Casting
Crowns for Piano Solo:
Piano: Instrumental Album Piano solo Hal Leonard
Casting Crowns is one of the most successful Christian acts in history with man...(+)
Casting Crowns is one of the most successful Christian acts in history with many #1 songs and albums several Dove Awards and even a Grammy Award to their credit. This folio features ten of their hits arranged for piano solo including: Does Anybody Hear Her - East to West - Here I Go Again - Love Them Like Jesus - Praise You in This Storm - Prayer for a Friend - Somewhere in the Middle - Voice of Truth - Who Am I - The Word Is Alive.
12.99 GBP - Sold by Musicroom UK Shipment: (stock) information on site | |
| Tim Price: Favorite Hymns
for Piano Solo: Piano:
Mixed Songbook Piano solo Mel Bay
Beautiful piano solo arrangements of hymns and sacred favorites featuring wonder...(+)
Beautiful piano solo arrangements of hymns and sacred favorites featuring wonderful harmonic treatment coupled with innovative voice leading. Moderate to intermediate in difficulty. Songs include: Rock of Ages All Creatures of our God and King Jesus the Very Thought of Thee and more. All audio for the book is available as a free download.
12.99 GBP - Sold by Musicroom UK | |
| Tim Price: Favorite Hymns
for Piano Solo: Piano:
Instrumental Album Piano solo [Sheet music] - Intermediate Mel Bay
Beautiful piano solo arrangements of hymns and sacred favorites featuring wonder...(+)
Beautiful piano solo arrangements of hymns and sacred favorites featuring wonderful harmonic treatment coupled with innovative voice leading. Moderate to intermediate in difficulty. Songs include: Rock of Ages All Creatures ofour God and King Jesus the Very Thought of Thee and more. All audio for the book is available as a free download.
8.99 GBP - Sold by Musicroom UK Shipment: (stock) information on site | |
| Edwin McLean:
Reflections: Piano:
Instrumental Album Piano solo [Sheet music] - Easy FJH
Reflections is a quiet contemplative solo that is wonderfully choreographed wit...(+)
Reflections is a quiet contemplative solo that is wonderfully choreographed with root-position chords and great voice-leading. A perfect summer solo.
1.95 GBP - Sold by Musicroom UK | |
| Frederick Viner: Herz an
Herz: Piano: Instrumental
Work Piano solo University Of York Music Press
Frederick Viner's Herz an Herz for Piano Solo. Herz an Herz as the title implie...(+)
Frederick Viner's Herz an Herz for Piano Solo. Herz an Herz as the title implies (heart to heart) is a love duet. Two distinct voices characterised through their respective male and female vocal registers negotiate a warm heartfelt melody through a loosely strophic form. Initially the voices sing in turn each section - or verse ? led predominantly by one. Each time their lines entwine virtuosic flourishes ascend the keyboard interrupting to render them silent again. It is only after one particularly tumultuous episode that the true duet appears: Out of the murky resonances of the lowest ?A? emerges thethrobbing chords and impassioned vocal lines from Wagner?s famous duet O sink hernieder Nacht der Liebefrom the second act of Tristan und Isolde. The ?singers? now reconciled come together for one final verse before a fleeting memory of the beginning gently ushers in the end of the piece. Herz an Herz was awarded 1st prize in William Howard's Love Song Composing Competition and was premiered on 26th April 2017 at Hoxton Hall London by William Howard. Duration: 5 minutes
6.95 GBP - Sold by Musicroom UK | |
| Sergei Rachmaninov:
Vocalise Op.34 No.14:
Piano: Instrumental Work Piano solo [Sheet music] Boosey and Hawkes
Rachmaninov wrote Vocalise for Voice and Piano not setting a text to it unlike...(+)
Rachmaninov wrote Vocalise for Voice and Piano not setting a text to it unlike the other songs in the Op. 34 set. It immediately became popular and the composer fashioned several transcriptions of the work including one for Piano and another for Orchestra. This edition is transcribed for Piano Solo.
10.99 GBP - Sold by Musicroom UK | |
| Franz Liszt:
Liebesträume: Piano:
Instrumental Album Piano solo Wiener Urtext
Originally designed for Voice and Piano Franz Liszt's Liebesträume were publis...(+)
Originally designed for Voice and Piano Franz Liszt's Liebesträume were published in 1850 as lieder and solo Piano works at the same time. It is the latter ones that have become famous particularly 'Love Dream No. 3' which was to become one of the most popular pieces of the Romantic Piano literature. Existing autograph sketches are of only little significance to the final form of the works; the complete autograph is privately owned and not accessible. This is why the new edition of Wiener Urtext Edition basically follows the first edition of 1850 with its highly reliable text but not the second publication of the originalpublisher which is sometimes mistaken for the first one as the first edition of the second publication contains more mistakes than the edition of 1850. The present edition is completed by a clear notation and convenient page turns as well as informative commentaries of the Liszt expert Christian Ubber.
11.99 GBP - Sold by Musicroom UK | |
| The Man From Snowy
River/Jessica's Theme:
Piano: Instrumental Work Piano solo Hal Leonard
Piano Solo-This sheet music features an arrangement for piano and voice with gui...(+)
Piano Solo-This sheet music features an arrangement for piano and voice with guitar chord frames with the melody presented in the right hand of the piano part as well as in the vocal line.
5.50 GBP - Sold by Musicroom UK | |
| Spotlight Piano solo Alfred Publishing
Boasting a star-studded cast and music by Academy Award-winning composer Howard ...(+)
Boasting a star-studded cast and music by Academy Award-winning composer Howard Shore, the 2015 film Spotlight tells the story of The Boston Globe's watershed 2002 investigation of the sexual abuse of minors by Catholic priests. Regarding the main title theme, Howard Shore commented, 'The piano has such a black and white, ebony and ivory quality to it. It was the instrument that I felt could be this main voice for the film. There's a certain truthfulness to the sound as well.' This original sheet music edition presents a piano solo arrangement of Shore's 'Spotlight,' the dramatic and evocative theme from the film. / Piano
6.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| David Lanz Kristin
Amarie: David Lanz &
Kristin Amarie - Forever
Christmas: Piano solo [Sheet music] Hal Leonard
Piano Solo and Piano/Vocal-Forever Christmas is the 2014 holiday CD release by w...(+)
Piano Solo and Piano/Vocal-Forever Christmas is the 2014 holiday CD release by well-known new age pianist David Lanz with the vocals of his talented partner Kristin Amarie. This songbook features a dozen songs consisting of originals as well as new interpretation of timeless classics: Forever Christmas â?¢ Heavenly Peace â?¢ Jubilate â?¢ La Estrella De La Navidad â?¢ Oh Holy Night â?¢ Silent Night â?¢ Snow Dance â?¢ Sweet Winter Love â?¢ A Thousand Lights â?¢ What Is Christmas? â?¢ Winter Star â?¢ Winter's Prelude. Songs with vocals are presented for Piano and Voice with chord names.
16.99 GBP - Sold by Musicroom UK | |
| Skyfall : Sountrack
Selections (NEWMAN
THOMAS) Piano solo [Sheet music] - Intermediate Amsco Wise Publications
Par NEWMAN THOMAS. This songbook presents selections from soundtrack to the 23rd...(+)
Par NEWMAN THOMAS. This songbook presents selections from soundtrack to the 23rd James Bond blockbuster, Skyfall , arranged for solo piano. Also includes the Skyfall theme song by Adele, arranged for Piano, Voice and Guitar. / Niveau : Intermédiaire / TV, Film, Comédie musicale / Recueil / Piano
18.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Lady Gaga: Classical Pop
- Lady Gaga Fugue & Other
Pop Hits: Piano:
Instrumental Piano solo [Sheet music] - Intermediate/advanced Hal Leonard
Hal Leonard Student Piano Library - Pop Songs arranged in Classical Style-Lady G...(+)
Hal Leonard Student Piano Library - Pop Songs arranged in Classical Style-Lady Gaga Fugue and other Pop hits arranged in Classical style.In a YouTube moment that went viral Giovanni Dettori created a convincingly traditional Baroque fugue based on the opening strains of Lady Gaga's hit ?Bad Romance ? and Lady Gaga Fugue was born. Giovanni has now applied this concept to other pop favorites and set them for piano solo using traditionally classical forms and styles including Two-voice Invention Theme and Variation Sonatina Nocturne and more. Features 8 innovative arrangements: Don't Know Why • Hey Jude • Just the Way YouAre • Lady Gaga Fugue • and more!
13.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
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