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7 sheet music found
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1
There is a Balm in Gilead (with "What a Friend We Have in Jesus") (Piano Solo, Optional C Instrument
There is a Balm in Gilead (with "What a Friend We Have in Jesus") (Piano Solo, Optional C Instrument
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Piano solo
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INTERMEDIATE/ADVANCED
#
Gospel/Spiritual
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George Scriven, C
#
Cathy Stamegna
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There is a Balm in Gilead
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Cathy Stamegna
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SheetMusicPlus
Large Ensemble Piano Solo - Level 4 - Digital Download SKU: A0.781132 Composed by George Scriven, C.C. Converse. Arranged by Cathy Stamegna. Christmas,Co...
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Large Ensemble Piano Solo - Level 4 - Digital Download SKU: A0.781132 Composed by George Scriven, C.C. Converse. Arranged by Cathy Stamegna. Christmas,Contemporary,Easter,Praise & Worship,Spiritual. Score. 7 pages. Cathy Stamegna #5317557. Published by Cathy Stamegna (A0.781132). There is a Balm in Gilead (with What a Friend We Have in Jesus) (Piano Solo, Optional C Instrument). Two well-known hymns of comfort are brought together in this intermediate-advanced intermediate piano arrangement. Lyrics included to sing along. Optional C instrument possible for flute, oboe, violin, mallet percussion. Set of Parts for Optional C instrument. Arranger’s comments. Part of the Hymns of Comfort collection. Balm in Gilead: Traditional Spiritual; What a Friend We Have in Jesus: Words: George Scriven/Music: C.C. Converse.
$4.99 ≈
4.47€
Closer to Nowhere, a Latin jazz piano solo from Modern Solos
Closer to Nowhere, a Latin jazz piano solo from Modern Solos
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Piano solo
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INTERMEDIATE/ADVANCED
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Latin/World Music
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Jazz
#
Michael Bomier
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Closer to Nowhere, a Latin jaz
#
Michael Butkus-Bomier
#
SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.862464 Composed by Michael Bomier. 20th Century,Instructional,Jazz,Latin,Standards. Score. 2 pages. Micha...
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Piano Solo - Level 4 - Digital Download SKU: A0.862464 Composed by Michael Bomier. 20th Century,Instructional,Jazz,Latin,Standards. Score. 2 pages. Michael Butkus-Bomier #2008569. Published by Michael Butkus-Bomier (A0.862464). The use of cut-time in Latin jazz is commonplace. Here is a fun and colorful example. The key of 6 flats is used, so that the player or student can get the feel of being somewhat percussive on the black keys. The white keys used are Cb, Fb and Abb! The melody is stated in thirds, with larger sonorities at the cadence points. The chords Fb Maj7 and Abb Maj9 are used, so that the sudden shock of seeing chords in sharps juxtaposed against the 6 flats is avoided. It really is easier to play than to read. The piece repeats, with a vamp intro and coda. Approx duration 1 and a half mins. Left hand is half-note bassline throughout.
$1.99 ≈
1.78€
Handel - Fuga (Sonatina) in G Major - Intermediate
Handel - Fuga (Sonatina) in G Major - Intermediate
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Piano solo
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INTERMEDIATE
#
Classical
#
George Frideric Handel
#
Piacere Music Sheets
#
Handel - Fuga
#
Piacere Music Sheets
#
SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1117609 Composed by George Frideric Handel. Arranged by Piacere Music Sheets. Baroque,Instructional,Stand...
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Piano Solo - Level 3 - Digital Download SKU: A0.1117609 Composed by George Frideric Handel. Arranged by Piacere Music Sheets. Baroque,Instructional,Standards. Score. 3 pages. Piacere Music Sheets #719151. Published by Piacere Music Sheets (A0.1117609). Opus/Catalog Number: HWV 582 Key/Tone: G Major Movements/Sections: Sonatina Year/Date of Composition: 1721-1722 Difficulty: Grade 5/12 (Intermediate) Obs.: This piece is part of the Aylesford manuscript, where it is entitled Fuga. The Italian word fuga means an escape, or a flight. Although this is not a strictly formed fugue (in the style of Bach's fugues, for instance), it does feature imitation, fleeing and chasing between the two hands. Although Handel's manuscript does not contain any ornaments, cadential trills are suggested to measures 6, 8, 12, 16 and 18. Our edition thus contains suggestions for realizing these trills in accordance with the performance practice of the Baroque period. Namely, such trills begin ON the beat, on the upper auxiliary note. More on less repercussions may be played depending on the player's taste and ability. Please note finally that some editions show an E in measure 5 (7th note, left hand). This could be justified by what is done in measure 7. Handel's manuscript however clearly shows a G.
$4.95 ≈
4.44€
Die Reise nach Batumi
Die Reise nach Batumi
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Piano solo
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Mulo Francel, Quandro Nuevo
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Die Reise nach Batumi
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Roba Music Verlag
#
SheetMusicPlus
Piano - Digital Download SKU: RX.9783737803298 Sheet music for piano. Composed by Mulo Francel, Quandro Nuevo. Text language: English. World music...
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Piano - Digital Download SKU: RX.9783737803298 Sheet music for piano. Composed by Mulo Francel, Quandro Nuevo. Text language: English. World music. 4 pages. Published by Roba Music Verlag (RX.9783737803298). This song is a travelling song written under the impression of several tours through South and East Europe, the Balkans and around the Black Sea. Dedicated to Jason, the hero of the Greek mythology, it has to be played in a hymnic manner. Jason went on a most adventurous journey to the very outermost coast of the Black Sea with this motley entourage - the Argonauts - in order to seize the Golden Fleece, a gigantic golden ram skin. Just about where the Georgian city of Batumi is today. If you would like to know more about it, you may want to read the chapter “Die Reise nach Batumi†(The Journey to Batumi) in our roadbook “Quadro Nuevo: Grand Voyage. To every person who is interested in these old myths, I recommend the books of the author and journalist Michael Kohlmeier, for example his amusing interpretations of the Sagen des Klassischen Altertums (Sagas of the classical antiquity). Just East of Batumi the Caucasus begins, with its colourful mixture of ancient peoples and cultures. I have always been fascinated with musicians who originate from this region. For example the composer Aram Katschaturian or the pianist David Gazarov, with whom I often play concerts. An Eastern groove suits this song well, quite comparable to a fast rumba. I suggest you play the intro (may be extended) and the theme (measures 6 to 39) first. Then you may improvise freely over the AABA-form of the theme. The last solo part is shortened because the B-part leads into a percussion solo. This percussion solo may be omited. After the last complete solo part you can repeat the theme and then play the al fine. For Improvisation: On a separate sheet I am offering some scales to the chords of the song in various transpositions, which is helpful as basic material for improvisations. Some chords (like the very first one) fit several different scales. Decide for yourself which one you prefer. Or maybe even make up your own. Even though these notes may sound right with the chords, one thing always holds true in creative music: There should be no dogmatic wrong or right. Sometimes what seems like a wrong note, could give the progression of the melody its special colour, tension and spice. Sometimes an improvisation with exclusive right notes is correct in music theory, but sounds terribly boring. Besides, every improviser is encouraged to happily help themselves to the chromatics. All of this is only a suggestion. Music becomes exciting and colourful when the basic material is interpreted in an imaginative and creative way!
$6.19 ≈
5.55€
Surface Abrasion (in black & white) for piano
Surface Abrasion (in black & white) for piano
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Piano solo
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ADVANCED
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Contemporary
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Nicholas Yandell
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Surface Abrasion
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Nicholas Yandell Music
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1000666 Composed by Nicholas Yandell. 20th Century,Contemporary. Score. 12 pages. Nicholas Yandell Music ...
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Piano Solo - Level 5 - Digital Download SKU: A0.1000666 Composed by Nicholas Yandell. 20th Century,Contemporary. Score. 12 pages. Nicholas Yandell Music #6324367. Published by Nicholas Yandell Music (A0.1000666). This piece explores the whole range of the piano, as well as the instrument's more percussive side in a work that's rhythmically rich, with accessible melodic material and harmonic contrasts. This is a high-concept, expressive show piece, which is perfect as a recital piece for a college student or professional and an average performance of this piece lasts just over 6 minutes. First performed (studio recording) in Scotland by Edward Cohen in August of 2020, this work explores the concept of Extant Art. The definition of Extant is: still in existence, surviving, what’s not destroyed or lost; focusing on what remains after the surface of a person, object, or idea is stripped away. Musically, this concept is expressed through breaking down melodies and harmonies to their simplest elements, exploring spacious and percussive textures, clusters and jarring contrasts, moments of shrill dissonance, and using fragmented and jagged rhythms to form the parts of a shattered whole. Ultimately, this work is about breaking down the outside emotional skin and then penetrating the depths of an individual, until left with just their extant core. It’s a thrashing musical journey of catharsis.Performing Rights Organization: ASCAPComposer's website: https://www.nicholasyandell.com
$8.99 ≈
8.06€
The Raymond Variations for Piano (Set 1)
The Raymond Variations for Piano (Set 1)
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Piano solo
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INTERMEDIATE/ADVANCED
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S
#
these include a
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The Raymond Variations for Pia
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S. G. Potts
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.499760 Composed by S. G. Potts. 20th Century,Contemporary,Romantic Period,Standards. Score. 18 pages. S. ...
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Piano Solo - Level 4 - Digital Download SKU: A0.499760 Composed by S. G. Potts. 20th Century,Contemporary,Romantic Period,Standards. Score. 18 pages. S. G. Potts #3512109. Published by S. G. Potts (A0.499760). The Raymond Variations for Piano (Set 1), received its world premiere on 2nd December 2015 at the 1901 Arts Club London, performed by Lorraine Womack-Banning as part of a memorial tribute concert to her late husband Raymond Banning (former professor of pianoforte at Trinity College London). The Variations are based on the three Andantino themes which form a central part of the ‘Raymond Overture’ written in 1851 by French composer Ambroise Thomas: 1811-1896. There are nine piano variations in total; these include a mix of both full and short partial variations (including a very short declamatory two chord introductory variation). The variations are not numbered or set-apart in a conventional manner, rather they form part of a continuous whole, and are separated only by bridge passages and/or cadence points; they last a little under eight minutes in duration, and strongly exploit the passionate elements of Thomas’s themes. They have been written for the most part in an accessible tonal style (with a passing nod to Messrs. Beethoven and J.S. Bach) and are based predominately in the home key of D minor, but they do also take advantage of many 20th and 21st century harmonic techniques where deemed appropriate: e.g. added note chords; cluster chords; percussive chords, and melodic deflection. In particular, the interval of the major 7th and its enharmonic equivalent(s) (the most distinctive interval in the main andantino theme from the overture) is heard in various different guises throughout the variations: this includes its inversion the minor 2nd which has a very distinctive sharp dissonant quality. Much play is made of these intervals – to somewhat humorous effect in variation 8 (the joker in the pack) heard some three quarters into the set, here the dissonant interval is pounded out double forte before hastily leading into some boisterous cluster harmonic instability; then quietly begins variation 9 which duly brings the set to a close. Look out for the sting in the tail!
$9.99 ≈
8.95€
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