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8,411 sheet music found Pools Of Light
Pools Of Light # Piano solo # INTERMEDIATE # Contemporary # Brian Kelly # Pools Of Light # Brian Kelly # SheetMusicPlus
Piano Solo - Intermediate -
Digital Download
Composed by Brian Kelly. 21st
Century, Contemporary
Classical, Modern, Neo-
Classical, New Age. Sheet
Mus...(+)
Piano Solo - Intermediate -
Digital Download
Composed by Brian Kelly. 21st
Century, Contemporary
Classical, Modern, Neo-
Classical, New Age. Sheet
Music Single. 6 pages.
Published by Brian Kelly “Pools of Light” is a piano piece from Pools of Light, a contemporary instrumental album by award-winning composer/pianist Brian Kelly. This piece is for intermediate players, in the key of E Major, 6 pages, duration: 3:43, published by Brian Kelly / Skylight Music (BMI).
Please do not share, distribute or otherwise copy this sheet music without the express permission from Brian Kelly. http://www.briankelly.com Concerto
Concerto # Piano and Orchestra # ADVANCED # Contemporary # Gyorgy Ligeti
# Concerto # Schott Music -
Digital # SheetMusicPlus
Piano and orchestra -
difficult - Digital Download
For piano and orchestra.
Composed by Gyorgy Ligeti
(1923-2006). This edition:
solo part. Downloadable.
D...(+)
Piano and orchestra -
difficult - Digital Download
For piano and orchestra.
Composed by Gyorgy Ligeti
(1923-2006). This edition:
solo part. Downloadable.
Duration 24 minutes. Schott
Music - Digital #Q53630.
Published by Schott Music -
Digital I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti) The Legend of Zelda(tm): Twilight Princess Hyrule Field Main Theme
The Legend of Zelda(tm): Twilight Princess Hyrule Field Main Theme # Easy Piano # EASY # Video Game # Nintendo® # Shinobu Amayake # The Legend of Zelda(tm): Twili # Alfred Music -
Digital Sheet Music # SheetMusicPlus
Easy Piano - Digital Download
The Legend of Zeldaâ„¢:
Twilight Princess - Hyrule
Field Main Theme. By
Nintendo®. By Toru
Minegi...(+)
Easy Piano - Digital Download
The Legend of Zeldaâ„¢:
Twilight Princess - Hyrule
Field Main Theme. By
Nintendo®. By Toru
Minegishi. Arranged by
Shinobu Amayake. Pop/Rock. 3
pages. Alfred Music - Digital
Sheet Music #00-PS-0015409.
Published by Alfred Music -
Digital Sheet Music ISBN 9780739083246.
After decades of anticipation, Alfred is proud to release the officially licensed, collectible sheet music companion folios to The Legend of Zeldaa,,C/ video game series. The 33 arrangements in this Easy Piano edition contain the instantly recognizable melodies beloved by generations of gamers around the globe. From Koji Kondo's iconic The Legend of Zeldaa,,C/ Main Theme to The Legend of Zeldaa,,C/: Spirit Tracks themes, the dozens of pieces in this book represent two and a half decades of NintendoA(r) video game favorites. Adding to the fun, graphics from the corresponding games grace each page of the sheet music. Impress friends, family, and audiences of all ages by playing from this magnificent collection, which makes a great gift for every pianist.
Titles: * The Legend of Zeldaa,,C/ Title Theme * The Legend of Zeldaa,,C/ Main Theme * Zelda IIa,,C/ - The Adventure of Linka,,C/ Title Theme * Zelda IIa,,C/ - The Adventure of Linka,,C/ Palace Music * The Legend of Zeldaa,,C/: A Link to the Pasta,,C/ Title Screen * The Legend of Zeldaa,,C/: A Link to the Pasta,,C/ Hyrule Castle Music * The Legend of Zeldaa,,C/: A Link to the Pasta,,C/ Main Theme * The Legend of Zeldaa,,C/: A Link to the Pasta,,C/ The Dark World * The Legend of Zeldaa,,C/: Link's Awakeninga,,C/ Main Theme * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Title Theme * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Princess Zelda's Theme * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Hyrule Field * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Lost Woods (Saria's Song) * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Gerudo Valley * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Song of Storms * The Legend of Zeldaa,,C/: Majora's Maska,,C/ Prelude of Majora's Mask * The Legend of Zeldaa,,C/: Majora's Maska,,C/Termina Field * The Legend of Zeldaa,,C/: The Wind Wakera,,C/ Main Theme * The Legend of Zeldaa,,C/: The Wind Wakera,,C/ Dragon Roost Island * The Legend of Zeldaa,,C/: The Wind Wakera,,C/ Ocean Theme * The Legend of Zeldaa,,C/: The Wind Wakera,,C/ Molgera * The Legend of Zeldaa,,C/: Four Swords Adventures Village of the Blue Maiden Restored * The Legend of Ze. The Legend of Zelda(tm): Twilight Princess Midnas Lament
The Legend of Zelda(tm): Twilight Princess Midnas Lament # Piano solo # Video Game # Nintendo® # Shinobu Amayake # The Legend of Zelda(tm): Twili # Alfred Music -
Digital Sheet Music # SheetMusicPlus
Piano - Digital Download
The Legend of Zeldaâ„¢:
Twilight Princess - Midnas
Lament. By Nintendo®. By
Toru Minegishi. Arranged by ...(+)
Piano - Digital Download
The Legend of Zeldaâ„¢:
Twilight Princess - Midnas
Lament. By Nintendo®. By
Toru Minegishi. Arranged by
Shinobu Amayake. Pop/Rock. 2
pages. Alfred Music - Digital
Sheet Music #00-PS-0015312.
Published by Alfred Music -
Digital Sheet Music ISBN 9780739082966.
After decades of anticipation, Alfred is proud to release the officially licensed, collectible sheet music companion folios to The Legend of Zeldaa,,C/ video game series. The 33 arrangements in this intermediate-advanced piano edition are note-for-note transcriptions of instantly recognizable melodies beloved by generations of gamers around the globe. From Koji Kondo's iconic The Legend of Zeldaa,,C/ Main Theme to The Legend of Zeldaa,,C/: Spirit Tracks themes, the dozens of pieces in this book represent two and a half decades of NintendoA(r) video game favorites. Adding to the fun, graphics from the corresponding games grace each page of the sheet music. Impress friends, family, and audiences of all ages by playing from this magnificent collection, which makes a great gift for every pianist.
Titles: * The Legend of Zeldaa,,C/ Title Theme * The Legend of Zeldaa,,C/ Main Theme * Zelda IIa,,C/ - The Adventure of Linka,,C/ Title Theme * Zelda IIa,,C/ - The Adventure of Linka,,C/ Palace Music * The Legend of Zeldaa,,C/: A Link to the Pasta,,C/ Title Screen * The Legend of Zeldaa,,C/: A Link to the Pasta,,C/ Hyrule Castle Music * The Legend of Zeldaa,,C/: A Link to the Pasta,,C/ Main Theme * The Legend of Zeldaa,,C/: A Link to the Pasta,,C/ The Dark World * The Legend of Zeldaa,,C/: Link's Awakeninga,,C/ Main Theme * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Title Theme * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Princess Zelda's Theme * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Hyrule Field * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Lost Woods (Saria's Song) * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Gerudo Valley * The Legend of Zeldaa,,C/: Ocarina of Timea,,C/ Song of Storms * The Legend of Zeldaa,,C/: Majora's Maska,,C/ Prelude of Majora's Mask * The Legend of Zeldaa,,C/: Majora's Maska,,C/Termina Field * The Legend of Zeldaa,,C/: The Wind Wakera,,C/ Main Theme * The Legend of Zeldaa,,C/: The Wind Wakera,,C/ Dragon Roost Island * The Legend of Zeldaa,,C/: The Wind Wakera,,C/ Ocean Theme * The Legend of Zeldaa,,C/: The Wind Wakera,,C/ Molgera * The Legend of Zeldaa,,C/: Four Swords Adventures Village of th. The Dying of the Light : Musical Settings of the Poetry of Dylan Thomas (Downloadable Piano/Vocal Score)
The Dying of the Light : Musical Settings of the Poetry of Dylan Thomas (Downloadable Piano/Vocal Score) # Gwyneth W # The Dying of the Light : Music # E. C. Schirmer Music Company - Digital # SheetMusicPlus
Tenor voice solo with string quartet or piano - Moderately Easy - Digital Download SKU: MQ.8329-E Composed by Gwyneth W. Walker. Instrument part. 23 page...(+)
Tenor voice solo with string quartet or piano - Moderately Easy - Digital Download SKU: MQ.8329-E Composed by Gwyneth W. Walker. Instrument part. 23 pages. Duration 10 minutes, 10 seconds. E. C. Schirmer Music Company - Digital #8329-E. Published by E. C. Schirmer Music Company - Digital (MQ.8329-E). English.The poetry of Dylan Thomas (1914–1953) is characteristically Welsh and dark. Death is a common topic in his writings. Yet despite the somber imagery, there is often a strength and resilience. The journey of death is described, but not taken. Death is the adversary, not the ruler. The Hand that Signed the Paper speaks of the often cruel and deadly power of a signed document- a document of taxation, of treaty or of counting casualties. The five fingers mark the dead, but do not soothe. “Hands have no tears to flow.†And Death Shall Have No Dominion expresses the triumph of the human spirit over death. “Though lovers be lost love shall not.†Do Not Go Gentle into that Good Night represents the fight against death. “Rage, rage against the dying of the light.†The musical expression of these poems places the voice in the low (dark) range. Tempi are slow, and minor keys are prevalent. Only occasionally are major tonalities presented. These passages combine with particularly uplifting phrases such as “Though they sink through the sea, they shall rise again†and “Wild men, who caught and sang the sun in flight…†Near the end of the last song, the poet addresses his deceased father: “And you, my father, there on the sad height...†The voice stays on a constant pitch while the harmony lifts beneath (to the heights), in the Lydian (raised) mode. [One might hear the voice as “perched atop†the rising chords.] This is one of the most personal lines of Dylan Thomas' poetry. As the poet speaks to his father, the climax of the song comes with the rising phrases of “Rage, rage against the dying of the light.†The final chords are dissonant, marked “with determination and triumph.†Duration: 10:10. Life is Beautiful
Life is Beautiful # Easy Piano # BEGINNER # Latin/World Music # Louis Landon # Life is Beautiful # Landon Creative,
Inc. # SheetMusicPlus
Piano Solo - Easy/Beginner -
Digital Download
Composed by Louis Landon.
21st Century, New Age. Sheet
Music Single. 4 pages.
Published by Landon Creativ...(+)
Piano Solo - Easy/Beginner -
Digital Download
Composed by Louis Landon.
21st Century, New Age. Sheet
Music Single. 4 pages.
Published by Landon Creative,
Inc. Healing Hearts 3
Louis Landon
2016 / Landon Creative, Inc.
63 minutes
Review by Kathy Parsons
Louis Landon’s Healing Hearts 3 is the third in a series of solo piano albums that are comprised of improvisations that were created while clients were in session at his Healing Piano of Sedona (AZ). These sixty-minute healing and music sessions consist of forty minutes of mentoring and twenty minutes of music that includes personalized music for the client’s own use. Landon created Healing Piano of Sedona several years ago to help people live life joyously, passionately, and stress- and disease-free. Landon is a Steinway Artist who has been a life-long musician. Healing Hearts 3 is his twenty-first album and fourteenth solo piano collection. Each of the thirteen pieces on the album was inspired by a different “soul journey,” so the music is quite varied although it maintains a very calming and peaceful vibe throughout.
It is interesting to note that Healing Hearts 3 has the closest to the ideal sound Landon has been looking for on his recordings. He attributes that achievement to the mastering and editing expertise of Joe Bongiorno of Piano Haven Studio, also in Sedona. Landon has been trying to get the sound of a classical concert hall in his Peace Palace studio recordings and this album definitely has that sound, which is exceptionally beautiful - clear, warm and resonant.
Healing Hearts 3 begins with “Standing In the Light,” a softly flowing piece with a poignant melody that gently soothes the heart - a favorite. “Heart Song” is hushed, intimate and obviously very personal. “Triumph of the Soul” starts out in the deep bass of the piano - very dark and lost. As the piece evolves, it gradually lightens as it moves up the piano keyboard, ending in a very positive place. I’ve often said that the piano is the best instrument to express the sound and feeling of rain and “Night Rain” proves that point again. More energetic than most of the other tracks, the notes flow freely: sometimes smoothly and evenly, sometimes more percussive like big fat raindrops - love it! “Tears” is heartbreak set to music, although tears are so often a big part of the healing process. Such deep emotion is expressed in this piece! Landon wisely follows sadness with “Happy Man,” a lively slice of pianistic sunshine. “Phoenix Rising” begins in the deep bass of the piano, obviously signifying a very dark place or crisis. Over the course of the composition, there is turmoil and pain, but then Landon gradually moves the piece into the upper end of the piano to a much lighter and more peaceful place - a stunning piece! “Healing Time” is gently uplifting and so soothing and serene that I can actually feel it melting away tension - another favorite. “Music Runs Through Me” flows quickly like a stream with sparkles of sunlight dancing happily on its surface. “Balance” returns to a calm stillness that comes when things/life are in balance. Slow, lyrical and very peaceful, it’s the perfect closing for another great album from Louis Landon!
I have thoroughly enjoyed all three Healing Hearts albums, but I think #3 is my favorite. It is available from LouisLandon.com, Amazon, iTunes and CD Baby. Very highly recommended!
November 4, 2016
Recorded at The Peace Palace, Sedona, AZ, from November 2015 to February 2016. on a Steinway B.
Music mastering: Joe Bongiorno at Piano Haven Studio, Sedona, AZ
Louis Landon is a composer and Steinway artist. Formerly of New York and currently living in Sedona, Arizona, Louis has dedicated his life to music. His career has taken him around the world playing a variety of styles with some of the most recognized names in the entertainment industry. He toured nationally and internationally, playing classical music for Mikhail Baryshnikov; jazz fusion with The John Payne Band; Latin music with "Pucho and his Latin Soul Brothers”; pop music with Rupert "Pina Colada Song" Holmes; and rock & roll with John Hall, opening for "Little Feat”.
Louis began playing the piano by ear at 4 years old and began lessons at 5. As a teenager, he played guitar and keyboard in bands and went on to study music at Stony Brook University, Boston Conservatory and Berklee College of Music.
For the past 30 years, through his production company, Landon Music Company, Louis has written and produced music for film, video, and commercials. He recorded his first original album, Love Songs & Jazz, in 1994 and has since released 38 Albums/CDs on the LCI Record label. His latest, entitled Provocative Piano, was released on January 29, 2021. He has just finished up yet another solo piano album, Nighttime Piano for Relaxation and Deep Sleep, with a release date of April 23, 2021.
Louis Landon mission:
To create a more compassionate world by writing, recording and performing music that inspires love, peace, joy and gratitude.
Reviews:
“While some pianists are virtuosos in their playing and others may not be as technically proficient, but have great emotional content in their music, Louis Landon brings it all together with impeccable style and grace. His work covers diverse compositional terrain, incorporating influences of classical, new age, jazz, pop, and more in a mellifluous spectrum of moods and musical colors.” Michaeldiamondmusic.com
"He has a gift for composition that is second to none." Zone Music Reporter
"… indeed meditative and mellow, [he] sacrifices no musical rigor to achieve those ends. With backgrounds in jazz, Latin music, rock, pop, film composing, and classical piano, Louis brings his breadth and depth of experience to bear here. His playing and compositions are sensitive as they are complex and… a diverse range of influences is more than apparent.” Keyboard Magazine
Recognition:
Louis Landon's music has had over 140 million streams on Pandora radio!
Louis Landon's music has had over 34 million streams on Spotify!
Thanksgiving Piano was nominated for Album of the Year 2020 by Whisperings Radio.
Departure - Solo Piano was nominated for Album of the Year 2017 by Whisperings Radio.
Healing Hearts 2 - Solo Piano won 2016 “Contemporary and Modern” Album of the Year at solo piano.com and was nominated for Album of the Year at Enlightened Piano Radio, also in 2016.
Healing Hearts - Solo Piano was nominated for Album of the Year at Whisperings Radio 2015.
Solo Piano for Love, Peace & Mermaids was nominated for Album of the Year at Whisperings Radio 2010.
Solo Piano for Peace was nominated for the 2009 ZMR Music Awards in three categories: Album of the Year, Best Instrumental Album - piano, and Best Cover Art by Zone Music Reporter. Solo Piano for Peace was listed at #30 of the top 100 albums for airplay in 2009 by Zone Music Reporter.
Peace Revolution! was Louis Landon's 7th CD and 2nd solo piano CD. It was #7 on the NAR top 100 charts and was played on over 50 stations worldwide.
unwind charted at #3 of the top 100 cds for the month of February, 2006 on Zone Music Reporter's website, playing on over 121 stations internationally.
Visit LouisLandon.com for bookings, CDs, sheet music, contact info and more.