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Fall To Pieces
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I Fall To Pieces
Piano Facile
By Patsy Cline, Aaron Neville & Trisha Yearwood. Arranged by Bernie Schweickart. S…
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By Patsy Cline, Aaron Neville & Trisha Yearwood. Arranged by Bernie Schweickart. Sheet Music Single. 2 pages. Published by Dogwooddigs
$4.99
4.55 €
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Piano Facile
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Patsy Cline, Aaron Neville & Trisha Yearwood
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Trisha Yearwood
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I Fall To Pieces
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Dogwooddigs
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SheetMusicPlus
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
Piano Facile
Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, …
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Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by Scott Camp
This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music. <br> <br> In my experience, every elementary piano student should be given the opportunity to successfully play:<br> Spinning Song (even if you leave out the middle section at first)<br> Minuet in G (page one)<br> Fur Elise (page one)<br> <br> Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection. <br> <br> All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions. <br> <br> "Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.<br> <br> Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening. <br> <br> So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior. <br> <br> If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly. <br> <br> "Practice Makes... "<br> <br> If you said "Perfect" then you've fallen into a sinister trap. <br> <br> "Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career. <br> <br> Here's the process in general:<br> Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?<br> <br> That's something for us professionals to consider.<br> <br> <br> Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!<br> <br> Contents<br> <br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G minor from the Notebook for Anna Magdalena Bach<br> Musette in D from the Notebook for Anna Magdalena Bach<br> Minuet in F Wolfgang Amadeus Mozart<br> Ecossaise in G Ludwig van Beethoven<br> Sonatina in G Ludwig van Beethoven<br> I Allegretto<br> II Romanze<br> Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler<br> I Allegro <br> The Wild Horseman, Op. 68, No. 8 Robert Schumann<br> Fur Elise (Famous Page 1) Ludwig van Beethoven<br> Spinning Song, Op. 14, No. 4 Albert Elmenreich<br> Arabesque, Op. 100, No. 2 Friedrich Burgmüller<br> Ballade, Op. 100, No. 15 Friedrich Burgmüller<br> Solfeggietto Carl Philipp Emanuel Bach<br> Toccatina, Op. 27, No. 12 Dmitri Kabalevsky<br> Fur Elise (Complete) Ludwig van Beethoven<br> Sonatina, Op. 55, No. 1 Friedrich Kuhlau<br> I Allegro <br> Sonatina, Op. 36, No. 3 Muzio Clementi<br> I Spiritoso <br> La Vélocité, Op. 109, No. 10 Friedrich Burgmüller<br> <br> <br> These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering. <br> <br> The hand position notation is used to better communicate what exactly is being demanded of the student. Students’ repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores “playing music on the piano” to primacy and supports “helping a student play music on the piano” as the central activity of the piano lesson. <br> <br> Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.<br> <br> Good luck!<br> Scott Camp<br> scottcampislandpiano@gmail.com This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music. <br> <br> In my experience, every elementary piano student should be given the opportunity to successfully play:<br> Spinning Song (even if you leave out the middle section at first)<br> Minuet in G (page one)<br> Fur Elise (page one)<br> <br> Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection. <br> <br> All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions. <br> <br> "Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.<br> <br> Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening. <br> <br> So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior. <br> <br> If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly. <br> <br> "Practice Makes... "<br> <br> If you said "Perfect" then you've fallen into a sinister trap. <br> <br> "Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career. <br> <br> Here's the process in general:<br> Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?<br> <br> That's something for us professionals to consider.<br> <br> <br> Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!<br> <br> Contents<br> <br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G minor from the Notebook for Anna Magdalena Bach<br> Musette in D from the Notebook for Anna Magdalena Bach<br> Minuet in F Wolfgang Amadeus Mozart<br> Ecossaise in G Ludwig van Beethoven<br> Sonatina in G Ludwig van Beethoven<br> I Allegretto<br> II Romanze<br> Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler<br> I Allegro <br> The Wild Horseman, Op. 68, No. 8 Robert Schumann<br> Fur Elise (Famous Page 1) Ludwig van Beethoven<br> Spinning Song, Op. 14, No. 4 Albert Elmenreich<br> Arabesque, Op. 100, No. 2 Friedrich Burgmüller<br> Ballade, Op. 100, No. 15 Friedrich Burgmüller<br> Solfeggietto Carl Philipp Emanuel Bach<br> Toccatina, Op. 27, No. 12 Dmitri Kabalevsky<br> Fur Elise (Complete) Ludwig van Beethoven<br> Sonatina, Op. 55, No. 1 Friedrich Kuhlau<br> I Allegro <br> Sonatina, Op. 36, No. 3 Muzio Clementi<br> I Spiritoso <br> La Vélocité, Op. 109, No. 10 Friedrich Burgmüller<br> <br> <br> These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering. <br> <br> The hand position notation is used to better communicate what exactly is being demanded of the student. Students’ repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores “playing music on the piano” to primacy and supports “helping a student play music on the piano” as the central activity of the piano lesson. <br> <br> Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.<br> <br> Good luck!<br> Scott Camp<br> scottcampislandpiano@gmail.com
$3.99
3.64 €
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Piano Facile
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Various
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20 Classical Piano Pieces for Elementary Piano Students
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Scott Camp
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SheetMusicPlus
I Fall To Pieces
Piano Facile
By Patsy Cline. For easy piano. Country; Love; Pop; Standards. 3 pages. Published by Hal L…
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By Patsy Cline. For easy piano. Country; Love; Pop; Standards. 3 pages. Published by Hal Leonard - Digital Sheet Music
$3.99
3.64 €
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Piano Facile
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Patsy Cline
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Love
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I Fall To Pieces
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
My First Haydn
Piano Facile
Piano - easy to intermediate - Digital Download Easiest Piano Works by Joseph Haydn. …
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Piano - easy to intermediate - Digital Download Easiest Piano Works by Joseph Haydn. Composed by Franz Joseph Haydn (1732-1809). This edition: Sheet music. Joseph Haydn, Komponist, Biographie. Easy Composer Series. Downloadable. Schott Music - Digital #Q49373. Published by Schott Music - Digital
German.<br> <br> This collection brings together Joseph Haydn's most beloved and light piano pieces. It contains minuets and German dances, sonatas and single movements as well as a few variations - including some for four hands. In addition, it includes Haydn's piano version of the anthem Gott erhalte Franz den Kaiser which later became the German national anthem with the text by Hoffmann von Fallersleben. Ideal for teaching and playing at home. Great works for little masters!German.<br> <br> This collection brings together Joseph Haydn's most beloved and light piano pieces. It contains minuets and German dances, sonatas and single movements as well as a few variations - including some for four hands. In addition, it includes Haydn's piano version of the anthem Gott erhalte Franz den Kaiser which later became the German national anthem with the text by Hoffmann von Fallersleben. Ideal for teaching and playing at home. Great works for little masters!
$11.99
10.94 €
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Piano Facile
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Franz Joseph Haydn
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My First Haydn
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Schott Music - Digital
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SheetMusicPlus
The Witches of the Silver Twilight for Easy Piano
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1367243 By SilverTonalities. By Tra…
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Easy Piano - Level 1 - Digital Download SKU: A0.1367243 By SilverTonalities. By Traditional Celtic. Arranged by SilverTonalities. Children,Folk,Instructional. Score. 34 pages. SilverTonalities #951600. Published by SilverTonalities (A0.1367243). The Witches of the Silver Twilight for Easy PianoThe Dark Autumn Witches chase the Naughty Night Witches through an Enchanted Forest!Piano Pieces for Beginner to Novice Pianists of all ages by SilverTonalities!10 little Sight Reading Pieces with Letter Names Embedded in Noteheads to increase the ability to recognize Musical Pitch!MORGANA THORNHEART, pages 1-4BELINDA EBONYWOOD, pages 5-7MR. SNAPPER, pages 8-10BERNADETTE DARKMORE, pages 11-13GLENDA SHADOWSOUL, pages 14-15GRETAL DEVONSHIRE, pages 16-18CORNELIA VAMPIRE, pages 19-22BELLADONNA MOONFALL, pages 23-25DMITRI FAHRENHEIT, pages 26-29ROWEENA GRIMSBANE, pages 30-32.
$7.99
7.29 €
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Piano Facile
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SilverTonalities
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SilverTonalities
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The Witches of the Silver Twilight for Easy Piano
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SilverTonalities
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SheetMusicPlus
No Bears Out Tonight and Other Tunes for Beginner Piano
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.819475 Composed by Traditional. Arr…
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Easy Piano - Level 1 - Digital Download SKU: A0.819475 Composed by Traditional. Arranged by Sara Garrard. Children,Folk,Instructional. Score. 23 pages. Sara Garrard #6073949. Published by Sara Garrard (A0.819475). Over 20 tunes! A selection of well known traditional British and American children's songs (and a couple French), aimed at beginner piano learners. Large print, landscape format, with illustrations, this is a fun supplement to method books. Many pieces are in middle C position. Mostly only one hand at a time. A few pieces are longer and more challenging, with basic chords.Table of contents:No Bears Out TonightLightly RowAu Clair de la LuneOde to JoyMerrily we roll alongAll through the nightFrère JacquesRed River ValleyOld MacDonaldMy Bonnie Lies Over the OceanMichael, Row the Boat AshoreRow Row Row Your BoatDaisy Daisy (Daisy Bell)Down By The BayLong long agoHere we go round the mulberry bushThere’s a hole in my bucketDo your ears hang low?When the Saints go marching inLondon Bridge is falling downThe Farmer’s in the DellThe Bear went over the Mountain
$8.99
8.2 €
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Piano Facile
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The Bay
Long long ago
Here we go round the mulberry bush
There’s a hole in my bucket
Do your ears hang low?
When the Saints go marching in
London Bridge is falling down
The Farmer’s in the Dell
The Bear went over the Mountain
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Traditional
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Sara Garrard
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No Bears Out Tonight and Other Tunes for Beginner Piano
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Sara Garrard
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SheetMusicPlus
Classics for the Developing Pianist Study Guide Book 5
Piano Facile
Composed by Ingrid Jacobson Clarfield and Phyllis Alpert Lehrer. 20th Century, Roman…
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Composed by Ingrid Jacobson Clarfield and Phyllis Alpert Lehrer. 20th Century, Romantic Period, Classical Period, Baroque Period. 74 pages. Published by Ingrid Jacobson Clarfield and Phyllis Alpert Lehre
The books in this series present study guides for masterworks, beginning at the early intermediate level, that the editors believe developing pianists should study and perform. Each book contains 20 study guides to pieces selected from the four main style periods. Book 5 contains selections for advanced pianists. Titles: Prelude from English Suite No. 3 in G Minor, BWV 808 (Bach) * Sinfonia from Partita No. 2 in C Minor, BWV 826 (Bach) * Air and Variations (“The Harmonious Blacksmith”) (Handel) * Sonata in E Major, K.380; L.23 (Scarlatti) * Sonata in C Minor (“Pathétique”), Op.13 (Beethoven) * Sonata in C Major, Hob.XVI/50; L.60 (I) (Haydn) * Sonata in C Major, K.330 (I) (Mozart) * Intermezzo in A Major, Op.118, No.2 (Brahms) * Fantaisie-Impromptu, Op.66 (Chopin) * Consolation No. 3 in D-flat Major, S.172 (Liszt) * Prelude in C-sharp Minor, Op.3, No.2 (Rachmaninoff) * Impromptu in A-flat Major, Op.142, No.2, Posth.; D.935 (Schubert) * Aufschwung (Soaring), Op.12, No.2 (Schumann) Sonatina, Sz.55 I. (Bartók) * Ritual Fire Dance (De Falla) * Clair de lune (Debussy) * La fille aux cheveux de lin (The Girl with the Flaxen Hair) (Debussy) * Maple Leaf Rag (Joplin)The books in this series present study guides for masterworks, beginning at the early intermediate level, that the editors believe developing pianists should study and perform. Each book contains 20 study guides to pieces selected from the four main style periods. Book 5 contains selections for advanced pianists. Titles: Prelude from English Suite No. 3 in G Minor, BWV 808 (Bach) * Sinfonia from Partita No. 2 in C Minor, BWV 826 (Bach) * Air and Variations (“The Harmonious Blacksmith”) (Handel) * Sonata in E Major, K.380; L.23 (Scarlatti) * Sonata in C Minor (“Pathétique”), Op.13 (Beethoven) * Sonata in C Major, Hob.XVI/50; L.60 (I) (Haydn) * Sonata in C Major, K.330 (I) (Mozart) * Intermezzo in A Major, Op.118, No.2 (Brahms) * Fantaisie-Impromptu, Op.66 (Chopin) * Consolation No. 3 in D-flat Major, S.172 (Liszt) * Prelude in C-sharp Minor, Op.3, No.2 (Rachmaninoff) * Impromptu in A-flat Major, Op.142, No.2, Posth.; D.935 (Schubert) * Aufschwung (Soaring), Op.12, No.2 (Schumann) Sonatina, Sz.55 I. (Bartók) * Ritual Fire Dance (De Falla) * Clair de lune (Debussy) * La fille aux cheveux de lin (The Girl with the Flaxen Hair) (Debussy) * Maple Leaf Rag (Joplin)
$12.99
11.86 €
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Piano Facile
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Ingrid Jacobson Clarfield and Phyllis Alpert Lehrer
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Classics for the Developing Pianist Study Guide Book 5
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Ingrid Jacobson Clarfield and Phyllis Alpert Lehre
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SheetMusicPlus
Robert Orledge:Un Jour Affreux avec le Diable dans le beffroi for piano and narrator, based on themes from Debussy's "Le Diable dans le beffoir"
Piano Facile
Piano Solo, Narrator - Advanced - Digital Download Composed by Claude Debussy/Robert Orl…
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Piano Solo, Narrator - Advanced - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Recital, Spoken Word. Score. 30 pages. Published by Musik Fabrik Music Publishing
I owe an enormous debt of gratitude to the celebrated pianist Nicolas Horvath for enthusiastically bringing my Debussy works to public attention in their solo piano formats, both through his recent recitals across France and through this Naxos Grand Piano release (GP822). In some cases these are true piano pieces (like Toomai des éléphants), in others they are piano reductions of orchestral scores (like Fêtes galantes), while in others they are piano solos in their own right that also exist in orchestral versions (as in the incidental music for Le Roi Lear). Needless to say, most of these tracks are world première recordings, and this is certainly true of A Night in the House of Usher and its companion piece Un Jour affreux avec Le Diable dans le beffroi (?A Dreadful Day with the Devil in the Belfry?) which I arranged specially for Nicolas in November 2018 as a virtuosic, almost Lisztian paraphrase-fantasy. To remind us of the plot as the dramatic scenes unfold, Un Jour affreux avec le Diable dans le beffroi, like the start of No-ja-li) has a narrator (spoken in French by Florient Azoulay on the Grand Piano recording): [After an overture rising from the underworld, with a polka and a citation of a chldren?s folksong Savez vous plantez les choux?, a carillon rings out]: Hearing it, the Dutch villagers start to count, with the bells of the belfry / 1, 2, 3, 4, 5, 6, 7, 10, 8, 9, 11, and 12 / Perfect! / 13!?!/ The bell rang 13 times / 13! / The Devil is here where the clock should be! / Damn! / The bells are cracked. / The Devil laughs fit to burst / He pulls from the pocket of his coat, a small dancing master?s violin / ?My God!? says the devil ? and he tunes his violin slowly / The Devil leads the villagers in a fantastic and relentless jig [making jokes at the expense of concertos by Beethoven, Brahms and Tchaikovsky] / The Devil directs the villagers towards the canal ? where he jumps to the other side, laughing all the time / The villagers try to imitate him, but they fall into the water. / [In Part 2] the villagers are transported to a hedonistic and lively Italian village. They are similarly transformed: the men have crooked hats ? the women have wide open bodices! They dance a mad Tarantella / 1, 2, 3, 4, 5, 6, 7 and 13 / shouting ?Hey there! (Hola?) / Jean, the young hero, makes a fervent prayer to God against the Devil / The prayer is answered and the bell again rings normally! / The expression of the Devil changes: he shudders! / Everything goes black / The devil disappears in a brief red glow ? / And the carillon and the bells chime as usual / 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 / Perfect! / But the Devil?s grinning face ap- pears once again where the clock should be ? brieflyI owe an enormous debt of gratitude to the celebrated pianist Nicolas Horvath for enthusiastically
bringing my Debussy works to public attention in their solo piano formats, both through his recent
recitals across France and through this Naxos Grand Piano release (GP822). In some cases these are
true piano pieces (like Toomai des éléphants), in others they are piano reductions of orchestral scores
(like Fêtes galantes), while in others they are piano solos in their own right that also exist in orchestral
versions (as in the incidental music for Le Roi Lear). Needless to say, most of these tracks are world
première recordings, and this is certainly true of A Night in the House of Usher and its companion piece Un Jour affreux avec Le Diable dans le beffroi (?A Dreadful Day with the Devil in the Belfry?) which I arranged specially for Nicolas in November 2018 as a virtuosic, almost Lisztian paraphrase-fantasy. To remind us of the plot as the dramatic scenes unfold, Un Jour affreux avec le Diable dans le beffroi, like the start of No-ja-li) has a narrator (spoken in French by Florient Azoulay on the Grand Piano recording):
[After an overture rising from the underworld, with a polka and a citation of a chldren?s folksong Savez vous plantez les choux?, a carillon rings out]: Hearing it, the Dutch villagers start to count, with the bells of the belfry / 1, 2, 3, 4, 5, 6, 7, 10, 8, 9, 11, and 12 / Perfect! / 13!?!/ The bell rang 13 times / 13! / The Devil is here where the clock should be! / Damn! / The bells are cracked. / The Devil laughs fit to burst / He pulls from the pocket of his coat, a small dancing master?s violin / ?My God!? says the devil ? and he tunes his violin slowly / The Devil leads the villagers in a fantastic and relentless jig [making jokes at the expense of concertos by Beethoven, Brahms and Tchaikovsky] / The Devil directs the villagers towards the canal ? where he jumps to the other side, laughing all the time / The villagers try to imitate him, but they fall into the water. / [In Part 2] the villagers are transported to a hedonistic and lively Italian village. They are similarly transformed: the men have crooked hats ? the women have wide open bodices! They dance a mad Tarantella / 1, 2, 3, 4, 5, 6, 7 and 13 / shouting ?Hey there! (Hola?) / Jean, the young hero, makes a fervent prayer to God against the Devil / The prayer is answered and the bell again rings normally! / The expression of the Devil changes: he shudders! / Everything goes black / The devil disappears in a brief red glow ? / And the carillon and the bells chime as usual / 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 / Perfect! / But the Devil?s grinning face ap-
pears once again where the clock should be ? briefly
$19.95
18.21 €
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Piano Facile
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Claude Debussy/Robert Orledge
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Robert Orledge:Un Jour Affreux avec le Diable dans le beffroi for piano and narrator, based on themes from Debussy's "Le Diable dans le beffoir"
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Musik Fabrik Music Publishing
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SheetMusicPlus
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