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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…
(+)
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
9.47 €
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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
#
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…
(+)
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
11.85 €
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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
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
35.63 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
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…
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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
35.63 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
In dir ist freude (Classical Music for Tablet Series)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.818307 By Stephen R Dalrymple. By J…
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Piano Solo - Level 4 - Digital Download SKU: A0.818307 By Stephen R Dalrymple. By Johann Sebastian Bach (Busoni transcription). Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Baroque. Score. 15 pages. Stephen R Dalrymple #5322405. Published by Stephen R Dalrymple (A0.818307). In dir ist Freude (In You is Joy) choral prelude for pipe organ by Johann Sebastian Bach (from Das Orgelbuchlein 1713-17) from Ten Chorale-Preludes “Transcribed for the piano in chamber style†by Ferruccio Busoni (between 1907-1909) ♫ Ferruccio Busoni (1 April 1866 – 27 July 1924) was an Italian composer, pianist, conductor, editor, writer, and teacher. His international career and reputation led him to work closely with many of the leading musicians, artists and literary figures of his time, and he was a sought-after keyboard instructor and a teacher of composition. ♫ From an early age, Busoni was an outstanding if sometimes controversial pianist. He studied at the Vienna Conservatory and then with Wilhelm Mayer and Carl Reinecke. After brief periods teaching in Helsinki, Boston, and Moscow, he devoted himself to composing, teaching, and touring as a virtuoso pianist in Europe and the United States. ♫ He began composing in his early years in a late romantic style, but after 1907, when he published his Sketch of a New Esthetic of Music, he developed a more individual style, often with elements of atonality. His visits to America led to interest in North American indigenous tribal melodies which were reflected in some of his works. His compositions include works for piano, among them a monumental Piano Concerto, and transcriptions of the works of others, notably Johann Sebastian Bach … (condensed from Wikipedia October 2022) ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
3.65 €
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Piano seul
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Stephen R Dalrymple
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In dir ist freude
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Stephen R Dalrymple
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SheetMusicPlus
Seven Pieces in Twentieth-Century Styles
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 2…
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Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00
4.57 €
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Piano seul
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James Siddons
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Seven Pieces in Twentieth-Century Styles
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James Siddons Music and Writings
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SheetMusicPlus
Chorale Prelude “Ich ruf zu dir, Herr Jesu Christ” (Busoni) As played By Víkingur Ólafsson
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1219240 By Johann Sebastian Bach an…
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Piano Solo - Level 4 - Digital Download SKU: A0.1219240 By Johann Sebastian Bach and VÃkingur Ólafsson. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Festival,Instructional,Sacred,Wedding. Score. 4 pages. FRC Music #815637. Published by FRC Music (A0.1219240). Welcome to this exclusive presentation of one of Johan Sebastian Bach's most beloved works, 'Ich ruf zu dir, Herr Jesu Christ, BWV 639' as play by the remarkable Icelandic pianist VÃkingur Ólafsson. This stellar performance provides a delightful exploration into the depths of Bach's masterly composition and an experience that is unparalleled.  Whether you are an accomplished musician, a budding student or a professional pianist, you will find much to love while listening to the mastery of VÃkingur Ólafsson. Let yourself be moved. Let your soul be lifted with this eternally powerful piece of music.  Experience a larger-than-life performance of 'Ich ruf zu dir, Herr Jesu Christ, BWV 639' - as played by VÃkingur Ólafsson - by getting your sheet music today.Advanced Intermediate level Format: Concert 9 x 12 inches 4 pages.NotesChorale Prelude BWV 639 Ich ruf zu dir, Herr Jesu Christ (Transcr. by Ferruccio Busoni) As played By VÃkingur Ólafsson (for Piano Solo).This beautiful work by J. S. Bach was recently used in the powerful film All Quiet on the Western Front by director Edward Berger. In the movie, the terrible experiences and anguish of a young German soldier on the Western Front during the First World War. Enjoy! In this Busoni's transcription that emphasise lush, organ-like sonorities on the piano. Enjoy!
$6.99
6.39 €
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Piano seul
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Johann Sebastian Bach and VÃkingur Ólafsson
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Flavio Regis Cunha
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Chorale Prelude “Ich ruf zu dir, Herr Jesu Christ”
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FRC Music
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SheetMusicPlus
Choralvorspiele ... Homage an Busoni-Reger-Bach (2021) for solo piano
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.869870 Composed by Thomas Oboe Lee.…
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Piano Solo - Level 4 - Digital Download SKU: A0.869870 Composed by Thomas Oboe Lee. 20th Century,Contemporary. Score. 29 pages. Thomas Oboe Lee #6633069. Published by Thomas Oboe Lee (A0.869870). I was very taken by Ferruccio Busoni’s transcription of J.S. Bach’s Chorale Preludes for organ. I am not familiar with the original version mainly because I don’t enjoy listening to organ music; except when it is in a jazz context, like Jimmy Smith and Joey DeFrancesco.Using Busoni’s version as a model I re-did all nine of his Bach Chorale Preludes in my fashion and then I realized that I needed three more to make a nice simple dozen. So I looked at Max Reger’s transcriptions of the Bach Chorale Preludes and found three that would fit into my twelve-movement work.I. Andante … Komm, Gott Schöpfer, heiliger GeistII. Adagio … Wachet aufm ruft uns die StimmeIII. Andante … Nun komm’ der Heiden HeilandIV. Presto … Nun freut euch, lieben Christen, g’meinV. Largo … Ich ruf’ zu dir, Herr Jesu ChristVI. Moderato … Herr Gott, nun schleuß den Himmel aufVII. Largo … Durch Adams Fall ist ganz verderbtVIII. Allegro … In dir ist FreudeIX. Adagio … Jesus Christus, unser HeilandX. Moderato … O Mensch, bewein’ dein’ Sünde großXI. Presto … Ach wie nichtig, ach wie flüchtigXII. Largo … Christ lag in TodesbandenEnjoy!!!
$9.99
9.14 €
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Piano seul
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Thomas Oboe Lee
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Choralvorspiele ... Homage an Busoni-Reger-Bach
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Thomas Oboe Lee
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SheetMusicPlus
Polonaise in A Major (Militaire) by Frederic Chopin - Piano Solo
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790093 Composed by Frederic Chopin.…
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Piano Solo - Level 4 - Digital Download SKU: A0.790093 Composed by Frederic Chopin. Arranged by Diamond S Music. Classical,Concert. Score. 8 pages. Diamond S Music #3569611. Published by Diamond S Music (A0.790093). POLONAISE in A MAJOR (MILITARY) Op.40 No.1 by Frédéric Chopin for PIANO SOLO. This is Chopin’s most popular and famous Piano Solos. This is the original Chopin version of the piece. During the September 1939 German invasion of Poland at the outset of World War II, Polskie Radio broadcast this piece daily as nationalistic protest, and to rally the Polish people. The A major Polonaise could hardly be more succinct, synthetic and condensed in its style and character. It has neither an introduction nor a coda, and the theme strikes one with its firmness and grace. As Jan Kleczyński put it, ‘Each note, each accent, glows with life and power’. The theme that complements the main part of the polonaise contains more of those pungent, robust sonorities, referring to the style of military music. But the pinnacle of succinctness and firmness is presented by the Polonaise’s trio, in D major. Chopin has it played energico and fortissimo. Here, too, the complementary theme brings strains of military music, evoking for many interpreters the sounds of a snare drum. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.50
4.12 €
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Piano seul
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Frederic Chopin
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Diamond S Music
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Polonaise in A Major
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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
4.12 €
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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
Monkey Business
Piano seul
Piano Solo - early intermediate - Digital Download SKU: F0.S4150 Composed by C.S. W…
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Piano Solo - early intermediate - Digital Download SKU: F0.S4150 Composed by C.S. Wolf. Sheet Music. Spotlight Solo Sheets. Animals and Nature. Solo Sheet. 4 pages. The FJH Music Company - Digital #S4150. Published by The FJH Music Company - Digital (F0.S4150). UPC: 674398218066.Monkey Business is a late elementary piano solo that both children and parents will enjoy musically and lyrically! This humorous piece offers many educational benefits such as: a straightforward tied quarter note syncopation that is also supported by the lyrics; a middle section where both hands play two octaves higher alternating between the two and three black key groups in a descending pattern; two note slurs; accents; and four measure legato phrases; just to name a few. About FJH Spotlight Solo SheetsMotivating piano solos written for study and performance.
$2.50
2.29 €
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Piano seul
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C
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Monkey Business
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The FJH Music Company - Digital
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SheetMusicPlus
DEUX ARABESQUES (2 Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Digital Download SKU: A0.790107 Composed by Claude Debussy. Arranged b…
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Piano Solo - Digital Download SKU: A0.790107 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 16 pages. Diamond S Music #3622481. Published by Diamond S Music (A0.790107). DEUX ARABESQUES (2 Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains both Arabesque No.1 & No.2 as a set. 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. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$8.50
7.78 €
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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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DEUX ARABESQUES
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Diamond S Music
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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
4.12 €
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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
In A Sentimental Mood
Piano seul
Piano - Level 3 - Digital Download SKU: A0.1296078 By Duke Ellington. By Duke Ellin…
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Piano - Level 3 - Digital Download SKU: A0.1296078 By Duke Ellington. By Duke Ellington, Irving Mills, and Manny Kurtz. Arranged by Piano. 20th Century,Jazz,Standards. Score (Chords/Lyrics). 1 pages. Sérgio Matias da Cunha #886349. Published by Sérgio Matias da Cunha (A0.1296078). Partitura objetiva e concisa apresentando marcações de cifra, células rÃtmicas envolvendo quartos de tempo, ornamentos, quiálteras e notas sincopadas, buscando a maior fidelidade com a versão original através das notas mais marcantes e caracterÃsticas, visando o melhor resultado com harmonia e equilÃbrio, oferecendo as devidas informações para uma livre interpretação através da exposição deste fio melódico, cuidadosamente diagramado e organizado para melhor visualização, entendimento e execução. Presença de sinais de repetição também contribuem para a praticidade e a concisão desta partitura, distribuindo toda a música em uma página. Encontre mais partituras como essa, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques†no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).
$4.99
4.56 €
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Piano seul
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Duke Ellington
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Piano
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In A Sentimental Mood
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Sérgio Matias da Cunha
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SheetMusicPlus
"The A-Team": Main Theme (Post and Carpenter) - Solo Piano
Piano seul
Piano Solo - Intermediate - Digital Download By Mike Post, Pete Carpenter. Arranged b…
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Piano Solo - Intermediate - Digital Download By Mike Post, Pete Carpenter. Arranged by Rob Bushnell. Individual Part, Piano Reduction, Set of Parts, Sheet Music Single, Solo Part. 2 pages. Published by RBMusic
The A-Team is an American television series that ran from 1983 to 1987. It opens with the infamous narration: ‘In 1972 a crack commando unit was sent to prison by a military court for a crime they didn't commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire the A-Team.’<br> <br> The show revolves around four members of the fictitious United States Army Special Forces unit. These are the leader Colonel/Colonel John "Hannibal" Smith (played by George Peppard), smooth-talking Lieutenant Templeton Peck or “Face” (Dirk Benedict), pilot Captain H.M. "Howling Mad" Murdock (Dwight Schultz) and mechanic Sergeant First Class Bosco "B.A." Baracus (Mr. T).<br> <br> The main theme was composed by Mike Post and Pete Carpenter, although the version they created was not the same as the theme heard on-screen (which is what this arrangement is of). The theme has been ranked among the best TV themes every written. Interesting, the French version of the theme has lyrics that mirror the spoken description of the English version of the show.<br> In 2010, 20th Century Fox released a feature film based on the series starring Liam Neeson, Bradley Cooper, Quinton Jackson and Sharlto Copley as the A-Team. Alan Silvestri composed the soundtrack.<br> A recording from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=_MVonyVSQoM.The A-Team is an American television series that ran from 1983 to 1987. It opens with the infamous narration: ‘In 1972 a crack commando unit was sent to prison by a military court for a crime they didn't commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire the A-Team.’<br> <br> The show revolves around four members of the fictitious United States Army Special Forces unit. These are the leader Colonel/Colonel John "Hannibal" Smith (played by George Peppard), smooth-talking Lieutenant Templeton Peck or “Face” (Dirk Benedict), pilot Captain H.M. "Howling Mad" Murdock (Dwight Schultz) and mechanic Sergeant First Class Bosco "B.A." Baracus (Mr. T).<br> <br> The main theme was composed by Mike Post and Pete Carpenter, although the version they created was not the same as the theme heard on-screen (which is what this arrangement is of). The theme has been ranked among the best TV themes every written. Interesting, the French version of the theme has lyrics that mirror the spoken description of the English version of the show.<br> In 2010, 20th Century Fox released a feature film based on the series starring Liam Neeson, Bradley Cooper, Quinton Jackson and Sharlto Copley as the A-Team. Alan Silvestri composed the soundtrack.<br> A recording from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=_MVonyVSQoM.
$5.97
5.46 €
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Piano seul
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Mike Post, Pete Carpenter
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Rob Bushnell
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"The A-Team": Main Theme
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RBMusic
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SheetMusicPlus
Sonata in A Major for pianoforte solo
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.958426 Composed by Joseph Dillon Fo…
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Piano Solo - Level 3 - Digital Download SKU: A0.958426 Composed by Joseph Dillon Ford. 20th Century,Classical,Contemporary,Romantic Period. Score. 14 pages. David Warin Solomons2 #3685379. Published by David Warin Solomons2 (A0.958426). A large-scale, robust, brightly optimistic sonata in the Viennese neoclassical tradition whose individual movements allude to the styles of Haydn, Mozart, and Beethoven respectively.
$17.50
16.01 €
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Piano seul
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Joseph Dillon Ford
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Sonata in A Major for pianoforte solo
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David Warin Solomons2
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SheetMusicPlus
A Well-Tempered Reader Vol. 1: Int. to Adv.
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1104260 Composed by J. S. Bach, F. …
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Piano Solo - Level 4 - Digital Download SKU: A0.1104260 Composed by J. S. Bach, F. Haydn, W. Mozart, L. V. Beethoven, F. Chopin, C. Chaminade, et al. Arranged by Bo Kim. 19th Century,20th Century,Classical,Contemporary,Instructional. Score. 83 pages. Bo Kim #707462. Published by Bo Kim (A0.1104260). A collection of timeless piano repertoire in public domain, the entire Major and Minor keys are covered in the volume. Included are some of the most popular piano pieces as well as hidden jewels by lesser-known artists such as Chaminade, Cui, Durand, and more. Table of Contents: Divertimento in C Major, Hob. XVI:1 by F. Haydn, P.2 Für Elise in A Minor by L.V. Beethoven, P. 5 Pastoral Enfantine by C. Chaminade, P. 8 Selections in E Minor from For Children by B. Bartok, P. 12 Spinning Song in F Major by A. Ellmenreich, P. 14 The Storm in D Minor from Etudes Op. 109 by F. Burgmuller, P. 17 Gymnopedie in D Major by E. Satie, P. 19 Waltz in B Minor, D. 145 by F. Schubert, P. 23 Nocturne in Bb Major by J. Field, P. 24 Selections in G Minor from For Children by B. Bartok, P. 26 The Floating Scarf in A Major by F. Couperin, P. 28 Album Leaf in F# Minor by E. Chabrier, P. 31 Waltz in Eb Major, Op.83 by A. Durand, P. 35 Prelude in C Minor, BWV 999 by J. S. Bach, P. 42 Arabesque in E Major by C. Debussy, P. 44 Odeon in C# Minor by E. Nazareth, P. 49 Canzonetta in Ab Major by C. Cui, P. 52 Moment Musical in F Minor, D. 780 No. 3 by F. Schubert, P. 54 Prelude B Major, Op. 22, No. 3 by A. Scriabin, P. 56 The Old Castle in G # Minor from Pictures At An Exhibition by M. Mussorgsky, P. 58 Waltz in Db Major, Op. 64, No. 1 by F. Chopin, P. 62 Nocturne in Bb Minor, Op. 9, No. 1 by F. Chopin, P. 66 Klavierstück in F# Major by F. Liszt, P. 70 In Der Heimat in D# Minor, Op. 43 No. 19 by E. Grieg, P. 72 Girl With Flaxen Hair in Gb Major by C. Debussy, P. 74 Puck in Eb Minor by E. Grieg, P. 76 Prelude in C# Major from WTC I by J. S. Bach, P. 79 Etude in Ab Minor, Op. 139 No. 92 by C. Czerny, P. 81https://youtube.com/playlist?list=PL5JDypjUjmw0YyJdyz6UtWoQSzQVDVQvR.
$10.00
9.15 €
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Piano seul
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J
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Bo Kim
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A Well-Tempered Reader Vol. 1: Int. to Adv.
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Bo Kim
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SheetMusicPlus
"La Plus Que Lente" C. Debussy- Piano solo- Simplified version
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.785722 Composed by C Debussy. Arran…
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Piano Solo - Level 4 - Digital Download SKU: A0.785722 Composed by C Debussy. Arranged by Grant Horsley. Classical,Instructional,Romantic Period,Standards,Wedding. Score. 10 pages. Grant Horsley #5982449. Published by Grant Horsley (A0.785722). I have arranged this this timeless classic for piano in a number of ways to make it manageable.Most important of all, it is in the key of G major as a key signature of one sharp is more readable than the original of 6 flats. I've also taken a lot of quaver octaves out but left the necessary ones in to add to the power of the appassionato section- I've left other octaves in, where the music is less demanding, and I've also divided some areas into both hands which are difficult for one hand.I've added a small amount of fingering to the score to assist in tricky areas, but I wanted to keep the whole piece as close to the original as possible It is 9 pages long- 5 min 30.It has been placed at advanced intermediate, although lots of areas are manageable by a competent intermediate player. The youtube link has the whole score for you to judge.This piece is perfect for concerts, recitals, weddings, solo instrumental occasions, repertoire, technique and training.
$5.50
5.03 €
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Piano seul
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C Debussy
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Grant Horsley
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"La Plus Que Lente" C. Debussy- Piano solo- Simplified version
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Grant Horsley
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SheetMusicPlus
Valse Noble in A minor, D.969 (Op. 77), No. 9
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1035542 Composed by Franz Schubert.…
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Piano Solo - Level 3 - Digital Download SKU: A0.1035542 Composed by Franz Schubert. Arranged by Sidewalk Labs. Classical,Romantic Period. Score. 1 pages. Sidewalk Labs #640762. Published by Sidewalk Labs (A0.1035542). A brief but robust waltz for the intermediate player, from Schubert's collection of 12 Valses Nobles. Level 6-7.
$1.99
1.82 €
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Piano seul
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Franz Schubert
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Sidewalk Labs
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Valse Noble in A minor, D.969
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Sidewalk Labs
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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…
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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
4.56 €
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Piano seul
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Claude Debussy (1862-1918)
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DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
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Diamond S Music
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SheetMusicPlus
Echoes in Variation
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1470460 By Tori Amos. By Charles-Va…
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Piano Solo - Level 3 - Digital Download SKU: A0.1470460 By Tori Amos. By Charles-Valentin Alkan, Claude Debussy, Domenico Scarlatti, Enrique Granados, Erik Satie, Felix Bartholdy Mendelssohn, Franz Schubert, Frederic Chopin, Johann Sebastian Bach, Modest Petrovich Mussorgsky, and Robert Schumann. Arranged by Todd J. Scallan. Baroque,Classical,Romantic Period. Score. 48 pages. Todd J. Scallan #1048169. Published by Todd J. Scallan (A0.1470460). Echoes in Variation brings together the classical inspirations for the musical themes in Night of Hunters – a song cycle by Tori Amos. The songs from Night of Hunters are mainly variations on the classical pieces presented here as arrangements for solo piano. Each arrangement is faithful to the original piano score, but with cleaner formatting and clearer performance directions.This collection offers an excellent introduction to a range of brilliant composers spanning the 18th through early 20th centuries:- Alkan: Song of the Madwoman on the Seashore, Preludes Op. 31, No. 8- Granados: Añoranza from 6 Pieces on Spanish Folk Songs- Satie: Gnossienne No. 1- Granados: Spanish Dance No. 2 from 12 Spanish Dances- Chopin: Nocturne Op. 9, No. 1- Schubert: Andantino from Piano Sonata in A major, D. 959- Mendelssohn: Venetian Boat Song, from Songs Without Words Book 2, Op. 30- Schumann: Theme in E-flat Major for Piano (Ghost Variations), WoO 24- J. S. Bach: Siciliana from Flute Sonata in E-flat major, BWV 1031- Mussorgsky: The Old Castle from Pictures at an Exhibition- Gregorian chant: Salve Regina- Scarlatti: Sonata in F minor, K. 466- J. S. Bach: Prelude in C minor, BWV 999- Debussy: The Girl with the Flaxen Hair, Preludes Book 1, No. 8As a complement to these pieces, solo piano arrangements for the songs from Tori Amos’ Night of Hunters are also available.
$24.99
22.86 €
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Piano seul
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Tori Amos
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Todd J
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Echoes in Variation
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Todd J. Scallan
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SheetMusicPlus
Echoes of New England Ranges - Australian Bush Landscapes
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.890075 Composed by Patrick Jillett.…
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Piano Solo - Level 3 - Digital Download SKU: A0.890075 Composed by Patrick Jillett. 20th Century,Concert,Contemporary. Score. 5 pages. Patrick Jillett #73681. Published by Patrick Jillett (A0.890075). Echoes of New England Ranges Australian Bush Landscapes, (Opus 40 No. 10) This piece reflects the musical styles of the early settlers of the New England region of New South Wales, Australia. Set in a triplet driven dance with hints of waltz it is a rhythmically intricate, and clever piece well suited for an exam or recital.
$3.99
3.65 €
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Piano seul
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Patrick Jillett
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Echoes of New England Ranges - Australian Bush Landscapes
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Patrick Jillett
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SheetMusicPlus
13. Monkey Business
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1009704 Composed by Michael Kositsk…
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Piano Solo - Level 2 - Digital Download SKU: A0.1009704 Composed by Michael Kositsky. Contemporary. Score. 3 pages. Michael Kositsky #4630111. Published by Michael Kositsky (A0.1009704). A quirky , funny short piece that alternates in a simple ABA form from A maj. to a min. (0.56).
$2.00
1.83 €
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Piano seul
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Michael Kositsky
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a min. (0.56).
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13. Monkey Business
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Michael Kositsky
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SheetMusicPlus
Op.3 No.10-12 by In Son Zeng
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1486801 By In Son Zeng. By In Son Z…
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Piano Solo - Level 3 - Digital Download SKU: A0.1486801 By In Son Zeng. By In Son Zeng. Arranged by In Son Zeng. 20th Century,Instructional,Jazz. Score. 7 pages. In Son Zeng #1063868. Published by In Son Zeng (A0.1486801). Introduction of Op.3 No.10-12 by In Son Zeng:Op.3 No.1-12 is composed by In Son Zeng (from Macau) to cater to a variety of musical tastes and skill levels, offering a diverse range of experiences for the player.Op. 3 No. 10 How Beautiful the CountrysideThe tenth song in Op.3 uses an old country musical style. It depicts a gently flowing river, which does not create large ripples throughout the day, yet the surroundings are so beautiful that one cannot help but be captivated! The entire piece extensively designs two voice parts at the higher range. The upper voice often features non-legato triplets, while the left-hand employs a fixed rhythm common in country music, enhancing the picturesque scenery that the music evokes.Op. 3 No. 11 Charming New OrleansThe eleventh song is composed in a New Orleans jazz style that traces back to the origin of Jazz music! Being one of the ancestors of jazz, it poetically and lyrically reflects a refined lifestyle. This music is a great companion to the beauty of nature: listening to the relaxed, old-style jazz while strolling through a New Orleans park is truly invigorating!The entire piece is written in A-flat major and is divided into two short sections, both in an AA format (where the two sections are similar but differ in chord density). When practicing, it is important to prepare for an increase in intensity and atmosphere one measure before transitioning into the second section.Op. 3 No. 12 Summer SunThe twelfth song, in terms of jazz style, is a lively Boogie Woogie piece. Playing this music conjures images of people in bikinis dancing rhythmically on the beaches of Macedonia, surrounded by enthusiastic beach-loving tourists. The bustling crowd adds vibrant color to the hot summer beach.The entire piece is written in E-flat major and is also divided into two short sections in an AA format. During practice, there is a breathe and relax moment one measure before transitioning to the second section. It is important to play with a sense of relaxation at that point, followed by an augmented chord leading into the next section.
$5.99
5.48 €
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Piano seul
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In Son Zeng
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In Son Zeng
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Op.3 No.10-12 by In Son Zeng
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In Son Zeng
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SheetMusicPlus
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