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| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Hauschka: A Different Forest Piano solo Bosworth & Co.
Piano SKU: BT.BOE7935 Songbook. Composed by Hauschka. Contemporary...(+)
Piano SKU: BT.BOE7935 Songbook. Composed by Hauschka. Contemporary Music. Book Only. Composed 2019. 80 pages. Bosworth & Co. #BOE7935. Published by Bosworth & Co. (BT.BOE7935). ISBN 9783954562008. German. Known professionally as Hauschka, composer Volker Bertelmann has catapulted himself into the top tier of instrumental composers. This is proven, not least, by the Oscar nomination which he received for his soundtrack to the2016 film Lion. In his latest album A Different Forest, released on 8 February 2019 at Sony Classical, Hauschka takes the forest as a contrast to the urban life. The names of the pieces, such as 'Talking To My Father',testify equally that those natural experiences are metaphorical of the important things in life. For this album Hauschka renounces entirely his prepared Piano. The existential questions which he musically poses, however,donot lose their intensity, but rather, without the alienation by electronic elements, gain urgency. In addition to the 13 LP tracks, this songbook for Piano also contains three exclusive arrangements of previouslyunreleased songs: 'Collecting Stones', 'Loosing Directions' and 'Misty Day'. Volker Bertelmann aka Hauschka lanceerde zichzelf naar top van de instrumeantele componisten, niet in het minste door zijn oscar-nominatie die hij ontving voor zijn soundtrack bij de film Lion. In zijn laatste album A Different Forest - uitgebracht op 8 februari 2019 - gebruikt hij het bos als een contrast met het stadsleven. Titels zoals Talking To My Father tonen dat deze ervaringen in de natuur metaforen zijn voor belangrijke gebeurtenissen in het leven. Dit songbook voor piano bevat, naast de 13 nummers van de LP, eneneens 3 exclusieve bewerkingen van tot nu onuitgebrachte nummers: Collecting Stones, Losing Directions and Misty Day.
Volker Bertelmann alias Hauschka hat sich mittlerweile in die oberste Riege der Instrumentalkomponisten katapultiert. Dies beweist nicht zuletzt die Oscar-Nominierung, die er für seinen Soundtrack zum Film Lion“ erhielt. In seinem neusten Album A Different Forest“ am 08. Februar 2019 bei Sony Classical erschienen nimmt er sich dem Wald als Kontrastraum zum städtischen Leben an. Titelnamen wie Talking To My Father bezeugen gleichermaßen, dass jene Naturerfahrungen metaphorisch für die wichtigen Dinge des Lebens stehen. Für dieses Album verzichtet Hauschka gänzlich auf sein präpariertes Klavier. Die existentiellen Fragen, denen er sich musikalisch stellt, verlieren hierdurch aber nicht an Intensität, sondern gewinnen ohne die Verfremdung durch elektronische Elemente vielmehr an Dringlichkeit. Dieses Songbook für Klavier enthält neben den 13 Titeln der LP drei exklusive Arrangements bisher unveröffentlichter Songs: Collecting Stones, Losing Directions und Misty Day.
Volker Bertelmann, également connu sous le nom de Hauschka, s'est retrouvé au premier rang des compositieurs instrumentaux : ceci a été confirmé par sa nomination aux Oscars pour la bande-originale du film Lion. Dans son dernier album « A Different Forest », sorti le 8 février 2019, la forêt fait usage de contaste avec la vie urbaine. Des titres tels que Talking to My Father déclarent de la même façon que ces expériences au contact de la nature sont des métaphores de moments importants dans la vie. En plus des 13 pistes du vinyl 33 trous, ce recueil de chansons pour piano comprend en exclusivité trois arrangements de titres inédits : Collecting Stones, Losing Directions et Misty Day.
Volker Bertelmann aka Hauschka si è portato a un livello superiore dei compositori strumentali. Questo non è subito evidente nella colonna sonora del film Lion, per cui ha ricevuto una candidatura all' Oscar, ma nel suo ultimo album A Different Forest - uscito l'8 febbraio 2019 - in cui utilizza l'immagine della foresta come contrasto con la vita urbana. Titoli come Talking to My Father testimoniano allo stesso modo che tutte quelle esperienze della natura sono metafore di eventi importanti della vita. Questo canzoniere per pianoforte contiene, oltre ai 13 brani dell'LP, tre arrangiamenti esculisivi di canzoni inedite: Collecting Stones, Losing Directions e Misty Day. $31.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Teachers' Choice 2017 and 2018 Grades 1 To 3 Piano solo Wells Music Publishers
Piano SKU: BT.WMP2315 Selected Piano Repertory and Studies. By Jos...(+)
Piano SKU: BT.WMP2315 Selected Piano Repertory and Studies. By Josephine Koh. Teachers' Choice. Exam Material. Book Only. 48 pages. Wells Music Publishers #WMP2315. Published by Wells Music Publishers (BT.WMP2315). ISBN 9789811105562. English. The latest of this series comprises popular choice pieces and alternative works from the ABRSM Piano Examination syllabi. These pieces have been specially selected for examination purposes and general repertoire study. Meticulously fingered and edited by Josephine Koh, the Teachers' Choice Selected Piano Repertory & Studies, just like the past series, offers teaching points and performance directionsthat help to develop technical assurance and stylistic awareness in the students. All works in Teachers' Choice are beautifully scored for comfort of reading. Beyond examinations, the series is enjoyed by music teacherswhouse the studies presented in each grade, for the development of specific technical skills in their students. $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Yoshiko Kurokawa: Piano Scales on All Keys Complete Book Piano solo - Intermediate Yamaha
Piano - Intermediate SKU: YM.GTP01100873 Composed by Various. Piano Educa...(+)
Piano - Intermediate SKU: YM.GTP01100873 Composed by Various. Piano Educational. Yoshiko Kurokawa. Studies, Exercises. Method Book. Yamaha Music Media #GTP01100873. Published by Yamaha Music Media (YM.GTP01100873). ISBN 9784636106282. The scale training exercise complete book, supervised by Yoshiko Kurokawa. This is a revolutionary collection of all-key scale exercises designed to help both aspiring and practicing pianists practice essential scales efficiently. The major and minor (harmonic and melodic minor) scales in the 12 keys are an important part of the practice for learning tonality and training the muscles and joints of the hand. The human hand is flexible, and the thumb and other fingers bend in different directions, making it easy to turn and play a wide range of notes. However, it is important to learn scales from an early age because the correct playing style is required, such as knowing how to turn the fingers when playing speed is faster, the position of the black keys and white keys, and how to use the wrist. To play scales smoothly with all five fingers (one hand), the turn of the first finger is significant. It is advisable to practice scales from an early age to improve the turns. The fingering of the scale changes depending on the key. It takes a lot of time to learn them because fingering is different for the right hand and the left hand as well. Also, although the scale is written in two-fourths time, if you are not used to it, you may end up playing one octave at a time. Various exercises are described in this book to help you solve these problems. It takes a lot of time to play scales well by nature, but that is why it is important to practice efficiently. $12.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Iniziazione Al Piano Latino - Collezione 3D Piano solo [Sheet music + CD + DVD] Play Music Publishing
Composed by Andrea Cutuli. Carisch - Music Sales. Book with CD & DVD. 56...(+)
Composed by Andrea Cutuli.
Carisch - Music Sales. Book
with CD & DVD. 56 pages.
Play Music Italy #CARML3755.
Published by Play Music
Italy
$36.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Iniziazione al Piano Latino Piano solo [Sheet music + CD] Play Music Publishing
Composed by Andrea Cutuli. Play Music Italia. Book with CD. Play Music Italy...(+)
Composed by Andrea Cutuli.
Play Music Italia. Book with
CD. Play Music Italy
#CARML3304. Published by
Play Music Italy
$29.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto No. 1 in E Minor Op. 11 - Version for One Piano Piano solo PWM (Polskie Wydawnictwo Muzyczne)
Piano (Study Score) SKU: HL.132240 Chopin National Edition, A. XIIIa V...(+)
Piano (Study Score) SKU: HL.132240 Chopin National Edition, A. XIIIa Vol. 13. Composed by Frederic Chopin. Edited by Jan Ekier. PWM. Classical. Study Score. Polskie Wydawnictwo Muzyczne #51600906. Published by Polskie Wydawnictwo Muzyczne (HL.132240). UPC: 884088970741. Piano concertos combine two elements: pure playing and full poetic expression. Virtuosity and romance. Pianistic brilliance, educated in the works in the stile brillant, brought to perfection, but at the same time - a farewell. Both are forms of direct expression of the personality of the composer, which showed itself in them for the first time with so much strength and is manifested in a group of characteristics of forming Chopin's individual style. Piano Concerto in E minor Characterised by an extensive, in terms of Chopin's concert pieces, orchestral part. The melody here is less ornamented, and more fluid, the sketch of the cantilena very noble and clear, the highly virtuosic element is exposed, but not to the extent of overwhelming the logic of the design. Critical source-edition edited by Jan Ekier and Pawel Kaminski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form. $18.99 - See more - Buy online | | |
| Teachers' Choice Piano Repertory Exam Pieces 2011 Piano solo Play Music Publishing
Piano - Grade 6 SKU: BT.WMP2113 12 Grade 6. Arranged by Josephine ...(+)
Piano - Grade 6 SKU: BT.WMP2113 12 Grade 6. Arranged by Josephine Koh. Teachers' Choice. Exam Material. Book Only. 41 pages. Wells Music Publishers #WMP2113. Published by Wells Music Publishers (BT.WMP2113). ISBN 9789810884819. Teachers' Choice, Selected Piano Repertory & Studies for Grades 6 & 7 is compiled to provide teachers and students with good options for the 2011-2012 ABRSM Piano examinations. - A variety of interesting andappealing Piano pieces with up-to-date editorial suggestions are presented to assist students achieve high standards of musical performance.
- Effective teaching points are suggested with recommended technical studies.Teachers will find this approach very helpful and effective, thus enriching their teaching process, leading to a very successful experience.
- Examination requirements aside, finer details in interpretation andstylisticperformance are strongly encouraged. Beyond the printed page, the editorial suggestions are directed to provide the impetus to strive towards greater musical creativity and perfection.
- Most important of all,enjoy the high standard of music typography; with clear, professionally laid scores that combine musical semiotics with modern publishing technology. Digital print on quality cream-coloured paper ensures comfort in reading andlearning for all students.
$16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Teachers' Choice Piano Repertory Exam Pieces 2011 Piano solo - Intermediate/advanced PWM (Polskie Wydawnictwo Muzyczne)
Piano - Grade 4 SKU: BT.WMP2112 12 Grade 4. Arranged by Josephine ...(+)
Piano - Grade 4 SKU: BT.WMP2112 12 Grade 4. Arranged by Josephine Koh. Teachers' Choice. Exam Material. Book Only. 38 pages. Wells Music Publishers #WMP2112. Published by Wells Music Publishers (BT.WMP2112). ISBN 9789810884802. Teachers' Choice, Selected Piano Repertory & Studies for Grades 4 & 5 is compiled to provide teachers and students with good options for the 2011-2012 ABRSM Piano examinations. - A variety of interesting andappealing Piano pieces with up-to-date editorial suggestions are presented to assist students achieve high standards of musical performance.
- Effective teaching points are suggested with recommended technical studies.Teachers will find this approach very helpful and effective, thus enriching their teaching process, leading to a very successful experience.
- Examination requirements aside, finer details in interpretation andstylisticperformance are strongly encouraged. Beyond the printed page, the editorial suggestions are directed to provide the impetus to strive towards greater musical creativity and perfection.
- Most important of all,enjoy the high standard of music typography; with clear, professionally laid scores that combine musical semiotics with modern publishing technology. Digital print on quality cream-coloured paper ensures comfort in reading andlearning for all students.
$13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| MIM Projects 3 Piano solo Heritage Music Press
By Walter Noona. Piano. Level: Level 3. Piano method. Published by Heritage Musi...(+)
By Walter Noona. Piano. Level: Level 3. Piano method. Published by Heritage Music Press.
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Larrocha Granados : Integral para piano (Collecion Completa) Piano solo [Biographies] Editorial de Musica Boileau
By De Larrocha Granados. For Piano. Keyboard/Piano. Published by Editorial de Mu...(+)
By De Larrocha Granados. For Piano. Keyboard/Piano. Published by Editorial de Musica Boileau
$505.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Theory Lessons, Primer
Piano solo [Sheet music] - Beginner Kjos Music Company
By James Bastien. For piano. Bastien Piano. Bastien Piano Library. Level: Primer...(+)
By James Bastien. For piano. Bastien Piano. Bastien Piano Library. Level: Primer. Music Book. Published by Neil A. Kjos Music Company.
$5.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Easy Suite Movements and Single Pieces Piano solo Breitkopf & Härtel
Piano SKU: BR.EB-8033 Piano Lessons by Jean-Philippe Rameau. Compo...(+)
Piano SKU: BR.EB-8033 Piano Lessons by Jean-Philippe Rameau. Composed by Jean-Philippe Rameau. Edited by Heinz Walter. Solo instruments; stapled. Edition Breitkopf. Suite; Dances/marches; Baroque. Score. 20 pages. Breitkopf and Haertel #EB 8033. Published by Breitkopf and Haertel (BR.EB-8033). ISBN 9790004174364. 9 x 12 inches. This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extant, since it is more stimulating for children to change the teaching material frequently. Jean-Philippe Rameau (1683-1764) is the second great keyboard master of the Baroque Age next to Couperin. His works are as unknown to pianists, with few exceptions, as they are famous among harpsichord players. The virtuosity and imaginativeness of his works lend themselves especially well to the sound of harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the harpsichord and clavichord, and no one would dare question their interpretation on the pianoforte. In order to introduce these Impressionists of the Baroque Era to piano instructions, the editor has added to this series a folio of both Couperin's (EB 8029) and Rameau's music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. Baroque dance forms and graceful character pieces (LaJoyeuse, L'Indifferente) are typical ofRameau's work. Simplifications to a small extent of the harpsichord setting and also of the omamentation in the original version were required, based on the teaching experience of the editor. The indications for phrasing and articulation are those of the editor. The Minuet on page 6 has been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series: what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the espective footnotes; these directions, however, are not obligatory. Indications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case by used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realisation of trills (according to the table). Heinz Walter, Salzburg, Spring 1980. $15.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Easy Character Pieces from the French Baroque Era Piano solo Breitkopf & Härtel
Piano SKU: BR.EB-8029 Piano Lessons by Francois Couperin. Composed...(+)
Piano SKU: BR.EB-8029 Piano Lessons by Francois Couperin. Composed by Francois Couperin. Edited by Heinz Walter. Solo instruments; Softcover. Edition Breitkopf. Baroque period. Score. 20 pages. Breitkopf and Haertel #EB 8029. Published by Breitkopf and Haertel (BR.EB-8029). ISBN 9790004174326. 9 x 12 inches. This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extent, since it is more stimulating for children to change the teaching material frequently. There are four existing harpsichord books with a total of 226 compositions by Francois Couperin le Grand (1668 -1733). His works are as unknown to pianists as they are famous among harpsichord players. The grace and imaginativeness of his works lend themselves especially well to the sound of the harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the haipsichord and clavichord, and no one would dare question their intetpretation on the pianoforte. In order to introduce these lmpressionists of the Baroque Era to piano instruction, the editor has added to this series a folio of both Couperin's and Rameau's (EB 8033) music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. The Butterflies and the Windmills are both especially typical of masterful character pieces. The demands made on technique certainly correspond to a level of moderate difficulty. The simplifications made are restricted to the artistically realized twopart accompaniment (eg. p. 4 f. and p. 8 f.) with regard to finger stretch and to the profuse ornamentation of the original. The indications for phrasing and articulation are those of the editor. The first two pieces have been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series; what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the respective footnotes; these directions, however, are not obligatory. lndications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case be used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realization of trills (according to the table). Heinz Walter, Salzburg, Spring 1980. $15.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Contact for Piano Solo (Album) Piano solo Metropolis Music Publishers
Composed by Guy Van Nueten. Keyboards - Piano. Metropolis Music Publishers #P...(+)
Composed by Guy Van Nueten.
Keyboards - Piano.
Metropolis Music Publishers
#PN7320EM. Published by
Metropolis Music Publishers
$23.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| David Carr Glover Method for Piano: Lessons, Primer
Piano solo [Sheet music] - Beginner Alfred Publishing
By David Carr Glover and Jay Stewart. For Piano. Piano method/supplement. Level:...(+)
By David Carr Glover and Jay Stewart. For Piano. Piano method/supplement. Level: Early Elementary, Primer Level. Book. 48 pages. Published by Alfred Publishing.
(1)$8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Symphony No. 94 'Surprise' Piano solo Edition HH
Piano solo SKU: HH.HH513-SOL Composed by Franz Joseph Haydn. Edited by Sa...(+)
Piano solo SKU: HH.HH513-SOL Composed by Franz Joseph Haydn. Edited by Sarah Jenner. Arranged by C.D. Stegmann. Playing score. Edition HH Music Publishers #HH513-SOL. Published by Edition HH Music Publishers (HH.HH513-SOL). ISBN 9790708185239. Haydn’s Symphony No.94 was first performed on 23 March 1792 at the Hanover Square Rooms under the direction of Salomon as concertmaster with the composer himself at the fortepiano. The work was an instant success and soon became – and remains – one of Haydn’s most popular symphonies. The soubriquet Surprise was attached to the work very early on, and was prompted by the unexpected forte chord (reinforced by the Timpani stroke) in bar 16 of the Andante. In German-speaking countries the symphony is known by the nickname Mit dem Paukenschlag for the same reason. $23.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Symphony No 101 (Clock) Piano solo Edition HH
Piano solo SKU: HH.HH515-SOL Composed by Franz Joseph Haydn. Edited by Sa...(+)
Piano solo SKU: HH.HH515-SOL Composed by Franz Joseph Haydn. Edited by Sarah Jenner. Arranged by C.D. Stegmann. Playing score. Edition HH Music Publishers #HH515-SOL. Published by Edition HH Music Publishers (HH.HH515-SOL). ISBN 9790708185253. Haydn’s Symphony No. 101 was first performed on 3 March 1794 at the Hanover Square Rooms under the direction of Salomon as concertmaster with the composer himself at the fortepiano. The work was an instant success and soon became, and remains to this day, one of Haydn’s most popular symphonies. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Keyboard Cousins Piano solo Subito Music
Piano SKU: SU.95010680 For Piano. Composed by Judith Lang Zaimont....(+)
Piano SKU: SU.95010680 For Piano. Composed by Judith Lang Zaimont. Score. Subito Music Corporation #95010680. Published by Subito Music Corporation (SU.95010680). Throughout our wonderful spectrum of sounds every instrument speaks in its own unique voice - in a special manner, with a special accent. Keyboard Cousins asks the developing pianist to adopt a few of these other voices using controlled varieties of touch. —Judith Lang Zaimont The Harpsichord A Harpsichord's sounds are short and a bit brittle. So use a detached touch, and no pedal. The Guitar A Guitar's tones linger, and the instrument responds to flexing tempos. Watch for the detached, moving inner line, shared from hand to hand, while the top and bottom anchor points sustain. And note the given direction for certain arpeggios, and where the tempo loosens (especially a long ending ritard). The Harp A Harp's exuberance flourishes across its wide range. Its arabesques build up resonance over time, so watch how the pedaling matches the phrasing. Though the meter twice switches from triple to duple, there are the same steady 2 beats in every bar.Keyboard Cousins is included in Piano Premieres, Volume 1 (Cat.# 96010590), New music for developing pianists. Piano Duration: ca. 5' Composed: 2020 Published by: Subito Music Publishing. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Polonaise in A-flat Major, Op. 53 Piano solo PWM (Polskie Wydawnictwo Muzyczne)
Piano SKU: HL.191946 Facsimile. Composed by Frederic Chopin. PWM. ...(+)
Piano SKU: HL.191946 Facsimile. Composed by Frederic Chopin. PWM. Classical. Hardcover. Composed 2013. 35 pages. Polskie Wydawnictwo Muzyczne #61310142. Published by Polskie Wydawnictwo Muzyczne (HL.191946). ISBN 9788361142829. The Polonaises, Op. 40 belong to that later group. They comprise two works: a Polonaise in A major and a Polonaise in C minor. These two works comprise the second opus of piano polonaises to be published by Chopin, and they form a powrful contrastwith one another, representing two varietes of the heroic polonaise: the triumphant and the tragic. They also mark a further stage in the evolution of the polonaise: on the hand, in the direction of monumentalisation; on the other, towards a gradualweakening of its dance features, so that the dance in transformed into a kind of dance fantasy. $83.00 - See more - Buy online | | |
| Piano Sonata C Minor op. 1 Piano solo Fennica Gehrman
Piano SKU: FG.55011-512-5 Pianosonaatti c-molli op. 1. Composed by...(+)
Piano SKU: FG.55011-512-5 Pianosonaatti c-molli op. 1. Composed by Ilmari Hannikainen. Fennica Gehrman #55011-512-5. Published by Fennica Gehrman (FG.55011-512-5). ISBN 9790550115125. Ilmari Hannikainen (1892-1955) was the most important Finnish pianist during the first decades of the 1900s. In his lifetime he also was one of the country's most famous composers. Hannikainen studied composition with Erkki Melartin, Franz Schreker and Maximilian Steinberg. His piano techers include Elli Rangman-Bjorlin and Alexander Siloti. Piano Sonata C minor Op. 1 was completed in 1912, and is one of the largest-scale romantic piano compositions in the Finnish piano repertoire. The work is a joyride of flowing national romanticsm filled with youthful energy. Some technical influence from Chopin and Liszt is evident, as is from master Sibelius, the major figure in Finnish music at the time. The Piano Sonata is published now for the first time - and directly as an Urtext edition. Pianist Dmus Risto-Matti Marin and music engraver Jani Kyllonen have studied all surviving manuscript sources, resulting in a worthy edition of this great work for piano. $34.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Music, Vol. 2 Piano solo [Sheet music] Promethean Editions
Composed by Douglas Lilburn. This edition: saddle stitched. The Douglas Li...(+)
Composed by Douglas Lilburn.
This edition: saddle
stitched. The Douglas
Lilburn Complete Piano Music
Series. Performance score.
Published by Promethean
Editions
$34.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Satukuvia Piano solo Fennica Gehrman
Piano SKU: FG.55009-164-1 Composed by Toivo Kuula. Published by Fennica G...(+)
Piano SKU: FG.55009-164-1 Composed by Toivo Kuula. Published by Fennica Gehrman (FG.55009-164-1). ISBN 979-0-55009-164-1. Perhaps the salient feature in Kuula's music is its rather heavy pathos and elegiac quality. Now and then Kuula varied his usual Romantic idiom in an Impressionistic direction. Kuula's most unusual piece is the second of the Three Satukuvia (Fairytale Pictures) dating from 1912. This technically demanding piece combines capricious figures and passage work with shifting moods, with frequent alternation of whole-tone and minor scales, although the quiet middle section is more traditional. $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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| Easiest Piano Course :
Easiest Pop Songs Piano solo Amsco Wise Publications
This Easiest Pop Songs edition of John Thompson's Easiest Piano Course allows th...(+)
This Easiest Pop Songs edition of John Thompson's Easiest Piano Course allows the beginner pianist, who is progressing from part one to part two of the world-renowned course, to learn some fantastic and well-known pop songs. With simplified arrangements and large notation, these are popular hits in the familiar John Thompson style.As well as reinforcing basic technique, developing musicality and making learning great fun, the Easiest Pop Songs will be familiar to most young beginners, allowing them to learn and play some of their favourite tunes of the moment. Repertoire books like this have been specially created and graded to be used with the John Thompson's Easiest Piano Course, so pianists who are working through that will recognise the style of this songbook.This book features a number of pop songs, including Taylor Swift's Shake It Off, Sam Smith's Brilliant Stay With Me and Adele's huge smash-hit Hello. There are many more, though, such as Wings by Birdy, Flashlight by Jessie J and I Really Like You by Carly Rae Jepsen. These Easiest Pop Songs are perfect supplementary material for those working through parts 1 and 2 of the course, but also make great sight-reading practice for more advanced students. Since dynamics and phrasing are not introduced until part 3 of the course, they are not included here, although some invaluable hints and tips and fingering guides are featured for all songs.All beginner Piano pupils will love to learn the famous pop songs included in this repertoire book - an ideal complement to John Thompson's Easiest Piano Course. / Piano
11.83 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Atonement Motion Picture Piano solo [Score] Amsco Wise Publications
Recently nominated for an incredible 12 Baftas including Best Music by Dario Mar...(+)
Recently nominated for an incredible 12 Baftas including Best Music by Dario Marianelli who was also nominated for Best Composer by the British Film Critics Assiociation. Atonement is a 2007 British film directed by Joe Wright. It is adapted from Ian McEwan's novel of the same name. It stars James McAvoy and Keira Knightley in the lead roles. This book contains all the songs from the film. All tracks composed by Dario Marianelli, apart from the bonus final song - Clair De Lune by Claude Debussy. / Piano
26.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Easiest 5-Finger Piano
Collection: Hugh Chart
Hits: Piano: Mixed
Songbook Piano solo - Beginner Amsco Wise Publications
15 popular chart hits arranged for 5-finger piano-Featuring 15 popular Chart Hit...(+)
15 popular chart hits arranged for 5-finger piano-Featuring 15 popular Chart Hits of today the Easiest 5-Finger Piano Collection puts some brilliant hits right at your (five) finger tips. Perfect for beginners or as sight-reading practice thissongbook will get you playing some of the biggest chart tunes straight away and with ease. Featuring some of the latest and greatest pop songs of today by the most talented young songwriters out there you'llbe sitting down and playing these catchy choruses in no time at all. With songs like Blame It On Me by the unstoppable George Ezra the inspirational Shake It Off by Taylor Swift the heartfelt Night Changesby One Direction and the soundtrack to Christmas 2014 Tom Odell's Real Love you'll impress your friends and family with how quickly and easily you can pick up these popular tunes. Not only this but you candownload a set of Piano accompaniments for each song free of charge. This means that a parent or teacher can accompany you making these songs sound simply stunning. Featuring fifteen great pop tunes instandard notation all in easy five-finger arrangements so that your fingers need only stay in one place and you can play the entire song! Each one is presented simply with a finger position diagram showing you where to put yourfingers on the keys to play the whole thing. With full lyrics too this pop sheet music song book gives you everything you need to play tunes like Ghost I'm Not The Only One Jealous and Thinking Out Loud. Thisbook is perfect for beginning pianists who are learning in the five-finger position but want some great pop tunes to play as well or they work equally well as sight-reading practice for gradedexaminations. Whether you're a pop fanatic or just a beginner with a love for catchy melodies Easiest 5-Finger Piano Collection features the best Chart Hits in an
12.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Laverne A. - Chords In
Motion - Piano Piano solo Jamey Aebersold Jazz
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has dra...(+)
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ? a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy?he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book?encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation
24.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| One Direction : Really
Easy Piano : One
Direction Piano solo [Sheet music] - Easy Amsco Wise Publications 16.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| John Thompson: John
Thompson's Piano Course:
First Chart Toppers:
Piano: Mixed Piano solo [Sheet music] - Easy Willis Music
This First Chart Toppers songbook is a collection of best selling popular songs...(+)
This First Chart Toppers songbook is a collection of best selling popular songs arranged for Piano designed to complement the acclaimed John Thompson's Easiest Piano Course.The songs included in John Thompson's First Chart Toppers are presented in simplified arrangements making this an ideal repertoire for pupils working through parts two to four of the Easiest Piano Course. The order of the songs is such that they get progressively more advanced so that as pupils learn more challenging techniques and theory it is put into practice with a familiar song.The 15 songsincluded here should be well-known to most with tunes like Happy by Pharrell Williams Roar by Katy Perry and What Makes You Beautiful by One Direction. The catchy melodies and simple tunes allow pupils to consolidate their learning within a familiar context since the student will know how the songs are supposed to sound. For the complete list of songs see below.Because dynamics and phrasing are not introduced until part three of the course some of the pieces early on in First Chart Toppers do not include this while outline fingering is included throughout which is especially helpful for pupils at this level. For more advanced students this book can provide really useful sight reading practice.So for the perfect complement to the Easiest Piano Course First Chart Toppers will build your musical repertoire by putting today's top hits at your fingertips.
9.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Easiest 5-Finger Piano
Collection: More Chart
Hits: Piano: Mixed
Songbook Piano solo - Easy Amsco Wise Publications
This edition from the hugely popular Easiest 5-Finger Piano Collection series fe...(+)
This edition from the hugely popular Easiest 5-Finger Piano Collection series features 15 popular chart hits arranged for 5-finger piano. Includes songs by One Direction Little Mix Rihanna and OllyMurs.
12.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| The Library Of Easy Piano
Pop Songs: Piano: Mixed
Songbook Piano solo Music Sales
This easy Piano collection contains some of the very best pop songs from over 50...(+)
This easy Piano collection contains some of the very best pop songs from over 50 years of hits anthems and solid gold classics. More than 100 songs are included and there's something for everybody. The Beatles DavidBowie Lady Gaga Beyonce Elvis Presley Taylor Swift Ed Sheeran Leonard Cohen Adele Oasis Coldplay and One Direction are just a few of the hitmakers whose songs can be enjoyed in easy piano arrangements complete with fulllyrics and chord symbols.
24.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Pam Wedgwood: Pam
Wedgwood's Piano Basics:
Pop Hits: Piano:
Instrumental Album Piano solo [Sheet music] - Beginner Faber Music Limited
This fantastic collection includes hits such as Let It Go (from Frozen) Best So...(+)
This fantastic collection includes hits such as Let It Go (from Frozen) Best Song Ever (One Direction) and Price Tag (Jessie J) as well as great original pieces by Pam Wedgwood. Teaching notes and practice exercises are featured throughout to help players learn and understand the pieces.Part of Pam Wedgwood's Piano Basics series: providing the building blocks to develop a sound technique in an imaginative and practical way whilst also establishing key musicianship skills. This book is ideal to be used alongside Pam Wedgwood's Piano Basics 2.
7.50 GBP - Sold by Musicroom UK | |
| 14 Pop Hits: Piano: Mixed
Songbook Piano solo - Easy Hal Leonard
Developing pianists will love to play the songs in this collection of 14 Pop Hit...(+)
Developing pianists will love to play the songs in this collection of 14 Pop Hits For Big Note Piano from stars such as Adele Beyoncé Coldplay Lady Gaga One Direction and Taylor Swift. This poptastic songbook includes sheet music for songs such as Home I Knew You Were Trouble Need You Now Poker Face Teenage Dream What Makes You Beautiful and more.
12.25 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Wolfgang Amadeus Mozart:
Alla Turca Jazz: Piano:
Instrumental Work Piano solo - Easy Schott
The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart t...(+)
The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart the Rondo Alla Turca is one of the most famous piano pieces of all time. Once only familiar to musical experts later a universal piece for all piano pupils its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazıl Say's arrangement originally created as an effective encore follows on from this popularity. After the first eight bars have been presented in original form typical elements of jazz superimposed on the still recognisable classical foundations can be discovered such as syncopation of the top notes andornamentation through chromatic blue notes embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character Say likes to perfom his Alla Turca Jazz in different combinations for example accompanied by jazz singers of with orchestra. It may appear strange that Fazıl Say who was born in Turkey and - when not on tour - is still resident in that country does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition Turkish folk music and elements of jazz. In a further Mozart arrangement the ballet music Patara premiered in Vienna in 2006 composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme) Say utilised the connection which was absent in Alla Turca albeit in the opposite direction. In the ballet music the piano symbolises Western culture and the Ney flute Oriental culture communcated atmosperically by austere percussion instrumentation and soprano vocalisation.
11.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Franz Liszt: Annees De
Pelerinage Complete:
Piano: Instrumental Album Piano solo - Advanced Dover Publications
This volume reproduces directly from an authoritative Russian edition the famous...(+)
This volume reproduces directly from an authoritative Russian edition the famous cycle of solo piano works that comprises a summa of Liszt's pianistic achievement.
35.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| ChordTime Piano Ragtime &
Marches Level 2B: Piano:
Instrumental Album Piano solo - Easy Faber Piano Adventures
Level 2B-This collection of outstanding popular pieces from the early 1900s is i...(+)
Level 2B-This collection of outstanding popular pieces from the early 1900s is immensely appealing to the intermediate student. These pianistic arrangements with carefully edited fingering and pedaling and are directly suitable for students of a level 2B (late-elementary) standard.A superb opportunity to capture and master the addictive syncopations and delightful jumping melodies of the Ragtime style as well as the stately elegance of the March.
6.75 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Palmer Manus And Lethco
- Alfred Adult Piano
Course Lesson Book 1 + Cd
- Piano Piano solo [Sheet music + CD] Alfred Publishing
More than 3-million adult students have learned to play the piano using this wel...(+)
More than 3-million adult students have learned to play the piano using this well-sequenced course. Perfect for beginners who prefer a chord approach, students learn how to play chords in either hand in order to move beyond simply playing single note melodies. This course is most effective when used under the direction of a piano teacher or experienced musician. Titles: Alouette * Alpine Melody * Amazing Grace * At Last * Au Claire de la Lune * Aura Lee * The Ballad of Gilligan's Island * Beautiful Brown Eyes * Blow the Man Down! * Brother John * Caf Vienna * The Can-Can * Chiapanecas * Cockles and Mussels * The Cuckoo * The Donkey * The Entertainer * A Friend Like You * The Gift to Be Simple * Go Down, Moses * Good King Wenceslas * Good Morning to You! * Got Those Blues * Greensleeves * Happy Birthday to You! * Harp Song * Have Yourself a Merry Little Christmas * Here's a Happy Song! * He's Got the Whole World in His Hands * Jericho * Jingle Bells * Joy to the World! * Kum-ba-yah! * Largo (Dvorak) * Laura * Lavender's Blue * Little Brown Jug * London Bridge * Lone Star Waltz * Love Somebody * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Over the Rainbow * Raisins and Almonds * Rockets * Rockin' Intervals * Rock It Away! * Scarborough Fair * Singin' in the Rain * Standing in the Need of Prayer * Tisket, a Tasket * Waltz Time * What Can I Share * When the Saints Go Marching In * Why Am I Blue?
21.70 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Dag Ivar Wiren:
Improvisationer Op. 35:
Piano: Instrumental Work Piano solo Gehrmans
Dag Wirén Improvisationer Op. 35. Improvisations for Piano.Honest straight to ...(+)
Dag Wirén Improvisationer Op. 35. Improvisations for Piano.Honest straight to the point balanced but uncompromising - such was the personality of the Swedish composer Dag Wirén. The same can be said of his music: it never tries to be anything but itself it addresses the listener directly it obeys unswervingly its own laws.
19.99 GBP - Sold by Musicroom UK | |
| Dag Ivar Wiren: Tema Med
Variationer Op. 5: Piano:
Instrumental Work Piano solo Gehrmans
Dag Wir?n?Theme and Variations for Piano. Honest straight to the point balance...(+)
Dag Wir?n?Theme and Variations for Piano. Honest straight to the point balanced but uncompromising - such was the personality of the Swedish composer Dag Wirén. The same can be said of his music: it never tries to be anything but itself it addresses the listener directly it obeys unswervingly its own laws.
21.99 GBP - Sold by Musicroom UK | |
| Johnson, Thomas A. :
Right@Sight Grade One: a
progressive sight-reading
course Piano solo [Sheet music] - Easy Peters
Right@Sight is based on musical material from T.A. Johnson's celebrated Read and...(+)
Right@Sight is based on musical material from T.A. Johnson's celebrated Read and Play sight-reading series. Using an entirely new presentation, Caroline Evans brings a refreshingly direct approach to the development of this vital musical skill. Each / Rev. Caroline Evans /
7.70 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Contact (VAN NUETEN GUY) Piano solo Metropolis Music Publishers
Par VAN NUETEN GUY. Contact by Guy Van Nueten originated from the feeling of bei...(+)
Par VAN NUETEN GUY. Contact by Guy Van Nueten originated from the feeling of being abandoned, such as a person who treks through a barren desert following a great disaster and asks himself if there's any point in carrying on when every day brings just more of the same - still more desert. I suspect that each of us has such a desert within himself, but that it depends on circumstances whether or not we choose to make the journey through it. Contact lays out a path that we can share. This music seems especially romantic to me, in the sense that the sounds have much to say about loneliness. There are moments where this album emphasises its own seriousness, then immediately afterwards invites us todance. Contact sticks out a hand, sometimes two, mostly to show the internal process of the composer - firstly the lack of fire and the abandoned longing for this, followed by the bewilderment that there is something that is still smouldering and that can be fanned into a blazing forest fire to burn away all the pain of desolation. For this reason it is also moving music - because it wants the recognition of the listener, wants us to feel our own desolation while the piano explores further depths and heights. At times a composition is almost carelessly abandoned and another one begun. Whoever looks closely at feelings and is honest with himself and the world is always a little cruel. But finally there is an end to that desert - he sees an oasis and also a beautiful hotel. Upon entering, he sees no-one, not even at the desk, but the reigning play of light and colour is of an otherworldly power. Maybe no other people are needed here and the beauty that prevails is enough. Then sounds of music arise and some people move across to the immense hall where a wing has been set up, behind which a man is sitting, his fingers moving across the keyboard. And only one thing is real: after desolation comes comfort. That person is you and that person is me. And that music is called Contact, directly from the soul of Van Nueten. Contact by Guy Van Nueten originated from the feeling of being abandoned, such as a person who treks through a barren desert following a great disaster and asks himself if there's any point in carrying on when every day brings just more of the same - still more desert. I suspect that each of us has such a desert within himself, but that it depends on circumstances whether or not we choose to make the journey through it. Contact lays out a path that we can share. This music seems especially romantic to me, in the sense that the sounds have much to say about loneliness. There are moments where this album emphasises its own seriousness, then immediately afterwards invites us todance. Contact sticks out a hand, sometimes two, mostly to show the internal process of the composer - firstly the lack of fire and the abandoned longing for this, followed by the bewilderment that there is something that is still smouldering and that can be fanned into a blazing forest fire to burn away all the pain of desolation. For this reason it is also moving music - because it wants the recognition of the listener, wants us to feel our own desolation while the piano explores further depths and heights. At times a composition is almost carelessly abandoned and another one begun. Whoever looks closely at feelings and is honest with himself and the world is always a little cruel. But finally there is an end to that desert - he sees an oasis and also a beautiful hotel. Upon entering, he sees no-one, not even at the desk, but the reigning play of light and colour is of an otherworldly power. Maybe no other people are needed here and the beauty that prevails is enough. Then sounds of music arise and some people move across to the immense hall where a wing has been set up, behind which a man is sitting, his fingers moving across the keyboard. And only one thing is real: after desolation comes comfort. That person is you and that person is me. And that music is called Contact, directly from the soul of Van Nueten./ Répertoire / Piano
25.95 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Hayashi E. - Etudes For
Jazz Piano - Conversation
Of The Hands Piano solo Jamey Aebersold Jazz
A must have for all pianists seeking a creative approach to developing left and ...(+)
A must have for all pianists seeking a creative approach to developing left and right hand coordination. The exercises and solos (based on the chord changes to well-known standards) are rhythmic, colorful, and fun to play. The chapters cover six specific areas of left hand development and left/right hand integration, with practical application from standard jazz tunes in the form of musical solo piano pieces. This book will definitely be an essential part of your practice routine. Besides improving your hand coordination, it will challenge you to think differently about it. All of the concepts are easily applicable to the real world. Highly endorsed! Pianist Emiko Hayashi has written a very comprehensive, challenging yet very accessible method book. With exercises designed for left hand alone and exercises designed to develop interplay between the hands, I wholeheartedly recommend this book. I\'ve already started practicing! - Kenny Barron In Etudes for Jazz Piano Emiko Hayashi illuminates a challenge that faces scores of jazz pianists at all levels; that of integrating the left hand in improvisation in a meaningful way, not only as an accompanist, but as an integral part of the whole. By taking various jazz standards and creating etudes specifically for the left hand as well as for developing coordination and the conversational aspects between the left and right hands, Ms. Hayashi illustrates many possibilities for expanding one�s technical and expressive range. I would think this set of etudes would be extremely useful to jazz pianists at any stage of development since the obvious outcome of the study will improve one�s ability to play melodically and expressively throughout the keyboard, without regard to the traditional roles of the left and right hands. - Todd Coolman It is understood that all musicians must play piano. Emiko\'s book fills a void for non-pianists addressing specific technical problems which will help towards being able to use the piano to improve and enlarge one\'s playing and composing, no matter what instrument you play. This is a hands-on book directed towards immediate results. - David Liebman
15.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Music Tree Time To Begin
Student - Piano Piano solo Alfred Publishing
Time To Begin , the cornerstone of the Music Tree series, is a unique and hig...(+)
Time To Begin , the cornerstone of the Music Tree series, is a unique and highly effective approach to beginning piano instruction. Starting with off-staff notation, it leads the student to reading direction and intervals, and climaxes with the discovery of the Grand Staff. Also included is a carefully designed program of rhythm, technic and creative work. The cassette features electronic renditions of the music: it offers the accompaniment alone, or both the student's and teacher's parts. The Teacher's Handbook is an invaluable tool. This volume contains essays regarding how students learn, on technic, and how rhythm is presented. Teaching aspects are discussed, and suggestions are offered for each unit of the book.
14.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Nocturne in E flat major,
Op. 9 No. 2 (CHOPIN
FREDERIC) Piano solo [Sheet music] Peters
Par CHOPIN FREDERIC. The Complete Chopin ? A New Critical Edition from Edition P...(+)
Par CHOPIN FREDERIC. The Complete Chopin ? A New Critical Edition from Edition Peters is firmly established as the most important ongoing scholarly edition of Chopin\'s music and is a must for any discerning pianist. The world?s foremost Chopin editors, under Editor-in-chief John Rink, bring their unrivalled collective knowledge to imbue the project with unique authority, drawing upon the latest international scholarship. The Complete Chopin prioritizes the needs of the practical pianist and provides a beautifully presented performing text of each work based on a single principal source together with important variants, along with thorough critical commentaries and illuminating prefatory essays in English, French and German. Chopin\'s early Nocturne in E-flat major is one of his most popular works. First published in 1832, it has a charming, vocally-inspired melody in the treble with a serenade-like accompaniment in the left hand. Edited by leading Chopin scholar, Christophe Grabowksi, this volume presents two versions of the Nocturne: one based on the most definitive impression of the French first edition released during Chopin?s lifetime, the second a pioneering compilation of all the variants to have flowed from Chopin?s pen after the work was first completed. This second text allows pianists to create their own versions of the Nocturne by combining variants as they wish, thereby drawing inspiration directly from Chopin\'s boundless imagination. Edited by leading Chopin scholar, Christophe Grabowksi, as part of the Edition Peters series The Complete Chopin (series editors: John Rink, Jean-Jacques Eigeldinger, Jim Samson, Christophe Grabowski). Ground-breaking format, presenting both an Urtext reading and a version with all variants attributable to Chopin, allowing pianists to create their own version. / Date parution : 2022-07-28/ Répertoire / Piano
10.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| John Williams: Raiders
March: Crystal Skull:
Piano Vocal Guitar:
Instrumental Piano solo [Score] Faber Music Limited
Indiana Jones and the Kingdom of the Crystal Skull is the fourth film in the Ind...(+)
Indiana Jones and the Kingdom of the Crystal Skull is the fourth film in the Indiana Jones franchise created by George Lucas and directed by Steven Spielberg.This book contains the main theme from John Williams' score arranged for Piano solo.The film was released in May 2008 and was a financial success grossing over $783 million worldwide becoming the second highest grossing film of 2008.In a career that spans six decades John Williams has composed many of the most famous film scores in history including all but one of Steven Spielberg's feature films Star Wars Superman Born on the Fourth on July and Harry Potter.
4.50 GBP - Sold by Musicroom UK | |
| Richard Smith: Don't LOOK
at the Keys! Book 3:
Piano: Instrumental Tutor Piano solo Spartan Press
inspiring confidence to play by touch- Making sight reading easier and more eff...(+)
inspiring confidence to play by touch- Making sight reading easier and more effective. A progressive set of imaginative pieces to take students and teachers step by step through the technique. Don't LOOK at the Keys! is a progressive series in three parts teaching piano keyboard geography by touch in an accessible enjoyable way making sight reading easier and more effective. In Book 3 pieces with wider leaps all over the keyboard follow careful instruction clear direction and comprehensive exercises to build confidence. The music offers a widevariety of styles including Jazz more traditional boogie woogie and to conclude a piece in 'stride piano' to demonstrate progress made by following the series - INSPIRATIONAL AND GREAT FUN! Why should I buy this book? It is the only book to practise pieces and give instruction to play piano by touch. It is not just another sight reading practice book of which there are many good ones already on the market. How does it do this? Step by step it instructs and develops the skill and confidence to look at the music instead of the hands. Book 1 starts by encouraging students (and their teachers) to find middle C by FEELING for the groups of two and three black notes. This is followed by a plethora of imaginative inspiring pieces to practise develop and improve the skills. Book 2 builds on a knowledge of scales and arpeggios. Book 3 HAS A SERIES OF EXERCISES TO PRACTISE AND DEVELOP THE ESSENTIAL KNOWLEDGE OF KEYBOARD GEOGRAPHY. To conclude there are two pieces to demonstrate the progress made by following the series.
12.95 GBP - Sold by Musicroom UK | |
| Muzio Clementi: Sonatinas
Op. 36: Piano:
Instrumental Album Piano solo [Sheet music] Schirmer
Pedagogical in nature these editions offer insightful interpretive suggestions ...(+)
Pedagogical in nature these editions offer insightful interpretive suggestions pertinent fingering and historical and stylistic commentary.Muzio Clementi (1752-1832) a renowned Piano teacher in his day is today best-known for this set of six Sonatinas Op. 36. It is a tribute to their inherent musical appeal that after two centuries almost anyone who has studied Piano knows one or more of these small gems. In these short sparkling works all attention is directed to the most basic pianistic concepts: precise phrasing evenness of touch dynamic control and rhythmic vitality.
11.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Frédéric Chopin:
Polonaises Op. 40:
Piano: Instrumental Album Piano solo PWM (Polskie Wydawnictwo Muzyczne)
Facsimile Hardback-The Polonaises Op. 40 belong to that later group. They compr...(+)
Facsimile Hardback-The Polonaises Op. 40 belong to that later group. They comprise two works: a Polonaise in A major and a Polonaise in C minor. These two works comprise the second opus of piano polonaises to be published by Chopin and they form a powrful contrastwith one another representing two varietes of the heroic polonaise: the triumphant and the tragic. They also mark a further stage in the evolution of the polonaise: on the hand in the direction of monumentalisation; on the other towards a gradualweakening of its dance features so that the dance in transformed into a kind of dance fantasy.
76.95 GBP - Sold by Musicroom UK | |
| Dorothy Gaynor Blake:
When Notes Go Skipping:
Piano: Instrumental Work Piano solo Willis Music
Mid-Elementary Level-The two books When Notes Go Walking (Book 1) and When Note...(+)
Mid-Elementary Level-The two books When Notes Go Walking (Book 1) and When Notes Go Skipping (Book 2) contain pieces for piano students who are playing for the first time from printed music. At the outset the student is given a practical manner of reading notes which needs not be discarded changed or modified as the student advances. The plan is simple: Watch the notes to see where they go! After the first note is played the student reads on by DIRECTION and DISTANCE observing each note in its RELATED POSITION to the last one played.
3.50 GBP - Sold by Musicroom UK | |
| M. Tanner: Fitztanner
Collection The: Piano:
Instrumental Album Piano solo [Sheet music] - Easy Spartan Press
Quirky New Piano Pieces-'In choosing to call this set of 25 pieces The FitzTanne...(+)
Quirky New Piano Pieces-'In choosing to call this set of 25 pieces The FitzTanner Collection I make a tongue-in-cheek allusion to the Fitzwilliam Virginal Book.The FitzTanner Collection doffs its cap in the direction of this seminal ancient tome by borrowing some of the more fanciful and suggestive titles from which it is comprised but beyond this there is no musical connection with the original pieces at all. And yet stirred into the mix is my fondness for melding together bygone musical styles. Hence this album of piano pieces pitched at the more robust intermediate pianist combines quirky originality with older musical styles drawinginspiration not just from Renaissance dances and fantasies but from more elaborate Baroque and Classical styles too. That said the music is conceived very much with the qualities of the modern piano in mind and hence requires a good many pedal effects dynamics and plenty of expression. What emerges is I hope a collection of attractive piano pieces which cheerfully bear the traces of a time when the modern piano was but a twinkle in the eye.There is an enjoyable charisma to the Old English spellings of these pieces (as well as a healthy margin for idiosyncrasy I might add) and to my own creations I have taken great delight in adding a few light-hearted directions which I trust won't cause too much consternation. Not all of the Fitzwilliam titles are easily fathomed but the playful risqué and politically incorrect overtones are sometimes quite striking leading me to contemplate a similarly unserious vein in my own writing. To what (or indeed to whom) you may ask does 'Quodlings Delight' refer? I'm not sure I'd recognise a Quodling if it crawled out of my porridge (and likewise who the eponymous Barafostus might have been is anybody's guess). Perhaps on balance the music is best left to speak for itself and regardless of how many ways an old title can be reworked it will always come down to living breathing
9.99 GBP - Sold by Musicroom UK | |
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