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The Call Up Voice, Easy piano
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The Call Up Voice, Easy piano
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Sheetmusic to print
21 sheet music found
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1
We Must Learn to Walk Together
We Must Learn to Walk Together
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Piano, Vocal and Guitar
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EASY
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Sacred music
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural...
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99 ≈
£3.04
Beethoven - Ode to Joy Theme in 13 Keys - Demo - (Key Map Tablature)
Beethoven - Ode to Joy Theme in 13 Keys - Demo - (Key Map Tablature)
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Easy Piano
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BEGINNER
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Classical
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Ludwig van Beethoven
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John M
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Beethoven - Ode to Joy Theme i
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Music Innovators Workshop
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SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.984712 Composed by Ludwig van Beethoven. Arranged by John M. Honeycutt. Instructional,Romantic Period,Wor...
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Easy Piano - Level 1 - Digital Download SKU: A0.984712 Composed by Ludwig van Beethoven. Arranged by John M. Honeycutt. Instructional,Romantic Period,World. Score. 16 pages. Music Innovators Workshop #4357657. Published by Music Innovators Workshop (A0.984712). This is a demo of the Ode to Joy theme in all 13 major keys. Each page contains a 2-voice arrangement of the first 8 measures of the piece in a different key. This unit demonstrates how easily one can play in any key, when the music is notated on a key map tablature.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.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.
$2.00 ≈
£1.52
20 Easy Christian Classics, BOOK 1 (Two Octave, Early-Intermediate Piano Solos)
20 Easy Christian Classics, BOOK 1 (Two Octave, Early-Intermediate Piano Solos)
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Piano solo
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EASY
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Sharon Wilson
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Sharon Wilson
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20 Easy Christian Classics, BO
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Sharon Wilson
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1386606 By Sharon Wilson. By African-American Spiritual, Charles H. Gabriel, Daniel B. Towner, Fan...
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1386606 By Sharon Wilson. By African-American Spiritual, Charles H. Gabriel, Daniel B. Towner, Fanny J. Crosby, Folk Song, Frederick M. Lehman, Henri F. Hemy, James M. Black, John Bacchus Dykes, Robert Lowry, Traditional Spiritual, William B. Bradbury, and William J. Kirkpatrick. Arranged by Sharon Wilson. Christian,Easter,Folk,Holiday,Spiritual. Score. 45 pages. Sharon Wilson #970488. Published by Sharon Wilson (A0.1386606). This is a collection of 20 hymns and spirituals arranged for early-intermediate piano players.  These artistically crafted arrangements provide unique harmonies and accompaniment that creatively enhance the melody line. From elegant and peaceful to bright and spirited, these arrangements will provide plenty of satisfaction whether used during practice sessions or for personal entertainment and leisure. Lyrics are included for sing-along enjoyment.All notes in all 20 songs are within the two-octaves adjoining Middle C. The LEFT HAND plays from low C to Middle C. The RIGHT HAND plays from Middle C to high C. Keys Signatures: C, F, and G (and a few scattered accidentals)Time Signatures: 3/4, 4/4, and 6/8Ledger Line Notes: only Middle CNote and Rest durations: whole, half, quarter, and eighth, plus dotted notes of the same durationsThese arrangements are ideal for introducing classic Christian songs to piano students. They can be used as supplementary repertoire for students after they have mastered the basics of music notation and note reading. These arrangements are also great for sight-reading practice, especially if some of the songs are unfamiliar. These arrangements are perfect for small keyboards.  They provide the opportunity for additional practice and enjoyment even when a full-sized keyboard is not available. Most of these songs are also available separately with accompanying preview pages and audio samples. Song titles included in this collection:   All Creatures of Our God and KingDown by the RiversideEvery Time I Feel the SpiritFaith of Our FathersHaven of RestHere Is LoveHigher GroundHoly, Holy, HolyJesus, What a Friend for Sinners (HOLY MANNA)Lead Me to CalvaryMarvelous GraceOld Time ReligionPower in the Blood Redeemed, How I Love to Proclaim ItSatisfiedSweet Hour of PrayerThe Love of GodThere Is a Balm in GileadWhen the Roll Is Called Up YonderWhen the Saints Go Marching In Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$15.00 ≈
£11.44
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
£18.29
The Bare Necessities
The Bare Necessities
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Piano solo
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EASY
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Walt Disney
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the way, there are a few bars
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Terry Gilkyson
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Thomas Gunther
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The Bare Necessities
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Thomas Gunther Music Productions
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SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson. Arranged by Thomas Gunther. Comedy,Film/TV,Jazz. Score. 2 pages. Thom...
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Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson. Arranged by Thomas Gunther. Comedy,Film/TV,Jazz. Score. 2 pages. Thomas Gunther Music Productions #869433. Published by Thomas Gunther Music Productions (A0.1277927). About the arrangement(See also (PopJazzKeys.com/The-Bare-Necessities)This is a relatively easy to play solo piano jazz arrangement of THE BAR NECESSITIES. The song is a traditional jazz tune made famous in the Walt Disney movie THE JUNGLE BOOK. The video and audio recording I posted here features me playing the short version of my arrangement. When played as written (with all the repeats) it is almost 4 minutes long.What's cool about this arrangement is that you can easily add a bass player and even an entire rhythm section while playing it the same way as you would in a solo performance!Who this arrangement is best suited forI think everyone who likes the song except perhaps advanced jazz pianists will have fun learning and playing this arrangement. I arranged this piece originally with my younger piano students in mind, who have smaller hands than most adults. That’s why there are no large intervals or big jumps in the left hand. Something generally found in ragtime and early jazz piano styles. This means that my arrangement is perfectly suited for pianists with smaller hands. Of course pianists with large hands (like myself) can play it too (ha-ha!).I think it is also a great piece for pianists who want to familiarize themselves with playing jazz piano. And since I wrote out every note and articulation, they can play along with the recording and hopefully pick up the traditional jazz feel along the way.Although the arrangement is not very difficult, it poses several challenges for the inexperienced pianist, as explained later.How I arranged itAs I already explained above, there are no large intervals or big jumps in the left hand to be found. Instead, I focused more on polyphonic arranging techniques, in both hands. I also used guide tones and inversions.The left hand imitates the accompaniment style of a traditional jazz guitar or banjo player with added half time bass figures that are typically played by a tuba or upright bass an octave lower. Tips for how to learn this arrangementWhen I teach this song to my students I strongly recommend to them to listen to the original version and my recording a lot, rather than explaining to them how swinging eighth notes and jazz articulation work. By the way, there are a few bars where you hear me playing straight eighths on the recording (as indicated in the sheet music). I decided to add articulations so that pianists who have not a lot of experience with playing jazz will find it easier to play it with the appropriate “touchâ€. It's a good idea to check those out.Should you not be familiar with playing polyphonic passages with one hand, you might want to practice very slowly at first and attempt to balance the different voices appropriately. Listening to the recording will also help with discovering dynamic possibilities. I didn’t want to clutter up the sheet music with dynamic markings, so listening to the recording is really the only way to figure out what dynamics I had in mind.
$4.99 ≈
£3.80
When the Roll Is Called Up Yonder (Two Octave, Early-Intermediate Piano Solo)
When the Roll Is Called Up Yonder (Two Octave, Early-Intermediate Piano Solo)
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Piano solo
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EASY
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Sacred music
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Sharon Wilson
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Sharon Wilson
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When the Roll Is Called Up Yon
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Sharon Wilson
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1378006 By Sharon Wilson. By James M. Black. Arranged by Sharon Wilson. 19th Century,Children,Chri...
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1378006 By Sharon Wilson. By James M. Black. Arranged by Sharon Wilson. 19th Century,Children,Christian,Praise & Worship,Sacred. Score. 2 pages. Sharon Wilson #962626. Published by Sharon Wilson (A0.1378006). This early-intermediate piano solo arrangement has been artistically crafted to provide a unique accompaniment that creatively enhances the melody line played by the right hand. Lyrics are included for sing-along enjoyment.All notes for this arrangement are within the two octaves adjoining Middle C. The LEFT HAND plays from low C to Middle C. The RIGHT HAND plays from Middle C to high C.  This arrangement is ideal for introducing classic Christian songs to piano students. It is a great addition to the supplementary repertoire for students after they have mastered the basics of music notation and note reading. This arrangement is also great for sight-reading practice and perfect for small keyboards.  Requiring only two octaves, it provides the opportunity for additional practice and enjoyment even when a full-sized keyboard is not available. This arrangement is one of the 20 songs in the collection titled 20 Easy Christian Classics, BOOK 1 (Two Octave, Early-Intermediate Piano Solos). Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$2.99 ≈
£2.28
Numb
Numb
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Piano solo
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INTERMEDIATE
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Isadar
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Numb
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Mainya Music Publishing
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1203048 By Isadar. By Isadar. 20th Century,Contemporary,Jazz,New Age. Score. 7 pages. Mainya Music Publis...
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Piano Solo - Level 3 - Digital Download SKU: A0.1203048 By Isadar. By Isadar. 20th Century,Contemporary,Jazz,New Age. Score. 7 pages. Mainya Music Publishing (BMI) #801732. Published by Mainya Music Publishing (BMI) (A0.1203048). Contains:Numb - taken from the Isadar solo piano collection, The Purple Heart (improvisational solo piano) (available soon on SMP) Sounds like: Keith Jarrett's Köln Concert, Bill Evans, Liz Story, George Winston, early Windham Hill solo piano artists Transcribed by:  David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording Album & Songbook review by:  Kathy Parsons (MainlyPiano.com):The Purple Heart is Isadar’s solo piano tribute and memorial to the people who lost their lives in the 9/11/01 tragedy. Recorded as a 56-minute improvisation on 12/25/02, the music is thoughtful, somber, and quite elegant. There are actually thirteen pieces on the CD, but they segue into each other, making it difficult to tell where one song ends and another begins. This is very definitely NOT a problem, as the album unfolds naturally and organically, asking questions, looking inward, and expressing shock and grief. However, this is not music about only despair or rage. I also hear hope and determination as well as quiet reverence - the strange mix of emotions we all felt during those dark days. Titles include From Cradle to Coffin, Bravery, Numb, New York Skyline, and Truth. Isadar has a wonderful way of wearing his heart on his musical sleeve, pouring deep emotion and heartfelt expression into his music. The music was recorded in one take, but rather than meandering all over the place, Isadar used recurring themes that make the work cohesive and consistent enough to hold together even after many listens. This is a very strong and passionate work, but it was recorded with a rather quiet voice which allows it to be very comfortable and soothing background music as well as evocative solo piano music for concentrated and focused listening. The Purple Heart Sheet Music Collection is a note-for-note solo piano transcription of Isadar’s 2003 memorial CD by the same name (transcribed by David Shenton). The recording and book are a tribute to those who died in the attacks of 9/11/2001. The music was recorded in one take and although there are thirteen titles, the pieces segue into each other, creating a seamless 56-minute improvisation. The book indicates where the various pieces begin and end, but can also be played as one long piece. Although the theme of the music is very somber and bleak, the music covers the broad range of emotions we all felt during that period - anger, sadness, hope, determination, resolve, fear, grief, etc. Although the recording is an improvisation, Isadar incorporates a recurring theme that holds the work together as a single entity. Some pieces are very slow while others are lively and even fast. All thirteen pieces are in C minor/Eb major, but the variety of moods and tempos keep the music evolving without becoming repetitious. When the recurring theme pops up, it’s like seeing an old friend!The difficulty in playing someone’s improvisation is that the creation of the music was spontaneous and free-flowing. It isn’t easy to read an improvisation and give the music that quality of freedom. Less advanced pianists might find this frustrating. The time signatures change frequently, but a competent pianist will have no trouble with that. As I was playing this book, I sensed that I was looking directly into Isadar’s heart and feeling what he was feeling as the music was being born - a very powerful experience! Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, featuring today's biggest names in solo piano music.
$5.99 ≈
£4.57
Jesus Is Coming Again (Two Octave, Early-Intermediate Piano Solo)
Jesus Is Coming Again (Two Octave, Early-Intermediate Piano Solo)
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Piano solo
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EASY
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Sacred music
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Sharon Wilson
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Sharon Wilson
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Jesus Is Coming Again
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Sharon Wilson
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1386652 By Sharon Wilson. By George E. Lee and Jessie E. Strout. Arranged by Sharon Wilson. 19th C...
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1386652 By Sharon Wilson. By George E. Lee and Jessie E. Strout. Arranged by Sharon Wilson. 19th Century,Christian,Easter,Praise & Worship,Sacred. Score. 2 pages. Sharon Wilson #970534. Published by Sharon Wilson (A0.1386652). This early-intermediate piano solo arrangement has been artistically crafted to provide a unique accompaniment that creatively enhances the melody line played by the right hand. Lyrics are included for sing-along enjoyment.All notes for this arrangement are within the two octaves adjoining Middle C. The LEFT HAND plays from low C to Middle C. The RIGHT HAND plays from Middle C to high C.  This arrangement is ideal for introducing classic Christian songs to piano students. It is a great addition to the supplementary repertoire for students after they have mastered the basics of music notation and note reading. This arrangement is also great for sight-reading practice and perfect for small keyboards.  Requiring only two octaves, it provides the opportunity for additional practice and enjoyment even when a full-sized keyboard is not available. This arrangement is one of the 20 songs in the collection titled 20 Easy Christian Classics, BOOK 2 (Two Octave, Early-Intermediate Piano Solos). Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicKeywords: Lift Up the Trumpet, Second Advent, Heaven, worship music, praise and worship songs, hymns of hope and courage, easy hymn arrangements.
$2.99 ≈
£2.28
Contrapuntal Piano-Playing
Contrapuntal Piano-Playing
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Piano solo
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EASY
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Contrapuntal Piano-Playing
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Schott Music - Digital
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SheetMusicPlus
Piano - easy to intermediate - Digital Download SKU: S9.Q15823 Playing with two independent voices. This edition: Sheet music. Essential Exercises...
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Piano - easy to intermediate - Digital Download SKU: S9.Q15823 Playing with two independent voices. This edition: Sheet music. Essential Exercises. Downloadable. Schott Music - Digital #Q15823. Published by Schott Music - Digital (S9.Q15823). Part 1: The interpretation of contrapuntal music makes particular demands on the pianist. Surprisingly there are very few collections which deal systematically with this important theme. In these two books Fritz Emonts has written a kind of 'Method of Contrapuntal Piano Playing' which may accompany piano tuition over a period of several years. Book 1 begins with easier pieces from the repertoire (ostinato forms, canons, pieces with walking bass) and takes us through easy dance movements up to the Inventions by J. S. Bach. Book 2 offers a selection of repertoire on a rather higher level, from Baroque to Romantic. The pieces are grouped systematically, to distinguish three ways in which parts are distributed.
$17.99 ≈
£13.71
King Saul, That's All (from "Seeds Along the Way")
King Saul, That's All (from "Seeds Along the Way")
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Piano, Vocal and Guitar
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EASY
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Paul Addison
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Paul Addison
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King Saul, That's All
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Paul Addison
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1126524 Composed by Paul Addison. Arranged by Paul Addison. Children,Christian. Score. 4 pa...
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1126524 Composed by Paul Addison. Arranged by Paul Addison. Children,Christian. Score. 4 pages. Paul Addison #727189. Published by Paul Addison (A0.1126524). King Saul, That’s All is from the musical Seeds Along the Way by Paul Addison. (The complete musical, about the life of David, with script and nine bible songs, is available on this platform as a package.) This story comes from 1 Samuel 28. Saul has visited the spiritualist from Endor, even though he himself had forbidden the practice. The spiritualist calls up Samuel the prophet, who tells Saul that he will die the next day in battle. The song is a dirge, sung by Samuel and the Chorus, at an Easy Intermediate Level.
$2.99 ≈
£2.28
Prayers and Blessings (Piano/Vocal Score)
Prayers and Blessings (Piano/Vocal Score)
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Gwyneth W
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Prayers and Blessings
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Bass/baritone voice solo, violoncello and organ - Moderately Easy - Digital Download SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. ...
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Bass/baritone voice solo, violoncello and organ - Moderately Easy - Digital Download SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. Score. 19 pages. Duration 10 minutes. E. C. Schirmer Music Company - Digital #6593-E. Published by E. C. Schirmer Music Company - Digital (MQ.6593-E). English.The three songs Welcome Love (Ubi caritas), Make Me an Instrument of Thy Peace, and Gaelic Blessing are interconnected motivically yet distinct in meter, tonality, and message. These three songs are interconnected motivically, yet distinct in meter, tonality, and message. Peace and reverence flow throughout. The songs are for a bass-baritone. Commissioned in 2003 by David Arnold, a North Carolina bass-baritone who is a soloist in the 80-voice Chancel Choir at Centenary United Methodist Church in Winston-Salem. Mr. Arnold premiered these songs at Centenary with organist Ray Ebert and cellist Jennifer Alexandra Johnston on February 27, 2005. A new version for voice and piano was created in 2005. A transposition for lyric Baritone was added in 2015, commissioned by Ferris Allen (Baritone) and Linda Holzer (Pianist) of Little Rock, AR.The lyrics for Ubi Caritas are based on a new translation, by Christopher Brunelle, of the traditional Ubi Caritas Est Vera. A recurrent image in this translation is the gesture of welcoming: welcoming love, welcoming God, welcoming the friendly unfamiliar thought, welcoming Christ with us. The musical interpretation of welcoming is stepwise motion, either up or down, around a pitch center. Perhaps this might be heard as an opening of the door, or an opening of the heart.An interlude leads to the second song, Make Me an Instrument of Thy Peace, a musical setting of the Prayer of Saint Francis. The accompaniment is sparse, with material reminiscent of the welcoming pattern in the first song. This song alternates between triple meter for the thematic sections (Lord, make me an instrument of thy peace) and duple meter for the more recitative sections (O Divine Master...). The music ends as it began, with simple open fifths accompaniment, this time filling in the chords to express the fullness of the lyrics born to eternal life.A second interlude provides the bridge to the third song, Gaelic Blessing. The text for this song is a series of blessings for peace. The gentle chordal arpeggiations in the piano are intended to provide a peaceful accompaniment. [Once again, the stepwise intervals and recurrent regular rhythms relate to the first song.]In keeping with the simplicity and repetition of the text, the music is formed by a series of four-measure phrases (blessings). The blessings are similar in contour, each spanning an interval of a fourth. Growth is achieved through repetition and some dynamic contrast. However, the principal aesthetic of this song is constancy and gentle flow. Only at the end of the song, when the voice descends into the deep range, is the melodic contour altered, and dynamic contrast introduced. As the voice ends on low tones, the piano line rises, perhaps to the source of peace.Duration: 10 min.
$11.00 ≈
£8.39
Musical Rounds Collection - Series 5FC - (Key Map Tablature)
Musical Rounds Collection - Series 5FC - (Key Map Tablature)
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Piano, Voice
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INTERMEDIATE
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Traditional
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John M
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Musical Rounds Collection - Se
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Music Innovators Workshop
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.984702 Composed by Traditional. Arranged by John M. Honeycutt. Children,Folk,Instructional. Score....
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.984702 Composed by Traditional. Arranged by John M. Honeycutt. Children,Folk,Instructional. Score. 8 pages. Music Innovators Workshop #4357453. Published by Music Innovators Workshop (A0.984702). These are some fun pieces arranged as rounds on key map tablatures. ContentsBrother JohnThe Farmer in the DellO Praise to TheeRow, Row, Row Your BoatThree Fine MiceThis 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.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.Series 5FC - Five Finger Positions Colored. To make fingering of melodies easy to follow, each 5-finger group begins with a finger number and colored notes. Then successive 5-fingered groups are identified with contrasting colored notes. Notes not belonging in a 5-fingered group are white. (version code 5FC)
$2.00 ≈
£1.52
Chocolate-Instrumental Track with Piano
Chocolate-Instrumental Track with Piano
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Deborah Johnson
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Chocolate-Instrumental Track w
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Deborah Johnson
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SheetMusicPlus
Bass Voice,Drums,Keyboard - Level 2 - Digital Download SKU: A0.1367069 Composed by Deborah Johnson. Comedy,Contest,Festival,Jazz,Pop,Singer/Songwriter. A...
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Bass Voice,Drums,Keyboard - Level 2 - Digital Download SKU: A0.1367069 Composed by Deborah Johnson. Comedy,Contest,Festival,Jazz,Pop,Singer/Songwriter. Accompaniment. Duration 318. Deborah Johnson #951418. Published by Deborah Johnson (A0.1367069). The song Chocolate by Deborah Johnson is a delicious ballad that is easy to listen to an fairly easy to perform. This arrangement can be performed solo, as a duet, SSA chorus or SAB chorus. This is the instrumental accompaniment track with piano for performance. A version without piano is also available for those who would like to play and sing with the track. Originally on the album Chocolate: Songs of Love. (https://DJWorksMusic.com/products) Individual Original Album MP3 here: https://www.amazon.com/Chocolate-Songs-Love-Deborah-Johnson/dp/B0015KJAD2 for listening to complete album cut. Video is here: https://youtu.be/LWAPaXkekEg This lively arrangement is perfect for performance and the arrangement is very versatile. Also available is the full score with vocals, piano and chords for rhythm instruments and the extra value of Individual extracted vocal parts with rhythm including piano/chords and vocal for rhythm sections for a total of 14 pages, including cover. The vocals are from A below middle C to C above for only a little over an octave range. The piano score is written out and is at the easy-intermediate level, very achievable for most players. There is plenty of room for improvisation. Chocolate is a fun thematic piece that would be a good addition for most any event! MP3s of the song and the instrumental track are also available, both with and without piano for performance. Twitter: @DJWorksMusic; Instagram: Deborah_johnsonmusic Like our Facebook page: https://www.facebook.com/deborah.johnson Get weekly updates & articles here: https://goalsforyourlife.com/newsletter DEBORAH JOHNSON, is a National Recording Artist, Composer, Speaker and published Author. She has recorded over a dozen albums, written 3 original musicals and has appeared on many stages around the country and world. She has also appeared with the headliner piano/vocal duo Double Grande. Also the author of multiple books, her music has been up for multiple Grammy Awards.You can find out more about Deborah at https://DJWorksMusic.com, https://GoalsForYourLife.com or https://DeborahJohnsonSpeaker.com. Production, Music and Lyrics by Deborah Johnson. Keyboards: Deborah Johnson; Background Vocals: Deborah Johnson & Charlie Clark; Sequencing & Orchestration: Richard Callaci.
$8.99 ≈
£6.85
Chocolate-Instrumental Track with no Piano
Chocolate-Instrumental Track with no Piano
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Deborah Johnson
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Chocolate-Instrumental Track w
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Deborah Johnson
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SheetMusicPlus
Bass Voice,Drums,Guitar,Keyboard - Level 2 - Digital Download SKU: A0.1367079 Composed by Deborah Johnson. Comedy,Contest,Festival,Jazz,Pop,Singer/Songwr...
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Bass Voice,Drums,Guitar,Keyboard - Level 2 - Digital Download SKU: A0.1367079 Composed by Deborah Johnson. Comedy,Contest,Festival,Jazz,Pop,Singer/Songwriter. Accompaniment. Duration 320. Deborah Johnson #951428. Published by Deborah Johnson (A0.1367079). The song Chocolate by Deborah Johnson is a delicious ballad that is easy to listen to an fairly easy to perform. This arrangement can be performed solo, as a duet, SSA chorus or SAB chorus. This is the instrumental accompaniment track without piano for those who would like to play and sing with the track. Also available is an instrumental accompaniment track with piano for performance. Originally on the album Chocolate: Songs of Love. (https://DJWorksMusic.com/products) Individual Original Album MP3 here: https://www.amazon.com/Chocolate-Songs-Love-Deborah-Johnson/dp/B0015KJAD2 for listening to complete album cut. Video is here: https://youtu.be/LWAPaXkekEg This lively arrangement is perfect for performance and the arrangement is very versatile. Also available is the full score with vocals, piano and chords for rhythm instruments and the extra value of Individual extracted vocal parts with rhythm ncluding piano/chords and vocal for rhythm sections for a total of 14 pages, including cover. The vocals are from A below middle C to C above for only a little over an octave range. The piano score is written out and is at the easy-intermediate level, very achievable for most players. There is plenty of room for improvisation. Chocolate is a fun thematic piece that would be a good addition for most any event! MP3s of the song and the instrumental track are also available, both with and without piano for performance. Twitter: @DJWorksMusic; Instagram: Deborah_johnsonmusic Like our Facebook page: https://www.facebook.com/deborah.johnson Get weekly updates & articles here: https://goalsforyourlife.com/newsletter DEBORAH JOHNSON, is a National Recording Artist, Composer, Speaker and published Author. She has recorded over a dozen albums, written 3 original musicals and has appeared on many stages around the country and world. She has also appeared with the headliner piano/vocal duo Double Grande. Also the author of multiple books, her music has been up for multiple Grammy Awards.You can find out more about Deborah at https://DJWorksMusic.com, https://GoalsForYourLife.com or https://DeborahJohnsonSpeaker.com. Production, Music and Lyrics by Deborah Johnson. Keyboards: Deborah Johnson; Background Vocals: Deborah Johnson & Charlie Clark; Sequencing & Orchestration: Richard Callaci.
$8.99 ≈
£6.85
The Rocks Are Gonna Cry Out! (2-Part)
The Rocks Are Gonna Cry Out! (2-Part)
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Choral 2-part
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INTERMEDIATE
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Carol Troutman Wiggins
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syncopated rhythms
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The Rocks Are Gonna Cry Out!
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Carol Troutman Wiggins
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SheetMusicPlus
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.727471 Composed by Carol Troutman Wiggins. Christian,Religious,Rock,Sacred,Spiritual. Octavo. 10 p...
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.727471 Composed by Carol Troutman Wiggins. Christian,Religious,Rock,Sacred,Spiritual. Octavo. 10 pages. Carol Troutman Wiggins #4278055. Published by Carol Troutman Wiggins (A0.727471). THE ROCKS ARE GONNA CRY OUT!SA/2-Part Mixed Voices (w/Optional Hand Claps or Tambourines)Need a quick and easy rockin', upbeat song for middle school and up or your church choir that will get the audience clapping their hands? The text is adapted from Luke 19:40 and Isaiah 55:12, and says that if we don't praise the Lord, the rocks, mountains and trees will!Excellent for middle school and olderGreat Call to Worship or church anthem Rockin; syncopated rhythms; high energyEasy melody, repetitive wordsAdd hand claps and/or tambourines to get the audience on their feetChords included for additional instrumentsPiano Accompaniment Track on this site.
$2.95 ≈
£2.25
Sing We Now of Christmas - SATB, flute or violin or cello and piano (parts included)
Sing We Now of Christmas - SATB, flute or violin or cello and piano (parts included)
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French Carol - unknown
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Connie Boss
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Sing We Now of Christmas - SAT
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Connie Boss
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SheetMusicPlus
Choral Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801663 Composed by French Carol - unknown. Arranged by Connie Boss. Celtic,Christmas...
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Choral Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801663 Composed by French Carol - unknown. Arranged by Connie Boss. Celtic,Christmas,Irish,Sacred. Score. 7 pages. Connie Boss #6373501. Published by Connie Boss (A0.801663). This lovely French carol has a new look with the SATB parts. A pretty flute is the accent instrument on this piece. Attached in this purchase are parts for flute, violin and cello on one page for easy playing. You can switch out the flute for violin or cello as the accent instrument. Lot's of moving parts. The melody is in the alto part. It doesn't get too high for Sopranos. Perfect for your choir this Christmas. Simple piano, but the vocals make up for that. You can purchase this version and others on sheet music plus. cdboss@cvalley.net  Sing We Now at Christmas French Carol Arranged by Connie Boss  Intro: Noel, Noel, Noel Noel, Noel, Noel  Verse 1: Sing we now of Christmas, Noel, sing we here Hear our grateful praises to the Babe so dear  Refrain: Sing we Noel, the King is here Noel Sing we now of Christmas, sing we now Noel  Verse 2: Angels called to shepherds, Leave your flocks at rest. Journey forth to Bethlehem, find the lambkin blest  Refrain:  Verse 3: In Bethlehem, they found him; Joseph and Mary mild Seated by the manger, watching the Holy Child.  Refrain:  Final Ending:  Sing we Noel, Sing we Noel, Sing we Noel, Sing we Noel,  Sing we now of Christmas, sing we now Noelcdboss@cvalley.net.
$5.50 ≈
£4.19
Now Is The Time
Now Is The Time
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Choral SATB
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EASY
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Marsha Medley
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Now Is The Time
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Marsha Medley
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SheetMusicPlus
Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.908901 Composed by Marsha Medley. Children,Concert,Instructional,Standards. Octavo. 7 pages. Ma...
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Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.908901 Composed by Marsha Medley. Children,Concert,Instructional,Standards. Octavo. 7 pages. Marsha Medley #4365734. Published by Marsha Medley (A0.908901). Composed as the opening song for my Spring Piano Recitals, the students and parents loved the humor and the beauty of this music. As a Call to put aside the business of our daily lives, this piece reminds us to relax for a moment and enjoy the beautiful music. Easy to learn. Great for voice recitals, and elementary and middle school concerts. This version includes the right to make up to 10 copies of the voice part only. Additional copies of the voice/piano part may be purchased separately. .
$10.99 ≈
£8.38
Now Is The Time
Now Is The Time
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Choral SATB
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EASY
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Marsha Medley
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Now Is The Time
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Marsha Medley
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SheetMusicPlus
Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.908900 Composed by Marsha Medley. Children,Concert,Instructional. Octavo. 5 pages. Marsha Medle...
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Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.908900 Composed by Marsha Medley. Children,Concert,Instructional. Octavo. 5 pages. Marsha Medley #4365696. Published by Marsha Medley (A0.908900). Composed as an opening group song for my Spring Piano Recitals, the students and parents loved the humor and beauty of this piece! Voice teachers, elementary and middle school teachers will find this a great Call to put aside our daily business and just enjoy the beautiful music. Easy to learn. This may be purchased as a single copy with the voice and accompaniment or as a classroom packet which includes a lead sheet that may be copied (up to 10 per purchased copy) and used in the classroom.
$3.99 ≈
£3.04
Address Unknown
Address Unknown
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Piano, Vocal and Guitar
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INTERMEDIATE
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Contemporary
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Guy Lombardo
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Dan Gabel
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Address Unknown
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Daniel Clayton Gabel
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.969095 By Guy Lombardo. By Carmen Lombardo, Dedette Lee Hill, and Johnny Marks. Arranged by...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.969095 By Guy Lombardo. By Carmen Lombardo, Dedette Lee Hill, and Johnny Marks. Arranged by Dan Gabel. Contemporary. Score. 2 pages. Daniel Clayton Gabel #6255639. Published by Daniel Clayton Gabel (A0.969095). Featured in the hit TV show Better Call Saul, this tune was a #1 hit for The Ink Spots in 1939.This arrangement/lead sheet includes the harmony used by The Ink Spots on their Decca hit single (Decca #2707). The melody, chords, and lyrics are all notated in clear, easy-to-read font.This is the only place the music for this great tune is available, so pick up your copy today!
$4.99 ≈
£3.80
Blues Lullaby
Blues Lullaby
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Piano solo
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ADVANCED
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PETER Z SALTZMAN
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Blues Lullaby
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Salt Muse, Inc
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SheetMusicPlus
Instrumental Solo,Piano and Keyboard - Level 5 - Interactive Download SKU: A0.480874 By PETER Z SALTZMAN. By PETER Z SALTZMAN. This edition: Interactive ...
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Instrumental Solo,Piano and Keyboard - Level 5 - Interactive Download SKU: A0.480874 By PETER Z SALTZMAN. By PETER Z SALTZMAN. This edition: Interactive Download. Blues,Children,Classical,Jazz. Individual part. 2 pages. Duration 86. Salt Muse, Inc #77okvfC6ltCj6rma22mFYB. Published by Salt Muse, Inc (A0.480874). Key: F major.Though it starts simply enough, this bluesy lullaby becomes increasingly complex as voices that started as accompaniment become counterpoint and the harmony becomes more and more, well, blue. So whille it initially seems pretty easy pianistically speaking, it ends up anything but. (For this reason, I'll be posting a simplified version soon: I think it would be an attractive recital piece for young pianists wanteding something a bit different.) Blues Lullaby comes from a suite/album called Blues, Preludes and Feuds. You can hear the entire album on any of the standard streaming services (Spotify, Apple, etc.) or here on Bandcamp: https://petersaltzman.bandcamp.com/album/blues-preludes-feuds-1-4.
$3.95 ≈
£3.01
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The Call Up Voice, Easy piano
