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7 sheet music found
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1
Schumann: 6 Studies in Canonic Form, Op. 56 - No. 1, as played by Víkingur Ólafsson
Schumann: 6 Studies in Canonic Form, Op. 56 - No. 1, as played by Víkingur Ólafsson
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Piano solo
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INTERMEDIATE/ADVANCED
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VÃkingur Ólafsson ·
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Flavio Regis Cunha
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Schumann: 6 Studies in Canonic
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Flavio Regis Cunha
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1119123 By VÃkingur Ólafsson · Robert Schumann. By Robert Schumann. Arranged by Flavio Regis Cu...
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Piano Solo - Level 4 - Digital Download SKU: A0.1119123 By VÃkingur Ólafsson · Robert Schumann. By Robert Schumann. Arranged by Flavio Regis Cunha. Classical,Contest,Festival,Instructional,Romantic Period. Score. 8 pages. Flavio Regis Cunha #720537. Published by Flavio Regis Cunha (A0.1119123). 🎵 Unleash Your Musical Genius with the Ultimate Sheet Music Experience! 🎵Calling all students and professional pianists: Elevate your musical journey with the mesmerizing sounds of '6 Studies in Canonic Form, Op. 56 - No. 1' composed by the legendary Robert Schumann, brought to life by the virtuoso VÃkingur Ólafsson.🎹 Dive into the Depths of Musical Mastery:Experience the thrill of each meticulously crafted note as VÃkingur Ólafsson's magical touch guides your fingers across the keys. Discover the artistry behind every crescendo, every decrescendo, and every breathtaking pause, as you embark on a sonic adventure that will leave you spellbound.📚 Immerse Yourself in Unrivaled Expertise:This sheet music is not just notes on paper – it's a gateway to musical brilliance. Whether you're a student aiming for perfection or a seasoned professional seeking new heights, '6 Studies in Canonic Form, Op. 56 - No. 1' holds the secrets to unlocking your true pianistic potential.🌟 Why Choose Our Sheet Music?✓ Authentically Engraved: Each note is an invitation to excellence, beautifully engraved to capture the essence of Schumann's genius.✓ Expert Insights: Uncover exclusive insights and performance tips from VÃkingur Ólafsson himself, as you delve deeper into the heart of the composition.✓ Inspiring Journey: Embark on a musical journey that transcends time and space, connecting you with the composer's vision like never before.🎓 Elevate Your Craft Today:Don't miss your chance to own a piece of musical history! Elevate your pianistic skills, captivate your audience, and leave an indelible mark on the world of music. Order your copy of '6 Studies in Canonic Form, Op. 56 - No. 1' sheet music now and let the enchantment begin!🎵 Unleash the Maestro Within – Order Now! 🎵 NotesSchumann: 6 Studies in Canonic Form, Op. 56 - No. 1, Nicht zu schnell (Grand Piano) · VÃkingur Ólafsson · Robert Schumann. Icelandic pianist VÃkingur Ólafsson reflects on his musical life story, from childhood memories to his international career and contemporary inspirations, on his new album From Afar released on 7 October 2022. Based on the album From Afar.Advanced intermediate.Format: Concert 9 x12 inches.7 Pages.
$5.99 ≈
$8.14
Twenty-Four Studies in African Rhythms, No. 9
Twenty-Four Studies in African Rhythms, No. 9
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Piano solo
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INTERMEDIATE/ADVANCED
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Fred Onovwerosuoke
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Twenty-Four Studies in African
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African Music Publishers
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.947343 Composed by Fred Onovwerosuoke. African,Contemporary,Instructional,World. Score. 1 pages. African ...
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Piano Solo - Level 4 - Digital Download SKU: A0.947343 Composed by Fred Onovwerosuoke. African,Contemporary,Instructional,World. Score. 1 pages. African Music Publishers #439629. Published by African Music Publishers (A0.947343). These kinetic pieces [Twenty-four Studies in African Rhythms] easily get under one’s skin and they sound like they are fun to play. - American Record Guide (May/June 2009 issue) Onovwerosuoke's rhythmic language would be worthy of analysis by students of the long process by which a common African-American language, musical and verbal, evolved out of the multiplicity of cultures of the enslaved. The overall effect is kinetic, colorful, and imposing - any symphonic programmer looking for music that will meet urban constituencies halfway should hear [his music]. - James Manheim (AllMusic.com critic). Listen to clip at http://www.cdbaby.com/cd/peterhenderson or at the composer's website at http://www.fredomusic.com .
$3.50 ≈
$4.75
Hybrid Study No. 7
Hybrid Study No. 7
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Piano solo
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INTERMEDIATE/ADVANCED
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Hakan Ali Toker
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Hybrid Study No. 7
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Hakan Ali Toker
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1406552 By Hakan Ali Toker. By Hakan Ali Toker. 19th Century,20th Century,Broadway,Musical/Show,Romantic ...
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Piano Solo - Level 4 - Digital Download SKU: A0.1406552 By Hakan Ali Toker. By Hakan Ali Toker. 19th Century,20th Century,Broadway,Musical/Show,Romantic Period. Score. 7 pages. Hakan Ali Toker #989317. Published by Hakan Ali Toker (A0.1406552). No. 7 from a set of 12 etudes called Hybrid Studies, created by cross-breeding music by Chopin with other composers. In this case, the texture of F. F. Chopin's Etude in A Flat Major Op. 25 no.1 has been applied to the harmony and melody of F. Loewe's song I Could Have Danced All Night from My Fair Lady, upon the suggestion of Prof. Douglas Hofstadter.Complete set also available for pruchase:Â https://www.sheetmusicplus.com/en/product/hybrid-studies-after-chopin-22577288.html.
$2.00 ≈
$2.72
Czerny's 110 Easy and Progressive Exercises Opus 453 Exercise 89-110 transcribed to KlavarScore (A5)
Czerny's 110 Easy and Progressive Exercises Opus 453 Exercise 89-110 transcribed to KlavarScore (A5)
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Piano solo
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INTERMEDIATE/ADVANCED
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practicing the exercises found
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Carl Czerny
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KlavarScore
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Czerny's 110 Easy and Progress
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KlavarScore
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1135456 Composed by Carl Czerny. Arranged by KlavarScore. 19th Century,Instructional,Romantic Period. Sco...
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Piano Solo - Level 4 - Digital Download SKU: A0.1135456 Composed by Carl Czerny. Arranged by KlavarScore. 19th Century,Instructional,Romantic Period. Score. 25 pages. KlavarScore #735494. Published by KlavarScore (A0.1135456). Book 5, containing the exercises 89-110 from Carl Czerny's 110 Easy and Progressive Exercices as an addition to the free Klavarscore Beyer Piano Course (See www.klavarscore.org). This book in Half-Letter/A5 format can be sight-read from a tablet or e-book reader. It is also possible to print two pages on one Letter/A4 sheet in landscape orientation. In this book you will find links for free download of the audio files and KlavarScore Scrolling files, so you can play these pieces (with an appropriate app) from your cellphone, tablet or desktop PC. Perhaps not only for exercising, but also because it is such nice music to play and hear..... Books 1-4, also containing 22 exercises each are also available. By practicing the exercises found in this and the remaining 4 books of this series, the student will quickly discover how Czerny must have intended these to be much more than simple exercises. As exercises, Czerny would of course want them to be meticulously practiced, revisited and improved upon, but in doing so, students will find them to be very pleasurable pieces of music to play, even for the enjoyment of an audience. These books contain instructions in Czerny's own words. Translations of Czerny's words are included in the Prefaces or in some cases as footnotes after the exercises, regarding choosing a proper tempo, the proper playing of ornaments, etc., mostly taken from Czerny's Piano School, Opus 500. In this way, Czerny himself becomes the teacher to students in need of one. Carl Czerny (1791-1857) was an Austrian composer, teacher, and pianist of Czech origin whose vast musical production amounted to over a thousand works. His books of studies for the piano are still widely used in piano teaching. He was one of Beethoven's numerous pupils, Franz Liszt was his most famous pupil. Source: Wikipedia.
$2.49 ≈
$3.38
Czerny's 110 Easy and Progressive Exercises Opus 453 Exercise 89-110 transcribed to KlavarScore (A4)
Czerny's 110 Easy and Progressive Exercises Opus 453 Exercise 89-110 transcribed to KlavarScore (A4)
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Piano solo
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INTERMEDIATE/ADVANCED
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practicing the exercises found
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Carl Czerny
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KlavarScore
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Czerny's 110 Easy and Progress
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KlavarScore
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1135460 Composed by Carl Czerny. Arranged by KlavarScore. 19th Century,Instructional,Romantic Period. Sco...
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Piano Solo - Level 4 - Digital Download SKU: A0.1135460 Composed by Carl Czerny. Arranged by KlavarScore. 19th Century,Instructional,Romantic Period. Score. 25 pages. KlavarScore #735499. Published by KlavarScore (A0.1135460). Book 5, containing the exercises 89-110 from Carl Czerny's 110 Easy and Progressive Exercices as an addition to the free Klavarscore Beyer Piano Course (See www.klavarscore.org). This book is in Letter/A4 format, suitable for printing. In this book you will find QR codes for free download of the audio files. Books 1-4, also containing 22 exercises each are also available. By practicing the exercises found in this and the remaining 4 books of this series, the student will quickly discover how Czerny must have intended these to be much more than simple exercises. As exercises, Czerny would of course want them to be meticulously practiced, revisited and improved upon, but in doing so, students will find them to be very pleasurable pieces of music to play, even for the enjoyment of an audience. These books contain instructions in Czerny's own words. Translations of Czerny's words are included in the Prefaces or in some cases as footnotes after the exercises, regarding choosing a proper tempo, the proper playing of ornaments, etc., mostly taken from Czerny's Piano School, Opus 500. In this way, Czerny himself becomes the teacher to students in need of one. Carl Czerny (1791-1857) was an Austrian composer, teacher, and pianist of Czech origin whose vast musical production amounted to over a thousand works. His books of studies for the piano are still widely used in piano teaching. He was one of Beethoven's numerous pupils, Franz Liszt was his most famous pupil. Source: Wikipedia.
$2.49 ≈
$3.38
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
$52.91
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
$52.91
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