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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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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
21.54 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Two Modal Episodes: Piano Accompaniment
Accompagnement Piano
By John O'reilly. For String Orchestra. Instructional. Part. 2 pages. Published by Alfred …
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By John O'reilly. For String Orchestra. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$5.99
5.38 €
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Accompagnement Piano
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John O'reilly
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Two Modal Episodes: Piano Accompaniment
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Two Modal Episodes: Piano Accompaniment
Accompagnement Piano
By John O'reilly. For Concert Band. Instructional. Part. 2 pages. Published by Alfred Musi…
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By John O'reilly. For Concert Band. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$3.00
2.69 €
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Accompagnement Piano
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John O'reilly
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Two Modal Episodes: Piano Accompaniment
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fairest Lord Jesus: Piano Music for Worship
Piano seul
Piano - Moderately Easy - Digital Download SKU: MQ.15-744-E Composed by Michael Lar…
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Piano - Moderately Easy - Digital Download SKU: MQ.15-744-E Composed by Michael Larkin. 24 pages. MorningStar Music Publishers - Digital Sheet Music #15-744-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.15-744-E). A welcome addition to the repertoire of piano music for worship from Michael Larkin, this collection combines 6 hymn-based compositions with 2 original modal pieces. The writing is approachable and contains just the right amount of spice to make it interesting. Use as preludes, introductions, interludes, communion pieces, or postludes.
$15.95
14.32 €
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Piano seul
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Michael Larkin
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Fairest Lord Jesus: Piano Music for Worship
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Jozsef Bloch : Suite modale, B.95 – II. L'istesso tempo
Piano seul
Téléchargez la partition Piano Suite modale, B.95 – II. L'istesso tem…
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Téléchargez la partition Piano Suite modale, B.95 – II. L'istesso tempo de Bloch. Partition pour Duo -- Classique
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Piano seul
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Jozsef Bloch
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Suite modale, B.95 – II. L'i
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Tomplay
Jozsef Bloch : Suite modale, B.95 – III. Allegro giocoso
Piano seul
Téléchargez la partition Piano Suite modale, B.95 – III. Allegro giocoso d…
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Téléchargez la partition Piano Suite modale, B.95 – III. Allegro giocoso de Bloch. Partition pour Duo -- Classique
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Piano seul
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Jozsef Bloch
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Suite modale, B.95 – III. Al
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Tomplay
Jozsef Bloch : Suite modale, B.95 – I. Moderato
Piano seul
Téléchargez la partition Piano Suite modale, B.95 – I. Moderato de Bloch. …
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Téléchargez la partition Piano Suite modale, B.95 – I. Moderato de Bloch. Partition pour Duo -- Classique
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Piano seul
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Jozsef Bloch
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Suite modale, B.95 – I. Mode
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Tomplay
Jozsef Bloch : Suite modale, B.95 – IV. Adagio
Piano seul
Téléchargez la partition Piano Suite modale, B.95 – IV. Adagio de Bloch. P…
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Téléchargez la partition Piano Suite modale, B.95 – IV. Adagio de Bloch. Partition pour Duo -- Classique
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Piano seul
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Jozsef Bloch
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Suite modale, B.95 – IV. Ada
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Tomplay
Carmina Burana
Piano seul
Piano - difficult - Digital Download The Piano Version. Composed by Carl Orff (1895-1…
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Piano - difficult - Digital Download The Piano Version. Composed by Carl Orff (1895-1982). Arranged by Eric Chumachenco. This edition: Sheet music. Transkription, Piano, Eric Chumachenco. Downloadable. Schott Music - Digital #Q19417. Published by Schott Music - Digital
Carl Orffs beruhmtes, auf einer Sammlung mittelalterlicher Texte basierendes Werk in einer Klavierversion von Eric Chumachenco. Diese Transkription ist kein Klavierauszug. was Vokalsolisten und Chor singen, wird genauso in den Klang einbezogen wie der Orchesterpart.<br> Orffs Melos schwingt hier auf Tasten aus. Der archaisierende, neobarbarische Rhythmus verbindet sich mit der pragnanten, mal modalen, mal diatonischen Melodik zu einer pianistischen Siktion, die auch sinnliche Klangfulle nicht scheut. (als CD bei Wergo erhaltlich unter Best.-Nr. WER 6217-2).
$23.99
21.54 €
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Piano seul
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Eric Chumachenco
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Carmina Burana
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Schott Music - Digital
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SheetMusicPlus
The Modal Piano No. 4 - C Phrygian
Piano seul
Piano - Digital Download SKU: A0.1063417 Composed by James Michael Stevens. Arrange…
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Piano - Digital Download SKU: A0.1063417 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,Easter,Sacred. Full Performance. Duration 190. James M Stevens Music ASCAP #6674671. Published by James M Stevens Music ASCAP (A0.1063417). This is the piano demonstration performance of Stevens' The Modal Piano No. 4 - C Phrygian
$1.99
1.79 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 4 - C Phrygian
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James M Stevens Music ASCAP
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SheetMusicPlus
The Modal Piano No. 5 - D Mixolydian
Piano seul
Piano - Digital Download SKU: A0.1063418 Composed by James Michael Stevens. Arrange…
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Piano - Digital Download SKU: A0.1063418 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,New Age,Sacred,Wedding. Full Performance. Duration 150. James M Stevens Music ASCAP #6676897. Published by James M Stevens Music ASCAP (A0.1063418). This is the piano demonstration performance of Stevens' The Modal Piano No. 5 - D Mixolydian.
$1.99
1.79 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 5 - D Mixolydian
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James M Stevens Music ASCAP
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SheetMusicPlus
The Modal Piano No. 6 - G Aeolian
Piano seul
Piano - Digital Download SKU: A0.1063419 Composed by James Michael Stevens. Arrange…
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Piano - Digital Download SKU: A0.1063419 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,Easter,New Age,Sacred. Full Performance. Duration 144. James M Stevens Music ASCAP #6679167. Published by James M Stevens Music ASCAP (A0.1063419). This is the piano demonstration performance of Stevens' The Modal Piano No. 6 - G Aeolian.
$1.99
1.79 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 6 - G Aeolian
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James M Stevens Music ASCAP
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SheetMusicPlus
The Modal Piano No. 1 - F Lydian
Piano seul
Piano - Digital Download SKU: A0.1063414 Composed by James Michael Stevens. Arrange…
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Piano - Digital Download SKU: A0.1063414 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,New Age,Sacred. Full Performance. Duration 183. James M Stevens Music ASCAP #6673763. Published by James M Stevens Music ASCAP (A0.1063414). This is the piano demonstration performance of Stevens' The Modal Piano No. 1 - F Lydian.
$1.99
1.79 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 1 - F Lydian
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James M Stevens Music ASCAP
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SheetMusicPlus
The Modal Piano No. 3 - B Locrian
Piano seul
Piano - Digital Download SKU: A0.1063416 Composed by James Michael Stevens. Arrange…
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Piano - Digital Download SKU: A0.1063416 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,New Age. Full Performance. Duration 202. James M Stevens Music ASCAP #6674363. Published by James M Stevens Music ASCAP (A0.1063416). This is the piano demonstration performance of Stevens' The Modal Piano No. 3 - B Locrian.
$1.99
1.79 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 3 - B Locrian
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James M Stevens Music ASCAP
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SheetMusicPlus
Modal Madness
Piano Facile
C Instrument - Level 1 - Digital Download SKU: A0.1130238 By Julian Hartwell Projec…
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C Instrument - Level 1 - Digital Download SKU: A0.1130238 By Julian Hartwell Project. By Julian Horner. Arranged by Julian Horner. Contemporary,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. Julian Hartwell Music #730599. Published by Julian Hartwell Music (A0.1130238). A straightforward modern jazz standard for easy blowing and stretching, for ensembles of any size. Great as a set closer and something simple yet full of energy. Suited for players looking to explore modal harmony. Just be careful about getting lost in the form as sections tend to bleed pretty seamlessly into one another. Can be played as a medium swing to bright-hot fast.
$4.99
4.48 €
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Piano Facile
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Julian Hartwell Project
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Julian Horner
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Modal Madness
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Julian Hartwell Music
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SheetMusicPlus
Enjoy the Modes: How to Identify and Use the Modes in your Music
Instruments en Do
C Instrument - Level 2 - Digital Download SKU: A0.1101496 By Karen Peterson, CMP. B…
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C Instrument - Level 2 - Digital Download SKU: A0.1101496 By Karen Peterson, CMP. By Karen Peterson, CMP. Arranged by Karen Peterson, CMP. Celtic,Folk,Historic,Instructional,Irish,Traditional. Lead Sheet / Fake Book. 170 pages. Karen Peterson #704871. Published by Karen Peterson (A0.1101496). What makes modes different? When do you use them? How do you use them? Is this song in a mode? This book is for everyone who has heard of modes and doesn’t know what to do next. Take advantage of how harpers use the same hand position for major and minor chords: change your levers or pedals to hear the differences between Lydian, Ionian, Mixolydian, Dorian, Aeolian, and Phrygian on the same strings. * Learn the two or three essential chords at the foundation of each mode. * Understand how to identify the mode or modes a piece is in. * Experiment with exercises for improvising, composing, and arranging in each mode. * Compare 40 color-coded pairs of scores in contrasting modes. * Get lead sheets for 29 modal pieces from over a dozen nations. * Add your own harmonies to 15 additional melodies. * Find key signatures, scales, and chords for all the modes on a fully levered harp tuned in flats. * Use simple graphics to visualize the music theory behind the modes. * Practice segueing between modes and meters. This book contains practical information for all musicians and is written especially for harpers. The scores are in keys from two sharps to three flats. They fall within the range of a 22-string harp starting with the lowest note of G below middle C. 161 pages. Spiral-bound copy available here, as well as the first chapter and example pages: https://www.enjoytheharp.com/publications/enjoy-the-modes-instruction-book-hardcopy
$39.95
35.88 €
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Instruments en Do
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Karen Peterson, CMP
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Karen Peterson, CMP
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Enjoy the Modes: How to Identify and Use the Modes in your Music
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Karen Peterson
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SheetMusicPlus
Epitafio de Seikilos. Siglo I. Adaptación musical por Juan Carlos Cortés A.
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.958754 Composed by Juan Carlos Cort…
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Piano Solo - Level 3 - Digital Download SKU: A0.958754 Composed by Juan Carlos Cortés A. Arranged by Juan Carlos Cortés A. Classical,Concert,Standards,World. Score. 2 pages. Juan Carlos Cortés Aguirre #6326837. Published by Juan Carlos Cortés Aguirre (A0.958754). Adaptación musical para Piano Solo por: JUAN CARLOS CORTÉS A.Basado en la más completa y antigua composición musical que se conserva después del Himno de culto Hurrita (del grupo de composiciones canciones hurritas) de la Antigua Mesopotamia (aproximadamente 1225 a. C.). Es parte de una inscripción griega escrita en una columna de mármol puesta sobre la tumba que habÃa hecho construir SÃcilo para su esposa Euterpe, cerca de Trales (en Asia Menor), actual ciudad de Aydın, a unos 30 km de la ciudad costera de Éfeso (en TurquÃa) y datada en el siglo I aproximadamente. El autor es anónimo. El tema de El Epitafio de Seikilos (en griego Ἐπιτάφιος τοῦ Σεικίλου), es inscripción funeraria grabada hacia el siglo I en una columna de mármol. Bonita inscripción puesta sobre la tumba que habÃa hecho construir un tal SÃcilo (o Seikilos) para su esposa Euterpe en la actual ciudad de Aydın (en TurquÃa). Actualmente se encuentra en un museo en Dinamarca. La inscripción y su particular descripción de su musicalidad están precedidas por el siguiente texto:Soy una imagen de piedra. Seikilos me pone aquÃ, donde soy por siempre, señal de eterno recuerdo. El epitafio consta de este texto, sobre el que se anota la melodÃa cuya lÃnea intermedia recoge la pronunciación aproximada en griego koiné: Brilla, mientras estás vivo, no estás triste, porque la vida es por cierto corta, y el tiempo exige su derecho.La melodÃa, escrita en Harmonia o Tonoi Griego frigio en la adaptación escrita, e hipofrigio en género diatónico, se desenvuelve en un ámbito de octava justa. La canción es melancólica, clasificada como skolion o 'canción para beber'. Se desconoce la velocidad (tempo) de la canción, ya que no está explicada en la notación. El ethos de la composición es equilibrado y está definido por la especie de octava (HarmonÃa o Tonoi) escogido (Frigio). No se pretende, aparentemente, expresar sentimientos de tristeza ni alegrÃa. La composición está construida y organizada según principios modales. Está en modo mixolidio actual. CibergrafÃa : https://es.wikipedia.org/wiki/Epitafio_de_S%C3%ADcilo Tema fundamental que inspiró la composición musical denominada Pequeña Invención No 8 de carácter contrapuntÃstico, compuesta este mismo autor.Observar y Escuchar VÃdeo Pequeña Invención No 8 por Juan Carlos Cotés A. https://www.youtube.com/watch?v=u2e3mZFEIPE
$7.99
7.18 €
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Piano seul
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Juan Carlos Cortés A
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Juan Carlos Cortés A
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Epitafio de Seikilos. Siglo I. Adaptación musical por Juan Carlos Cortés A.
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Juan Carlos Cortés Aguirre
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SheetMusicPlus
The Modal Piano No. 1 - F Lydian
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.525181 By James Michael Stevens. By…
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Piano Solo - Level 3 - Digital Download SKU: A0.525181 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Contemporary,Instructional,New Age. Score. 4 pages. James M Stevens Music ASCAP #135714. Published by James M Stevens Music ASCAP (A0.525181). Written January 8, 2022, this is a an original piano composition in the ancient mode of F Lydian. Lydian is similar to the major scale except that it has raised 4th. We are so used to hearing music in Major and Minor that when it is a mode at moments it can feel a little unsettling because the notes and chords don’t go exactly where we are expecting, yet if you allow for that it can be very beautiful. This is the first in a new collection where I will be writing compositions in all of the modes except for Ionian (Major). James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$4.99
4.48 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 1 - F Lydian
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James M Stevens Music ASCAP
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SheetMusicPlus
The Modal Piano No. 4 - C Phrygian
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.525342 By James Michael Stevens. By…
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Piano Solo - Level 3 - Digital Download SKU: A0.525342 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Contemporary,Instructional. Score. 4 pages. James M Stevens Music ASCAP #135883. Published by James M Stevens Music ASCAP (A0.525342). Written January 10, 2022, this is a an original piano composition in the mode of C Phrygian. James Michael Stevens is a prolific composer residing in Nashville, TN and the Music Department Chairman of Welch College.
$3.99
3.58 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 4 - C Phrygian
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James M Stevens Music ASCAP
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SheetMusicPlus
The Modal Piano No. 2 - G Dorian
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.525250 By James Michael Stevens. By…
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Piano Solo - Level 3 - Digital Download SKU: A0.525250 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Contemporary,Instructional,Sacred. Score. 4 pages. James M Stevens Music ASCAP #135785. Published by James M Stevens Music ASCAP (A0.525250). Written January 8, 2022, this is an original piano composition in the key of G Dorian. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$3.99
3.58 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 2 - G Dorian
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James M Stevens Music ASCAP
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SheetMusicPlus
The Modal Piano No. 3 - B Locrian
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.525271 By James Michael Stevens. By…
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Piano Solo - Level 4 - Digital Download SKU: A0.525271 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Contemporary,Instructional,New Age. Score. 4 pages. James M Stevens Music ASCAP #135807. Published by James M Stevens Music ASCAP (A0.525271). Written January 9, 2022, this is a an original piano composition in the mode of B Locrian. Locrian is a rarely used mode because unlike all the other modes its tonic (first chord) is not major or minor, but diminished. Also, it is different in that it does not have a solid dominant because the distance to the 5th is a tritone or what in Medieval times was considered the “devil in music†and avoided it at all cost. So at times it can be a little unsettling, but I’ve blended this in with a somewhat impressionist feel with lots of colors in the harmony while all staying within the Locrian. James Michael Stevens is a prolific composer residing in Nashville, TN.
$4.99
4.48 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 3 - B Locrian
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James M Stevens Music ASCAP
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SheetMusicPlus
Meet the Modes - Four Modal Miniatures
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.814852 Composed by Richard E Brown.…
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Piano Solo - Level 3 - Digital Download SKU: A0.814852 Composed by Richard E Brown. Concert,Contemporary,Instructional,Standards. Score. 6 pages. Dacker Music #6534039. Published by Dacker Music (A0.814852). Meet the Modes is a teaching-recital piece for intermediate piano students in four single page movements. In addition to introducing the four most commonly encountered ecclesiastical modes, this composition also provides a rare opportunity for young piano students to explore the use of mild dissonance in a piece of music at their level. Level 3 – Intermediate Duration 4:30
$3.00
2.69 €
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Piano seul
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Richard E Brown
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Meet the Modes - Four Modal Miniatures
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Dacker Music
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SheetMusicPlus
The Modal Piano No. 5 - D Mixolydian
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.529341 By James Michael Stevens. By…
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Piano Solo - Level 3 - Digital Download SKU: A0.529341 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Instructional,New Age,Sacred. Score. 4 pages. James M Stevens Music ASCAP #139741. Published by James M Stevens Music ASCAP (A0.529341). Written January 11, 2022, this is a an original piano composition in the mode of D Mixolydian. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$4.99
4.48 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 5 - D Mixolydian
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James M Stevens Music ASCAP
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SheetMusicPlus
The Modal Piano No. 6 - G Aeolian
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.529420 By James Michael Stevens. By…
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Piano Solo - Level 3 - Digital Download SKU: A0.529420 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Instructional,New Age,Sacred. Score. 4 pages. James M Stevens Music ASCAP #139803. Published by James M Stevens Music ASCAP (A0.529420). Written January 12, 2022, this is a an original piano composition in the mode of G Aeolian. The Aeolian is the same as the natural minor scale. The big difference between Aeolian and Minor is that in Aeolian the fifth chord of the scale is never changed to make it Major by raising the 7th note of the scale. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$4.99
4.48 €
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Piano seul
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James Michael Stevens
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James Michael Stevens
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The Modal Piano No. 6 - G Aeolian
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James M Stevens Music ASCAP
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SheetMusicPlus
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