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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Ian\\\\\\\'s Theme
Non classifié
1 291
Piano & claviers
Piano seul
2 722
Piano Facile
793
Piano, Voix et Guitare
336
Instruments en Do
290
Piano, Voix
232
Piano grosses notes
101
1 Piano, 4 mains
68
Orgue
56
Piano Trio: piano, violon, violoncelle
37
Piano (partie séparée)
37
Accordéon
33
2 Pianos, 4 mains
19
Accompagnement Piano
18
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Accordéon, Piano
4
Piano Quatuor: piano, violon, alto, violoncelle
4
Clavecin
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Clavier
1
Ensemble d'Accordéons
1
Orgue, Piano (duo)
1
1 Piano, 6 mains
1
2 Pianos, 8 mains
1
+ 18 instrumentations
Retracter
Guitares
Guitare
57
Guitare notes et tablatures
42
Piano, Guitare (duo)
24
Ligne De Mélodie, (Paroles) et Accords
24
Ukulele
8
Mandoline
6
Paroles et Accords
6
2 Guitares (duo)
6
Guitare (partie séparée)
4
Basse electrique
3
3 Guitares (trio)
2
4 Guitares (Quatuor)
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
231
Chorale 3 parties
63
Chorale Unison
47
Voix Alto, Piano
38
Chorale 2 parties
35
Voix Soprano, Piano
26
Voix Tenor, Piano
26
Voix Baryton, Piano
26
Chorale TTBB
21
Chorale SSAA
15
Voix duo, Piano
11
Voix moyenne, Piano
5
Voix seule
5
Voix haute
3
Chorale
3
Voix Mezzo-Soprano, Piano
2
Chorale SSAATTBB
1
Voix basse
1
Chorale SSATTB
1
+ 14 instrumentations
Retracter
Vents
Flûte traversière et Piano
183
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
173
Clarinette et Piano
146
Quintette de Saxophone: 5 saxophones
130
Hautbois, Piano (duo)
124
Quatuor de Saxophones: 4 saxophones
114
Saxophone Alto et Piano
99
Flûte, Hautbois, Clarinette, Basson
89
Clarinette
79
Flûte traversière
70
Saxophone Tenor et Piano
63
2 Saxophones (duo)
60
Saxophone Soprano et Piano
53
Quatuor de Clarinettes: 4 clarinettes
44
Saxophone Baryton, Piano
41
Saxophone Alto
39
2 Flûtes traversières (duo)
39
Saxophone
37
Saxophone (partie séparée)
37
2 Clarinettes (duo)
31
Hautbois (partie séparée)
30
Saxophone Tenor
28
Hautbois
23
Clarinette (partie séparée)
22
Cor anglais, Piano
21
Clarinette Basse, Piano
20
Flûte à Bec
16
3 Saxophones (trio)
15
Ensemble de Clarinettes
15
2 Hautbois (duo)
15
Flûte à bec Soprano
14
Quatuor de Flûtes : 4 flûtes
14
Flûte, Clarinette (duo)
12
Hautbois, Basson (duo)
11
Saxophone Soprano
11
Ensemble de saxophones
11
2 Flûte à bec (duo)
10
Trio de Flûtes: 3 flûtes
10
Flûte à bec Alto
10
Flûte et Guitare
9
Flûte, Clarinette, Cor, Basson (Quartet)
8
Ensemble de Flûtes
8
Quintette de Clarinettes: 5 clarinettes
8
Flute (partie séparée)
8
Saxophone Baryton
8
Quintette de Flûte : 5 flûtes
7
Clarinette, Basson (duo)
6
Clarinette, Violoncelle (duo)
5
3 Clarinettes (trio)
5
Flûte, Clarinette, Piano (trio)
5
Flûte, Violoncelle
5
Hautbois, Violoncelle
5
Flûte, Hautbois (duo)
5
Harmonica
4
2 Saxophones, Piano
4
Piccolo
4
Hautbois, Clarinette (duo)
4
Flûte, Clarinette et Basson
4
Cor Anglais
3
2 Clarinettes, Piano
3
Flûte, Hautbois, Piano (trio)
3
Clarinette, Violon (duo)
2
Flûte, Violoncelle, Piano (trio)
2
Flûte, Violon, Violoncelle et Piano
2
Piccolo, Piano
2
Flûte, Hautbois, Clarinette (trio)
2
3 Flûtes à bec (trio)
2
Flûte, Violon, Piano
2
Clarinette, Trompette (duo)
2
Flûte, Alto (duo)
2
Clarinette, Violoncelle, Piano (trio)
2
Clarinette et Alto
2
Instruments en Mib
2
Saxophone, Clarinette (duo)
2
Flûte, Hautbois, Basson
2
Flûte, Basson et Piano
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Quatuor de Flûtes à bec
2
Flûte à bec Alto, Piano
1
2 Clarinettes, Basson
1
Hautbois, Violoncelle et Piano
1
Hautbois, Guitare (duo)
1
Clarinette, Alto et Piano (trio)
1
Hautbois, Flûte
1
Flûte à bec Tenor
1
Clarinette, Trombone (duo)
1
Ensemble De Flûte à bec
1
Flûte, Saxophone (duo)
1
2 Hautbois, Piano
1
Flûte, trombone et piano
1
Flûte à Bec, Piano
1
Flûte, Alto et Piano
1
Clarinette, Basson, Piano (trio)
1
Flute, harpe et violon
1
Clarinette, Harpe (duo)
1
Flûte à bec Soprano, Piano
1
5 Flûtes à bec
1
2 Flûtes traversières, Piano
1
+ 93 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
130
Trompette, Piano
98
Trombone et Piano
97
Cor et Piano
83
Trompette
79
Quatuor de Cuivres
73
Quatuor de Cuivres : 2 trompettes, trombone, tuba
51
Trombone
51
Tuba et Piano
49
Cor
38
Tuba
37
Euphonium, Piano (duo)
32
Trombone (partie séparée)
30
Trompette (partie séparée)
23
2 Trompettes (duo)
21
Cor anglais, Piano
21
2 Trombones (duo)
21
Quatuor de Cuivres: 2 trompettes, Cor, trombone
16
Cor (partie séparée)
13
2 Cors (duo)
13
Trompette, Trombone (duo)
11
Ensemble de Trombones
10
Tuba (partie séparée)
9
Ensemble de Trompettes
7
Euphonium
7
Cor, Violoncelle (duo)
6
Quatuor de cuivres: 4 trombones
6
Tuba et Orgue
6
Trompette, Cor (duo)
5
Quatuor de cuivres: 4 cors
4
Instruments en Sib
4
Bass Clef Instruments
4
Instruments en Fa
4
2 Tubas (duo)
4
Quatuor de cuivres: 4 trompettes
3
3 Trombones (trio)
3
Cor Anglais
3
Trombone basse et Piano
3
3 Trompettes (trio)
2
Trompette, Violoncelle (duo)
2
Trombone, Cor (duo)
2
Ensemble de Cors
2
Trombone basse
2
Cor et Basson (duo)
2
Trompette, Saxophone (duo)
2
Cor et Orgue
1
2 Euphoniums et 2 Tubas
1
Euphonium, Tuba (duo)
1
3 Tubas (trio)
1
Ensemble de Tubas
1
2 Trompettes, Clavier (piano ou orgue)
1
Trompette, Trombone, Piano
1
Trompette, Basson (duo)
1
4 Tubas
1
+ 49 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
246
Violon et Piano
234
Violoncelle, Piano
169
Alto, Piano
116
Violon
116
Quintette à cordes: 2 violons, alto, violoncelle, basse
96
Violon, Violoncelle (duo)
68
Violoncelle
65
Alto seul
53
2 Violons (duo)
37
Contrebasse, Piano (duo)
37
Trio à Cordes: violon, alto, violoncelle
33
2 Violoncelles (duo)
33
Violon (partie séparée)
31
Contre Basse
28
2 Altos (duo)
22
Harpe
18
Alto (partie séparée)
15
Alto, Violoncelle (duo)
12
Piano Trio: Violon, Alto, Piano
10
Contrebasse (partie séparée)
10
4 Violoncelles
10
Violon, Alto (duo)
10
Violoncelle (partie séparée)
7
Ensemble de Violons
6
2 Harpes (duo)
6
Alto et Basson
6
Trio à Cordes: 3 violoncelles
5
Trio à cordes: 3 altos
5
Violon, Basson (duo)
4
Ensemble d'Altos
4
Trio à Cordes: 2 violons, violoncelle
4
Quatuor à cordes: 4 violons
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Quatuor à cordes : 4 altos
3
Trio à cordes: 3 violins
3
2 Contrebasses (duo)
2
Trio à Cordes: 2 violons, alto
2
2 Violoncelles, Piano
2
Violon, Guitare (duo)
2
Harpe, Flûte (duo)
1
Violoncelle , Guitare (duo)
1
Harpe et mandoline
1
Violon, Clarinette, Piano (trio)
1
2 Violons, Piano
1
Harpe, Violon (duo)
1
Ensemble de Violoncelles
1
Harpe, Voix
1
+ 43 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
290
Orchestre
135
Orchestre à Cordes
73
Cloches
61
Ensemble Jazz
53
Ensemble de cuivres
34
Fanfare
31
Orchestre de chambre
31
Jazz combo
14
Percussion (partie séparée)
12
Ensemble de Percussions
7
Xylophone, Piano
3
Batterie (partie séparée)
3
Batterie
3
Timbales (partie séparée)
2
Xylophone
2
2 Xylophones
2
Vibraphone
2
Quintette de Cuivres: autres combinaisons
1
Instrumentation Flexible
1
Percussion
1
Orchestre, Violon
1
+ 17 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
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difficulté (tous)
débutant
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avancé
expert
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Crtitères actifs :
Ian\\\\\\\'s Theme
Partitions à imprimer
12 481 partitions trouvées
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9976
La La Land - Mia & Sebastian's Theme (for Piano Solo)
#
Piano seul
#
FACILE
#
Comédie Musicale
#
Justin Hurwitz
#
La La Land - Mia & Sebastian's
#
Valeriya Klimukhina
#
SheetMusicPlus
Piano Solo - Early Intermediate - Digital Download By Justin Hurwitz. Arranged by Valeriya Klimukhina. Individual Part, Solo Part. 3 pages. Published...
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Piano Solo - Early Intermediate - Digital Download By Justin Hurwitz. Arranged by Valeriya Klimukhina. Individual Part, Solo Part. 3 pages. Published by Valeriya Klimukhina
Mia & Sebastian's Theme (By Justin Hurwitz) from "La-La Land" for Piano solo. This version will be great for early intermediate pianists. Check out our other titles arranged by Valeriya Klimukhina for piano solo.
$5.99
Prelude 1 in C Major Ionian
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 1 in C Major Ionian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
(+)
Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #789177. Published by Brian Golden (A0.1189545). Prelude 1 in C Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden.  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 7 in Eb Ionian
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 7 in Eb Ionian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
(+)
Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #812790. Published by Brian Golden (A0.1216178). Prelude 7 in Eb Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube.
$5.99
Prelude 13 in F# Major Ionian
#
Piano seul
#
AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 13 in F# Major Ionian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
(+)
Piano Solo - Level 5 - SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843062. Published by Brian Golden (A0.1248571). Prelude 13 in F# Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 19 in A Major Ionian
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 19 in A Major Ionian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292493 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292493 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883006. Published by Brian Golden (A0.1292493). Prelude 19 in A Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 22 in B Minor Phrygian
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Brian Golden
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Brian Golden
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Prelude 22 in B Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494). Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 4 in D Minor Phrygian
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Brian Golden
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Prelude 4 in D Minor Phrygian
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden #790596. Published by Brian Golden (A0.1191080). Prelude 4 in D Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 10 in F Minor Phrygian
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Brian Golden
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Brian Golden
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Prelude 10 in F Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216194 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1216194 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812805. Published by Brian Golden (A0.1216194). Prelude 10 in F Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 16 in G# Minor Phrygian
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Brian Golden
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Prelude 16 in G# Minor Phrygia
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248575 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 8 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248575 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 8 pages. Brian Golden #843067. Published by Brian Golden (A0.1248575). Prelude 16 in G# Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 11 in Db Major Lydian
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Brian Golden
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Prelude 11 in Db Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden...
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Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden #812807. Published by Brian Golden (A0.1216196). Prelude 11 in Db Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 23 in G Major Lydian
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Brian Golden
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Brian Golden
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Prelude 23 in G Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883013. Published by Brian Golden (A0.1292495). Prelude 23 in G Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 17 in E Major Lydian
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 17 in E Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843071. Published by Brian Golden (A0.1248579). Prelude 17 in E Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 5 in Bb Major Lydian
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Brian Golden
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Brian Golden
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Prelude 5 in Bb Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 12 in Bb Minor Dorian
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Brian Golden
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Prelude 12 in Bb Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812808. Published by Brian Golden (A0.1216197). Prelude 12 in Bb Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 6 in G Minor Dorian
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Brian Golden
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Brian Golden
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Prelude 6 in G Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #791038. Published by Brian Golden (A0.1191536). Prelude 6 in G Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 18 in C# Minor Dorian
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 18 in C# Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #843078. Published by Brian Golden (A0.1248586). Prelude 18 in C# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 24 in E Minor Dorian
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Brian Golden
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Brian Golden
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Prelude 24 in E Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292440 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292440 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883014. Published by Brian Golden (A0.1292440). Prelude 24 in E Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 14 in D# Minor Dorian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 14 in D# Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248570 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248570 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843063. Published by Brian Golden (A0.1248570). Prelude 14 in D# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 2 in A Minor Aolian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 2 in A Minor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden...
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Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 20 in F# MInor Aolian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 20 in F# MInor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883008. Published by Brian Golden (A0.1292438). Prelude 20 in F# Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 8 in C Minor Aolian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 8 in C Minor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden #812802. Published by Brian Golden (A0.1216191). Prelude 8 in C Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Mia & Sebastian's Theme - La La Land (Easy Piano)
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Piano Facile
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FACILE
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Film/TV
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Justin Hurwitz
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Mia & Sebastian's Theme - La L
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Matt Dorland Music
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SheetMusicPlus
Piano Solo, Easy Piano - Early Intermediate - Digital Download By Justin Hurwitz. Arranged by Matt Dorland. Sheet Music Single. 3 pages. Published by ...
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Piano Solo, Easy Piano - Early Intermediate - Digital Download By Justin Hurwitz. Arranged by Matt Dorland. Sheet Music Single. 3 pages. Published by Matt Dorland Music
Play your favorite pop songs with easy-to-learn piano arrangements by Matt Dorland Music!
Enjoy playing this easier version of "Mia & Sebastian's Theme" from the 2016 film La La Land. This arrangement includes chord symbols, helpful fingering, pedaling, tempo and dynamic marks, and is 3 pages in length. This arrangement is perfect for late beginner to intermediate players, and makes a great recital piece for students!
Visit my YouTube channel for the latest tutorial videos of my easy piano arrangements: https://www.youtube.com/channel/UCevvpsVh2449KL8j48xzCYw
$5.99
Mia and Sebastian's Theme (La La Land)
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Piano seul
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FACILE
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Comédie Musicale
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Justin Hurwitz
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Mia and Sebastian's Theme
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Mario Stallbaumer
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SheetMusicPlus
Piano Solo - By Justin Hurwitz. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer...
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Piano Solo - By Justin Hurwitz. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer
This is a clear and accurate transcription of "Mia and Sebastian's Theme" by Justin Hurwitz.
A beautiful piano piece from the soundtrack to the 2016 film "La La Land" (starring Ryan Gosling and Emma Stone).
$4.99
Mia & Sebastian's Theme
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Piano seul
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FACILE
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Justin Hurwitz
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Laura Sullivan
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Mia & Sebastian's Theme
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Laura Sullivan
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1488737 Composed by Justin Hurwitz. Arranged by Laura Sullivan. 21st Century,Broadway,Contemporary,Film/TV,Musical/Show,W...
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Piano Solo - Level 2 - SKU: A0.1488737 Composed by Justin Hurwitz. Arranged by Laura Sullivan. 21st Century,Broadway,Contemporary,Film/TV,Musical/Show,Wedding. Score. 2 pages. Laura Sullivan #1065588. Published by Laura Sullivan (A0.1488737). This easy intermediate piano arrangement of the popular song Mia & Sebastian's Theme from the movie La La Land is perfect for pianists looking to master a beautiful, recognizable piece without the complexity of the original jazz sections. Designed for early intermediate pianists, this version simplifies the music while maintaining the charm and emotion of the main theme.Ideal for those who enjoy playing movie themes, romantic popular music, or are preparing for weddings, recitals, or receptions, this arrangement is a great choice for a memorable first dance at a wedding or any special occasion. Whether you're a fan of LaLa Land or simply seeking a piece that blends cinematic flair with accessible piano techniques, this arrangement is sure to please.
$6.99
Mia & Sebastian's Theme
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Piano seul
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DÉBUTANT
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Contemporain
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Justin Hurwitz
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Brianne Paik
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Mia & Sebastian's Theme
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Brianne Paik
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SheetMusicPlus
Piano Solo - Level 1 - SKU: A0.896618 Composed by Justin Hurwitz. Arranged by Brianne Paik. Contemporary. Score. 3 pages. Brianne Paik #5307559. Publish...
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Piano Solo - Level 1 - SKU: A0.896618 Composed by Justin Hurwitz. Arranged by Brianne Paik. Contemporary. Score. 3 pages. Brianne Paik #5307559. Published by Brianne Paik (A0.896618). Simplified version of the song that is perfect for beginner piano students. .
$4.99
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