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What\\ Debussy
Piano solo
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26
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
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Classical
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
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 ≈
35.13€
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
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Classical
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
(+)
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 ≈
35.13€
Clair De Lune- Debussy-Simplified version- Advanced intermediate
Clair De Lune- Debussy-Simplified version- Advanced intermediate
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Classical
#
C Debussy
#
Grant Horsley
#
Clair De Lune- Debussy-Simplif
#
Grant Horsley Music
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by C Debussy. Arranged by Grant Horsley. Impressionistic, Repertoire, Anniversary, Wedding, ...
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Piano Solo - Advanced Intermediate - Digital Download Composed by C Debussy. Arranged by Grant Horsley. Impressionistic, Repertoire, Anniversary, Wedding, Recital. Sheet Music Single. 8 pages. Published by Grant Horsley Music
Claire De Lune by Debussy- needs no words.
I have arranged this firstly in the key of C. I tried to keep as much of the original as possible in terms of detail and some of the difficult octaves and hard to reach chords have been carefully arranged. What I wanted to do was to give intermediate pianists who were perhaps not quite ready for the full version, an opportunity to play a version of it, also for pianists who would appreciate a slightly modified approach.
I didn't want an "easy" version as such,but one that retains the qualities of the original. It is a beautiful piece which can be used for concerts, recitals, weddings,celebrations etc
I have listed this as Advanced intermediate, but it crosses the line to Intermediate on a number of ocassions.
$5.50 ≈
4.96€
Claude Debussy: Petite Valse for solo piano, completed by Robert Orledge
Claude Debussy: Petite Valse for solo piano, completed by Robert Orledge
#
Piano solo
#
INTERMEDIATE
#
Claude Debuss /Robert Orledge
#
Claude Debussy: Petite Valse f
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.534655 Composed by Claude Debuss /Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. ...
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Piano Solo - Level 3 - Digital Download SKU: A0.534655 Composed by Claude Debuss /Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 4 pages. Musik Fabrik Music Publishing #5727025. Published by Musik Fabrik Music Publishing (A0.534655). Recorded by Nicolas Horvath for Grand Piano records (GP822)Together with other manuscript sketches from Debussy’s last productive summer of 1915, the Hotel Drouot sale in Paris, on 7 December 2004 included the start of an unknown piano piece. The 18-bar outline suggested a Petite Valse (‘Little Waltz’) in the accessible style of Debussy’s La Plus que lente of 1910, to which astute pianists will recognise passing allusions both during and at the end of my completion. The waltz is simply meant to be enjoyed by pianists seeking what might be termed a novelty by a great composer, as well as by its audience.
$7.95 ≈
7.17€
Debussy - Clair de Lune - (Key Map Tablature)
Debussy - Clair de Lune - (Key Map Tablature)
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Piano solo
#
ADVANCED
#
Classical
#
Claude Debussy
#
John M
#
Debussy - Clair de Lune -
#
Music Innovators Workshop
#
SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.984718 Composed by Claude Debussy. Arranged by John M. Honeycutt. Romantic Period. Score. 10 pages. Music...
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Piano Solo - Level 5 - Digital Download SKU: A0.984718 Composed by Claude Debussy. Arranged by John M. Honeycutt. Romantic Period. Score. 10 pages. Music Innovators Workshop #4359409. Published by Music Innovators Workshop (A0.984718). This piece is notated on a vertically oriented tablature called a key map. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group. (There are 7 of these identical groups on the piano distinguished by their colors and locations.)
$2.00 ≈
1.80€
What Child Is This? (in the style of Claude Debussy) (arr. Carol Klose)
What Child Is This? (in the style of Claude Debussy) (arr. Carol Klose)
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Piano solo
#
Christmas
#
Carol Klose
#
What Child Is This?
#
Hal Leonard - Digital
#
SheetMusicPlus
Digital Download SKU: HX.472780 Arranged by Carol Klose. Carol,Christmas,Classical,Sacred. Piano Solo. 2 pages. Published by Hal Leonard - Digital (HX.47...
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Digital Download SKU: HX.472780 Arranged by Carol Klose. Carol,Christmas,Classical,Sacred. Piano Solo. 2 pages. Published by Hal Leonard - Digital (HX.472780).
$4.99 ≈
4.50€
The Journey of Water - Opus 2
The Journey of Water - Opus 2
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Piano solo
#
Contemporary
#
Eamon Mukhopadhyay
#
The Journey of Water - Opus 2
#
Eamon Mukhopadhyay
#
SheetMusicPlus
Piano Solo - Digital Download SKU: A0.1117641 Composed by Eamon Mukhopadhyay. Contemporary. Score. 28 pages. Eamon Mukhopadhyay #719183. Published by Eam...
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Piano Solo - Digital Download SKU: A0.1117641 Composed by Eamon Mukhopadhyay. Contemporary. Score. 28 pages. Eamon Mukhopadhyay #719183. Published by Eamon Mukhopadhyay (A0.1117641). This piece is a homage to what Debussy, Ravel, and their counterparts have done for the musical world, but I do aim to display multiple original writing components across this work. I will mainly let the score and the music present the specific description of this piece. As it may suggest, “The Journey of Water†will musically demonstrate what water is like in a comprehensive format. I want to musically convey not only the color and environment of water across different settings, but also the story behind its flow and overall uniqueness.
$1.99 ≈
1.79€
Bock's Best - Volume 1
Bock's Best - Volume 1
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Piano solo
#
Fred Bock
#
Bock's Best - Volume 1
#
Fred Bock Music Company
#
SheetMusicPlus
Piano - SMP Level 7 (Late Intermediate) SKU: HL.8738352 Piano Solo. Composed by Fred Bock. Piano Solos. Fred Bock Publications. General Worship, S...
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Piano - SMP Level 7 (Late Intermediate) SKU: HL.8738352 Piano Solo. Composed by Fred Bock. Piano Solos. Fred Bock Publications. General Worship, Sacred. 152 pages. Fred Bock Music Company #BG0557. Published by Fred Bock Music Company (HL.8738352). ISBN 9781934596159. UPC: 073999726527. 9.0x12.0x0.374 inches.This tremendous piano collection features 50 of Fred Bock's very best arrangements, including: I Am Loved * Jesus Loves Me (a classic arrangements based on Claude Debussy's Clair De Lune) * A Mighty Fortress Is Our God * My Tribute * Sweet, Sweet Spirit * and more. Spiral bound.This title has selections that range in difficulty from SMP Level 6-7. About SMP Level 7 (Late Intermediate) 4 to 5-note chords in both hands and scales in octaves in both hands.
Song List
: All for Jesus (Stainer-Crucifixion) He Lifted Me Great Is Thy Faithfulness Now I Belong To Jesus We Are One In The Bond Of Love Safe Am I Surely Goodness And Mercy The Bell Carol He Is The Way I Believe In Miracles I'll Tell The World One Solitary Life Open Up Your Heart And Let The Sun Shine In Tell All The World About Love To Be Free There Is A Balm In Gilead Because He Lives Christ Of Every Crisis God Gave The Song He's Everything To Me Ivory Palaces A Mighty Fortress Is Our God Precious Lord, Take My Hand (Take My Hand, Precious Lord) Teach Me, Lord, To Wait Jesus Loves Me In Times Like These My Faith Looks Up To Thee Ten Thousand Angels Sweet, Sweet Spirit My Tribute Thou Art Worthy Something Beautiful Room At The Cross For You There's Something About That Name Wondrous Love Revive Us Again Jesus Is Coming Again Even So, Lord Jesus, Come Mansion Over The Hilltop I Will Serve Thee Gentle Shepherd How Long Has It Been Redeeming Love I Just Feel Like Something Good Is About To Happen I Am Loved The Church Triumphant How Big Is God? Were You There? What A Friend We Have In Jesus Oh How He Loves You And Me
$29.95 ≈
27.01€
Bubbles, Floating Bubbles (piano solo)
Bubbles, Floating Bubbles (piano solo)
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Piano solo
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INTERMEDIATE/ADVANCED
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Juan MarÃa Solare
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if not, 3 minutes)
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Bubbles, Floating Bubbles
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Juan Maria Solare
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1134936 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instruction...
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Piano Solo - Level 4 - Digital Download SKU: A0.1134936 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructional. Score. 8 pages. Juan Maria Solare #652301. Published by Juan Maria Solare (A0.1134936). Juan MarÃa Solare: Bubbles, Floating Bubbles - a polyrhythmic etude Concert etude composed in Bremen (2-3 July) and Worpswede (5 July 2010). Duration: 4:30 (if the repetition -from bar 28 to the end- is being played; if not, 3 minutes). Bublles, Floating Bubbles - by Juan MarÃa Solare Bubbles, Floating Bubbles on Youtube: Bubbles, Floating Bubbles on Spotify: This composition is a concert etude, since it can be performed at a recital (and not only used to practice). The degree of virtuosity is relatively low, but nevertheless not suitable for absolute beginners. Technically, the main characteristic of this piece is the polyrhythm 2 against 3: the melody subdivides the quarter in 2, and the accompaniment plays triplets. In this sense, an answer to Carl Czerny's polyrhythmic studie in E major. Please use abundant pedal when playing this piece. The idea is to generate a cloud of sound, not a machinal pattern. The sound character of this piece should be closer to Debussy than to Scarlatti. The initial indication scorrevole (fleeting) should orientate the character and the sound quality, the touch. Fermatas and caesuras should add time to the bar, like breathing in. In bar 8 (end) the silence is only in he left hand: the note of the right hand shouldn't be interrupted. This is actually clear if one read the rhythms carefully, but my experience tells me that it is prudent to underline this particular point. In bar 16 (and similar places), left hand: it is the central melody what should be in foreground, not the bass. Imagine that the melody is played by a cello or viola, and the bass by a double bass (or better: a bassoon). Try to achieve a different timbre and to separate therefore both layers. The title refers to this poem: Sum venti ingenium breve Flos sum, scilicet, aeris …… Sum blandum, petulans, vagum, Pulchrum, purpureum, et decens, Comptum, floridulum, et recens. Richard Crashaw -Jacobean English poet- (1613-1649), Bulla (Bubble) I am the brief nature of the wind To be sure, I am the flower of air ...... I am charming, wanton, inconstant, Beautiful, gleaming, and noble, Ornate, somewhat blooming, and fresh.
$3.00 ≈
2.71€
Prelude Impressions (for solo piano)
Prelude Impressions (for solo piano)
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Piano solo
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ADVANCED
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Contemporary
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Paul SanGregory
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Prelude Impressions
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Distant Engraver Music
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.977031 Composed by Paul SanGregory. Contemporary. Score. 20 pages. Distant Engraver Music #3534597. Publi...
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Piano Solo - Level 5 - Digital Download SKU: A0.977031 Composed by Paul SanGregory. Contemporary. Score. 20 pages. Distant Engraver Music #3534597. Published by Distant Engraver Music (A0.977031). This set of three pieces is well-suited for advanced students or professional performers who enjoy creating and shaping mood, atmosphere and color on the piano. They were composed to commemorate the 150th anniversary of Claude Debussy’s birth. For that reason, they are based on various composing techniques and aesthetic ideas that he developed. Even so, there was no attempt to make them actually sound like Debussy’s music. In fact, while composing them I often felt like I was looking at Debussy’s techniques through the distorting lenses of music that came after him, but that he had influenced.I - Drifting Through ChangeOne sort of change in this piece comes from the interaction of two repeated rhythmic patterns of different lengths. Episodes of contrasting character then drift in and out of the piece creating more changes. The effect is as if one is floating quietly through empty space, but occasionally drifting past various objects or situations.II - Building CloudsTo me, the opening of this movement sounds like an idea from Debussy’s Nuages that has been turned inside out. Unlike Debussy’s more delicate clouds, however, the clouds of this piece grow turbulent and dramatic. III - Moonless HeathFor this movement, I imagine walking through an open untamed field on a dark moonless night and not being sure what I might be passing by. In terms of color and technique, this piece shows a more obvious relationship to Debussy’s music that the first two. It begins with a simple melody similar to that of his Bruyére, after which a Debussy-inspired ostinato gently moves the music forward. Structurally, the whole piece is an inverted palindrome so that a melody from the beginning returns in retrograde-inversion at the end, becoming a brief quote of Debussy’s music. Performance duration ca. 11 minutes.
$8.00 ≈
7.22€
Clair de Lune (with piano fingering as needed)
Clair de Lune (with piano fingering as needed)
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Piano solo
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INTERMEDIATE
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Classical
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Claude Debussy
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Scott Camp
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Clair de Lune
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Scott Camp
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.553098 Composed by Claude Debussy. Arranged by Scott Camp. 20th Century,Concert,Graduation,Standards,Wedd...
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Piano Solo - Level 3 - Digital Download SKU: A0.553098 Composed by Claude Debussy. Arranged by Scott Camp. 20th Century,Concert,Graduation,Standards,Wedding. Score. 13 pages. Scott Camp #3909193. Published by Scott Camp (A0.553098). Possibly the most beautiful piece of music ever.This edition presents Debussy's masterpiece with as close to 100% clarity as possible: no arrangement, no simplification, no abridgement, only solutions to the challenges of how to play this amazing masterpiece. In my experience, I would guess that Clair de lune has been the final, unfulfilled and unattained goal of piano students more than any other piece in music history.If you recognize the truth in this statement, you owe it to yourself to investigate this edition, in which for the first time, all of the technical challenges are clearly identified with their solutions. Playing a piece of music is not the same as mastering it. Surviving a performance is not the same as playing with confidence. There is no joy in being vulnerable to embarrassing mistakes. It is no way to live. You deserve a set of instructions (this edition) that enables you to master your performance, play with confidence and beauty, not an edition which blocks your access.Clair de Lune is so familiar that it is hard to appreciate just how revolutionary it (and Debussy) are. The word revolutionary is overused, so we fail to realize that Clair de Lune is difficult to play largely because it was difficult to notate. If the faculty of the Paris Conservatory didn't understand or appreciate Debussy, why would we expect the staff of a publishing company (as competent as they were) to understand the demands of his music. Debussy broke the boundaries of conventional piano notation. That means contradictions and ambiguity, which must be addressed.A note about fingering: where and why it is or is not presented. I've done my best to prepare an edition of this music that will enable the Intermediate Classical pianist to prepare and perform this masterpiece. My goal is to include information that the pianist needs, but does not already know. For Claire de Lune, some passages are dependent upon specific hand/fingering solutions, while other passages are either (1) equally playable with different fingering, or (2) only playable by what essentially becomes known as a self-evident solution. For example, m9-24, and m61-62, fall into this category. Octaves can only practically be played with fingers 1 and 5. I provide a lot of finger numbers, but that is not the same as creating an edition that can be played without significant staff reading. The premise is that an intermediate musician should have access to advanced material--that is a musician is motivated to play pieces one level more advanced. Attempting to bridge more than one level is not my goal.
$1.99 ≈
1.79€
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 ≈
4.51€
Les Rappel des Oiseaux - As played by Víkingur Ólafsson
Les Rappel des Oiseaux - As played by Víkingur Ólafsson
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Piano solo
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INTERMEDIATE
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Jean-Philippe Rameau and Vikin
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Flavio Regis Cunha
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Les Rappel des Oiseaux - As pl
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Flavio Regis Cunha
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1162098 By Jean-Philippe Rameau and Vikingur Olafsson. By Jean-Philippe Rameau. Arranged by Flavio Regis ...
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Piano Solo - Level 3 - Digital Download SKU: A0.1162098 By Jean-Philippe Rameau and Vikingur Olafsson. By Jean-Philippe Rameau. Arranged by Flavio Regis Cunha. Baroque,Contest,Early Music,Festival,Instructional. Score. 8 pages. Flavio Regis Cunha #762470. Published by Flavio Regis Cunha (A0.1162098). During his studies in New York, VÃkingur Ólafsson became aware of the works of Jean-Philippe Rameau, which immediately fascinated him. Here the Icelandic pianist Rameaus interprets Le Rappel des Oiseaux, which is part of his album Debussy - Rameau.As the dreamy prélude comes to a close, the curtains are raised to reveal the dusky forest home of Rameau’s birds. What ensues are lively scenes from his extraordinarily inventive Suite in E minor. The birds are calling (Le Rappel des oiseaux). As extraordinary innovators of both harmony and form, with a unique ear for colour and a keen sense of the theatrical, both Rameau and Debussy wrote music which engages more senses than just that of hearing. - VÃkingur Ólafsson.Intermediate.Format: Concert, 9 x 12 inches.8 pages.
$6.99 ≈
6.30€
Les Rappel des Oiseaux - As interpreted by Víkingur Ólafsson
Les Rappel des Oiseaux - As interpreted by Víkingur Ólafsson
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Piano solo
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INTERMEDIATE
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Jean-Philippe Rameau and Vikin
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Flavio Regis Cunha
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Les Rappel des Oiseaux - As in
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FRC Music
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1162180 By Jean-Philippe Rameau and Vikingur Olafsson. By Jean-Philippe Rameau. Arranged by Flavio Regis ...
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Piano Solo - Level 3 - Digital Download SKU: A0.1162180 By Jean-Philippe Rameau and Vikingur Olafsson. By Jean-Philippe Rameau. Arranged by Flavio Regis Cunha. Baroque,Contest,Early Music,Festival,Instructional. Score. 8 pages. FRC Music #762536. Published by FRC Music (A0.1162180). During his studies in New York, VÃkingur Ólafsson became aware of the works of Jean-Philippe Rameau, which immediately fascinated him. Here the Icelandic pianist Rameaus interprets Le Rappel des Oiseaux, which is part of his album Debussy - Rameau.As the dreamy prélude comes to a close, the curtains are raised to reveal the dusky forest home of Rameau’s birds. What ensues are lively scenes from his extraordinarily inventive Suite in E minor. The birds are calling (Le Rappel des oiseaux). As extraordinary innovators of both harmony and form, with a unique ear for colour and a keen sense of the theatrical, both Rameau and Debussy wrote music which engages more senses than just that of hearing. - VÃkingur Ólafsson.Intermediate.Format: Concert, 9 x 12 inches.8 pages.
$6.99 ≈
6.30€
Golliwogg's Cakewalk
Golliwogg's Cakewalk
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy
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Thomas Jancso
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Golliwogg's Cakewalk
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Thomas Jancso
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.710771 Composed by Claude Debussy. Arranged by Thomas Jancso. 20th Century. Score. 4 pages. Thomas Jancso...
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Piano Solo - Level 4 - Digital Download SKU: A0.710771 Composed by Claude Debussy. Arranged by Thomas Jancso. 20th Century. Score. 4 pages. Thomas Jancso #6115053. Published by Thomas Jancso (A0.710771). Golliwogg's Cakewalk from Children's Corner by Debussy At the time of its composition, Golliwoggs were in fashion, due partly to the popularity at that time of the novels of Florence Kate Upton (golliwog is a later usage). They were stuffed black dolls with red pants, red bow ties and wild hair, somewhat reminiscent of the blackface minstrels of the time. The cakewalk was a dance or a strut, and the dancer with the most elaborate steps won a cake (took the cake). The piece is a ragtime with its syncopations and banjo-like effects. The dynamic range is quite large and very effective.
$3.99 ≈
3.60€
What Child Is This? - In the style of Claude Debussy by 16th Century English Melody - Piano Solo
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Piano solo
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16th Century English Melody
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What Child Is This? - In the s
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Musicnotes
16th Century English Melody - What Child Is This? - In the style of Claude Debussy Digital Sheetmusic - instantly downloadable sheet music plus an interactive, ...
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16th Century English Melody - What Child Is This? - In the style of Claude Debussy Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Instrumental Solo, instruments: Piano; 2 pages -- Classical~~Holiday & Special Occasion~~Christmas~~Christmas - Religious
$5.50 ≈
4.96€
The Ocean Deep, Piano Version
The Ocean Deep, Piano Version
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Piano solo
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INTERMEDIATE
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Leif Jack
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The Ocean Deep, Piano Version
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Leif Thomas Marken Jack
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1022838 Composed by Leif Jack. 20th Century,Contemporary. Score. 6 pages. Leif Thomas Marken Jack #600966...
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Piano Solo - Level 3 - Digital Download SKU: A0.1022838 Composed by Leif Jack. 20th Century,Contemporary. Score. 6 pages. Leif Thomas Marken Jack #6009669. Published by Leif Thomas Marken Jack (A0.1022838). The Ocean Deep is inspired by the majesty of the ocean, its deceiving calmness and our limited knowledge of its greatest depths. It depicts one rising from the calm, sparse mesopelagic layer (the Twilight Zone) to the life-saturated epipelagic layer (the Sunlight Zone). Upon reaching the ocean's surface, a wave of awesome propotions is encountered... This 5-minute work for piano is perfect for both intermediate and advanced players. Inspire yourself and your audience with music reminiscent of Debussy which celebrates the ocean! This work is easily accessible, and features various sections of the orchestra, and various players, who are always supported by other instruments. This work is perfect for private entertainment, or a public concert related to the ocean or nature. An excellent way to enrich a concert program with contemporary music which is not overly avant-garde or advance your own technical ability as pianist.Contact me at leifjack395@gmail.com for any further questions, concerns or business inquiries or check out my Instagram leif.jack.3 to see what I've been working on. Performing rights managed by SOCAN and BMI.
$2.25 ≈
2.03€
Short Stories
Short Stories
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Piano solo
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John Carbon
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Short Stories
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John Carbon
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SheetMusicPlus
Piano Solo - Digital Download SKU: A0.966219 Composed by John Carbon. 20th Century,Contemporary. Score. 92 pages. John Carbon #3586213. Published by John...
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Piano Solo - Digital Download SKU: A0.966219 Composed by John Carbon. 20th Century,Contemporary. Score. 92 pages. John Carbon #3586213. Published by John Carbon (A0.966219). The 24 pieces contained in my Short Stories for piano were composed between 2013-2018. I had originally grouped the pieces into a collection titled The Well-Blended Primer (subsequently withdrawn). I substantially revised, in some cases reconceived, the entire collection in 2017-18. Because my original intention was to include pieces that exhibited pitch centricity around each of the 24 possible major and minor keys, the earlier title, refering to J. S. Bach's 2-volume Das wohltemperierte Klavier, seemed to fit. As in Bach's work, some of the pieces in my collection exhibited a pronounced contrapuntal attitude. During the development of the work I had planned to alternate prelude and fugue-like pieces, but the end result was more of a hybrid collection that could be thought of as being influenced by Bach, but even more so by Chopin's group of 24 one-of-each-key Preludes, and systematically key-centered contrapuntal collections by Hindemith and Shostakovich. I was also influenced by shorter character pieces by composers such as Schumann, Debussy and Prokofiev that exhibit a more lyrical, narrative nature, to name only a few composers. In Short Stories, my plan to alternate preludes and fugues, or at least to systematically vary the degree of contrapuntal density, isn't readily perceived. There is certainly enforced variety in pitch centricity, but this feature isn't arranged symmetrically, and there is a range of tonal, modal, chromatic and atonal languages explored in the collection. Stylistically, there are many influences to be heard here. In fact, some of the titles of the individual pieces refer to other piano composers (for example Tea with Claude and Maurice, Czerny's Id, George Sand's Dream and Joplin's Tick). The name of the present work, Short Stories, describes these modest narratives better than the original title and the revised collection is less abstract than the 2013 version. From a pianist's standpoint, I would venture to say, these reconceived pieces are more concerned with color, register and voicings particular to the instrument. Some of the more extensive revisions I made to the original pieces were stylistic ones involving changes in the harmonic language and articulation. In other cases I fleshed out sketch- like miniatures into more substantially developed portraits, or conversely, I deleted what I thought might be considered to be extraneous material that obscured the abbreviated sketch-like nature of the narration. John Carbon
$12.99 ≈
11.72€
Clair de Lune
Clair de Lune
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy
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Danilo Daca Alves
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Clair de Lune
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Mezzo Pop
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1218766 Composed by Claude Debussy. Arranged by Danilo Daca Alves. 19th Century,Classical,Romantic Period...
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Piano Solo - Level 4 - Digital Download SKU: A0.1218766 Composed by Claude Debussy. Arranged by Danilo Daca Alves. 19th Century,Classical,Romantic Period,Spiritual,Wedding. Score. 6 pages. Mezzo Pop #815203. Published by Mezzo Pop (A0.1218766). An Advanced Piano Sheet Music to read and play!CHORD SYMBOLS INCLUDEDWe also have other versions of sheet music for this song, so you can choose what fits best for you to practice! Search and check out our Publisher or Arranger Profile! For all those who search for a beautiful arrangement within a clean score!We know how harsh can be to play a song with poor sheet music... So we decide to make it different and better!The Mezzo Pop's score editions want to help you to play your favorite songs on any instrument!So let us know: How can we help you to play your favorite songs?
$4.99 ≈
4.50€
Clair de Lune
Clair de Lune
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Piano solo
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INTERMEDIATE
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Classical
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Claude Debussy
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Danilo Daca Alves
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Clair de Lune
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Mezzo Pop
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1218786 Composed by Claude Debussy. Arranged by Danilo Daca Alves. 19th Century,Classical,Romantic Period...
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Piano Solo - Level 3 - Digital Download SKU: A0.1218786 Composed by Claude Debussy. Arranged by Danilo Daca Alves. 19th Century,Classical,Romantic Period,Spiritual,Wedding. Score. 6 pages. Mezzo Pop #815208. Published by Mezzo Pop (A0.1218786). An Intermediate Piano Sheet Music to read and play!We also have other versions of sheet music for this song, so you can choose what fits best for you to practice! Search and check out our Publisher or Arranger Profile! For all those who search for a beautiful arrangement within a clean score!We know how harsh can be to play a song with poor sheet music... So we decide to make it different and better!The Mezzo Pop's score editions want to help you to play your favorite songs on any instrument!So let us know: How can we help you to play your favorite songs?
$4.99 ≈
4.50€
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