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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.47 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.47 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1862-1918). Impressionistic, Post-Romantic, Recital. 8 pages. Published by Diamond S Music
DOCTOR GRADUS AD PARNASSUM from ‘Children’s Corner Suite’ by CLAUDE DEBUSSY for PIANO SOLO. The Latin phrase gradus ad Parnassum means "steps to Parnassus”. Debussy composed Children's Corner between 1906 and 1908. This piece is actually a rather ingenious study in finger independence with a Twentieth Century vocabulary. In the middle, the pianist slows down and tries his material in other keys for exercise. Debussy's Doctor Gradus Ad Parnassum is of intermediate difficulty and requires experienced fingers. The pianist gets wilder toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".This edition also includes a short biography of Debussy and some facts about the piece.<br> <br> Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940DOCTOR GRADUS AD PARNASSUM from ‘Children’s Corner Suite’ by CLAUDE DEBUSSY for PIANO SOLO. The Latin phrase gradus ad Parnassum means "steps to Parnassus”. Debussy composed Children's Corner between 1906 and 1908. This piece is actually a rather ingenious study in finger independence with a Twentieth Century vocabulary. In the middle, the pianist slows down and tries his material in other keys for exercise. Debussy's Doctor Gradus Ad Parnassum is of intermediate difficulty and requires experienced fingers. The pianist gets wilder toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".This edition also includes a short biography of Debussy and some facts about the piece.<br> <br> Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.99
4.54 €
#
Piano seul
#
Claude Debussy (1862-1918)
#
DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
#
Diamond S Music
#
SheetMusicPlus
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Recital. Score. 6 pages. Published by Musik Fabrik Music Publishing
Recorded by Nicolas Horvath on Grand Piano records (GP822)<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwall and that “Isolde of the White Hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.<br> <br> The idea of a Tristan that restored its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was ‘not very lyrical and many passages do not exactly “invite” music‘, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.<br> <br> Unfortunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br> <br> Robert OrledgeRecorded by Nicolas Horvath on Grand Piano records (GP822)<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwall and that “Isolde of the White Hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.<br> <br> The idea of a Tristan that restored its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was ‘not very lyrical and many passages do not exactly “invite” music‘, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.<br> <br> Unfortunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br> <br> Robert Orledge
$10.35
9.42 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 16 pages. Musik Fabrik Music Publishing #5726995. Published by Musik Fabrik Music Publishing (A0.534653). Recorded for Grand Piano (GP822) by Nicolas Horvath.IFêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres. The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin..This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle Joyeuse (1904). Following Laloy’s scenario, the mas-queraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$12.95
11.79 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
ARABESQUE No.2 (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790109 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790109 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century. Score. 9 pages. Diamond S Music #3622501. Published by Diamond S Music (A0.790109). ARABESQUE No.2 (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains ONLY Arabesque No.1. The Two Arabesques, L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. These are a favorite of intermediate and advanced pianist alike. No.1 in E major begins with the familiar impressionistic cascading arpeggios. No. 2 in G major being with lively right hand trills in a style more closely resembles some of Debussy's later works. Arabesques No.1 & No. 2 can also be purchased separately or Both together in the set. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.50
4.1 €
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Piano seul
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Claude Debussy
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Diamond S Music
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No
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ARABESQUE No.2
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Diamond S Music
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SheetMusicPlus
ARABESQUE No.1 in E Major (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790108 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790108 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 9 pages. Diamond S Music #3622487. Published by Diamond S Music (A0.790108). ARABESQUE No.1 in E Major (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains ONLY Arabesque No.1. The Two Arabesques, L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. These are a favorite of intermediate and advanced pianist alike. No.1 in E major begins with the familiar impressionistic cascading arpeggios. No. 2 in G major being with lively right hand trills in a style more closely resembles some of Debussy's later works. Arabesques No.1 & No. 2 can also be purchased separately or Both together in the set. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.50
4.1 €
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Piano seul
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Claude Debussy
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Diamond S Music
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No
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ARABESQUE No.1 in E Major
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Diamond S Music
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SheetMusicPlus
CLAIR DE LUNE from 'Suite Bergamasque' by CLAUDE DEBUSSY. PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790099 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790099 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 9 pages. Diamond S Music #3618867. Published by Diamond S Music (A0.790099). CLAIR DE LUNE from SUITE BERGAMASQUE by CLAUDE DEBUSSY for PIANO SOLO. Clair de Lune is considered one of the most beautiful pieces of music ever written. Debussy's genius shines throughout this piece. Clair de Lune is French for light of the moon, or moonlight. The stillness and meditative calm of these lines are evoked with great beauty at the opening of the piece. That simplicity, even sparseness of texture, surrounds a central section of gently undulating passages. Clair de Lune is treasured for its ethereal beauty and sense of mystery. This edition also includes a short biography of Debussy and some facts about the piece.Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.95
4.51 €
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Piano seul
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Claude Debussy
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Diamond S Music
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CLAIR DE LUNE from 'Suite Bergamasque' by CLAUDE DEBUSSY. PIANO SOLO
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Diamond S Music
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SheetMusicPlus
Claude Debussy - Images Series I (L. 110) 1. Reflets dans l'eau - Original For Piano Solo
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1372450 Composed by Claude Debussy.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1372450 Composed by Claude Debussy. Arranged by poon. Classical. Score. 9 pages. Poon #956753. Published by poon (A0.1372450). Claude Debussy - Images Series I (L. 110) 1. Reflets dans l'eau - Original For Piano Solo.
$1.99
1.81 €
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Piano seul
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Claude Debussy
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poon
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Claude Debussy - Images Series I
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poon
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SheetMusicPlus
Reverie,Claude Debussy,For Piano Solo
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1147523 Composed by Claude Debussy.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1147523 Composed by Claude Debussy. Arranged by poon. Classical. Score. 4 pages. Poon #747761. Published by poon (A0.1147523). Reverie,Claude Debussy,For Piano Solo.
$1.99
1.81 €
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Piano seul
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Claude Debussy
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poon
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Reverie,Claude Debussy,For Piano Solo
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poon
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SheetMusicPlus
Claude Debussy: Le Roi Lear Suite for piano
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534681 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534681 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period. Score. 23 pages. Musik Fabrik Music Publishing #6133653. Published by Musik Fabrik Music Publishing (A0.534681). A seven-movement suite for piano solo, completed from Debussy's Sketches by Robert Orledge. With full program notes by Dr. Orledge. Recorded by Nicolas Horvath on The Unknown Debussy (GP822, distributed by Naxos)
$16.95
15.43 €
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Piano seul
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Claude Debussy/Robert Orledge
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With full program notes by Dr
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Claude Debussy: Le Roi Lear Suite for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Toomai des éléphants for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534657 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534657 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards. Score. 10 pages. Musik Fabrik Music Publishing #5732665. Published by Musik Fabrik Music Publishing (A0.534657). In January 1913, Debussy struggled to complete Toomai des éléphants as the 11th prelude in Book2, finally replacing it by a rather Stravinskian study Les Tierces alternées. However, his daughter Chouchou was fascinated by elephants and in the summer of 1913, Debussy wrote her a ‘Toybox Ballet’ (La Boîte à joujoux) which contains a ‘Pas de l’éléphant’ and an ‘old Hindu chant which is still used to train elephants [in India]. It is constructed on the scale of “5 o’clock in the morningâ€,which means it must be in 5/4 time.’ My reconstruction of this lost prelude is based around this material and it evokes a day in the life of Toomai, the young mahout, and his faithful elephant Kala Nag from one dawn to the next, incorporating the legendary ‘Elephants’ Dance’ from Rudyard Kip ling’s First Jungle Book (1894) which only Toomai was ever privileged to witness. The version presented here is the revised second version of this prelude which contains an effect of piano harmonics as the dawn returns towards the end.
$10.35
9.42 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Toomai des éléphants for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: La Passion: extraite du Martyre de Saint Sébastien for solo piano, completed by Robe
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534659 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534659 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards. Score. 6 pages. Musik Fabrik Music Publishing #5732787. Published by Musik Fabrik Music Publishing (A0.534659). This piece is an unused movement, probably a first draft of La Passion, the third of the ‘Fragments symphoniques’ in Le Martyre de Saint Sébastien (1911). Nicolas Horvath’s 2020 Grand Piano recorindg of this anguished but beautiful piece, and knowing how pushed for time Debussy was when he composed Le Martyre it is surprising that he progressed so far with a piece that he subsequently replaced.
$10.35
9.42 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: La Passion: extraite du Martyre de Saint Sébastien for solo piano, completed by Robe
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Musik Fabrik Music Publishing
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SheetMusicPlus
Golliwog's Cakewalk (Grade 8) DEBUSSY Advanced Piano with note names
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1241154 By Claude Debussy. By Claud…
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Piano Solo - Level 4 - Digital Download SKU: A0.1241154 By Claude Debussy. By Claude Debussy. Arranged by Teacher Valarie. 19th Century,20th Century,Children,Instructional,Romantic Period. Score. 6 pages. Published Harmony Valarie #836548. Published by Published Harmony Valarie (A0.1241154). Great for performances, videos, shorts, recitals and concerts. Easy for students to learn and also easy for teachers to teach either in person or online lessons.
$3.99
3.63 €
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Piano seul
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Claude Debussy
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Teacher Valarie
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Golliwog's Cakewalk
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Published Harmony Valarie
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SheetMusicPlus
Debussy - Arabesque Nº1
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1243743 By Claude Debussy. By Claud…
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Piano Solo - Level 4 - Digital Download SKU: A0.1243743 By Claude Debussy. By Claude Debussy. Arranged by Ygor Nunes. 20th Century,Classical,Film/TV. Score. 8 pages. Ygor Nunes #838713. Published by Ygor Nunes (A0.1243743). Here is the original arrengement with some changes in it's diagramation to make it easier to read.
$3.99
3.63 €
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Piano seul
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Claude Debussy
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Ygor Nunes
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Debussy - Arabesque Nº1
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Ygor Nunes
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SheetMusicPlus
First Arabesque - Debussy
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1243744 By Claude Debussy. By Claud…
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Piano Solo - Level 4 - Digital Download SKU: A0.1243744 By Claude Debussy. By Claude Debussy. Arranged by Ygor Nunes. 19th Century,Classical,Film/TV. Score. 8 pages. Ygor Nunes #838714. Published by Ygor Nunes (A0.1243744). Here is the original arrengement with some changes in it's diagramation to make it easier to read.
$3.99
3.63 €
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Piano seul
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Claude Debussy
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Ygor Nunes
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First Arabesque - Debussy
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Ygor Nunes
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SheetMusicPlus
Reverie of Claude Debussy Edited and Arranged for the Average Hand and Technique
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.862689 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.862689 Composed by Claude Debussy. Arranged by Michael Bomier. 20th Century,Concert,Standards. Score. 6 pages. Michael Butkus-Bomier #3860733. Published by Michael Butkus-Bomier (A0.862689). Gateway Editions has a great deal of French music in its catalog. This item has, as its main editorial feature, the truncating or the many LH arpeggios that permeate this music. They have all been limited to a 10th range, at most, instead of the three-octave span that the original music employs. Now, these chords are all the same chords that C.D. used, but their span has been delimited, and the motion folds back on itself once each measure. ALL the roots and all the top tones remain the same. The effect is to limit the amount of attention one has to pay to the LH, and thus, frees more aural and digital awareness to be placed on the exquisite tune and the piquant harmonies. Full-length, original key, of course! Some re-assignment of voices to the RH, so the chords are clear, and the top melody note can be relied upon to be the real tune. MBB.
$3.99
3.63 €
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Piano seul
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Claude Debussy
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Michael Bomier
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Reverie of Claude Debussy Edited and Arranged for the Average Hand and Technique
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Michael Butkus-Bomier
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SheetMusicPlus
Debussy Preludes, Livre 1, L.117 No. 12, Minstrels - For Piano Solo Original
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1361851 Composed by Claude Debussy.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1361851 Composed by Claude Debussy. Arranged by poon. Classical. Score. 4 pages. Poon #946310. Published by poon (A0.1361851). Debussy Preludes, Livre 1, L.117 Book 1 No. 12, Minstrels - For Piano Solo Original.
$1.99
1.81 €
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Piano seul
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Claude Debussy
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poon
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Debussy Preludes, Livre 1, L.117 No. 12, Minstrels - For Piano Solo Original
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poon
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SheetMusicPlus
Debussy Preludes, Livre 1, L.117 Book 1, No.1 Danseuses de Delphes - For Piano Solo Original
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1361972 Composed by Claude Debussy.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1361972 Composed by Claude Debussy. Arranged by poon. Classical. Score. 3 pages. Poon #946430. Published by poon (A0.1361972). Debussy Preludes, Livre 1, L.117 Book 1, No.1 Danseuses de Delphes - For Piano Solo Original.
$1.99
1.81 €
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Piano seul
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Claude Debussy
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poon
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Debussy Preludes, Livre 1, L.117 Book 1, No.1 Danseuses de Delphes - For Piano Solo Original
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poon
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SheetMusicPlus
Reverie by Debussy - Self Learning Series with note names, finger numbers and meanings of terms
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1154970 Composed by Claude Debussy.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1154970 Composed by Claude Debussy. Arranged by Teacher Valarie. 19th Century,Classical,Early Music,Romantic Period,Wedding. Score. 7 pages. Published Harmony Valarie #755249. Published by Published Harmony Valarie (A0.1154970). Reverie - Debussy (Original for Grade 7) Added note names for SELF LEARNING SERIES. Added finger numbers. Enlarged fonts. Added meanings of Italian terms.
$2.99
2.72 €
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Piano seul
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Claude Debussy
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Teacher Valarie
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Reverie by Debussy - Self Learning Series with note names, finger numbers and meanings of terms
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Published Harmony Valarie
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SheetMusicPlus
Reverie (Debussy) - (3 for 1 PIANO Standalone Arr's)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.874780 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.874780 Composed by Claude Debussy. Arranged by Dr. Jerry Nelson. 20th Century,Concert,Instructional,Romantic Period,Standards. Score. 19 pages. Jerry Nelson #3603635. Published by Jerry Nelson (A0.874780). Receive all 3 levels (3,4,5) for the price of one! Standalone (S.A.) does not require Accompaniment track. NOTE: Most pieces using Accomp. Track can also be played as 'Standalones.' (The AUDIO DEMO is performed at the higher level). Time - 5:34. The key to Reverie? Balancing Left / Right dynamics. Great tips in the Discovery Zone pg 6. DO YOU or a Friend or Student PLAY ONE OF THESE: FL, OB, CL, ASX, TSX, HN, TPT, TBN, VLN, VLA, CEL? Show them where you found the needle in the haystack. SEARCH: Jerry Nelson (plus the name of Instrument). Visit www.JerryNelsonMusic.com for a FREE 15-song Mega-Medley of Arrangements & Audio Demo!
$4.99
4.54 €
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Piano seul
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Claude Debussy
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Dr
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Audio Demo!  
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Reverie
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Jerry Nelson
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SheetMusicPlus
La Fille Aux Cheveux De Lin (The Girl with Flaxen Hair) by Debussy
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1221240 Composed by Claude Debussy.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1221240 Composed by Claude Debussy. Arranged by Published Harmony. 19th Century,Contest,Festival,New Age,Romantic Period,Traditional. Score. 4 pages. Published Harmony Valarie #817572. Published by Published Harmony Valarie (A0.1221240). Friendly to all pianists learning this piece, included with finger numbers, meanings of the Italian and French terms, note names and enlarged music fonts.
$3.99
3.63 €
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Piano seul
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Claude Debussy
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Published Harmony
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La Fille Aux Cheveux De Lin
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Published Harmony Valarie
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SheetMusicPlus
Clair de Lune Piano - Debussy - Suite Bergamasque
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1043834 Composed by Claude-Achille …
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Piano Solo - Level 4 - Digital Download SKU: A0.1043834 Composed by Claude-Achille Debussy. Arranged by Lucas Figueiredo. Classical. Score. 7 pages. Lucas Figueiredo #648520. Published by Lucas Figueiredo (A0.1043834). Clair de Lune is a classical song composed by Claude-Achille Debussy, a french musician and composer. This sheet music was made for a better visualization, keeping the original composition.
$7.99
7.28 €
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Piano seul
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Claude-Achille Debussy
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Lucas Figueiredo
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Clair de Lune Piano - Debussy - Suite Bergamasque
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Lucas Figueiredo
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SheetMusicPlus
Arabesque L. 66 No. 1 in E Major - Andantino con moto - Debussy
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1216304 Composed by Claude Achille …
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Piano Solo - Level 4 - Digital Download SKU: A0.1216304 Composed by Claude Achille Debussy. Arranged by poon. Classical. Score. 6 pages. Poon #812914. Published by poon (A0.1216304). Arabesque L. 66 No. 1 in E Major - Andantino con moto - Debussy - Original Edition - With Finger.
$1.99
1.81 €
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Piano seul
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Claude Achille Debussy
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poon
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Arabesque L. 66 No. 1 in E Major - Andantino con moto - Debussy
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poon
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SheetMusicPlus
Greatest Hits of Classical Piano
Piano seul
Composed by Pachelbel, Bach, Handel, Mozart, Beethoven, Schubert, Chopin, Schumann, Lis…
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Composed by Pachelbel, Bach, Handel, Mozart, Beethoven, Schubert, Chopin, Schumann, Liszt, Debussy, Satie. Arranged by Scott Camp. Romantic Period, Classical Period, Baroque Period, Impressionistic, Repertoire. 203 pages. Published by Scott Camp
Best Collection for Adult Piano Students: 30 of the most important and beloved classical piano pieces Why this collection? These are the editions I created and use for myself and my adult piano students. They are not "arrangements" or simplifications in any way. They are better described as "clarifications" with clean page layouts and comprehensive fingering. These editions enable students to encounter the composers "face to face" by stripping away antiquated publishing conventions. Traditional editions, especially the economical older ones, prevent students from being able to prepare and perform the beloved music, rather than enabling and supporting successful performance. Traditional piano music publications suffer from two fatal flaws: (1) the economic need to "save paper" resulting in page layouts that are too dense, and which compound the problem by obfuscating the natural 2 and 4 bar structures of music, and (2) the absence of technical solutions (fingering). The exception in this collection is the arrangement of the Pachelbel Canon in D, because it was not originally composed for keyboard. Contents 1 Canon in D and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Pachelbel 2 Prelude No. 1 in C Major, BWV 846 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach 3 Prelude No. 2 in C minor, BWV 847 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach 4 Prelude No. 21 in Bb Major, BWV 866 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach 5 Aria from the Goldberg Variations, BWV 988 and#8195;and#8195; and#8195;and#8195;and#8195;Johann Sebastian Bach 6 Invention No. 1 in C Major, BWV 772 and#8195; and#8195;and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach 7 Menuet No. 2 from French Suite No. 1, BWV 812 and#8195;and#8195;and#8195; Johann Sebastian Bach 8 Menuet No. 2 from English Suite No. 4, BWV 809 and#8195;and#8195;and#8195;Johann Sebastian Bach 9 Menuet from French Suite No. 2, BWV 813 and#8195; and#8195; and#8195;and#8195;and#8195;Johann Sebastian Bach 10 ?Jesu, Joy of Man?s Desiring?, from Cantata, BWV 147 and#8195;Johann Sebastian Bach 11 Sarabande from Suite in D minor, HWV 437 and#8195;and#8195;and#8195;and#8195;and#8195; George Frideric Handel Sonata in A, K. 331 ?Rondo alla Turca? and#8195; and#8195; and#8195;and#8195;and#8195;and#8195; Wolfgang Amadeus Mozart 12and#8195;and#8195;III. Allegretto Sonata in C, K. 545 and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Wolfgang Amadeus Mozart 13and#8195;and#8195;I. Allegro 14 II. Andante 15 Für Elise and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Ludwig van Beethoven Sonata No. 14 ?Moonlight? Sonata and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Ludwig van Beethoven 16and#8195;and#8195;I. Adagio sostenuto (transposed to D minor) and#8195;and#8195; I. Adagio sostenuto (original key C# minor) Sonata Op. 13, No. 2 ?Pathetique? and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Ludwig van Beethoven 17and#8195;and#8195;I. Grave/Allegro 18and#8195;and#8195;II. Adagio 19 Impromptu, Op. 90, No. 2 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Franz Schubert 20 Prelude in E minor, Op. 28 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin 21 Prelude in C minor, Op. 28 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin 22 Nocturne No. 20 in C# minor and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin 23 Nocturne in Eb, Op. 9, No. 2 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin 24 Träumerei Op. 15, No. 7 from ?Scenes from Childhood? Robert Schumann 25 Ständchen (?Serenade?) D. 957/S. 560 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Franz Schubert/Franz Liszt 26 Rêverie and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Claude Debussy 27 La fille aux cheveux de lin (?The Girl with the Flaxen Hair?) Claude Debussy 28 Arabesque No. 1 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Claude Debussy 29 Clair de Lune and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Claude Debussy 30 Gymnopedie and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Erik SatieBest Collection for Adult Piano Students: 30 of the most important and beloved classical piano pieces
Why this collection?
These are the editions I created and use for myself and my adult piano students. They are not "arrangements" or simplifications in any way. They are better described as "clarifications" with clean page layouts and comprehensive fingering.
These editions enable students to encounter the composers "face to face" by stripping away antiquated publishing conventions. Traditional editions, especially the economical older ones, prevent students from being able to prepare and perform the beloved music, rather than enabling and supporting successful performance.
Traditional piano music publications suffer from two fatal flaws: (1) the economic need to "save paper" resulting in page layouts that are too dense, and which compound the problem by obfuscating the natural 2 and 4 bar structures of music, and (2) the absence of technical solutions (fingering).
The exception in this collection is the arrangement of the Pachelbel Canon in D, because it was not originally composed for keyboard.
Contents
1 Canon in D and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Pachelbel
2 Prelude No. 1 in C Major, BWV 846 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach
3 Prelude No. 2 in C minor, BWV 847 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach
4 Prelude No. 21 in Bb Major, BWV 866 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach
5 Aria from the Goldberg Variations, BWV 988 and#8195;and#8195; and#8195;and#8195;and#8195;Johann Sebastian Bach
6 Invention No. 1 in C Major, BWV 772 and#8195; and#8195;and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach
7 Menuet No. 2 from French Suite No. 1, BWV 812 and#8195;and#8195;and#8195; Johann Sebastian Bach
8 Menuet No. 2 from English Suite No. 4, BWV 809 and#8195;and#8195;and#8195;Johann Sebastian Bach
9 Menuet from French Suite No. 2, BWV 813 and#8195; and#8195; and#8195;and#8195;and#8195;Johann Sebastian Bach
10 ?Jesu, Joy of Man?s Desiring?, from Cantata, BWV 147 and#8195;Johann Sebastian Bach
11 Sarabande from Suite in D minor, HWV 437 and#8195;and#8195;and#8195;and#8195;and#8195; George Frideric Handel
Sonata in A, K. 331 ?Rondo alla Turca? and#8195; and#8195; and#8195;and#8195;and#8195;and#8195; Wolfgang Amadeus Mozart
12and#8195;and#8195;III. Allegretto
Sonata in C, K. 545 and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Wolfgang Amadeus Mozart
13and#8195;and#8195;I. Allegro
14 II. Andante
15 Für Elise and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Ludwig van Beethoven
Sonata No. 14 ?Moonlight? Sonata and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Ludwig van Beethoven
16and#8195;and#8195;I. Adagio sostenuto (transposed to D minor)
and#8195;and#8195; I. Adagio sostenuto (original key C# minor)
Sonata Op. 13, No. 2 ?Pathetique? and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Ludwig van Beethoven
17and#8195;and#8195;I. Grave/Allegro
18and#8195;and#8195;II. Adagio
19 Impromptu, Op. 90, No. 2 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Franz Schubert
20 Prelude in E minor, Op. 28 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin
21 Prelude in C minor, Op. 28 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin
22 Nocturne No. 20 in C# minor and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin
23 Nocturne in Eb, Op. 9, No. 2 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin
24 Träumerei Op. 15, No. 7 from ?Scenes from Childhood? Robert Schumann
25 Ständchen (?Serenade?) D. 957/S. 560 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Franz Schubert/Franz Liszt
26 Rêverie and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Claude Debussy
27 La fille aux cheveux de lin (?The Girl with the Flaxen Hair?) Claude Debussy
28 Arabesque No. 1 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Claude Debussy
29 Clair de Lune and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Claude Debussy
30 Gymnopedie and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Erik Satie
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Pachelbel, Bach, Handel, Mozart, Beethoven, Schubert, Chopin, Schumann, Liszt, Debussy, Satie
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Scott Camp
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Greatest Hits of Classical Piano
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Scott Camp
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