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| Buskers Fake Book All Time Hit Piano solo Music Sales | | |
| 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
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| Busk It Country Fake Book Piano solo Music Sales | | |
| The Piano Treasury of Hymns Piano solo [Sheet music + CD] - Easy Music Sales
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 best-loved Christian hymns that have inspired praise and worship for over four centuries. Series: Piano Treasury Series. 392 pages. Published by Music Sales.
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| The Real Book Of Blues Piano solo Music Sales | | |
| Johann Sebastian Bach: 371 Harmonized Chorales And 69 Chorale Melodies W/Figured Bass
Piano solo [Sheet music] Schirmer
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For pi...(+)
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer
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| Sing & Praise Piano solo Music Sales | | |
| Easiest Keyboard Collection: Top Chart Hits Piano solo Music Sales | | |
| Studio Ghibli 77 Selections [Japanese/English/Chinese] Piano solo - Easy Yamaha
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate S...(+)
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate Studio Ghibli Piano Solo Collection. Composed by Joe Hisaishi. Studio Ghibli. Anime Song; J-Pop. Book. Yamaha Music Media #GTP01101652. Published by Yamaha Music Media (YM.GTP01101652). ISBN 9784636113334. 8.75 x 12 inches. Here is the ultimate, official, complete edition of Studio Ghibli Piano Solo Collection, featuring 77 of Studio Ghibli's essential musical masterpieces, fully supported in three languages: Japanese, English and Simplified Chinese! From 20 of Studio Ghibli's most beloved films, including My Neighbor Totoro, Princess Mononoke, Spirited Away, and more, comes a piano solo collection featuring 77 iconic songs. In addition to timeless favorites, songs from popular soundtracks such as Kiki's Delivery Service and Porco Rosso are included. Featuring Studio Ghibli's musical masterpieces in solo piano arrangements, this collection includes the film's theme songs as well as fan-favorite instrumental music. The difficulty levels range from easy to intermediate, making them accessible to a wide range of players, and the simpler arrangements can be fully enjoyed by players who can feel the essence and atmosphere. The book cover features official Studio Ghibli artwork. The book is supported in Japanese, English and Chinese. This single volume offers a comprehensive, special collector's edition for enjoying the music of Studio Ghibli. Studio Ghibli 77 Selections is sure to take you on a musical journey through 20 Studio Ghibli films! $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Alfred's Basic Piano Course - Hymn Book Complete Levels 2 and 3
Piano solo [Sheet music] - Easy Alfred Publishing
For the Later Beginner. By Willard A. Palmer, Morton Manus, and Amanda Vick Leth...(+)
For the Later Beginner. By Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Piano Method. Alfred's Basic Piano Library. Sacred. Book. 48 pages. Published by Alfred Publishing.
(1)$10.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Popular Piano Solos - John Thompson's Adult Piano Course (Book 1) Piano solo [Sheet music + Audio access] - Beginner Willis Music
(Elementary Level). Arranged by Carolyn Miller. For Piano/Keyboard. Willis. E...(+)
(Elementary Level). Arranged
by Carolyn Miller. For
Piano/Keyboard. Willis.
Elementary. Softcover Audio
Online. 32 pages. Published
by Willis Music
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| Simple Christmas Carols Piano solo - Easy Hal Leonard
The Easiest Easy Piano Songs. Composed by Various. Easy Piano Songbook. Carol,...(+)
The Easiest Easy Piano
Songs. Composed by Various.
Easy Piano Songbook. Carol,
Christmas. Softcover. 98
pages. Published by Hal
Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Classic Piano Course, Book 1: Starting to Play Piano solo [Sheet music] - Beginner Music Sales
By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Musi...(+)
By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Music Sales
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| First 50 Movie Songs You Should Play on the Piano Piano solo - Beginner Hal Leonard
By Various. Easy Piano Songbook. Softcover. 218 pages. Published by Hal Le...(+)
By Various. Easy Piano
Songbook. Softcover. 218
pages. Published by Hal
Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| O Love, How Deep Piano solo [Sheet music] Lorenz Publishing Company
(Expressive Piano Solos for Holy Week). By William Ringham. For Piano. Sacred: L...(+)
(Expressive Piano Solos for Holy Week). By William Ringham. For Piano. Sacred: Lent. Level 3. Book. Published by Lorenz Publishing Company
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Top 50 Country Hits Piano solo [Sheet music] - Easy Alfred Publishing
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Top 50. Countr...(+)
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Top 50. Country. Easy Piano. Book. 196 pages. Published by Alfred Music Publishing
(1)$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Movie Songs - Super Easy Songbook Piano solo - Easy Hal Leonard
By Various. Super Easy Songbook. Movies, Pop. Softcover. 128 pages. Published...(+)
By Various. Super Easy
Songbook. Movies, Pop.
Softcover. 128 pages.
Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Weekly Worship - 52 Hymns for a Year of Praise Piano solo - Easy Hal Leonard
Phillip Keveren Series. Arranged by Phillip Keveren. Easy Piano Songbook. Sof...(+)
Phillip Keveren Series.
Arranged by Phillip Keveren.
Easy Piano Songbook.
Softcover. 96 pages.
Published by Hal Leonard
$18.99 - 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
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| 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 | | |
| Screen Hits & Ballads You've Alw Piano solo Chester | | |
| 40 Popular Love Songs Piano solo [Sheet music] - Easy Alfred Publishing
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Level: Easy Pi...(+)
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Level: Easy Piano. Book. 212 pages. Published by Alfred Publishing.
$12.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gospel Hymns Piano solo [Sheet music] Hal Leonard
Composed by Various. Piano Chord Songbook. Softcover. 164 pages. Published by Ha...(+)
Composed by Various. Piano Chord Songbook. Softcover. 164 pages. Published by Hal Leonard (HL.150122).
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Best in Movie Sheet Music Piano solo [Sheet music] - Easy Alfred Publishing
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Movie. Level: ...(+)
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Movie. Level: Easy Piano. Book. 88 pages. Published by Alfred Publishing.
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Childhood Favorites for Easy Piano Piano solo - Easy Santorella Publications
Childhood Favorites for Easy Piano for easy piano. This edition: Paperback. Coll...(+)
Childhood Favorites for Easy Piano for easy piano. This edition: Paperback. Collection. Childrens. Book. Text Language: English. 128 pages. Published by Santorella Publications
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dan Coates Popular Piano Library -- Medleys of Pop and Rock Piano solo - Intermediate Alfred Publishing
Arranged by Dan Coates. For Piano. Book; Piano Collection; Piano Supplemental. D...(+)
Arranged by Dan Coates. For Piano. Book; Piano Collection; Piano Supplemental. Dan Coates Popular Piano Library. Form: Medley. Pop/Rock. Intermediate; Late Intermediate. 56 pages. Published by Alfred Music
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Church Pianist's Library, Vol. 17 Piano solo - Intermediate Lorenz Publishing Company
Composed by Various. For piano. Sacred. Lorenz Publishing Company #70/1936L. Pub...(+)
Composed by Various. For piano. Sacred. Lorenz Publishing Company #70/1936L. Published by Lorenz Publishing Company
$34.95 - 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 | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Divers : Easy Tunes
You've Always Wanted To
Play (Slipcase Edition) Piano solo - Easy Chester
Une superbe collection en trois volumes de plus de 115 morceaux faciles à...(+)
Une superbe collection en trois volumes de plus de 115 morceaux faciles à jouer pour le Piano Solo. Contient des morceaux pop, des musiques de spectacles, de jazz de la collection Tunes You've Always Wanted To Play, rassemblés ici pour une edition spéciale. / Variétés / Coffret Partition /
51.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Gerlitz, Carsten :
Classical Highlights Piano solo [Sheet music + CD] Schott
In the new 'Classical Highlights' edition, the arranger Carsten Gerlitz invites ...(+)
In the new 'Classical Highlights' edition, the arranger Carsten Gerlitz invites the most famous classical composers to his piano lounge. In this volume, you will find some of the most beautiful works for classical music with a new, stylishly pop look. With Maurice Ravel's 'Bolero', Schumann's 'Reverie' or Franz Liszt's 'Love Dream', you will take your audience away into the salons of times long gone whilst still remaining up-to-date. / Partition CD /
19.10 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Complete Keyboard Player
Course Pack Book 2
Cd's
Piano solo [Sheet music + CD] - Beginner Amsco Wise Publications
The world's best-selling keyboard method in one complete pack - everything you n...(+)
The world's best-selling keyboard method in one complete pack - everything you need to get the most from your Keyboard! This book and 3 CD pack has been compiled from the hugely successful Complete Keyboard Player series to offer an all-in-one solution to learning the best in Keyboard techniques, sounds and songs. This package includes: A complete tutorial guide giving a step-by-step approach to playing the instrument. Extensive chapters concerning selecting sounds, rhythms and using auto accompaniments. Music notation explained in full, along with single-finger and fingered chords, scales and keys. A comprehensive set of full professional-quality backing tracks across 3 CDs that will bring your practice hours to life. Handy Keyboard overlays will ensure that you will never have to hit a wrong note! Furthermore, over 50 hit songs have been provided to create an instant repertoire, and to give you the opportunity to learn using the songs that you know and love. No previous knowledge of the Keyboard or music is required. This book is A5-sized for easy transport! / Clavier
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| 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 | |
| Van Morrison: Van
Morrison: Piano:
Instrumental Album Piano solo [Sheet music + CD] Hal Leonard
Piano Play-Along Volume 72-Your favorite sheet music will come to life with the ...(+)
Piano Play-Along Volume 72-Your favorite sheet music will come to life with the innovative Piano Play-Along series! With these book/CD collections piano and keyboard players will be able to practice and perform with professional-sounding accompaniments. Containing eight cream-of-the-crop songs each the books feature new engravings with a separate vocal staff plus guitar frames so players and their friends can sing or strum along. The CDs feature two tracks for each tune: a full performance for listening and a separate backing track that lets players take the lead on keyboard. The high-quality sound-alike accompaniments exactly match the printed music. 8 songs including: Brown Eyed Girl · CrazyLove · Domino · Have I Told You Lately · Into the Mystic · Moondance · Someone like You · Tupelo Honey.
16.99 GBP - Sold by Musicroom UK | |
| CLASSIC and MODERN
BALLADS YOU'VE ALWAYS
WANTED TO PLAY P° Piano solo [Sheet music] - Intermediate Chester
This collection contains over 25 timeless love songs, all arranged for intermedi...(+)
This collection contains over 25 timeless love songs, all arranged for intermediate Piano solo. Contains many well-known classic and modern ballads, including The Nearness Of You by Norah Jones, Have I Told You Lately by Van Morrison and Run by Snow Patrol. / Partition /
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| Songs for Kids - Instant
Piano Songs: Easy Piano:
Instrumental Album Piano solo [Sheet music + Audio access] - Beginner 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 your favorite songs quickly and easily - whether you use one hand or two! Start with the melody in your right hand, then add 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 songs kids love to play and sing, including: Do-Re-Mi · Hakuna Matata · It's a Small World · On Top of Spaghetti · Puff the Magic Dragon · The Rainbow Connection · SpongeBob SquarePants Theme Song · Take Me Out to the Ball Game · Tomorrow · The Wheels on the Bus · Won't You Be My Neighbor? (It's a Beautiful Day in the Neighborhood) · You Are My Sunshine · and more.
14.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Broadway's Best Piano solo [Sheet music + Audio access] Hal Leonard
Simple Sheet Music Audio Play-Along. Par . The Instant Piano Songs series will...(+)
Simple Sheet Music Audio Play-Along. Par . The Instant Piano Songs series will help you play your favorite songs quickly and easily - whether you use one hand or two! Start with the melody in your right hand, then add 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 Broadway showstoppers, including: All I Ask of You · Bring Him Home · Defying Gravity · Don't Cry for Me Argentina · Edelweiss · Memory · The Music of the Night · On My Own · People · Seasons of Love · Send in the Clowns · She Used to Be Mine · Sunrise, Sunset · Tonight · Waving Through a Window · and more. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. / Date parution : 2022-03-05/ Recueil / Piano
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| Classical Highlights -
Piano Piano solo [Sheet music + CD] Schott
20 Famous Masterpieces Instrument : piano Type : edition with CD Nombre de Page...(+)
20 Famous Masterpieces Instrument : piano Type : edition with CD Nombre de Pages : 72 In the new 'Classical Highlights' edition, the arranger Carsten Gerlitz invites the most famous classical composers to his piano lounge. In this volume, you will find some of the most beautiful works for classical music with a new, stylishly pop look. With Maurice Ravel's 'Bolero', Schumann's 'Reverie' or Franz Liszt's 'Love Dream', you will take your audience away into the salons of times long gone whilst still remaining up-to-date. Content : R. Schumann: Dreamingt - J.S. Bach: Be Thou With Me - Bach/Gounod: Ave Maria - E. Grieg: Morning Mood - F. Smetana: Vltava - E. Satie: Gymnopédie No. 1 - J.S. Bach: Air - E. Grieg: Solveig's Song - F. Chopin: In mir klingt ein Lied/Etüde op. 10/3 - A. Rubinstein: Melody in F - F. Liszt: Dream Of Love - G. Bizet: Habanera - J. Brahms: Lullaby - L.v. Beethoven: Theme FromPathétique - E. Elgar: Popm And Circumstance - A. Vivaldi: Winter - W.A. Mozart: Romance - M. Ravel: Bolero - J. Offenbach: Barcarole - G.F. Händel: Largo
27.00 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Jazzy Christmas: Piano:
Mixed Songbook
Piano solo [Sheet music] - Easy Amsco Wise Publications
A Jazzy Christmas is a unique collection of fourteen great festive jazz arrangem...(+)
A Jazzy Christmas is a unique collection of fourteen great festive jazz arrangements for solo Piano - your favourite carols as you've never heard them before. For the pianist who hasexhausted those tired old Christmas favourites but still loves a bit of Christmas Piano this well-loved songbook is sure to get the attention of your audience with these fun and exciting arrangements of traditional Yuletidetunes. Expertly arranged by Paul Honey this book contains a great selection of traditional carols like Silent Night and Away In A Manger as well as more modern hits like Last Christmas andMary's Boy Child. For the full list of fourteen songs included here please scroll down. Every song is a unique and fresh take on a classic making this truly a hit with players and listenersalike. Pianists will love the jazzed-up harmonies and fun solo passages while listeners will enjoy blend of old and new familiar and unfamiliar. Another great part of A Jazzy Christmas is the challengeinvolved. Everyone can play the traditional carols but these sparkling arrangements of will give your fingers a challenge and your audience a surprise. This Christmas sheet music is probably suitable for around a Grade 5standard due to the unconventional rhythms and harmonies involved. So whether you want to wow the audience at a Christmas concert or just want to unite the family around a log fire in those cold wintermonths A Jazzy Christmas is certain to brighten up the Christmas favourites while also guaranteed to keep your fingers warm. If this collection isn't enough Christmas jazz for you why not check out the follow-up A Jazzy Christmas Book 2 for even more spiced up arrangements of old
13.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Gefällt Mir! -
Book 5 - Spiral-Bound
Book Piano solo [Sheet music + CD] Bosworth
The bestselling series Piano Gefällt Mir! continues with Book 5, featuring 50 m...(+)
The bestselling series Piano Gefällt Mir! continues with Book 5, featuring 50 more hits from the charts and blockbuster movies, arranged brilliantly for Piano by Hans-Günter Heumann. This edition is spiral-bound so will stay flat on a music stand, while the included MP3 CD features full backing tracks and demonstration tracks with the Piano part removed.Including a huge number of hits from some of today's top performers, this is the ideal songbook for beginners to learn some popular songs straight from the charts and movies. Featuring FourFiveSeconds by Rihanna, Kanye West and Paul McCartney, All About That Bass from Meghan Trainor and the instant pop-classic Photograph by Ed Sheeran, Heumann's arrangements are perfect for beginners, those re-learning the Piano, or even advanced players looking to expand their repertoire or practise sight-reading.The sheer range of songs in Piano Gefällt Mir! means that there really is something for everyone. Well-known songs from new and recent films are also included in this songbook, such as See You Again from 'Fast And Furious 7', Love Me Like You Do from 'Fifty Shades Of Grey' and Yann Tiersen's wonderful theme Watching Lara from 'Goodbye Lenin!' Each song in this fantastic volume features chord symbols, lyrics and useful fingering suggestions, ensuring you can learn to play these songs as quickly as possible.With Hans-Günter Heumann's Piano Gefällt Mir!, pianists of all ages and abilities can benefit from the diversity of popular songs and the expert arrangements on offer. / Piano
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| Piano Gefällt Mir! -
Book 5: Piano: Mixed
Songbook Piano solo Bosworth
Von Rihanna bis Fifty Shades of Grey - Spiralbindung-The bestselling series Pian...(+)
Von Rihanna bis Fifty Shades of Grey - Spiralbindung-The bestselling series Piano Gefällt Mir! continues with Book 5 featuring 50 more hits from the charts and blockbuster movies arranged brilliantly for Piano by Hans-Günter Heumann. This edition is spiral-bound so will sit perfectly on a music stand. Including a huge number of hits from some of today's top performers this is the ideal songbook for beginners to learn some popular songs straight from the charts and movies. Featuring FourFiveSeconds by Rihanna Kanye West and Paul McCartney All About That Bass from Meghan Trainor and the instant pop-classicPhotograph by Ed Sheeran Heumann's arrangements are perfect for beginners those re-learning the Piano or even advanced players looking to expand their repertoire or practise sight-reading. The sheer range of songs in Piano Gefällt Mir! means that there really is something for everyone. Well-known songs from new and recent films are also included in this songbook such as See You Again from 'Fast And Furious 7' Love Me Like You Do from 'Fifty Shades Of Grey' and Yann Tiersen's wonderful theme Watching Lara from 'Goodbye Lenin!' Each song in this fantastic volume features chord symbols lyrics and useful fingering suggestions ensuring you can learn to play these songs as quickly as possible. With Hans-Günter Heumann's Piano Gefällt Mir! pianists of all ages and abilities can benefit from the diversity of popular songs and the expert arrangements on offer.
22.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| 100 of the Most Beautiful
Piano Solos Ever: Piano:
Instrumental Album
Piano solo [Sheet music] Hal Leonard
100 pop and classical standards that every Piano player should master including...(+)
100 pop and classical standards that every Piano player should master including: Air on the G String Bridge over Troubled Water Canon in D Clair de Lune Fields of Gold Fur Elise I Dreamed a Dream I Will Always Love You Imagine Lullaby of Birdland Memory Misty Moon River On My Own Over the Rainbow The Shadow of Your Smile Smile Stardust Summertime Time After Time Unexpected Song The Way You Look Tonight We\'ve Only Just Begun What a Wonderful World Yesterday You Raise Me Up Your Song and more!
32.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Take The Lead. #1 Hits Piano solo [Sheet music] - Intermediate I.M.P.
Le plomb est une série intégrée pour saxophone alto, clarinette, flûte, pian...(+)
Le plomb est une série intégrée pour saxophone alto, clarinette, flûte, piano, saxophone ténor, trompette et violon. Dans chaque édition, toutes les chansons sont dans la même clé au concert pitch, permettant aux différents instruments à jouer ensemble. Symboles de corde sont inclus au concert pitch pour utilisation par piano ou de la guitare. ' Take the Lead #1 Hits ' comporte des arrangements idiomatiques de favori graphique-toppers offrant fun répertoire que jeunes instrumentistes adoreront jouer. Les étudiants ont le choix de jouer avec CD, Piano ou guitare et toutes les pièces sont entièrement intégrés avec des arrangements pour les autres instruments de la série, ce qui en fait la ressource idéale pour les groupes scolaires et les petits ensembles. Utilisé comme un livre solo ces pièces encouragera la progression technique et la confiance en jouant. Pièces idéales pour la performance, ou juste pour le plaisir. Table des matières : Croire - Careless Whisper - Dancing Queen - volant sans ailes - je toujours t'aimerai - Livin ' La Vida Loca - quand vous ne disent rien du tout... / Niveau : Intermédiaire / Recueil / Piano
15.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Pianorama Piano solo Bosworth
Appearing in a practical and convenient landscape format, Pianorama is a collect...(+)
Appearing in a practical and convenient landscape format, Pianorama is a collection of contemporary and classic hits, arranged by Hans-Günter Heumann with melody line, lyrics and chord symbols. With spiral-binding and songs on a double-page spread, this songbook is easy-to-use and a lot of fun.Featuring 100 hits including currently popular songs like Coldplay's A Sky Full Of Stars, Lady Gaga's Applaus, Daft Punk's Get Lucky and Pharrell Williams' Happy, Pianorama includes plenty to keep pop-loving pianists happy. It also includes many fantastic evergreen and classic hits such as R.E.M.'s Losing My Religion, Keane's Everybody's Changing and Buena Vista Social Club's Chan Chan, along with many more. Expertly arranged by Hans-Günter Heumann, Pianorama is full of great songs to play on the Piano in a convenient and accessible format that will stay open on your music stand while also minimising page-turns. / Piano
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| 100 études,
exercises et phrases
tonales Vol. 2 (LENS
NICHOLAS) Piano solo Schott
pour piano. Par LENS NICHOLAS. The Belgian composer Nicholas Lens presents extre...(+)
pour piano. Par LENS NICHOLAS. 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'. / Date parution : 2016-11-20/ Etude / Piano
59.95 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Popular Piano Solos:
Adult Piano Course - Book
1: Piano: Instrumental
Album Piano solo [Sheet music + Audio access] - Easy Willis Music
Elementary Level-12 great arrangements for the more mature student that can be u...(+)
Elementary Level-12 great arrangements for the more mature student that can be used on their own or as a supplement to John Thompson's Adult Piano Course (Book 1). Titles include: Born Free • Can't Help Falling in Love • Every Breath You Take • Fields of Gold • Give My Regards to Broadway • A Groovy Kind of Love • My Life • Ob-La-Di Ob-La-Da • Open Arms • Raindrops Keep Fallin' on My Head • Rainy Days and Mondays • Sweet Caroline. This book includes access to audio tracks online that can be downloaded or streamed.
15.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Gefällt Mir! -
Book 4 - Spiral-Bound Piano solo Bosworth
The fourth book in the Piano Gefällt Mir! series brings you 50 more chart and f...(+)
The fourth book in the Piano Gefällt Mir! series brings you 50 more chart and film hits, all arranged for Easy Piano by renowned composer Hans-Günter Heumann.This series has long been a favourite for Pianists looking to learn popular tracks from an authoritative source, and Hans-Günter Heumann has proven himself as a name you can rely on for Easy Piano arrangements of great modern pop classics. Everything from Coldplay to Harry Potter is included here, so you'll never be short of contemporary songs to learn and perform.From George Ezra's massive hit Budapest to Sam Smith's Money On My Mind, this book collects the finest hits from the past few years and arranges them for you to start playing straight away. A great selection of film songs and themes are also represented, such as Ed Sheeran's atmospheric I See Fire from 'The Hobbit' film, and Pharrell Williams's unbelievably catchy Happy from 'Despicable Me 2'.Not only this, but a few of Heumann's own compositions are sprinkled throughout, allowing you to take inspiration from this indisputable giant of composition's own creations. This spiral-bound version is perfect for folding out or reading on your music stand, since the pages will stay exactly where they are. / Piano
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| John Lunn: Downton Abbey:
Piano: Album Songbook Piano solo [Book] - Intermediate Amsco Wise Publications
You've loved watching the series now you can play the awesomely distinctive ori...(+)
You've loved watching the series now you can play the awesomely distinctive original soundtrack from Downton Abbey with this sheet music songbook composed by the incredible JohnLunn. One of the best parts of the hit television series is the expertly composed music. Written by John Lunn he and the Chamber Orchestra of London performed it for the TV series. From thatdistinctive theme tune to the drama and emotion conveyed by the score this Downton Abbey sheet music is perfect for all fans of the show as well as Piano players of alltastes. Featuring the wonderful Love And The Hunter the exceptional Story Of My Life and the unmistakeable Downton Abbey - The Suite this DowntonAbbey sheet music will let you play all of the recognisable themes from the show while reminiscing about the key moments from the series that made us laugh and cry. As the second series premiered Amazon listen thebox sets as being the highest-selling of any other Television show. The sheer success of the series is at least in part due to the beautiful and moving music that accompanies the events on the smallscreen. All of the Heart-rending Piano pieces and achingly lovely orchestral parts are arranged here for solo Piano so you can learn to play every part of the soundtrack as part of a performance orjust for general practice. The brilliant compositions by frequent television composer John Lunn match the tone and style of the show perfectly. He has composed for many other Television shows notably 'LittleDorritt' and 'Waking The Dead' his musical talents contributing to the success of the release of Downton Abbey's soundtrack. With the Downton Abbey sheet music you can
19.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Johannes Brahms: Waltz Op
39 No 15 Original &
Simplified Piano: Piano: Piano solo G. Henle
Original and simplified version single edition from HN 1286 and 1287-?Do you lo...(+)
Original and simplified version single edition from HN 1286 and 1287-?Do you love Brahms?? The majority of music lovers will answer ?yes? and they might be thinking of the Waltz op. 39 no. 15 its gently rocking melody is one of Brahms?s most famous inspirations. Both original versions of thispopular miniature for piano solo are now offered by G. Henle Publishers in a practical stand-alone Urtext edition. The more demanding version in A-flat major (taken from HN 1286) is followed by Brahms?s own easier arrangement inA major (from HN 1287). A must for every Brahms lover!
5.25 GBP - Sold by Musicroom UK | |
| Brun, Jérémy / Reynaud,
Armand : Kenny Barron :
The book - Relevés et
Analyses
Français Piano solo [Sheet music] Lemoine, Henry
Transcriptions et analyses par Armand Reynaud et Jérémy Brun
Je su...(+)
Transcriptions et analyses par Armand Reynaud et Jérémy Brun
Je suis honoré d'écrire quelques mots à propos d'un des plus grands pianistes, Kenny Barron. Il a été une figure importante de la scène New Yorkaise durant quarante ans et il fait partie de l'élite des pianistes de jazz dans le monde.
J'ai tout d'abord rencontré Mr Barron en 1977 dans un haut lieu du duo piano/basse, au Bradley's, dans Greenwich Village. Je l'ai entendu à Cincinnati (dans la ville où j'habitais) en 1974 avec le Quartette de Yusef Lateef et fus très impressionné. Au Bradley's, il était chaleureux et a été très encourageant avec moi, pianiste de 21 ans récemment arrivé à Big Apple (New York). Le moment venu, il me laissa m'asseoir avec son bassiste, le grand Buster Williams - ce fut un réel plaisir.
Lorsque j'ai commencé à réaliser des CD pour le bénéfice de Classical Action : Performing Arts Against AIDS, dans le début des années 90, je lui ai demandé de participer au second enregistrement Fred Hersch and Friends : The Duo Album en jouant un duo avec moi. Cette organisation collecte des fonds vraiment nécessaires pour les services de personnes atteintes du Sida et la prévention. Kenny, sans attendre, donna de son temps et joua magnifiquement. Il apparaît aussi sur le disque suivant, The Richard Rodgers Centennial Solo Jazz Piano Album .
Nous avons également joué à deux pianos à New York au Town Hall et deux fois au Jazz Standard, pour mon plus grand plaisir. C'est un partenaire merveilleux et compréhensif, disposé à tout essayer. Bien qu'il soit difficile de l'identifier, et je ne veux le mettre dans aucune sorte de boîtes, je perçois son style comme étant en grande partie influencé par McCoy Tyner (les lignes longues et claires) et Tommy Flanagan (le phrasé et l'utilisation de l'espace). Il a réussi à obtenir le statut rare de maître du jazz par la vertu de sa longévité, sa profondeur et sa musicalité. Nous partageons tous les deux une passion pour la musique de Monk, Strayhorn et de l'American Popular Songbook et nous sommes tous les deux de grands partisans de l'idée de rendre ce que nous avons absorbé en enseignant aux jeunes pianistes et en devenant leurs mentors.
En plus, il a une personnalité chaleureuse et engageante - il est d'un grand soutien, a un grand sens de l'humour et une attitude posée. Je suis très heureux que ce livre puisse apporter un éclairage sur le parcours du pianiste Kenny Barron - je suis sûr que cela sera d'une grande valeur musicale et historique pour tous ceux qui suivent l'évolution du piano jazz. / Jazz / Partition /
54.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Carole King: Carole King:
Piano: Instrumental Album Piano solo [Sheet music + CD] Hal Leonard
Piano Play-Along Volume 106-Your favorite sheet music will come to life with the...(+)
Piano Play-Along Volume 106-Your favorite sheet music will come to life with the innovative Piano Play-Along series! With these book/CD collections piano and keyboard players will be able to practice and perform with professional-sounding accompaniments. Containing eight cream-of-the-crop songs each the books feature new engravings with a separate vocal staff plus guitar frames so players and their friends can sing or strum along. The CDs feature two tracks for each tune: a full performance for listening and a separate backing track that lets players take the lead on keyboard. The high-quality sound-alike accompaniments exactly match the printed music. 8 songs includes: Hi-De-Ho (That OldSweet Roll) • I Feel the Earth Move • It's Too Late • Jazzman • So Far Away • Sweet Seasons • Will You Love Me Tomorrow (Will You Still Love Me Tomorrow) • You've Got a Friend.
15.99 GBP - Sold by Musicroom UK | |
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