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21
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9
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40
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17
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32
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26
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17
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16
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15
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15
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12
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11
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11
Saxophone Alto
11
3 Clarinettes (trio)
11
3 Saxophones (trio)
11
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10
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10
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9
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9
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6
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6
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5
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5
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4
Quatuor de Flûtes à bec
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3
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3
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3
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2
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2
2 Cors Anglais Et Pianoforte
2
2 Flûtes traversières, Piano
2
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2
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2
5 Flûtes à bec
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2
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1
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1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
39
Trompette, Saxophone (duo)
22
2 Trombones (duo)
20
Trompette
19
Quatuor de Cuivres : 2 trompettes, trombone, tuba
17
Cor
14
2 Trompettes (duo)
14
Trombone et Piano
13
Cor et Piano
12
Trompette, Trombone (duo)
11
Trompette, Piano
11
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
Trombone
8
2 Tubas (duo)
6
Quatuor de Cuivres
6
Ensemble de Trompettes
4
2 Cors (duo)
4
Quatuor de cuivres: 4 trombones
4
2 Euphoniums (duo)
4
Ensemble de Trombones
4
Euphonium, Piano (duo)
4
Trombone (partie séparée)
3
Quatuor de cuivres: 4 trompettes
3
Trompette (partie séparée)
3
Trio de Cuivres
3
Quatuor de cuivres: 4 cors
3
Tuba et Piano
3
Tuba
2
2 Cors Anglais Et Pianoforte
2
Euphonium
2
Euphonium, Tuba (duo)
2
Trompette, Cor (duo)
2
Cor anglais, Piano
2
Tuba (partie séparée)
1
Cor et Harpe
1
Trombone basse
1
Trompette, Euphonium (duo)
1
Cor (partie séparée)
1
Trombone et orchestre
1
4 Tubas
1
Trompette, Trombone, Piano
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
48
Violon et Piano
43
Violon
37
2 Violoncelles (duo)
22
Violoncelle, Piano
19
Violon, Violoncelle (duo)
18
2 Violons (duo)
18
Violoncelle
16
Alto, Piano
16
2 Altos (duo)
15
Violon, Alto (duo)
15
Harpe
14
Trio à Cordes: violon, alto, violoncelle
12
Violon (partie séparée)
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
4 Violoncelles
6
Violon, Guitare (duo)
5
Quatuor à cordes : 4 altos
4
Harpe, Flûte (duo)
4
Alto seul
4
Trio à Cordes: 3 violoncelles
3
Quatuor à cordes: 4 violons
3
Alto, Violoncelle (duo)
3
Alto (partie séparée)
3
Contrebasse, Piano (duo)
3
Trio à cordes: 3 violins
2
Trio à Cordes: 2 violons, violoncelle
2
Trio à cordes: 3 altos
2
2 Contrebasses (duo)
2
Contrebasse (partie séparée)
2
Piano Trio: Violon, Alto, Piano
2
Harpe et Piano
1
Violoncelle , Guitare (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Contre Basse
1
Alto et Basson
1
Violoncelle (partie séparée)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
497
Orchestre à Cordes
91
Orchestre
61
Ensemble de cuivres
29
Orchestre de chambre
27
Cloches
25
Ensemble Jazz
19
Ensemble de Percussions
12
Jazz combo
6
Percussion (partie séparée)
2
Batterie (partie séparée)
1
Marimba
1
Fanfare
1
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AUTRES
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Carson Cooman: Biblicals: Concerto for Solo Piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.533692 Composed by Carson Cooman. 2…
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Piano Solo - Level 5 - Digital Download SKU: A0.533692 Composed by Carson Cooman. 20th Century,Concert,Contemporary,Sacred,Standards. Score. 17 pages. Musik Fabrik Music Publishing #3038635. Published by Musik Fabrik Music Publishing (A0.533692). Biblicals: Concerto for Solo Piano in Five Movements (1998) was commissioned from thecomposer by an anonymous benefactor for pianist Kathleen Supové in tribute of her tirelesssupport of new music.The work is in five movements, each inspired by a different biblical quotation which isquoted in the score before each movement. If possible, these passages should be printed inthe program or read aloud before the performance of the work. Each movement isprogrammatic only in an internal sense. While the movements do not attempt to directlyportray the action of the passage in a storybook sense, they do attempt to capture the overallaffect of the verse. The form of the work is as a concerto for solo piano drawing on a titlethat has been used in the past by numerous composers. Likewise, although the work does notinvolve an orchestra, I have titled it concerto because it contains elements of a concerto solopart and because of the virtuosity required to perform the work. The work explores a widerangeof styles from quasi-lyrical to highly chromatic. Throughout, the work has a rhythmicintensity which should be observed by the performer.The first movement, Hovering Over the Waters, makes use of an irregular rhythmic patternintroduced in the opening measure and used throughout the work. Irregular and nervousrhythms using chromatic intervals pervade the entire movement.The second movement, Baldhead, is a forceful and loud movement making use of the clashbetween diatonic and pentatonic clusters. It is relentless in its pounding energy, irregularrhythms, and volume. This movement is dedicated to American composer Daniel Pinkhamon the occasion his 75th birthday in 1998. The connection of this movement to Pinkhamcomes in the superimposition of pentatonic and diatonic clusters, a technique used so well inone of my favorite Pinkham works, Blessings for Organ (1978).The third movement, Forgiven and Free, presents a tranquil scene involving the building ofchords, standard and otherwise, through the adding of tones one at a time. Brief chromaticmelodies appear and then disappear quickly.The fourth movement, Under the Sun, makes use of a motive involving four chords over a lefthand bass consisting of a major-tenth chord. This motive appears throughout the movement,constantly breaking in and interrupting the action. A variety of irregular rhythmic motivesappear throughout as a contrast to the main motive with its strict rhythm. Quotes of nurseryrhyme tunes are hidden throughout the movement as well in various forms.The fifth movement, The Seventh Angel, is a fast and furious tarantella. As the movementflies by a variety of musical ideas emerge and then disappear into the main motive again.The music continues to get faster and faster and finally the movement ends with a furiousprogression from the bottom to top of the piano and then a thunderous unison chord in thelower register.
$16.95
15.5 €
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Piano seul
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Carson Cooman
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Carson Cooman: Biblicals: Concerto for Solo Piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Rhapsody in Blue and White for Piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.826768 Composed by Rami Bar-Niv. 20…
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Piano Solo - Level 5 - Digital Download SKU: A0.826768 Composed by Rami Bar-Niv. 20th Century,Classical,Folk,Romantic Period,World. Score. 28 pages. AndreA #2019039. Published by AndreA (A0.826768). Sheet music. First published in 1998, the Rhapsody is based on 3 Israeli songs: a folk song, EL YIVNE HAGALIL; a Ladino song of the Sephardic Jewish tradition, HITRAGUT; and Israel's national anthem, HATIKVA. The composer had performed the piece in concerts all over the world. He also recorded the Rhapsody onto a CD and a DVD and it can be heard and watched on YouTube - http://youtu.be/w3j3bGOyy6M . Rami Bar-Niv is one of Israel's most acclaimed and sought after pianists. He travels extensively and has become an international citizen, concertizing all over the world. Born in Tel-Aviv in December 1945, Bar-Niv graduated with honors from the Rubin Academy of Music, and was the recipient of various prizes and scholarships. After graduating from the Mannes College of Music in New York, where he studied with the renowned Mme. Nadia Reisenberg, he won numerous competitions, and embarked on a successful concert career. He is heard regularly in North, Central, and South America, Europe, Africa, Asia, Australia, New Zealand, and Israel, where he received the Best Performer Award from the Israeli government. Rami Bar-Niv performs as a soloist with orchestras, as a recitalist, and as a chamber musician. He appears in live concerts, on radio, and on television, and is always received with great enthusiasm. Often sent abroad by the Foreign Ministry to represent Israel in concerts, he has become an ambassador of goodwill for Israel. Bar-Niv made history by being the first, and so far the only, Israeli artist to perform in Egypt following the Begin/Sadat Peace Treaty. His recordings for CBS and other labels in Israel and abroad have met with praise and popularity. His compositions are published, recorded, and performed all over the world. He has often been at the top of the charts on various Internet music sites such as MP3.com, YouTube, and many others. Along with his concerts, he has been teaching all over the world, giving master classes, lectures, workshops, and private lessons. Since 2006 he has been offering a week-long piano camp for adults twice a year in the United States. In 2012 he published his book The Art of Piano Fingering - Traditional, Advanced, and Innovative.
$8.99
8.22 €
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Piano seul
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Rami Bar-Niv
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Rhapsody in Blue and White for Piano
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AndreA
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SheetMusicPlus
Three Chromicons for piano solo
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon For…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.<br> <br> The sound sample is the live performance.<br> <br> The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).<br> <br> Ford explains the significance of these unique scores:<br> <br> "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."<br> <br> "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."<br> <br> "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."<br> <br> "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."<br> <br> "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."<br> <br> Video of Chromicon III<br> https://www.youtube.com/watch?v=VHMw-vzZlGEThe pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.<br> <br> The sound sample is the live performance.<br> <br> The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).<br> <br> Ford explains the significance of these unique scores:<br> <br> "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."<br> <br> "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."<br> <br> "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."<br> <br> "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."<br> <br> "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."<br> <br> Video of Chromicon III<br> https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00
10.97 €
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Piano seul
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Joseph Dillon Ford
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Three Chromicons for piano solo
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David Warin Solomons
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SheetMusicPlus
Carson Cooman: Nine Preludes for piano
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.533554 Composed by Carson Cooman. C…
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Piano Solo - Level 4 - Digital Download SKU: A0.533554 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Publishing #3018601. Published by Musik Fabrik Music Publishing (A0.533554). I. (Flowing)II. (Fast, nimble)III. (Funereal) (in memoriam Donald Martino)IV. (Dancing)V. (Distant, echoing) (for Richard and Dee Wilson)VI. (Moderate, singing, with humor) (for Michael Finnissy)VII. (Slow, very lyrical)VIII. (March)IX. (Envoi: Very slow, from afar)Nine Preludes (2007) for piano was written for and is dedicated to pianist Marilyn Nonken; it was commissioned byRichard Mason.Although the work is composed as a set of discrete movements, the preludes are very much interconnected, as motivicand developmental ideas run throughout the entire set. The basic musical material (founded upon collections of minorand major thirds) is shared among all nine movements. An elegiac quality runs throughout the work.The first prelude (Flowing) is inspired by the piano music of Johannes Brahms, whose contributions to the instrument’sliterature have been a significant and ongoing influence on my work.The second prelude is fast and bright. Consistent staccato textures are maintained as the two hands intertwine.The third prelude (Funereal) is dedicated to the memory of American composer Donald Martino (1931–2005). The musicrefers very obliquely to Martino’s setting of Robert Herrick’s poems of death and eternity in The White Island (1985).The fourth prelude (Dancing) is light and buoyant. After a melodic middle section, the opening music reverses itself to theend.The fifth prelude (Distant, echoing) is dedicated to Richard and Dee Wilson. Through large blocks of sustained sound (bothquiet and loud), the movement explores certain harmonic colors of the piano.The sixth prelude (Moderate, singing, with humor) is dedicated to English composer Michael Finnissy. The opening ismarked “like an ‘off-kilter’ folk song,†and this original melody is subjected to a variety of transformations and textures.The rhythmic patterns are constantly in flux.The seventh prelude (Slow, very lyrical) is melodic and passionate, with a nocturnal character. The middle builds to anintense climax before dying away.The eighth prelude (March) is spiky and crisp. In the trio, the march theme is turned first into a tonal ballad beforegradually transforming back into the language of the march. A faster reprise of the opening music follows.The ninth prelude (Envoi: Very slow, from afar) is an elegaic “farewell.†Romantic gestures and harmonies try to assertthemselves before the music dies away.Performance Note: Although it is preferred that the entire set of nine preludes be played in concert, individual preludes (or smallerassembled groupings) may be performed when necessary for programming needs. If the entire set is played, however, the order of thepreludes should not be changed. The movements should be listed in the program in the format shown at the top of this page.Recorded by Donna Amato on Carson Cooman: Piano works ALTARUS AIR-CD-9015
$25.95
23.72 €
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Piano seul
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Carson Cooman
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Carson Cooman: Nine Preludes for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Sonatina in Eb for Piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.996523 Composed by James Mayhew. Cl…
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Piano Solo - Level 5 - Digital Download SKU: A0.996523 Composed by James Mayhew. Classical,Contemporary,Romantic Period. Score. 17 pages. James Mayhew #6234489. Published by James Mayhew (A0.996523). This is a one-movement sonatina in Eb major (though a sonata might be a better description of its scale) lasting just over 10 minutes. It is Classical/Romantic in style. It begins with with a slow introduction, moving through a number of different ideas, until the exposition starts with the traditional structure of 1st subject, 2nd subject etc. However, the development forgets any trace of the classical themes from the exposition and goes on a whirlwind adventure through a large variety of different themes and passages, many of which are very virtuosic, and some are more modern in style with sections of perhaps phantasmagorical 7th chord shiftings. After a very explosive end to the development, a recapitulation rounds everything off with a return of the more formal and structured 1st and 2nd subjects, as if nothing had happened. The level is very advanced (though most certainly not unplayable!), and should work well performed in concert. .
$7.20
6.58 €
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Piano seul
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James Mayhew
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Sonatina in Eb for Piano
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James Mayhew
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SheetMusicPlus
Bach - Brandenburg Concerto No.2 in F major BWV 1047 - Piano Version
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1313832 By Santino Cara. By Johann …
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Piano Solo - Level 5 - Digital Download SKU: A0.1313832 By Santino Cara. By Johann Sebastian Bach. Arranged by Santino Cara. Baroque. Score. 20 pages. Santino Cara #902553. Published by Santino Cara (A0.1313832). Complete score of the Brandenburg Concerto No.2 in F major BWV 1047. Composed by Johann Sebastian Bach before 1721 for Trumpet, recorder, oboe, concerted violin, violins 1 and 2 ripieni, viola, cello and harpsichord. Transcribed for Piano solo in Rome in 2023 by Santino Cara.3 Movements: 1. Moderato, 2. Andante moderato, 3. Allegro assaiSources: The six Brandenburg concerts were presented by Bach in 1721 in a collection for Christian Ludwig, Margrave of Brandenburg-Schwedt and dedicated to him. It is therefore assumed that they were composed before that date.Other piano works by Bach and baroque and classical composers
$16.40
14.99 €
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Piano seul
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Santino Cara
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Johann Sebastian Bach before 1721 for
Trumpet, recorder, oboe, concerted violin, violins 1 and 2 ripieni, viola, cello and harpsichord
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Santino Cara
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Bach - Brandenburg Concerto No.2 in F major BWV 1047 - Piano Version
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Santino Cara
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SheetMusicPlus
The Raymond Variations for Piano (Set 1)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.499760 Composed by S. G. Potts. 20t…
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Piano Solo - Level 4 - Digital Download SKU: A0.499760 Composed by S. G. Potts. 20th Century,Contemporary,Romantic Period,Standards. Score. 18 pages. S. G. Potts #3512109. Published by S. G. Potts (A0.499760). The Raymond Variations for Piano (Set 1), received its world premiere on 2nd December 2015 at the 1901 Arts Club London, performed by Lorraine Womack-Banning as part of a memorial tribute concert to her late husband Raymond Banning (former professor of pianoforte at Trinity College London). The Variations are based on the three Andantino themes which form a central part of the ‘Raymond Overture’ written in 1851 by French composer Ambroise Thomas: 1811-1896. There are nine piano variations in total; these include a mix of both full and short partial variations (including a very short declamatory two chord introductory variation). The variations are not numbered or set-apart in a conventional manner, rather they form part of a continuous whole, and are separated only by bridge passages and/or cadence points; they last a little under eight minutes in duration, and strongly exploit the passionate elements of Thomas’s themes. They have been written for the most part in an accessible tonal style (with a passing nod to Messrs. Beethoven and J.S. Bach) and are based predominately in the home key of D minor, but they do also take advantage of many 20th and 21st century harmonic techniques where deemed appropriate: e.g. added note chords; cluster chords; percussive chords, and melodic deflection. In particular, the interval of the major 7th and its enharmonic equivalent(s) (the most distinctive interval in the main andantino theme from the overture) is heard in various different guises throughout the variations: this includes its inversion the minor 2nd which has a very distinctive sharp dissonant quality. Much play is made of these intervals – to somewhat humorous effect in variation 8 (the joker in the pack) heard some three quarters into the set, here the dissonant interval is pounded out double forte before hastily leading into some boisterous cluster harmonic instability; then quietly begins variation 9 which duly brings the set to a close. Look out for the sting in the tail!
$9.99
9.13 €
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Piano seul
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S
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these include a
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The Raymond Variations for Piano
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S. G. Potts
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SheetMusicPlus
Etude in C, Le Couppey-Nolte
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte …
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Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte and Felix Le Couppey. Arranged by Eric Paul Nolte. Contemporary,Instructional. Score. 5 pages. Eric Paul Nolte #1954995. Published by Eric Paul Nolte (A0.987083). This piece is a free adaptation and a complete reworking of a study by Felix Le Couppey (1811-1887), from his L'Agilité, Opus 20, 25 Progressive Studies for Mechanism and Light Touch. In its original form, this study was a charming little piece of musical fluff. But getting it up to speed reduced me to tears! It also gave me an epiphany of immense power that transformed my technique. Suddenly I could play faster than I had ever thought possible, and I could do so with a thrilling ease! This epiphany emerged from the spluttering frustration I felt over my inability to play these sixteenth notes at Le Couppey's metronome marking of 144. It dawned on me that I couldn’t play fast enough because I was tripping over my own fingers when I used the overly articulated technique of moving the fingers by the lift, throw, relax method. This superfluous motion creates an impenetrable barrier, a speed wall, as does playing legato scales by passing the thumb under the palm, when shifting hand position up and down the keyboard. So I found another way-which I’ve since learned was known to every pianist who ever achieved prodigious speed. Here’s how to bring this piece up to speed with ease: Be sure to practice this piece with each hand alone. For each group of sixteenth notes, gently place the four fingers down simultaneously, to get the feel. Think of your arm, from elbow to fingertips, as something like a kitchen utensil, such as a spatula. Moving your right arm as a unit, place your finger tips down into the key bed, depressing all four notes at once, as a block chord. Make sure that all the fingers remain stiff (not rigid with tension, but just stiff enough to resist collapsing upwards.) Slowly lift and then play each group by placing all the fingers down with a rotation of your forearm, calm and relaxed, with the fingers rolling through the notes at the speed of a brief snare drum roll: Rrrrip! To rip through this group of notes like this takes no more effort than to place those four fingers down, calmly, all at once! Then, with a quick shift up or down the keyboard to get into position for the next group, that’s the whole trick for playing such passages with astonishing speed and ease! It takes time and effort to get the knack here, but the result can be transformative and thrilling! As for my adaptation of this study, I believe it offers intermediate advanced players the chance to enjoy a great leap in technique like the one I experienced, and also offers a piece of music that one might not blush to play outside the practice room-perhaps bringing it at least into the living room for a soirée, if not into the concert hall. To make this adaptation, I wrote a grumbly bass line with lungs, and nice fat chords to flesh out most of the skinny little triads that accompany the original study’s fast passages. I added a brooding, chromatic introduction that features as a melody the accompanimental figure of a broken triad that Le Couppey wrote a few times on the second page, in various inversions. I employed this broken chord figure several more times in both hands, and also added a little coda, sprinkled with sparkle. Playing time is about 1 minute and 30 seconds.
$3.99
3.65 €
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Piano seul
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Eric Paul Nolte and Felix Le Couppey
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Eric Paul Nolte
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Etude in C, Le Couppey-Nolte
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Eric Paul Nolte
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SheetMusicPlus
Mozart - Piano Concerto No.19 in F major K.459 - Piano Version
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1291755 By Santino Cara. By Wolfgan…
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Piano Solo - Level 4 - Digital Download SKU: A0.1291755 By Santino Cara. By Wolfgang Amadeus Mozart. Arranged by Santino Cara. Romantic Period. Score. 54 pages. Santino Cara #882364. Published by Santino Cara (A0.1291755). Complete score of the Piano Concerto No.19 in F major K.459 for Solo Piano. Composed in 1784 by Wolfgang Amadeus Mozart, Transcribed in Rome in 2019 by Santino Cara.3 Movements (with Cadenzas): 1. Allegro, 2. Allegretto quasi un andantino, 3. Allegro assai.Other works for solo piano:Bach - Five Toccatas and Fugues for Piano - Complete scoresBach - 14 Preludes and Fugues - Book 2 - for PianoBach - 14 Preludes and Fugues Book 1 for Harpsichord or PianoBach - The Art of Fugue (Die Kunst der Fuge) and contrapunctus BWV 1080 - 16 Fugues for pianoBach - 11 Piano Suites - Complete Piano versionSix Bach's Piano PartitasBeethoven - Symphony no.5 for piano op.67 – Full Piano VersionBeethoven - Piano Concerto No.4 in G major Op.58 - Piano VersionBeethoven - Piano Concerto No.5 in E flat major 'Emperor' Op.73 - Piano VersionPiano Concerto No.1 in G minor Op.25 - Complete Piano VersionMozart - Book of 22 Piano Concertos for Piano Solo - Complete scoresMozart - 18 Piano Sonatas - Complete Scores
$20.40
18.65 €
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Piano seul
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Santino Cara
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Santino Cara
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Mozart - Piano Concerto No.19 in F major K.459 - Piano Version
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Santino Cara
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SheetMusicPlus
Mozart - Piano Concerto No.16 in D major K.451 - Piano Version
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1265811 By Santino Cara. By Wolfgan…
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Piano Solo - Level 5 - Digital Download SKU: A0.1265811 By Santino Cara. By Wolfgang Amadeus Mozart. Arranged by Santino Cara. Classical. Score. 41 pages. Santino Cara #858587. Published by Santino Cara (A0.1265811). Complete score of the Piano Concerto No.16 in D major K.451 for Solo Piano. Composed in Vienna in 1784 by Wolfgang Amadeus Mozart. Transcribed and elaborated in Rome in 2019 by Santino Cara.3 Movements (with Cadenzas): 1. Allegro assai, 2. Andante, 3. Allegro di molto - Allegro non molto vivace.Other Mozart's Piano Works:Mozart - Seven Complete Piano Concertos for Piano soloMozart - 18 Piano Sonatas - Complete ScoresMozart - 20 String Quartets - Piano Version
$20.40
18.65 €
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Piano seul
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Santino Cara
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Santino Cara
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Mozart - Piano Concerto No.16 in D major K.451 - Piano Version
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Santino Cara
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SheetMusicPlus
Marcello (Alessandro) - Adagio (2nd part) from Concerto for Oboe - G-clef piano (GCP) arr. in Aminor
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1320870 Composed by Alessandro Marc…
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Piano Solo - Level 3 - Digital Download SKU: A0.1320870 Composed by Alessandro Marcello (b.1673-d.1747). Arranged by Andrei-Lucian Dragoi. Baroque,Contest,Festival,Instructional. Score. 4 pages. Andrei-Lucian Dragoi #909308. Published by Andrei-Lucian Dragoi (A0.1320870). Music: Alessandro Marcello (b.1673-d.1747) (https://en.wikipedia.org/wiki/Alessandro_Marcello)https://en.wikipedia.org/wiki/Oboe_Concerto_(Marcello)Initial arrangement for solo harpsichord(/keyboard/piano) (BWV 974) (1715): J.S. Bach (1685-1750)Arrangement for easy G-clef piano/harp (GCP/GCH) in Am & 3/2 time signature: dr. Andrei-Lucian Drăgoi,(dragoii.com/gcp, smp.dragoii.com, yt.dragoii.com, dragoii.com/pms, musescore.com/dragoi, dragoii.com).
$1.99
1.82 €
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Piano seul
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Alessandro Marcello
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Andrei-Lucian Dragoi
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3/2 time signature: dr
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Marcello
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Andrei-Lucian Dragoi
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SheetMusicPlus
Marcello (Alessandro) - Adagio (2nd part) from Concerto for Oboe, Strings and Continuo no. 2 in D mi
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.913024 Composed by Alessandro Marce…
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Piano Solo - Level 3 - Digital Download SKU: A0.913024 Composed by Alessandro Marcello (b.1673-d.1747). Arranged by Andrei-Lucian Dragoi. Baroque,Standards. Score. 4 pages. Andrei-Lucian Dragoi #4791125. Published by Andrei-Lucian Dragoi (A0.913024). Music: Alessandro Marcello (b.1673-d.1747) (https://en.wikipedia.org/wiki/Alessandro_Marcello) https://en.wikipedia.org/wiki/Oboe_Concerto_(Marcello) Initial arrangement for solo harpsichord(/keyboard/piano) (BWV 974) (1715): J.S. Bach (1685-1750) Arrangement for G-clef piano/harp (GCP/GCH) in 3/2 measure: dr. Andrei-Lucian Drăgoi, (www.dragoii.com, www.smp.dragoii.com, www.yt.dragoii.com, www.gcp.dragoii.com, www.gci.dragoii.com)
$1.99
1.82 €
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Piano seul
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Alessandro Marcello
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Andrei-Lucian Dragoi
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Marcello
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Andrei-Lucian Dragoi
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SheetMusicPlus
Ravel : Concerto en sol majeur, M. 83 - II. Adagio assai
Piano seul
Téléchargez la partition Piano Concerto en sol majeur, M. 83 - II. Adagio as…
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Téléchargez la partition Piano Concerto en sol majeur, M. 83 - II. Adagio assai de Ravel. Partition pour Piano avec accomp. orchestre -- Classique
9.99 €
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Piano seul
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Ravel
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Concerto en sol majeur, M. 83
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Tomplay
Mozart : Concerto n° 23 en la majeur, K. 488 - III. Allegro assai
Piano seul
Téléchargez la partition Piano Concerto n° 23 en la majeur, K. 488 - III…
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Téléchargez la partition Piano Concerto n° 23 en la majeur, K. 488 - III. Allegro assai de Mozart. Partition pour Piano avec accomp. orchestre -- Classique
7.99 €
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Piano seul
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Mozart
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Concerto n° 23 en la majeur,
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Tomplay
Liszt : Concerto pour piano n°2 en la majeur, S. 125 - I. Adagio sostenuto assai
Piano seul
Téléchargez la partition Piano Concerto pour piano n°2 en la majeur, S. …
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Téléchargez la partition Piano Concerto pour piano n°2 en la majeur, S. 125 - I. Adagio sostenuto assai de Liszt. Partition pour Piano avec accomp. orchestre -- Classique
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Piano seul
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Liszt
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Concerto pour piano n°2 en la
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Tomplay
Mozart : Concerto pour Piano n° 20 en ré mineur, K. 466 - III. Allegro assai
Piano seul
Téléchargez la partition Piano Concerto pour Piano n° 20 en ré mi…
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Téléchargez la partition Piano Concerto pour Piano n° 20 en ré mineur, K. 466 - III. Allegro assai de Mozart. Partition pour Piano avec accomp. orchestre -- Classique
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Piano seul
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Mozart
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Concerto pour Piano n° 20 en
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Tomplay
Mozart : Concerto n° 21 en do majeur, K. 467 - III. Allegro vivace assai
Piano seul
Téléchargez la partition Piano Concerto n° 21 en do majeur, K. 467 - III…
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Téléchargez la partition Piano Concerto n° 21 en do majeur, K. 467 - III. Allegro vivace assai de Mozart. Partition pour Piano avec accomp. orchestre -- Classique
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Piano seul
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Mozart
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Concerto n° 21 en do majeur,
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Tomplay
Haydn : Concerto pour piano n° 11 en ré majeur, Hob.XVIII:11 – III. Rondo all'Ungarese. Allegro assai
Piano seul
Téléchargez la partition Piano Concerto pour piano n° 11 en ré ma…
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Téléchargez la partition Piano Concerto pour piano n° 11 en ré majeur, Hob.XVIII:11 – III. Rondo all'Ungarese. Allegro assai de Haydn. Partition pour Piano avec accomp. orchestre -- Classique
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Haydn
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Concerto pour piano n° 11 en
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Tomplay
Liszt : Concerto pour piano n°2 en la majeur, S. 125 - II. Allegro agitato assai
Piano seul
Téléchargez la partition Piano Concerto pour piano n°2 en la majeur, S. …
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Téléchargez la partition Piano Concerto pour piano n°2 en la majeur, S. 125 - II. Allegro agitato assai de Liszt. Partition pour Piano avec accomp. orchestre -- Classique
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Piano seul
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Liszt
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Concerto pour piano n°2 en la
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Tomplay
Bach : Concerto n° 7 en sol mineur, BWV 1058 - III. Allegro assai
Piano seul
Téléchargez la partition Piano Concerto n° 7 en sol mineur, BWV 1058 - I…
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Téléchargez la partition Piano Concerto n° 7 en sol mineur, BWV 1058 - III. Allegro assai de Bach. Partition pour Piano avec accomp. orchestre -- Classique
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Piano seul
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Bach
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Concerto n° 7 en sol mineur,
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Tomplay
Bach : Concerto n° 6 en fa majeur, BWV 1057 - III. Allegro assai
Piano seul
Téléchargez la partition Piano Concerto n° 6 en fa majeur, BWV 1057 - II…
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Téléchargez la partition Piano Concerto n° 6 en fa majeur, BWV 1057 - III. Allegro assai de Bach. Partition pour Piano avec accomp. orchestre -- Classique
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Bach
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Concerto n° 6 en fa majeur, B
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Tomplay
Bach : Concerto pour violon en la mineur, BWV 1041 - III. Allegro assai
Piano seul
Téléchargez la partition Piano Concerto pour violon en la mineur, BWV 1041 -…
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Téléchargez la partition Piano Concerto pour violon en la mineur, BWV 1041 - III. Allegro assai de Bach. Partition pour Duo -- Classique
5.99 €
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Bach
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Concerto pour violon en la min
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Tomplay
Haydn : Concerto pour piano n° 11 en ré majeur, Hob.XVIII:11 - III. Rondo all'Ungarese. Allegro assai
Piano seul
Téléchargez la partition Piano Concerto pour piano n° 11 en ré ma…
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Téléchargez la partition Piano Concerto pour piano n° 11 en ré majeur, Hob.XVIII:11 - III. Rondo all'Ungarese. Allegro assai de Haydn. Partition pour Duo -- Classique
7.99 €
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Piano seul
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Haydn
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Concerto pour piano n° 11 en
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Tomplay
Bach : Concerto pour violon en mi majeur, BWV 1042 - III. Allegro assai
Piano seul
Téléchargez la partition Piano Concerto pour violon en mi majeur, BWV 1042 -…
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Téléchargez la partition Piano Concerto pour violon en mi majeur, BWV 1042 - III. Allegro assai de Bach. Partition pour Duo -- Classique
6.99 €
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Piano seul
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Bach
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Concerto pour violon en mi maj
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Tomplay
Finger Exercise for 4th, 6th and 8ve Shapes
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1474614 By Martin Hay. By Martin Ha…
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Piano Solo - Level 4 - Digital Download SKU: A0.1474614 By Martin Hay. By Martin Hay. Arranged by Martin Hay. Instructional. Score. 1 pages. Martin Hay #1052201. Published by Martin Hay (A0.1474614). Piano exercises that focus on playing octaves, 4ths, and 6ths are invaluable for the aspiring concert pianist. As a fundamental part of advanced technique, these intervals enhance finger strength, dexterity, and independence. They also improve hand coordination and span, essential for tackling the demanding repertoire of concert-level pieces. Regular practice of these intervals helps develop a precise touch and control, crucial for executing rapid passages and achieving the desired tonal quality. Additionally, mastering octaves, 4ths, and 6ths can aid in the pianist's ability to navigate complex chordal textures and dynamic variations with ease, thus elevating their overall performance skills. By incorporating such exercises, pianists like those trained by Martin Hay, can build a robust technical foundation, enabling them to excel in the intricate and expressive demands of concert performance.
$2.99
2.73 €
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Piano seul
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Martin Hay
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Martin Hay
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Finger Exercise for 4th, 6th and 8ve Shapes
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Martin Hay
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SheetMusicPlus
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