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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
Counterpoint in C Major
Non classifié
17
Piano & claviers
Piano seul
10
Piano Facile
2
Guitares
Guitare
3
Voix
Vents
Flûte traversière et Piano
5
Clarinette et Piano
3
2 Saxophones (duo)
3
Cor anglais, Piano
2
Saxophone Alto et Piano
2
Hautbois, Piano (duo)
2
Saxophone Tenor et Piano
2
Saxophone Baryton, Piano
2
Clarinette Basse, Piano
2
Saxophone Soprano et Piano
2
Clarinette, Violoncelle (duo)
1
Clarinette, Harpe (duo)
1
Hautbois, Violoncelle
1
Hautbois, Basson (duo)
1
Flûte, Violoncelle
1
Piccolo, Piano
1
Flûte traversière
1
Clarinette
1
Quatuor de Flûtes à bec
1
Flûte, Hautbois, Basson
1
2 Clarinettes (duo)
1
+ 16 instrumentations
Retracter
Cuivres
2 Trombones (duo)
3
Euphonium, Piano (duo)
3
Cor anglais, Piano
2
2 Trompettes (duo)
2
Cor et Piano
2
Trombone et Piano
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Trompette, Piano
1
+ 3 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
3
Violon (partie séparée)
2
Violon et Piano
2
Violoncelle, Piano
1
Trio à Cordes: 2 violons, violoncelle
1
Alto, Piano
1
Alto, Violoncelle (duo)
1
Violon, Violoncelle (duo)
1
+ 3 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
6
Ensemble Jazz
2
Ensemble de cuivres
2
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
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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 -…
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EGLISE - SACRE
ENFANTS : EVEIL - IN…
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
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OPERA
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Vous avez sélectionné:
Counterpoint in C Major
Piano seul
Partitions à imprimer
10 partitions trouvées
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1
Invention No. 1 in A minor for two voices
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Piano seul
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INTERMÉDIAIRE
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Robert W
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Invention No. 1 in A minor for
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Padgett Music Llc
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1140562 Composed by Robert W. Padgett. Baroque,Classical,Contest,Early Music,Festival. Score. 2 pages. Padgett Music Llc ...
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Piano Solo - Level 3 - SKU: A0.1140562 Composed by Robert W. Padgett. Baroque,Classical,Contest,Early Music,Festival. Score. 2 pages. Padgett Music Llc #740799. Published by Padgett Music Llc (A0.1140562). This two-part invention was composed by Robert W. Padgett in 1990 as a private exercise in invertible counterpoint. The upper voice announces the motive in the tonic key of A minor that quickly overlaps itself at the octave as a brief stretto. An episode consisting of a modulation sequence arrives at a half cadence in bar 4 in E major. The motive is then inverted in bar 5 by the upper voice followed by a partial restatement of the original motive by the lower voice in bar 6. This interplay between the motive’s inversion and its original form continues through bar 10 before a new episode modulates sequentially to a cadence in bar 13 with a statement by the lower voice of the original motive in the relative key of C major. An inversion of the original episodic sequence from bar 2 follows with slight alterations that cycle through a series of contrasting keys. A second interplay begins in bar 17 between the motive’s inversion in the lower voice followed by its partial restatement in the upper voice. The exchange of motive and countermotive by the upper and lower voices is an example of invertible counterpoint. In bar 27, an extended version of the motive begins in F minor before morphing back into A minor with the same modulation formula from bar 2 that redirects to a perfect cadence in the tonic key with a final Picardi third in A major.
$2.00
Invention No. 2 in D minor for three voices
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Piano seul
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INTERMÉDIAIRE
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Robert W
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Invention No. 2 in D minor for
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Padgett Music Llc
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1141383 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional,Traditional. Score. 3 pages. Padg...
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Piano Solo - Level 3 - SKU: A0.1141383 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional,Traditional. Score. 3 pages. Padgett Music Llc #741707. Published by Padgett Music Llc (A0.1141383). This three-part Invention No. 2 in D minor was composed in the summer of 1991. I shared it with my modal and tonal counterpoint instructor, Professor Richard Wilson, and he responded favorably to my venturesome modulations and use of the Neapolitan chord. Similar to my first invention in A minor, the motive is announced by the upper voice before it is restated an octave lower by the lower voice in bar 2 to form a stretto. In bar 3, the middle voice states the motive in the dominant key of A minor with the lower and upper voices playing the first and second countermotives respectively. An episode ensues and arrives at a half cadence in bar 8. The opening fragment of the motive is exploited in conjunction with a pedal tone and a variant of the second countermotive to navigate through a series of contrasting keys. At bar 14, the motive is reasserted in F-sharp minor layered over itself in stretto with a C-sharp pedal tone in bar 15. The voices from the episode in bars 5-8 are reshuffled in bars 18-21 as another exercise in invertible counterpoint. In measure 16, the motive and two countermotives are reprised in C-sharp minor, a half step below the tonic key. Starting in bar 18, the episode from bars 6-8 is reprised in F-sharp minor with the first and second countermotives exchanging positions. This is followed in bars 16-27 by a varied restatement of the episodic sequence from bars 8-17 that cadences in bar 27 before a restatement of the subject in bar 28 in G minor with slightly embellished countermotives. Bars 32-35 present a restatement of the episode from bars 5-8 with the motive relocated to the lower voice and the two countermotives in intimate proximity in the two upper voices. An unexpected descending scale in a series of compound harmonic 10ths forms an inversion of the second half of the motive and sets the stage for a perfect cadence to a Picardy Third in D major. After so many years, I remain especially pleased with the effect of that ending.
$3.99
Sonata in Symmetry 3rd Mvnt: Scherzo in C# minor
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Piano seul
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AVANCÉ
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Michael Bomier
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Sonata in Symmetry 3rd Mvnt: S
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.862572 Composed by Michael Bomier. 20th Century,Contemporary,Instructional. Score. 9 pages. Michael Butkus-Bomier #433515...
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Piano Solo - Level 5 - SKU: A0.862572 Composed by Michael Bomier. 20th Century,Contemporary,Instructional. Score. 9 pages. Michael Butkus-Bomier #433515. Published by Michael Butkus-Bomier (A0.862572). 2015 Piano Contest The third movement is a scherzo in 6/8 time of just under 5 mins duration. It consists of brief chordal statements followed by two-part counterpoint using all the topographical, contrary-motion symmetry available. C# min and Ab Maj are two keys which lend themselves to topographical symmetry, since they both have four black keys in use. Advanced level at tempo, slower makes it a bit more palatable for an intermediate player. ALL fingerings are mirrored, and indicated for both hands in between the treble and bass clefs.The sections move between C# min, E major, and C # Major. All chords are fully mirrored as well. MP3 MIDI audio. MBB.
$3.50
Fugue No.3
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Piano seul
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AVANCÉ
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Contemporain
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David Tsvariani
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Fugue No.3
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David Tsvariani
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1324803 Composed by David Tsvariani. Classical,Contemporary. Score. 4 pages. David Tsvariani #913012. Published by David ...
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Piano Solo - Level 5 - SKU: A0.1324803 Composed by David Tsvariani. Classical,Contemporary. Score. 4 pages. David Tsvariani #913012. Published by David Tsvariani (A0.1324803). Fugues Op. 17 for Piano by David TsvarianiIntroduction:Allow me to share a few thoughts about my recent composition, Fugues Op. 17, for piano. Comprising four individual fugues that can be performed separately or as a complete suite, this work explores a range of tempos, keys, and thematic nuances. I've endeavored to create a modest collection that, when performed together, offers a glimpse into various emotional landscapes.Fugue No. 1 in C Major (Allegro vivace):The journey begins with the lively Allegro vivace in C major, a modest 01:44 celebration of joy and energy. It is my hope that this piece, with its brisk tempo, serves as a lively opening to the collection, showcasing the pianist's skill and the intricate counterpoint I aimed to achieve.Fugue No. 2 in B-flat Major (Andante):The second fugue, marked Andante with a duration of 02:25, introduces a contemplative mood in the key of B-flat major. In my modest attempt, this piece invites the listener to reflect and explore a more introspective side, providing a gentle contrast to the preceding fugue.Fugue No. 3 in A Major (Adagio):With a deliberate pace of 02:57 and an Adagio tempo, the third fugue in A major emphasizes melody and expression. My humble intention was to create a serene and emotional landscape, allowing the listener to experience a deeper connection with the music.Fugue No. 4 in D Major (Allegretto):The final fugue, an Allegretto in D major, lasts a mere 01:40. In a departure from convention, I introduced an Eastern or oriental scale, aiming to infuse the composition with a unique character. It is my modest hope that this unexpected touch adds a distinctive flavor to the overall work.Program Notes:As I share Fugues Op. 17, I am mindful of the privilege of having my compositions interpreted by talented performers. My sincere aspiration was to create a humble collection that weaves together varied emotions and styles. The inclusion of a melodic third fugue and the exoticism of the fourth fugue seeks to expand the tonal palette modestly. I hope that, as a whole, this collection speaks with a quiet resonance, leaving room for interpretation and connection between the music, the performer, and the listener. With gratitude, David Tsvariani.
$1.99
Fugue No.4
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Piano seul
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AVANCÉ
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Contemporain
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David Tsvariani
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Fugue No.4
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David Tsvariani
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1324805 Composed by David Tsvariani. Classical,Contemporary. Score. 4 pages. David Tsvariani #913014. Published by David ...
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Piano Solo - Level 5 - SKU: A0.1324805 Composed by David Tsvariani. Classical,Contemporary. Score. 4 pages. David Tsvariani #913014. Published by David Tsvariani (A0.1324805). Fugues Op. 17 for Piano by David TsvarianiIntroduction:Allow me to share a few thoughts about my recent composition, Fugues Op. 17, for piano. Comprising four individual fugues that can be performed separately or as a complete suite, this work explores a range of tempos, keys, and thematic nuances. I've endeavored to create a modest collection that, when performed together, offers a glimpse into various emotional landscapes.Fugue No. 1 in C Major (Allegro vivace):The journey begins with the lively Allegro vivace in C major, a modest 01:44 celebration of joy and energy. It is my hope that this piece, with its brisk tempo, serves as a lively opening to the collection, showcasing the pianist's skill and the intricate counterpoint I aimed to achieve.Fugue No. 2 in B-flat Major (Andante):The second fugue, marked Andante with a duration of 02:25, introduces a contemplative mood in the key of B-flat major. In my modest attempt, this piece invites the listener to reflect and explore a more introspective side, providing a gentle contrast to the preceding fugue.Fugue No. 3 in A Major (Adagio):With a deliberate pace of 02:57 and an Adagio tempo, the third fugue in A major emphasizes melody and expression. My humble intention was to create a serene and emotional landscape, allowing the listener to experience a deeper connection with the music.Fugue No. 4 in D Major (Allegretto):The final fugue, an Allegretto in D major, lasts a mere 01:40. In a departure from convention, I introduced an Eastern or oriental scale, aiming to infuse the composition with a unique character. It is my modest hope that this unexpected touch adds a distinctive flavor to the overall work.Program Notes:As I share Fugues Op. 17, I am mindful of the privilege of having my compositions interpreted by talented performers. My sincere aspiration was to create a humble collection that weaves together varied emotions and styles. The inclusion of a melodic third fugue and the exoticism of the fourth fugue seeks to expand the tonal palette modestly. I hope that, as a whole, this collection speaks with a quiet resonance, leaving room for interpretation and connection between the music, the performer, and the listener. With gratitude, David Tsvariani.
$1.99
Fugue No.2
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Piano seul
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AVANCÉ
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Contemporain
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David Tsvariani
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Fugue No.2
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David Tsvariani
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1324802 Composed by David Tsvariani. Classical,Contemporary. Score. 5 pages. David Tsvariani #913011. Published by David ...
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Piano Solo - Level 5 - SKU: A0.1324802 Composed by David Tsvariani. Classical,Contemporary. Score. 5 pages. David Tsvariani #913011. Published by David Tsvariani (A0.1324802). Fugues Op. 17 for Piano by David TsvarianiIntroduction:Allow me to share a few thoughts about my recent composition, Fugues Op. 17, for piano. Comprising four individual fugues that can be performed separately or as a complete suite, this work explores a range of tempos, keys, and thematic nuances. I've endeavored to create a modest collection that, when performed together, offers a glimpse into various emotional landscapes.Fugue No. 1 in C Major (Allegro vivace):The journey begins with the lively Allegro vivace in C major, a modest 01:44 celebration of joy and energy. It is my hope that this piece, with its brisk tempo, serves as a lively opening to the collection, showcasing the pianist's skill and the intricate counterpoint I aimed to achieve.Fugue No. 2 in B-flat Major (Andante):The second fugue, marked Andante with a duration of 02:25, introduces a contemplative mood in the key of B-flat major. In my modest attempt, this piece invites the listener to reflect and explore a more introspective side, providing a gentle contrast to the preceding fugue.Fugue No. 3 in A Major (Adagio):With a deliberate pace of 02:57 and an Adagio tempo, the third fugue in A major emphasizes melody and expression. My humble intention was to create a serene and emotional landscape, allowing the listener to experience a deeper connection with the music.Fugue No. 4 in D Major (Allegretto):The final fugue, an Allegretto in D major, lasts a mere 01:40. In a departure from convention, I introduced an Eastern or oriental scale, aiming to infuse the composition with a unique character. It is my modest hope that this unexpected touch adds a distinctive flavor to the overall work.Program Notes:As I share Fugues Op. 17, I am mindful of the privilege of having my compositions interpreted by talented performers. My sincere aspiration was to create a humble collection that weaves together varied emotions and styles. The inclusion of a melodic third fugue and the exoticism of the fourth fugue seeks to expand the tonal palette modestly. I hope that, as a whole, this collection speaks with a quiet resonance, leaving room for interpretation and connection between the music, the performer, and the listener. With gratitude, David Tsvariani.
$1.99
Fugue No.1
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Piano seul
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AVANCÉ
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Contemporain
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David Tsvariani
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Fugue No.1
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David Tsvariani
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1324800 By David Tsvariani. By David Tsvariani. Classical,Contemporary. Score. 3 pages. David Tsvariani #913009. Publishe...
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Piano Solo - Level 5 - SKU: A0.1324800 By David Tsvariani. By David Tsvariani. Classical,Contemporary. Score. 3 pages. David Tsvariani #913009. Published by David Tsvariani (A0.1324800). Fugues Op. 17 for Piano by David TsvarianiIntroduction:Allow me to share a few thoughts about my recent composition, Fugues Op. 17, for piano. Comprising four individual fugues that can be performed separately or as a complete suite, this work explores a range of tempos, keys, and thematic nuances. I've endeavored to create a modest collection that, when performed together, offers a glimpse into various emotional landscapes.Fugue No. 1 in C Major (Allegro vivace):The journey begins with the lively Allegro vivace in C major, a modest 01:44 celebration of joy and energy. It is my hope that this piece, with its brisk tempo, serves as a lively opening to the collection, showcasing the pianist's skill and the intricate counterpoint I aimed to achieve.Fugue No. 2 in B-flat Major (Andante):The second fugue, marked Andante with a duration of 02:25, introduces a contemplative mood in the key of B-flat major. In my modest attempt, this piece invites the listener to reflect and explore a more introspective side, providing a gentle contrast to the preceding fugue.Fugue No. 3 in A Major (Adagio):With a deliberate pace of 02:57 and an Adagio tempo, the third fugue in A major emphasizes melody and expression. My humble intention was to create a serene and emotional landscape, allowing the listener to experience a deeper connection with the music.Fugue No. 4 in D Major (Allegretto):The final fugue, an Allegretto in D major, lasts a mere 01:40. In a departure from convention, I introduced an Eastern or oriental scale, aiming to infuse the composition with a unique character. It is my modest hope that this unexpected touch adds a distinctive flavor to the overall work.Program Notes:As I share Fugues Op. 17, I am mindful of the privilege of having my compositions interpreted by talented performers. My sincere aspiration was to create a humble collection that weaves together varied emotions and styles. The inclusion of a melodic third fugue and the exoticism of the fourth fugue seeks to expand the tonal palette modestly. I hope that, as a whole, this collection speaks with a quiet resonance, leaving room for interpretation and connection between the music, the performer, and the listener. With gratitude, David Tsvariani.
$1.99
Hallelujah
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Piano seul
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AVANCÉ
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Leonard Cohen
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Stephen Smith
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Hallelujah
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Stephen Smith
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1454240 By Leonard Cohen. By Leonard Cohen. Arranged by Stephen Smith. 21st Century,Classical,Contemporary,Romantic Perio...
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Piano Solo - Level 5 - SKU: A0.1454240 By Leonard Cohen. By Leonard Cohen. Arranged by Stephen Smith. 21st Century,Classical,Contemporary,Romantic Period,Singer/Songwriter. Score. 3 pages. Stephen Smith #1033371. Published by Stephen Smith (A0.1454240). Three variations for piano on Leonard Cohen's famous song: the first presents it in its folk-like simplicity in C Major; the second features flowing three-part counterpoint; and the third breaks into A-flat Major for a lustrous virtuosic treatment in the style of Rachmaninoff.
$4.99
Rejoice, the Lord Is King
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Piano seul
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INTERMÉDIAIRE
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John Darwall
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Colleen Adent
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Rejoice, the Lord Is King
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Colleen Adent
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.835959 Composed by John Darwall. Arranged by Colleen Adent. Christian,Concert,Easter,Sacred. Score. 7 pages. Colleen Aden...
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Piano Solo - Level 3 - SKU: A0.835959 Composed by John Darwall. Arranged by Colleen Adent. Christian,Concert,Easter,Sacred. Score. 7 pages. Colleen Adent #6269309. Published by Colleen Adent (A0.835959). The joy of Easter comes to life in this spirited arrangement of Rejoice, the Lord Is King. Syncopated rhythms drive the opening, and a fanfare-like right hand introduces the main melody. The music then segues into a sweeter, gentler variation of the hymn tune, accompanied by arpeggios and simple counterpoint. A modulation from C major to F major leads the piece through satisfying reharmonizations, and a transition imitating the sound of a brass ensemble pushes toward a fortissimo, breathtaking climax in G major. The arrangement requires playing some blocked octaves and blocked four-notes chords that span an octave, as well as facility in moving across the full range of the keyboard. A dazzling ending makes great use of these extreme high and low ends of the instrument, ushering in the brilliant light of Easter.Visit Colleen @ colleenadent.com!
$4.99
Introspection 1
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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the same standard, it can't be
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Eric Paul Nolte
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Introspection 1
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Eric Paul Nolte
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte ...
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Piano Solo - Level 4 - SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte (A0.987080). This piece is one of an album of my contemporary classical compositions. Yes, I too wince at offering you something saddled with this oxymoron--contemporary classical--but this phrase is now an irresistible, commercially recognized category defying any principled protest from the ranks of wounded musicological curmudgeons like me. The style here employs a tonal palette that celebrates the more or less common practice of composers from J. S. Bach to Ravel, Prokofiev, and the 20th century American songbook. You will see that I reject Arnold Schoenberg's assertion that by 1910 tonality had exhausted itself, and needed to be reinvented according to an aesthetics that dismiss our scales and harmonies as purely arbitrary human conventions with no basis in nature. On the contrary, I believe that we are endowed by our nature to respond emotionally to our traditional materials of music in the same way as nature equips us to respond to the taste of food and drink. We differ in our taste for savory, sweet, and sour, but it is wrong to say that our very capacity to taste is a merely cultural convention. There is biology, and then physics too! By the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats. The major triad is a force of nature, like the sun, wind, and rain! I also like big fat juicy 13 chords, and contrapuntal weaving of melody! I believe the purpose of music is to sway us emotionally, and if it can uplift us too, so much the better! While I am not ashamed to write a bare triad, unadorned by chromatic alterations (much less by clusters of chord collisions) I have nevertheless employed much complicated harmony. Moreover, some passages are written in a spiky harmony that might be analyzed as bitonal, as at the meno mosso section, beginning at measure 112, where the mood I wanted to set inspired me to write the theme in C minor while the left hand climbs up from the bottom of the keyboard in a widely spaced, D-flat 13 arpeggio. I have composed these pieces with the skills of intermediate to early-advanced pianists in mind. This piece demands the ability to play some counterpoint between two voices in one hand. There is a section that requires one to play moderately fast octaves, but nothing as difficult as the G minor Prelude of Chopin (to say nothing of his harrowing octave Etude from Opus 25!) While there are many polyrhythmic passages, none is more complicated than two-against-three notes. All said, there is nothing here to make your hands (or, I dare say, your ears) bleed. The performing time is around nine minutes and a breath or three. I have a number of videos posted on YouTube.com, I have a website under construction, ericpaulnolte.com, and, since 2011, an occasional blog of my ravings on life, love, and the cosmos, at ericpaulnolte.blogspot.com. You may write me at nolte0125@gmail.com.
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Counterpoint in C Major
