American Company
(39 results)
No shipping to countries within the European Union.
|
European Companies
(29 results) |
|
1 |
|
| Buskers Fake Book All Time Hit Piano solo Music Sales | | |
| Busk It Country Fake Book Piano solo Music Sales | | |
| Gospel Riffs God Would Love To Hear for Piano/Keyboards Piano solo [Sheet music + Audio access] - Intermediate ADG productions
Composed by Andrew D. Gordon. Arranged by Andrew D. Gordon. Gospel Riffs God...(+)
Composed by Andrew D.
Gordon. Arranged by Andrew
D. Gordon. Gospel Riffs God
Would Love To Hear. Gospel.
Book/digital audio. ADG
Productions #ADG202.
Published by ADG Productions
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Real Book - Volume 1 Piano solo [Sheet music + Audio access] Hal Leonard
(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book...(+)
(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book Play-Along. USB Flash Drive. 462 pages. Published by Hal Leonard
$85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Great Piano Solos - Film Book Piano solo Amsco Wise Publications
A bumper collection of film themes. Great Piano Solos. TV-Film-Musical-Show....(+)
A bumper collection of film
themes. Great Piano Solos.
TV-Film-Musical-Show. Book
Only. Wise Publications
#MUSAM982795. Published by
Wise Publications
$27.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mr. Hoffman's Popular Hits for Piano Piano solo [Sheet music + Audio access] Hal Leonard
Easy/Beginning-Level Piano Piano SKU: HL.274979 Arranged by Joseph Hoffma...(+)
Easy/Beginning-Level Piano Piano SKU: HL.274979 Arranged by Joseph Hoffman. Easy Piano Songbook. Pop. Softcover Audio Online. 48 pages. Published by Hal Leonard (HL.274979). ISBN 9781540025814. UPC: 888680741389. 9.0x12.0x0.133 inches. Book/Online Audio. 17 easy arrangements of pop hits with instruction tips for each by popular YouTube instructor Mr. Hoffman. Each song also has a demo track and backing tracks online to help students hear how they should sound and then play along and sound like a pro! Ideal for beginning piano students who want to use their new-found skills to play popular music. Songs include: Can't Stop the Feeling • Fight Song • He's a Pirate • How Far I'll Go • Lean on Me • Let It Go • Linus and Lucy • Shake It Off • This Is Me • We Will Rock You • and more. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Relaxing Piano Ballads Piano solo - Intermediate Hal Leonard
Piano/Keyboard - Intermediate to Early Advanced SKU: HL.1303099 Arranged by Phi...(+)
Piano/Keyboard - Intermediate to Early Advanced
SKU: HL.1303099
Arranged by Phillip Keveren. Piano Solo Songbook. Movies, New Age, Pop. Softcover. Published by Hal Leonard (HL.1303099).
ISBN 9798350108439. UPC: 196288172833. 9.0x12.0 inches.
16 gorgeous piano solos, each arranged in a way intended to soothe the soul and spirit. Phillip writes in the preface how he finds practicing the piano in itself relaxing, and how the joy really is in the journey.
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Reflections Piano solo Theodore Presser Co.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by Lara
Downes. Collection. Theodore
Presser Company #440-40028.
Published by Theodore Presser
Company
$21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 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 | | |
| Alfred's Top 50 Songs from the Warner Bros. Film Collection Piano solo - Easy Alfred Publishing
(Nine Decades of Unforgettable Music). Arranged by Dan Coates. For Piano. This e...(+)
(Nine Decades of Unforgettable Music). Arranged by Dan Coates. For Piano. This edition: Easy Piano. Book; Piano - Easy Piano Collection; Piano Supplemental. Movie; Pop. Easy Piano. 180 pages. Published by Alfred Music
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Real Little Classical Fake Book - 2nd Edition Piano solo - Intermediate Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard
$27.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christmas Bumper Book For Busker Piano solo Music Sales | | |
| Progressive Rock Piano Practice Sessions V.1 In Al ll 12 Keys Piano solo [Sheet music + Audio access] - Intermediate ADG productions
Composed by Andrew D. Gordon. Piano Practice Sessions. Rock. Book and digital ...(+)
Composed by Andrew D. Gordon.
Piano Practice Sessions. Rock.
Book and digital audio. ADG
Productions #ADG235. Published
by ADG Productions
$26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Paul Cardall - 40 Hymns for Forty Days Piano solo Hal Leonard
By Paul Cardall. Piano Solo Personality. Christian. Softcover. Published by Ha...(+)
By Paul Cardall. Piano Solo
Personality. Christian.
Softcover. Published by Hal
Leonard
$25.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Ballads - In Easy Keys Piano solo - Easy Hal Leonard
ISBN 9781705143254. 9.0x12.0x0.322 inches. You'll love playing from the Hal L...(+)
ISBN 9781705143254.
9.0x12.0x0.322 inches.
You'll love playing from the
Hal Leonard "In Easy Keys"
series! Each collection in
this series includes over 20
songs written in an "easy"
key - never more than one
sharp or flat in the key
signature. Melody, harmony,
simple rhythms, and fingering
are included. Playing your
favorite songs has never been
easier! The Piano Ballads
collection includes 25 songs:
All of Me (John Legend) *
Bridge over Troubled Water
(Simon and Garfunkel) * Candle
in the Wind (Elton John) *
Hero (Mariah Carey) * Imagine
(John Lennon) * Piano Man
(Billy Joel) * Ribbon in the
Sky (Stevie Wonder) * and
more.
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| First 50 Disney Songs You Should Play on the Piano Piano solo - Easy Hal Leonard
Composed by Various. Easy Piano Songbook. Movies, Children, Disney. Softcover....(+)
Composed by Various. Easy
Piano Songbook. Movies,
Children, Disney. Softcover.
208 pages. Published by Hal
Leonard
$25.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Herbert Howells: Howells' Clavichord (Complete) Piano solo Music Sales
Piano SKU: HL.14015524 Composed by Herbert Howells. Music Sales America. ...(+)
Piano SKU: HL.14015524 Composed by Herbert Howells. Music Sales America. Post-1900. Book [Softcover]. Music Sales #NOV100228. Published by Music Sales (HL.14015524). 8.5x11.75x0.48 inches. Extensive work for piano with works dedicated to well known composers, performers and clavichord maker Thomas Goff. $24.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Bradley's New Giant Piano Book Piano solo [Sheet music] - Easy Alfred Publishing
(15th Updated Edition) Arranged by Richard Bradley. Collection for easy solo pia...(+)
(15th Updated Edition) Arranged by Richard Bradley. Collection for easy solo piano. 304 pages. Published by Alfred Publishing.
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Complete Piano Player: Omnibus Edition Piano solo Music Sales
Piano SKU: BT.MUSAM39645 The Complete Piano Player. Tuition. Book Only. C...(+)
Piano SKU: BT.MUSAM39645 The Complete Piano Player. Tuition. Book Only. Composed 1992. 232 pages. Music Sales #MUSAM39645. Published by Music Sales (BT.MUSAM39645). ISBN 9780711906723. English. All five books of The Complete Piano Player series are published in this single volume at a substantial savings over the price of the five individual books. Complete with keyboard chart. $47.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Complete Piano Player Omnibus Edition Piano solo - Intermediate Music Sales
(Volumes 1-5, Complete) Written by Kenneth Baker. For piano. Format: instruction...(+)
(Volumes 1-5, Complete) Written by Kenneth Baker. For piano. Format: instructional book. With standard notation, chord names, lyrics, instructional text, illustrations, fingerings and pull-out keyboard chart. Learn to play. 240 pages. 9x12 inches. Published by Music Sales.
(2)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lorie Line - No Worries Piano solo Hal Leonard
A Pop Project. By Lorie Line. Piano Solo Personality. New Age, Pop. Softcove...(+)
A Pop Project. By Lorie Line.
Piano Solo Personality. New
Age, Pop. Softcover. 84
pages. Hal Leonard #TLP356.
Published by Hal Leonard
$34.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Joy Of First-Year Piano
Piano solo [Sheet music] - Beginner Music Sales
By Denes Agay. Book. Published by Music Sales. (YK21053) Designed for use as a...(+)
By Denes Agay. Book. Published by Music Sales. (YK21053)
Designed for use as a method book, this book allows the teacher to vary the approach according to the needs of the student. The book can also be used as a source of carefully graded pieces, for use with any first-year method.
(5)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christmas Chains for Piano Piano solo [Sheet music] Jackman Music Corporation | | |
| Hymns for Easy Piano Piano solo [Sheet music] - Easy Jackman Music Corporation
By Many. Arranged by Compiled And Arranged By Brent Jorgensen. Text: Many. For E...(+)
By Many. Arranged by Compiled And Arranged By Brent Jorgensen. Text: Many. For Easy Songbook. Published by Jackman Music Corporation. Level: Easy.
(1)$15.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 100 Etudes, Exercises and Simple Tonal Phrases Volume 1 Piano solo - Easy Schott
Piano - easy to intermediate SKU: HL.49045014 For Piano. Composed ...(+)
Piano - easy to intermediate SKU: HL.49045014 For Piano. Composed by Nicholas Lens. This edition: Saddle stitching. Sheet music. Piano. Classical, Etude. Softcover. 86 pages. Duration 75'. Schott Music #ED 22049. Published by Schott Music (HL.49045014). ISBN 9790001202114. 9.0x12.0 inches. The Belgian composer Nicholas Lens presents extremely varied etudes, exercises and simple phrases with wonderfully telling titles from poetry and everyday world for children and adults. For the most part the studies are tonal and simple and have no constructed line. They are not based on any educational concept but leave the musical dramatization to the pupils and teachers: 'Notes and rhythms are just notes and rhythms, they do not have that many rules, they do not have any pretension, they are just tools for you to use to express what you want to share'. $64.00 - See more - Buy online | | |
| 53 Early Grade Solos Pno Piano solo Schirmer
By Various. Piano Collection. Size 9x12 inches. 112 pages. Published by G Schirm...(+)
By Various. Piano Collection. Size 9x12 inches. 112 pages. Published by G Schirmer, Inc.
(1)$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dave Brubeck Anthology Piano solo [Sheet music] - Intermediate Alfred Publishing
Dave Brubeck. For Piano. Piano - Personality Book. Jazz. Level: Intermediate / A...(+)
Dave Brubeck. For Piano. Piano - Personality Book. Jazz. Level: Intermediate / Advanced. Book. Published by Alfred Publishing
(6)$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Prelude Chains - Book 2 Piano solo [Sheet music] Jackman Music Corporation
By Various. Arranged by Brent Jorgensen. For Piano Book. Level: Varied. Publishe...(+)
By Various. Arranged by Brent Jorgensen. For Piano Book. Level: Varied. Published by Jackman Music Corporation.
(1)$13.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
Next page 1 31 |
|
| Coffret Great Piano Solos
Vol.2 Piano solo Amsco Wise Publications
A superb four-volume collection of over 180 solos for the intermediate level Pia...(+)
A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano
104.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Great piano solos : The
film book
Piano solo [Sheet music] - Intermediate Amsco Wise Publications
A bumper collection of 45 fantastic hit songs from the movies, all arranged as s...(+)
A bumper collection of 45 fantastic hit songs from the movies, all arranged as sumptuous Piano solos. Whether you're looking for the groovy 60s Jazz of Alfie, the blistering rock of Live And Let Die or the heart-warming harmonies of You've Lost That Loving Feeling (Top Gun), you'll find that special movie moment just waiting to be rekindled in this special anthology. All of the solos are suitable for the intermediate Pianist, and offer excellent alternatives to the standard repertoire, adding spice and variety to your recitals. Also included are themes from The Trueman Show, Il Postino, Forrest Gump and many more, all of which will evoke the fondest memories of your very favourite films
27.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Andrew D. Gordon: Gospel
Riffs God Would Love To
Hear - Piano: Piano: Piano solo ADG productions
Gospel Riffs God Would Love To Hear - Piano. Gospel Riffs God Would Love To Hear...(+)
Gospel Riffs God Would Love To Hear - Piano. Gospel Riffs God Would Love To Hear for Piano/Keyboards by Andrew Gordon is a compendium of 33 Contemporary Gospel riffs for piano and keyboard players to learn the art of Gospel stylings. There are also arrangements of some traditional Gospel songs including Amazing Grace and When The Saints Go Marching In showing how to incorporate the riffs in the book into these well known Gospel songs. Play in the styles of Ray Charles, Dr. John, Billy Preston, Leon Russell, and Andre Crouch and see how Blues, Jazz and other contemporary styles are associated with the Gospel sound. Customer Comment About This Book: Gospel Riffs God Would Love To Hear I love Gospel music, and so far with Andrew Gordon's books I haven't been disappointed. This book was no exception.
15.95 GBP - Sold by Musicroom UK | |
| Disney Hits - Super Easy
Songbook Piano solo [Sheet music] - Easy Hal Leonard
Par . Looking for a fun and easy way to learn your favorite Disney songs? Look n...(+)
Par . Looking for a fun and easy way to learn your favorite Disney songs? Look no further than the Hal Leonard Disney Hits Super Easy Songbook! With simplified arrangements of everyone's favorite tunes from timeless classics like The Lion King and Aladdin to modern favorites like Frozen and Moana, this book is perfect for beginners of all ages. With no page turns, simple right-hand melodies, letter names inside each note, and basic left-hand chord diagrams, you'll be playing along to your favorite Disney songs in no time! Songs include: For the First Time in Forever · He's a Pirate · How Far I'll Go · I Just Can't Wait to Be King · Into the Unknown · Love Is an Open Door · Nobody like U · The Place Where Lost Things Go · Remember Me (Ernesto de la Cruz) · Speechless · Spirit · We Don't Talk About Bruno · When Will My Life Begin? · You'll Be in My Heart (Pop Version) · You're Welcome · and more. / Niveau : Facile / Date parution : 2023-10-31/ Recueil / Piano
20.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Mr. Hoffman\'s Popular
Hits for Piano: Piano:
Instrumental Album Piano solo [Sheet music + Audio access] - Easy Hal Leonard
Mr. Hoffman\'s Popular Hits for Piano. 17 easy arrangements of pop hits with ins...(+)
Mr. Hoffman\'s Popular Hits for Piano. 17 easy arrangements of pop hits with instruction tips for each by popular YouTube instructor Mr. Hoffman. Each song also has a demo track and backing tracks online to help students hear how they should sound and then play along and sound like a pro! Ideal for beginning piano students who want to use their new-found skills to play popular music. Songs include: Can\'t Stop the Feeling · Fight Song · How Far I\'ll Go · The Imperial March (Darth Vader\'s Theme) · Lean on Me · Let It Go · Linus and Lucy · Shake It Off · Star Wars (Main Theme) · We Will Rock You · and more.
18.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| The 40 Most-Streamed
Disney Songs: Piano:
Instrumental Album Piano solo - Easy Hal Leonard
The 40 Most-Streamed Disney Songs. Beginning pianists will love learning to play...(+)
The 40 Most-Streamed Disney Songs. Beginning pianists will love learning to play the Disney songs they stream most frequently! This collection features 40 songs in accessible easy piano arrangements: Beauty and the Beast · Hakuna Matata · How Far I'll Go · I See the Light · Let It Go · Love Is an Open Door · Reflection · Under the Sea · A Whole New World · You'll Be in My Heart · and more.
28.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Modern Movie Favorites -
Big Note Piano solo [Sheet music] Hal Leonard
Big Note Songbook. Beginning pianists will love to play the 18 familiar movie hi...(+)
Big Note Songbook. Beginning pianists will love to play the 18 familiar movie hits in this collection, including: Alice - The Bare Necessities - Bundle of Joy - Can't Stop the Feeling - City of Stars - Evermore - Everything Is Awesome - How Far I'll Go - In Summer - Lava - Linus and Lucy - Rey's Theme - Something Wild - Sophie's Theme - Spirit in the Sky - Strong - Try Everything - Unforgettable. Includes lyrics where applicable./ Recueil / Piano
20.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Disney Favorites -
Instant Piano Songs:
Piano Piano solo [Sheet music + Audio access] Hal Leonard
Simple Sheet Music Audio Play-Along. The Instant Piano Songs series will help ...(+)
Simple Sheet Music Audio Play-Along. The Instant Piano Songs series will help you play their favorite songs quickly and easily - whether you use one hand or two! Start with the melody in your right hand, adding basic left-hand chords when you're ready. Letter names inside each note speed up the learning process, and optional rhythm patterns take your playing to the next level. Online backing tracks are also included. Stream or download the tracks using the unique codes inside each book, then play along to build confidence and sound great!
This edition includes 30 Disney classics such as: The Ballad of Davy Crockett - Beauty and the Beast - Can You Feel the Love Tonight - Chim Chim Cher-ee - Circle of Life - Friend like Me - How Far I'll Go - It's a Small World - Kiss the Girl - Let It Go - Part of Your World - Remember Me (Ernesto de la Cruz) - That's How You Know - A Whole New World - and more.
15.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Paul Cardall: Paul
Cardall - 40 Hymns for
Forty Days: Piano:
Instrumental Album Piano solo Hal Leonard
Paul Cardall - 40 Hymns for Forty Days. Contemporary jazz pianist Paul Cardall r...(+)
Paul Cardall - 40 Hymns for Forty Days. Contemporary jazz pianist Paul Cardall released this 3-disc set of his performances of 40 timeless hymns in 2015. Our matching folio features piano solo arrangments of all 40 songs, including: Amazing Grace (for piano, cello and violin) · Be Still, My Soul · For the Beauty of the Earth · God Be with You 'Til We Meet Again · How Firm a Foundation · In the Garden · Jesus Wants Me for a Sunbeam · The Lord Is My Shepherd · Sweet Hour of Prayer · There Is a Green Hill Far Away · Were You There? · and more.
25.99 GBP - Sold by Musicroom UK | |
| The Fitzwilliam Virginal
Book Vol.2: Harpsichord
or Piano: Instrumental
Album Piano solo Dover Publications
Ed. Maitland-Squire Rev. Dover Edition-'The most remarkable and in many respec...(+)
Ed. Maitland-Squire Rev. Dover Edition-'The most remarkable and in many respects the most valuable collection of Elizabethan keyboard music' (Grove's Dictionary of Music and Musicians). The close to 300 airs variations fantasies toccatas pavanes galliards allemandes and courantes in these two volumes include some of the finest examples of Elizabethan and Jacobean Music: Morley Gibbons Farnaby Warrock Ferdinando Richardson Peter Phillips Tomkins and practically every other composer of the virginalistic school. John Bull and William Byrd two of England's greatest composers are represented by over 100 works. The pieces herein while composed for the virginal can be played without difficulty on thepiano or any other keyboard instrument. Maitland and Squire set the music into modern notation preserving faithfully the intent of the composers.
38.60 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Jazz Piano Pieces Grade
3: Piano: Instrumental
Album Piano solo ABRSM Publishing
The Associated Board's Jazz Piano series is a comprehensive introduction to the ...(+)
The Associated Board's Jazz Piano series is a comprehensive introduction to the world of jazz. A pioneering set of publications and a rigorously planned syllabus provide the building blocks you need to play jazz with imagination understanding and style and to improvise effectively right from the start.Five books of graded pieces provide a wealth of jazz repertoire for you to play from the great African-American tradition to the vibrant dynamic and multicultural nature of jazz today. Throughout there is a huge range of styles: funky rock grooves up tempo swing tunes calypsos latin pieces jazz waltzes modal pieces bebop gospel etc. There areclassic tunes by such jazz greats as Miles Davis and Thelonius Monk in addition to the brand new pieces which have been specially commissioned from professional British jazz pianists and educators.Within each album there are 15 pieces presented in three categories - blues standards and contemporary jazz. Each piece provides a head which contains all the characteristic voicings phrasing and rhythmic patterns needed for a stylish performance. An improvised section follows where guideline pitches and left-hand voicings are given as a practical starting point for your own solos.These pieces will get you playing confidently and creatively.
8.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Jazz Piano Pieces Grade 3
Abrsm Français Piano solo [Sheet music] - Easy ID Music
Série de Piano Jazz du Conseil associé est une introduction complète pour le ...(+)
Série de Piano Jazz du Conseil associé est une introduction complète pour le monde du jazz. Un ensemble de pionnier des publications et un syllabus rigoureusement planifié fournissent les blocs de construction, vous avez besoin pour jouer jazz avec imagination, de compréhension et de style et d'improviser efficacement dès le départ. Cinq livres de pièces graduées fournissent une foule de répertoire jazz pour vous de jouer, de la grande tradition afro-américaine de la nature dynamique, dynamique et multiculturelle de jazz aujourd'hui. Tout au long, il y a une vaste gamme de styles : rainures rock funky, tempo swing tunes, des calypsos, des morceaux de latin, jazz valses, pièces modales, be-bop Evangile etc.. Il y a des airs classiques par ces grands du jazz comme Miles Davis et Thelonius Monk en plus de pièces neuves qui ont été spécialement commandées de pianistes de jazz britanniques professionnels et les éducateurs. Au sein de chaque album, il y a 15 pièces présentées dans trois catégories - blues, de normes et de jazz contemporain. Chaque pièce fournit une tête whi... / Piano / 32 pages / Partition
13.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Malcolm Riley Paul Terry:
Sight Reading Success -
Piano Grade 3: Piano: Piano solo [Sheet music + CD] Rhinegold Publishing Ltd.
Written by experienced examiners and teachers each book in the Sight Reading Su...(+)
Written by experienced examiners and teachers each book in the Sight Reading Success series accurately reflects the style of the revised ABRSM tests so is the best possible resource to help students turn the dreaded sight-reading exam into a mere breeze. Uniquely each book is accompanied by a CD providing guidance through each test and demonstrating how it should sound (featuring Vocals by Kate Johnson and Piano by Harriet Power). These Sight Reading Success books are ideal for independent use by students of all ages. These books are a simply excellent way for Piano students to be led through thefundamentals of sight-reading a hugely necessary skill for all players of Piano. This Grade 3 book will guide you through everything you might need in order to prepare for the exam from more advanced rhythms and tempos further key signatures shifting fingering and two notes on the same hand. Towards the end of the book as you get closer to Sight Reading Success you are given lots of pieces that will allow you to practise everything you've learned so far. Not only this but the accompanying CD lets you hear how each piece is meant to be played so you can get it as perfect as possible. Written by experienced examiners and teachers Sight Reading Success accurately reflects the style of the revised ABRSM tests. This also means that you will get some insider insight into the best ways to practise and prepare for the actual exam as well as what to expect at the time. For the most efficient and effective preparation for the sight-reading exam Sight Reading Success For Piano Grade 3 is the most authoritative and comprehensive guide to getting you that great grade in your forthcoming exam.
6.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Keyboard gefällt mir!
Band 8: Piano:
Instrumental Collection
Piano solo - Easy Bosworth
Von Louis Fonsi bis Star Wars
22.99 GBP - Sold by Musicroom UK | |
| BudgetBooks Children's
Songs Piano solo [Sheet music] - Easy Hal Leonard
Variétés Internationales / Partition /
16.40 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Piano Music by Women
Composers: Book 2 Piano solo [Sheet music] Hal Leonard
Intermediate to Upper Intermediate Level. Par . 'Upon embarking on this project,...(+)
Intermediate to Upper Intermediate Level. Par . 'Upon embarking on this project, I had little idea of what I would find. There were, of course, the 'usual suspects:' women composers whose name and whose music have stood the test of time and are familiar to many. There were also those whose names ring a bell but whose music does not. The real unknowns were, well, the unknowns. How many women composers whose music is worth studying and listening to were out there? (...) When selecting, I searched for the following: beautiful interesting compositions that students can benefit from and will love learning, teachers will enjoy teaching, and audiences will appreciate; a variety to styles, composers, and nationalities; showcasing as many composers as possible, while striking a balance between well-known, lesser know, and unknown composers.' - Immanuela Gruenberg, in the Preface. These brand new collecions come in two volumes, with book 1 arranged for upper elementary to early intermediate pianists, and Book 2 arranged for intermediate to upper intermediate level pianists. / Date parution : 2023-06-01/ Recueil / Piano
26.61 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Piano Music by Women
Composers: Book 1 Piano solo [Sheet music] Hal Leonard
Upper Elementary to Lower Intermediate Level. Par . 'Upon embarking on this proj...(+)
Upper Elementary to Lower Intermediate Level. Par . 'Upon embarking on this project, I had little idea of what I would find. There were, of course, the 'usual suspects:' women composers whose name and whose music have stood the test of time and are familiar to many. There were also those whose names ring a bell but whose music does not. The real unknowns were, well, the unknowns. How many women composers whose music is worth studying and listening to were out there? (...) When selecting, I searched for the following: beautiful interesting compositions that students can benefit from and will love learning, teachers will enjoy teaching, and audiences will appreciate; a variety to styles, composers, and nationalities; showcasing as many composers as possible, while striking a balance between well-known, lesser know, and unknown composers.' - Immanuela Gruenberg, in the Preface. These brand new collecions come in two volumes, with book 1 arranged for upper elementary to early intermediate pianists, and Book 2 arranged for intermediate to upper intermediate level pianists. / Date parution : 2023-06-01/ Recueil / Piano
26.61 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Gradebusters Grade 2 -
Piano: Piano Solo:
Instrumental Album Piano solo [Sheet music + Audio access] Hal Leonard
Gradebusters Grade 2 - Piano
11.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Ulrich Kallmeyer: The
Cool Cat Piano Goodies:
Piano: Instrumental Tutor Piano solo Breitkopf & Härtel
Cool Through Styles and Centuries-Cool Cat Piano Goodies – What's that? To...(+)
Cool Through Styles and Centuries-Cool Cat Piano Goodies – What's that? To begin with watch as Ulrich Kallmeyer explores various pop idioms in cool pieces conceived for easy to medium difficulty and for contrasting harmonies and rhythms. Such a claim still doesnt do justice to the Goodies however since references to the classical tradition shimmer through these pieces. Behind Second Loss is Schumanns Erster Verlust and the New Solo for Mr. Byrd reaches much farther yet into music history. Other works were influenced by Baroque and Classical forms such as prelude chorale and rondo. The Goodies leap nimbly through eras and styles and have something to offer both beginning and proficient pianists.
15.80 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Jazzin' About Piano solo I.M.P.
Après des années d'expérience dans la fabrication des pianos les spécificati...(+)
Après des années d'expérience dans la fabrication des pianos les spécifications de la plus haute, Steinway se sont lancés dans la sphère de la musique imprimée avec la série ' Bibliothèque de Piano Steinway ', conçue pour faire de vous et vos sons de piano mieux que jamais. Certains des meilleurs pianistes et arrangeurs piano ont travaillé sur ces livres pour fournir des arrangements de pièces classiques et de tous les favoris du temps que vous adorerez à jouer. Ce volume offre 15 tous temps hits préférés dans les arrangements amusants et jouables. La musique est présentée en gros, facile à lire, type, avec les symboles de la corde, paroles, doigtés phrasé soigneusement révisée, dynamique et marquages pédales. Parfait pour les étudiants, les enseignants ou toute personne voulant profiter de ces merveilleuses succès pop. Table des matières : Summertime - cette terre est votre terre - le cercle sera en ininterrompue - orageux météo - envoyer dans le donjon de RaindAvailables de Clowns - Roses rouges pour une dame bleue - Falling On My Head - Jamaica Farewell - si j'avais un marteau - I Ain ' T Got Nobody - comment faites-vous pour préserver la musique joue ? - ... / Piano
11.40 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Dip In : 50 Graded Film
Tunes for Piano
Piano solo [Sheet music] Amsco Wise Publications
Une collection de 50 musiques de film spécialement arrangées pour piano et pou...(+)
Une collection de 50 musiques de film spécialement arrangées pour piano et pour tous niveaux. / Musiques de films
26.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| SOLO PIECES (HAUSCHKA) Piano solo [Sheet music] Bosworth
Par HAUSCHKA. Featuring songs by the renowned composer and master of the prepare...(+)
Par HAUSCHKA. Featuring songs by the renowned composer and master of the prepared Piano Volker Bertelmann, AKA Hauschka, Solo Pieces is a wonderful compilation of some of his most beautifully engrossing and hypnoticcompositions, as well as some fantastic illustrations and writings.
A unique figure in the contemporary classical world, Hauschka\'s works defy categorisation while remaining uniquely effective. Knownfor his prepared Piano pieces, Hauschka writes that he considers the Piano a keyboard, string and percussion instrument, thereby opening its sonic possibilities to include diverse timbres, tones and textures.Somesongs in Solo Pieces are for natural Piano, but others include instructions on how to prepare your own Piano, using everyday materials like foil, greaseproof paper, rubber wedges orerasers.
The spirit of Solo Pieces is experimentation, something that Hauschka has always embraced. You don\'t need to prepare your Piano, or you could use differentmaterials to create a unique performance of the work. Some of the pieces like One Wish feature wonderfully metallic buzzing sounds that complement the changing dynamics of the piece, while others like Early InThe Park have unique tinkling percussive effects, adding completely new facets to the already evocative melodies.
Far from being simply a collection of Hauschka sheet music,this book is a wonderfully inviting publication, featuring introductory words from Hauschka on his inspirations and processes, as well as notes on his favourite materials throughout. Also included are interestingpieces like short stories, letters and fantastic sketches that are fitting for a personality and artist like Hauschka. This book of Hauschka sheet music is ideal for fans of the inventive composer, but alsopianists who looking for some new and unique music to play.
Solo Pieces by Hauschka is both a collection of excellent Piano pieces and an aesthetically pleasing / Date parution : 2022-09-15/ Recueil / Piano
22.67 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Hauschka - Solo Pieces -
Piano Piano solo Chester
Description Featuring songs by the renowned composer and master of the prepared...(+)
Description Featuring songs by the renowned composer and master of the prepared Piano Volker Bertelmann, AKA Hauschka, Solo Pieces is a wonderful compilation of some of his most beautifully engrossing and hypnotic compositions, as well as some fantastic illustrations and writings. A unique figure in the contemporary classical world, Hauschka's works defy categorisation while remaining uniquely effective. Known for his prepared Piano pieces, Hauschka writes that he considers the Piano a keyboard, string and percussion instrument, thereby opening its sonic possibilities to include diverse timbres, tones and textures. Some songs in Solo Pieces are for natural Piano, but others include instructions on how to prepare your own Piano, using everyday materials like foil, greaseproof paper, rubber wedges or erasers. The spirit of Solo Pieces is experimentation, something that Hauschka has always embraced. You don't need to prepare your Piano, or you could use different materials to create a unique performance of the work. Some of the pieces like One Wish feature wonderfully metallic buzzing sounds that complement the changing dynamics of the piece, while others like Early In The Park have unique tinkling percussive effects, adding completely new facets to the already evocative melodies. Far from being simply a collection of Hauschka sheet music, this book is a wonderfully inviting publication, featuring introductory words from Hauschka on his inspirations and processes, as well as notes on his favourite materials throughout. Also included are interesting pieces like short stories, letters and fantastic sketches that are fitting for a personality and artist like Hauschka. This book of Hauschka sheet music is ideal for fans of the inventive composer, but also pianists who looking for some new and unique music to play. Solo Pieces by Hauschka is both a collection of excellent Piano pieces and an aesthetically pleasing publication that celebrates great music. Brooklyn Chat Noir Early In The Park Femme Assise Flingern Heimat Mount Hood One Wish Sehnsucht Zahnlücke
22.99 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Pop Hits Piano solo [Sheet music] - Easy Hal Leonard
Jouer et chanter 60 hits avec cette collection de compacts paroles, symboles d'a...(+)
Jouer et chanter 60 hits avec cette collection de compacts paroles, symboles d'accords et des diagrammes corde à piano. / Piano / 192 pages / niveau : Facile / Partition
13.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
1 |
|