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voix soprano, voix alto (1)
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voix, percussions (1)
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Bebop Classics: Piano: Instrumental Collection
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Bebop Classics: Piano: Instrumental Collection
Piano seul
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Jazz Piano Solos Series Volume 52-24 bebop favorites are included in this collection with chord names. Includes: Bohemia After Dark - Boneology - Cattin' - Disorder at the Border - Eclypso - 52nd Street Theme - Grand Central - Hallucinations - Jay Bird - Lester Leaps In - Move - Ow - Parisian Thoroughfare - Second Balcony Jump - The Serpent's Tooth - Steeplechase - Witches Pit - and more.
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Level 4-BigTime' Piano Rock 'n Roll allows the pianist to 'let go' and enjoy the fun sounds of the '50s '60s and '70s. Upbeat rhythms and pianistic arrangements make the book a delight for both students and teachers. New selections include: Piano Man ? Great Balls of Fire ? I Heard It Through the Grapevine ? I Feel the Earth Move ? and more.
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Par KAPUSTIN NIKOLAI. Kapustin dedicated the piece 'Countermove' to the Canadian...
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Par KAPUSTIN NIKOLAI. Kapustin dedicated the piece 'Countermove' to the Canadian pianist Marc-André Hamelin, who had released a complete CD of Kapustin's works in 2004. Kapustin himself later recorded 'Countermove' for the album 'Kapustin Returns!'. The sheet music is now being published for the first time. / Date parution : 2023-10-31/ Répertoire / Piano
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Adèle ... Twilight. Le Playbook ultime pour Piano - organisé par Hans-Gunter Heumann.Ce livre contient un nouveau jeu de 50 généreux chansons qui ont une chose en commun: ils étaient tous, même au sommet des charts absolue.Un petit aperçu de la sélection de chansons ainsi que vous donne envie de plus: Fire To The Rain (Adele), California King Bed (Rihanna), Can't Get You Out Of My Head (Kylie Minogue), Dieser Weg (Xavier Naidoo), Ich geh in Flammen auf (Rosenstolz), Video Games (Lana Del Rey), Nightbook (Ludovico Einaudi), Halo (Beyoncé), Wenn Worte meine Sprache wären (Tim Bendzko), You And Me (In My Pocket) (Milow), Hallelujah (Leonard Cohen), Moves Like Jagger (Maroon 5 Feat. Christina Aguilera), Comptine D'un Autre Eté aus dem Film 'Amélie', Feather Theme (Titelmelodie aus 'Forrest Gump') / Piano
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David Lanz: David Lanz: Movements Of The Heart: Piano: Album Songbook
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Matching folio to Lanz's all Piano-solo 2013 release. David Lanz: Movements Of The Heart includes 13 tracks such as Here and Now La Luna Dell'Amante Movements of the Heart White Horse and more.
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Piano seul
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Alfred Publishing
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The New International Edition of Suzuki Piano School, Volume 6, includes French, German and Spanish translations as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately. The contents have changed to include Mendelssohn's 'Venetian Gondola Song,' J. S. Bach's 'Invention #8,' Grieg's 'Notturno,' as well as 'Spanish Dance #5,' by Granados and 'O Polichinelo' by Villa-Lobos. Daquin's 'The Cuckoo' was moved to Book 5. The second and third movements of Mozart's 'Sonata in C Major,' K. 330, and J. S. Bach's 'Little Prelude' have been permanently removed. / Piano
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The New International Edition of Suzuki Piano School Volume 6 includes French ...
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The New International Edition of Suzuki Piano School Volume 6 includes French German and Spanish translations as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately. The contents have changed to include Mendelssohn's 'Venetian Gondola Song ' J. S. Bach's 'Invention No. 8 ' Grieg's 'Notturno ' as well as 'Spanish Dance No. 5 ' by Granados and 'O Polichinelo' by Villa-Lobos. Daquin's 'The Cuckoo' was moved to Book 5. The second and third movements of Mozart's 'Sonata in C Major ' K. 330 and J. S. Bach's 'Little Prelude' have been permanently removed.Titles:Sonata in C Major (Allegro; Andante; Rondo: Allegretto) K. 545 (W. A. Mozart) * Venetian Gondola Song from Songs Without Words Book 2 (Mendelssohn) * Invention No. 8 in F Major BWV 779 from 15 Two-Part Inventions (J. S. Bach) * Notturno Op. 54 No. 4 (Grieg) * Sonata in D Minor K. 9; L. 413 (D. Scarlatti) * Sonata in C Major (Allegro moderato) K. 330 (W. A. Mozart) * Spanish Dance No. 5 (Andaluza) from 12 Spanish Dances (Granados) * O Polichinelo from A prole do bebê no. 1 (Villa-Lobos)
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Laverne A. - Chords In Motion - Piano
24.60
Laverne A. - Chords In Motion - Piano
Piano seul
Jamey Aebersold Jazz
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has dra...
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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 and pivot, and the application to tunes. The reader will be tempted to stop on every page and compose. I found the Lost Chord, but won't tell you the page number. Bert Ligon Jazz Pianist/Guitarist, Composer, Arranger, Educator, Director of Jazz Studies, University of South Carolina Ever wonder how to move harmony around instead of repeating the same chord voicing over and over' Then Chords in Motion is a must have book for you! Andy has included a ton of information that will open up your comping and should keep you busy with new ideas for a long time! I highly recommend it! Dan Haerle Jazz Pianist, Composer, Author, Educator, Professor Emeritus, University of North Texas Chords in Motion is an essential guide to expanding one's conception of modern Jazz Piano Harmony. Andy LaVerne has managed to outline in a very practical and concise way, modern principles of piano chord voicings, as they pertain to the Jazz Pianist's primary group function of comping. David Hazeltine Jazz Pianist, Composer, Educator, SUNY Purchase College Conservatory of Music Chords in Motion should be fun to take into the practice room to explore new ways of sustaining harmonies over the entire register of the piano. It is encyclopedic and thorough in its content. No stone is left unturned! Stephany Tiernan Pianist, Composer, Educator, Chair, Piano Department, Berklee College Of Music Chords In Motion is an excellent practicing resource that provides a garden of harmonic sonorities for a musician to choose and explore at the piano. I like the way that Andy has made the information accessible to any level of student. I look forward to discovering some different sounds with this book. Phil DeGreg Jazz Pianist, Author, Educator, University of Cincinnati College Conservatory of Music I am delighted to recommend Andy LaVerne's Chords In Motion to aspiring jazz pianists! Andy is a superb pianist, very capable of addressing this topic. Prior to pianists like McCoy Tyner, Herbie Hancock, Bill Evans, and others, most pianists were content to have acquired a small handful of chord voicings, generally with the chord roots on the bottom of the voicings. Though 'rootless voicings' were adopted in later years, they were primarily for the left hand and generally only used the 3rd or 7th on the bottom. But now the serious jazz pianist needs to be able to move his or her voicings in a more diatonic manner, as shown in Andy's book. Jerry Coker Jazz Saxophonist, Author, Educator Andy LaVerne's Chords in Motion is a study of encyclopedic scope on the use of harmonies based on fourth intervals in the context of jazz harmony. There is a wealth of information in terms of voicings, voice leading and chord/scale relationships and their application to common harmonic formulae (ii-V, etc.) and the chord progressions used in blues and common standard tunes. Jazz musicians interested in this vocabulary should find this book to be a useful launching pad for exploring this important corner of the world of jazz harmony. Bill Dobbins Jazz Pianist, Composer, Arranger, Author, Educator, Professor of Jazz Studies, Conductor, Coordinator Jazz Composition and Arranging, Eastman School of Music Chords in Motion is a highly detailed, informative and filling-in-the-gap text. It's an important and welcome addition to the jazz piano literature, which can be applied to any level of proficiency. Stefan Karlsson Jazz Pianist, Educator, Professor/Jazz Studies Division, University of North Texas Fantastic pianist Andy LaVerne has put together an amazing, detailed, and incredibly comprehensive guide for effectively implementing quartal and related voicings. He has honed in on the 'secret' to using these structures musically and creatively: moving the voicings through changes in logical and interesting ways. Clearly presented, extremely thorough, and loaded with information, Chords in Motion is a must-have for any pianist! Martin Bejerano Jazz Pianist, Composer, Educator, Assistant Professor, Jazz Piano, Frost School of Music University of Miami Chords in Motion is an in-depth look at fourth and related voicings that give an atmosphere that you want to improvise on. We play over the voicing, not the chord symbol. Chords in Motion targets that modal atmosphere that horn players love playing over. Love this book - can't wait to start practicing it! Jerry Bergonzi Jazz Saxophonist, Composer, Author, Educator, New England Conservatory I was thrilled when Jazz Piano Great Mulgrew Miller agreed to write a quote for this book. I was deeply saddened to hear of Mulgrew's passing just days before publication. All who loved Mulgrew and his music will sorely miss him, and are grateful for the rich musical legacy he left us. Rest easy, Mulgrew. Andy LaVerne
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John W. Schaum: John W. Schaum Piano Course Pre-A: The Green Book: Piano:
8.95
John W. Schaum: John W. Schaum Piano Course Pre-A: The Green Book: Piano:
Piano seul
Alfred Publishing
For the Earliest Beginner-Learn to play the Piano in the most enjoyable and natu...
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For the Earliest Beginner-Learn to play the Piano in the most enjoyable and natural way with the progressive tried-and-tested John W. Schaum Piano Course. This Green Book is aimed at the absolute beginner with no previous musical knowledge. Many teachers who use a tutor book to enhance their own pedagogical methods tend to try out a number of different titles but those who try John W. Schaum rarely move on to any other. These books are guaranteed to keep young beginners interested and motivated while also most importantly of all enjoying their playing. The book is very simple and easy-to-use moving logically through the conceptsthat any beginning pianist needs to know. This will ensure a solid foundation for when pupils move on to the next level of the Piano Course. The colourful pictures help to keep the sometimes difficult concepts exciting and the words that accompany the simplistic melodies are specifically aimed at young people creating tunes that beginners will genuinely enjoy playing. The John W. Schaum Piano Course lays out a clear and straightforward path for beginners to the Piano with this book aimed at those who have no prior knowledge helping them to lay the groundwork before they progress to Grade One. For an efficient effective and most of all enjoyable way to teach young beginners to play the Piano you'd be hard-pressed to find a better quality tutor than John W. Schaum's Piano Course. With such a wealth of Piano tutor books out there it's difficult to know who to trust. Schaum's course was first completed back in 1945 and it's still a favourite today and we know you'll be amazed at how swiftly your child or pupil picks up the Piano with this tutor.
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Béla Bartók: Suite op. 14: Piano: Instrumental Work
11.99
Béla Bartók: Suite op. 14: Piano: Instrumental Work
Piano seul
G. Henle
The four-movement Suite op. 14 was composed in 1916 and was one of Bartók?s fav...
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The four-movement Suite op. 14 was composed in 1916 and was one of Bartók?s favourite piano works throughout his life. Unlike in his other works for piano of these years he did not use any folksong melodies or folkloristicelements here. Instead he endeavoured to achieve a new more ?abstract? transparent piano style that forgoes ornament and embellishment. A special feature of this Henle edition is the appendix with an additional Andante movementthat was originally intended to come before the Scherzo but which Bartók removed from the Suite only shortly before its publication in 1918. The Urtext edition of this important work in the concert repertoire follows the musicaltext of the Bartók Complete Edition. It has been edited by perhaps the most distinguished Bartók scholar in the world today László Somfai who has also written the comprehensive introduction to the work and who offers helpfulsuggestions regarding its interpretation.
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Piano School 4 (SUZUKI SHINICHI)
23.30
Piano School 4 (SUZUKI SHINICHI)
Piano seul
[Partition]
Alfred Publishing
Par SUZUKI SHINICHI. The New International Edition of Suzuki Piano School, Volum...
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Par SUZUKI SHINICHI. The New International Edition of Suzuki Piano School, Volume 4, includes French, German and Spanish translations as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately. The contents have changed to include a new piece, Tcherepnin's 'Bagatelle. ' Mozart's 'Minuet III' and 'Minuet VIII, ' from 8 Minuets have been removed, and Burgmuller's 'Arabesque' and 'By the Limpid Stream' have been moved here from Book 5. Titles: Rondo, from Divertimento in D Major, K. 334 (W. A. Mozart) * Minuet I, from 8 Minuets, K. 315g (W. A. Mozart) * Arabesque, from 25 ProgressivePieces, Op. 100, No. 2 (Burgmuller) * By the Limpid Stream, from 25 Progressive Pieces, Op. 100, No. 7 (Burgmuller) * Musette in D Major, from J. S. Bach s Notebook for Anna Magdalena Bach (Anonymous) * Sonata in G Major, Op. 49, No. 2 (Allegro, ma non troppo; Tempo di minuetto) (Beethoven) * Bagatelle, Op. 5, No. 9 (Tcherepnin) * Gavotte, from Suite in G Minor (J. S. Bach) * Minuets I and II, from Partita in B-flat Major (J. S. Bach) * Gigue, from Partita in B-flat Major (J. S. Bach). / Méthode / Méthode / Piano
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Contact (VAN NUETEN GUY)
25.95
Contact (VAN NUETEN GUY)
Piano seul
Metropolis Music Publishers
Par VAN NUETEN GUY. Contact by Guy Van Nueten originated from the feeling of bei...
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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
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Melody Bober: Solo Xtreme Book 3: Piano: Instrumental Collection
7.95
Melody Bober: Solo Xtreme Book 3: Piano: Instrumental Collection
Piano seul
Alfred Publishing
9 X-traordinary and Challenging Piano Pieces-The term 'xtreme' is often used in ...
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9 X-traordinary and Challenging Piano Pieces-The term 'xtreme' is often used in sports to indicate feats that go beyond the ordinary. The pieces in the Solo Xtreme series were written to encourage piano students to achieve similar feats. Pieces in this series move beyond single-line melodies that stay in one location challenging students instead to move around the keyboard cross hand-over-hand use a variety of articulations play harmonic intervals and accidentals and use the pedal to create color and moods. At the same time they expand technique and musicianship. Titles: Festival Rag - Gentle Rain - Moonlight Skate - Ride Like the Wind - Roaming River - Rollerblade Race - Saturday Stomp - Sonoran Sunset - TwilightEchoes.
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Melody Bober: Solo Xtreme Book 1: Piano: Instrumental Collection
8.95
Melody Bober: Solo Xtreme Book 1: Piano: Instrumental Collection
Piano seul
Alfred Publishing
9 X-traordinary and Challenging Piano Pieces-The term 'xtreme' is often used in ...
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9 X-traordinary and Challenging Piano Pieces-The term 'xtreme' is often used in sports to indicate feats that go beyond the ordinary. The pieces in the Solo Xtreme series were written to encourage piano students to achieve similar feats. Pieces in this series move beyond single-line melodies that stay in one location challenging students instead to move around the keyboard cross hand-over-hand use a variety of articulations play harmonic intervals and accidentals and use the pedal to create color and moods. At the same time they expand technique and musicianship. Titles: Beach Fun! - Blues Band - Chitchat - Enchanted Forest Waltz - Hot Salsa! - Irish Fiddlin' - Kitesurfing - The Old Typewriter - Pizza to Go.
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Melody Bober: Solo Xtreme Book 2: Piano: Instrumental Collection
8.95
Melody Bober: Solo Xtreme Book 2: Piano: Instrumental Collection
Piano seul
Alfred Publishing
9 X-traordinary and Challenging Piano Pieces-The term 'xtreme' is often used in ...
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9 X-traordinary and Challenging Piano Pieces-The term 'xtreme' is often used in sports to indicate feats that go beyond the ordinary. The pieces in the Solo Xtreme series were written to encourage piano students to achieve similar feats. Pieces in this series move beyond single-line melodies that stay in one location challenging students instead to move around the keyboard cross hand-over-hand use a variety of articulations play harmonic intervals and accidentals and use the pedal to create color and moods. At the same time they expand technique and musicianship. Titles: Bike Trek - Evening Sail - Goosebump Boogie - Holiday Bells - La Celebración - Night Whispers - Stealth Mode - Steps to a Mystery - Taco Time!
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Shinichi Suzuki: Suzuki Piano School 5: Piano: Instrumental Tutor
14.95
Shinichi Suzuki: Suzuki Piano School 5: Piano: Instrumental Tutor
Piano seul
Alfred Publishing
The New International Edition of Suzuki Piano School Volume 5 includes French ...
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The New International Edition of Suzuki Piano School Volume 5 includes French German and Spanish translations as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately.The contents have changed to include Romantic pieces: Schumann's 'About Foreign Lands and People' and Chopin's 'Waltz in A Minor.' Daquin's 'The Cuckoo' has been moved here from Book 6. Schumann's 'First Loss' and 'Siciliana' as well as J. S. Bach's 'Prelude in C' have been permanently removed.Titles: Für Elise WoO 59 (Beethoven) * Old French Song from the Album for the Young Op. 39 No. 16(Tchaikovsky) * Invention No. 1 in C Major BWV 772 from 15 Two-Part Inventions (J. S. Bach) * Sonatina in F Major Anh. 5 No. 2 (Beethoven) * About Foreign Lands and People from Scenes from Childhood (Schumann) * Sonata in C Major (Allegro con brio; Adagio; Allegro) Hob. XVI/35 (Haydn) * Waltz in A Minor Op. posthumous (Chopin) * The Cuckoo (Daquin).
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Donatella Bartolini: La Valigia Dei Suoni: Piano: Instrumental Album
17.99
Donatella Bartolini: La Valigia Dei Suoni: Piano: Instrumental Album
Piano seul
Carisch
Do you know how to move like a robot?or as an agile dancer?How the sound changes...
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Do you know how to move like a robot?or as an agile dancer?How the sound changes when you move the keyslike the footsteps of a tired bear?The exploration of music and movement can start from here from the discovery of the body from contact with joyful sound from a relationship with the expressive tool that is music.This book takes young pianists on an exciting adventure teaching them the essential theory using an illustrated method that is clear fun and relevant.
17.99 GBP - vendu par Musicroom GB
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Camille Saint-Saëns: Piano Concerto No. 4 In C Minor Op.44: Piano: Instrumental
19.99
Camille Saint-Saëns: Piano Concerto No. 4 In C Minor Op.44: Piano: Instrumental
Piano seul
[Partition + CD]
Music Minus One
Piano Concerto No. 4 In C Minor (concerto pour Piano en ut mineur) Op. 44 by Ca...
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Piano Concerto No. 4 In C Minor (concerto pour Piano en ut mineur) Op. 44 by Camille Saint-Saëns is the composer's most structurally innovative Piano concerto. In one sense it is like a four-movement symphony but these are grouped in pairs. That is the piece is divided into two parts each of which combines two main movements (Part 1: I. Moderatetempo Theme and Variations in C Minor; II. Slower Theme and Variations in A-flat Major; Part 2: III. Scherzo in C Minor; IV. Finale in C Major). However in each part there is a bridge-like transitional section between the two main 'movements' for example a fugal Andante in part II functions as aninterlude between the two main sections. The concerto begins with a gently mischievous chromatic subject heard in dialogue between the strings and piano soloist and continues in a creative thematic development similar to Saint-Saëns' Third Symphony. The composer demonstrates brilliant skill in employing the piano and orchestra almost equally. In the Andante he moves to A-flat major with a chorale-like theme in the woodwinds (also strikingly similar to the tune of the Third Symphony's final section) and uses this as a platform on which to build a series of variations before bringing the movement to a quiet close. The Allegro vivace begins again in C minor as a high-spirited scherzo using material foreshadowed in the first movement. 2/4 and 6/8 are playfully juxtaposed throughout. At one point the Piano boldly leads the orchestra in an energetic 6/8 theme in Eflat major. Eventually the orchestra moves to a lush Andante recapitulating the Andante section from the first movement. Rather suddenly the piano climbs up to a flurry of double octave trills and a climactic trumpet fanfare leads to the jubilant finale based on a hymn-like theme in triple time. The concerto concludes with the piano in glittering cascades guiding the orchestra to a fortissimo close.The piano concerto was premièred in 1875 with the
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Piano Technique Book 3: Piano: Instrumental Tutor
4.99
Piano Technique Book 3: Piano: Instrumental Tutor
Piano seul
[Partition]
Hal Leonard
Hal Leonard Student Piano Library-A piano method with music to please students ...
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Hal Leonard Student Piano Library-A piano method with music to please students teachers and parents. The Hal Leonard Student Piano Library is clear concise and carefully graded. Perfect for private and group instruction. By the end of Piano Technique Book 3 students will be able to play hands together using a variety of finger combinations and articulations and will have experienced playing in extended position. They will also know six major and minor five-finger patterns andtriads and how to move from one five finger position to another.
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No-Brainer : Play Piano
37.68
No-Brainer : Play Piano
Piano seul
Alfred Publishing
Open up your mind, and make playing piano a no-brainer! Start with the basics, l...
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Open up your mind, and make playing piano a no-brainer! Start with the basics, like sitting at the piano, and then move on to playing folk, rock, blues, classical, and other styles. In addition to reading sheet music, you will learn to improvise and solo over great play-along tracks. With this book, you won't just learn to play piano, you'll learn about playing in a band. / Piano
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Blues Piano Practice Session V (GORDON ANDREW D)
30.53
Blues Piano Practice Session V (GORDON ANDREW D)
Piano seul
[Partition + Accès audio]
ADG productions
Par GORDON ANDREW D.. I have created various Blues riffs and has transposed them...
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Par GORDON ANDREW D.. I have created various Blues riffs and has transposed them into all 12 keys along with backing tracks to practice with giving you the student a fun way of learning how to play in all keys. We all learned how to play our scales in all 12 keys so I have taken that concept and applied it to learning to play the Blues so that you can try to become equally adept at playing in as many keys as possible. I have heard from teachers who have used my ?100 Ultimate Blues Riffs? book who will only allow a student to move on to the next riff once they have mastered playing the riff they are working on in all 12 keys, certainly a great but challenging musical exercise. Each of the riffs are either 2 or 4 measures in length that are notated and recorded around the cycle of 4th.s Also, there is a notation page whereby the riff is being used in a 12 bar blues progression so that you can see how to apply the riff to a real world situation. Each riff has been recorded 4 times: 1. Piano with rhythm tracks recorded around the cycle of 4th.s 2. Rhythm tracks recorded around the cycle of 4th.s to practice with 3. Piano with rhythm tracks recorded in a 12 bar blues progression in a designated key. 4. Rhythm tracks recorded in a 12 bar blues progression in the same key. Reasons for practicing in all 12 keys. Often a singer cannot reach certain notes in the key that you have learned the song in, therefore you will probably be asked to change the key of the song which you can do with confidence knowing all 12 keys. Having the knowledge of playing in all 12 keys, it will then become easier to learn new songs, whatever key they are in. Blues often use the keys of C, F, G, Bb, Eb, Guitar music often uses the keys of E, A, D, by learning as many keys as possible will enable you to adapt to the musical situation you are playing in. Taking riffs, chord progressions etc. through all 12 keys is a great ear training tool relying on your ears to play in keys that you are not used to before the muscle memory sets in. Practicing in all 12 keys is a great exercise for the brain, it is obviously hard work but the more you do it the benefits will become apparent. By practicing in all 12 keys you will start to see various musical patterns evolve that will help you speed up the process of learning music. It is my hope that as you practice playing in the various keys you will eventually not need the music and be able to transpose in your head. / Date parution : 2022-09-07/ Etude / Piano
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