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Schoenberg century
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16 sheet music found
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1
Seven Pieces in Twentieth-Century Styles
Seven Pieces in Twentieth-Century Styles
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Piano solo
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INTERMEDIATE
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James Siddons
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Seven Pieces in Twentieth-Cent
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Sid...
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Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00
Sonata Hymnica No. 1
Sonata Hymnica No. 1
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Piano solo
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INTERMEDIATE/ADVANCED
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James Siddons
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James Siddons Music and Writin
#
#
Sonata Hymnica No. 1
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.972645 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk...
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Piano Solo - Level 4 - Digital Download SKU: A0.972645 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Score. 19 pages. James Siddons Music and Writings #4350561. Published by James Siddons Music and Writings (A0.972645). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. All three pedals on an American piano (damper, sostenuto, and sustain) are needed. The orchestral and cinematic structure of this music requires extensive use of three staffs, which may consist of two treble and one bass staff, or one treble and two bass staffs. In basic grand-staff passages, the two staffs may both be treble or both bass. The musical influences in these sonatas include religious song in rural America, the chromaticism and Expressionism of Arnold Schoenberg and his followers, and the tone colors of the music of Japanese composer Toru Takemitsu.DurationsSonata Hymnica No. 1 --- 15 minutes.Sonata Hymnica No. 2 --- 11 minutes. Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50
Sonata Hymnica No. 2
Sonata Hymnica No. 2
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Piano solo
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INTERMEDIATE/ADVANCED
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James Siddons
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James Siddons Music and Writin
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#
Sonata Hymnica No. 2
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.972646 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk...
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Piano Solo - Level 4 - Digital Download SKU: A0.972646 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Score. 17 pages. James Siddons Music and Writings #4350577. Published by James Siddons Music and Writings (A0.972646). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. All three pedals on an American piano (damper, sostenuto, and sustain) are needed. The orchestral and cinematic structure of this music requires extensive use of three staffs, which may consist of two treble and one bass staff, or one treble and two bass staffs. In basic grand-staff passages, the two staffs may both be treble or both bass. The musical influences in these sonatas include religious song in rural America, the chromaticism and Expressionism of Arnold Schoenberg and his followers, and the tone colors of the music of Japanese composer Toru Takemitsu. Durations Sonata Hymnica No. 1 --- 15 minutes.Sonata Hymnica No. 2 --- 11 minutes. Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50
Notturno
Notturno
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Piano solo
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INTERMEDIATE
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Arnold Schoenberg
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John Tellez
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Notturno
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John Tellez
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1421903 By Arnold Schoenberg. By Arnold Schoenberg. Arranged by John Tellez. 20th Century,Classical,Conte...
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Piano Solo - Level 3 - Digital Download SKU: A0.1421903 By Arnold Schoenberg. By Arnold Schoenberg. Arranged by John Tellez. 20th Century,Classical,Contemporary,Romantic Period. Score. 4 pages. John Tellez #1003235. Published by John Tellez (A0.1421903). Arnold Schönberg - Notturno for Strings and Harp transcribed for piano by John Tellez.
$4.00
Funf Klavierstucke I sehr langsam
Funf Klavierstucke I sehr langsam
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Piano solo
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ADVANCED
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Contemporary
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Stephen R Dalrymple
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edited by Stephen R Dalrymple
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Funf Klavierstucke I sehr lang
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Stephen R Dalrymple
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SheetMusicPlus
Instrumental Solo - Level 5 - Digital Download SKU: A0.818287 By Stephen R Dalrymple. By Arnold Schoenberg. Arranged by edited by Stephen R Dalrymple (Da...
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Instrumental Solo - Level 5 - Digital Download SKU: A0.818287 By Stephen R Dalrymple. By Arnold Schoenberg. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). 20th Century. Individual part. 8 pages. Stephen R Dalrymple #4979561. Published by Stephen R Dalrymple (A0.818287). Fünf Klavierstücke I Sehr Langsam (Opus 23 Number 1) (Five Piano Pieces) by Arnold Schönberg (1874-1951). ♫ This opus was written in 1923. Piece # 1 is written in Schoenberg's atonal style, but is a precursor to his 12 tone pieces. Number 5 in the series was Schönberg’s first published 12 tone composition. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Sequenced by the editor ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
Adagio (Dark Halls) (Piano)
Adagio (Dark Halls) (Piano)
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Piano solo
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INTERMEDIATE/ADVANCED
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Ric Flauding
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Adagio
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Denise Lea Flauding
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.867858 Composed by Ric Flauding. 20th Century,Concert,Contemporary,Standards. Score. 3 pages. Denise Lea ...
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Piano Solo - Level 4 - Digital Download SKU: A0.867858 Composed by Ric Flauding. 20th Century,Concert,Contemporary,Standards. Score. 3 pages. Denise Lea Flauding #2890595. Published by Denise Lea Flauding (A0.867858). Movement 1 from Ric's 2 Short Pieces For Piano (Adagio/Moderato). Inspired by the Schoenberg Five Pieces for Orchestra. Also available for orchestra. Great introduction to 20th Century music. Composed in symmetric style. flaudingmusic.com
$3.99
Pyxis Nautica
Pyxis Nautica
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Piano solo
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Heather Cattanach
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Pyxis Nautica
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Heather Cattanach
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SheetMusicPlus
Piano Solo - Digital Download SKU: A0.507444 Composed by Heather Cattanach. 20th Century,Children,Contemporary,Instructional. Score. 3 pages. Published b...
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Piano Solo - Digital Download SKU: A0.507444 Composed by Heather Cattanach. 20th Century,Children,Contemporary,Instructional. Score. 3 pages. Published by Heather Cattanach (A0.507444). Dodecaphonic Intermediate Piano Solo. Here’s an accessible introduction to 12-Tone music. You may be surprised by how melodic it actually sounds. A dodecaphonic piece for a constellation with twelve letters in its name, although it was shortened to Pyxis, the Compass from Pyxis Nautica, the Mariner’s Compass. I chose the original Tone Row by drawing from a hat. The original row is: B, C, C#/Db, G#/Ab, A#/Bb, D, E, G, A F#/Gb, F, D#/Eb. The rows are used in the original order, inverted, retrograde, and inverted retrograde, and have been transposed. See the accompanying chart. From “88 Constellations†a collection by Heather Cattanach featuring one piece of piano music for each of the 88 constellations (to match the number of keys on a standard piano). Performance Time 40 seconds. 1 page + chart. (General Instructional, Modern, 20th Century, Repertoire, Recital, Schoenberg).
$3.99
Sonata in 014 & 016
Sonata in 014 & 016
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Piano solo
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ADVANCED
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Contemporary
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Diana Meux
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Sonata in 014 & 016
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Diana Meux
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1027156 Composed by Diana Meux. 20th Century,Contemporary. Score. 5 pages. Diana Meux #2024647. Published...
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Piano Solo - Level 5 - Digital Download SKU: A0.1027156 Composed by Diana Meux. 20th Century,Contemporary. Score. 5 pages. Diana Meux #2024647. Published by Diana Meux (A0.1027156). Piano sonata in 20th century music style - Schoenberg-esque - based on 014 and 016 chord clusters, for advanced pianist.
$3.99
Two Piano Pieces (1970)
Two Piano Pieces (1970)
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Piano solo
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ADVANCED
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Contemporary
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Richard St
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Two Piano Pieces
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Richard St. Clair
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.939791 Composed by Richard St. Clair. Contemporary. Score. 14 pages. Richard St. Clair #3663969. Publishe...
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Piano Solo - Level 5 - Digital Download SKU: A0.939791 Composed by Richard St. Clair. Contemporary. Score. 14 pages. Richard St. Clair #3663969. Published by Richard St. Clair (A0.939791). These two extended pieces for solo piano require an adept specialist in modern music performance. A close attention to the fine details in this expressionistic music is a must. Musicians of 20th century music will probably notice a debt to the 20th century masters, Roger Sessions (to whom the pieces are dedicated) and Arnold Schoenberg. Total time in performance: ca. 10 minutes. The audio clip is of the entire work, the premiere performance by the composer himself at Harvard University in 1971.
$12.99
Moderato (Piano)
Moderato (Piano)
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Piano solo
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INTERMEDIATE/ADVANCED
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Ric Flauding
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Moderato
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Denise Lea Flauding
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.867903 Composed by Ric Flauding. 20th Century,Concert,Contemporary,Standards. Score. 3 pages. Denise Lea ...
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Piano Solo - Level 4 - Digital Download SKU: A0.867903 Composed by Ric Flauding. 20th Century,Concert,Contemporary,Standards. Score. 3 pages. Denise Lea Flauding #2890993. Published by Denise Lea Flauding (A0.867903). Movement 2 from Ric's 2 Short Pieces For Piano (Adagio/Moderato). Inspired by the Schoenberg Five Pieces for Orchestra. Great introduction to 20th Century music. Composed in symmetric style.flaudingmusic.com
$3.99
Sonata Hymnica No. 3
Sonata Hymnica No. 3
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Piano solo
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INTERMEDIATE/ADVANCED
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James Siddons
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James Siddons Music and Writin
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Sonata Hymnica No. 3
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.972647 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Blues,Concer...
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Piano Solo - Level 4 - Digital Download SKU: A0.972647 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Blues,Concert,Jazz,Spiritual. Score. 12 pages. James Siddons Music and Writings #4350581. Published by James Siddons Music and Writings (A0.972647). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Sonata Hymnica No. 3 draws on two melodies from the African-American experience. One, Were You There (When They Crucified My Lord)? was first published in 1899 in W. E. Barton’s Old Plantation Hymns but existed earlier as a folk hymn. It became the first spiritual to be included in a major hymnal, The Hymnal 1940 of the Episcopal Church in the U.S.A. Sometimes I Feel Like a Motherless Child was sung by the Jubilee Singers of Fisk University from 1870 on, and was published in the Rev. Dr. Barton’s Old Plantation Hymns in 1899. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. Duration --- . Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50
Two Scenes from the Lodz Ghetto: 1. At the Clothing Department; 2. To Get a Ration
Two Scenes from the Lodz Ghetto: 1. At the Clothing Department; 2. To Get a Ration
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Piano, Voice
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ADVANCED
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Stanley M Hoffman
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Two Scenes from the Lodz Ghett
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stanleymhoffman.com
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1435089 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. Score. 48 pages. Stanleymhoff...
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1435089 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. Score. 48 pages. Stanleymhoffman.com #1015189. Published by stanleymhoffman.com (A0.1435089). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Małgorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Małgorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Małgorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.
$12.00
Introspection 1
Introspection 1
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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the same standard, it can't be
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Eric Paul Nolte
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Introspection 1
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Eric Paul Nolte
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by ...
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Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte (A0.987080). This piece is one of an album of my contemporary classical compositions. Yes, I too wince at offering you something saddled with this oxymoron--contemporary classical--but this phrase is now an irresistible, commercially recognized category defying any principled protest from the ranks of wounded musicological curmudgeons like me. The style here employs a tonal palette that celebrates the more or less common practice of composers from J. S. Bach to Ravel, Prokofiev, and the 20th century American songbook. You will see that I reject Arnold Schoenberg's assertion that by 1910 tonality had exhausted itself, and needed to be reinvented according to an aesthetics that dismiss our scales and harmonies as purely arbitrary human conventions with no basis in nature. On the contrary, I believe that we are endowed by our nature to respond emotionally to our traditional materials of music in the same way as nature equips us to respond to the taste of food and drink. We differ in our taste for savory, sweet, and sour, but it is wrong to say that our very capacity to taste is a merely cultural convention. There is biology, and then physics too! By the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats. The major triad is a force of nature, like the sun, wind, and rain! I also like big fat juicy 13 chords, and contrapuntal weaving of melody! I believe the purpose of music is to sway us emotionally, and if it can uplift us too, so much the better! While I am not ashamed to write a bare triad, unadorned by chromatic alterations (much less by clusters of chord collisions) I have nevertheless employed much complicated harmony. Moreover, some passages are written in a spiky harmony that might be analyzed as bitonal, as at the meno mosso section, beginning at measure 112, where the mood I wanted to set inspired me to write the theme in C minor while the left hand climbs up from the bottom of the keyboard in a widely spaced, D-flat 13 arpeggio. I have composed these pieces with the skills of intermediate to early-advanced pianists in mind. This piece demands the ability to play some counterpoint between two voices in one hand. There is a section that requires one to play moderately fast octaves, but nothing as difficult as the G minor Prelude of Chopin (to say nothing of his harrowing octave Etude from Opus 25!) While there are many polyrhythmic passages, none is more complicated than two-against-three notes. All said, there is nothing here to make your hands (or, I dare say, your ears) bleed. The performing time is around nine minutes and a breath or three. I have a number of videos posted on YouTube.com, I have a website under construction, ericpaulnolte.com, and, since 2011, an occasional blog of my ravings on life, love, and the cosmos, at ericpaulnolte.blogspot.com. You may write me at nolte0125@gmail.com.
$3.99
Seven Dedications for Piano Solo (c.1989)
Seven Dedications for Piano Solo (c.1989)
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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Richard St
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Seven Dedications for Piano So
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Richard St. Clair
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.939776 Composed by Richard St. Clair. 20th Century,Concert,Contemporary. Score. 8 pages. Richard St. Clai...
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Piano Solo - Level 4 - Digital Download SKU: A0.939776 Composed by Richard St. Clair. 20th Century,Concert,Contemporary. Score. 8 pages. Richard St. Clair #3568005. Published by Richard St. Clair (A0.939776). The short dedicatory pieces for piano are for the following composers who significantly impacted the development of the composer: Aaron Copland, Igor Stravinsky, Roger Sessions, Carl Ruggles, Alan Hovhaness, Charles Ives, and Arnold Schoenberg. The recording is by the composer at the piano, recorded in 1989 at Harvard University.
$8.99
"Humoresque" for piano Op. 3
"Humoresque" for piano Op. 3
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Piano solo
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ADVANCED
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Contemporary
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Gary Noland
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"Humoresque" for piano Op. 3
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Freeland Publications
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.980421 Composed by Gary Noland. 20th Century,Concert,Contemporary. Score. 21 pages. Freeland Publications...
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Piano Solo - Level 5 - Digital Download SKU: A0.980421 Composed by Gary Noland. 20th Century,Concert,Contemporary. Score. 21 pages. Freeland Publications #3238021. Published by Freeland Publications (A0.980421). Duration: ca. 6 minutes (1987). A masterful piece…-Ernesto Ferreri, composer. The Humoresque is in a post-romantic, pre-impressionist style with a dash of Second-Viennese for good measure. Stylistic influences abound, including those of Emmanuel Chabrier, Richard Strauss, Arnold Schoenberg, George Gershwin, and many others. Fun and full of musical humor and wit.Listen to pianist Randall Hodgkinson's interpretation: https://www.youtube.com/watch?v=5M9jK9kEH5g
$4.50
Death Row Echos - Horror Piano
Death Row Echos - Horror Piano
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Piano solo
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James Michael Stevens
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James Michael Stevens
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Death Row Echos - Horror Piano
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James M Stevens Music ASCAP
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SheetMusicPlus
Piano - Digital Download SKU: A0.1061651 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,Halloween. Full ...
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Piano - Digital Download SKU: A0.1061651 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,Halloween. Full Performance. Duration 141. James M Stevens Music ASCAP #4715809. Published by James M Stevens Music ASCAP (A0.1061651). Written June 26, 2019, this is an original piano composition in a dark, sinister, and atonal style using a 12 tone row reminiscent of Arnold Schoenberg with mixed polytonality like Charles Ives. Perfect for Halloween, but not sleep music!
$1.99
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