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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Light March book
Non classifié
31
Piano & claviers
Piano Facile
23
Piano, Voix et Guitare
12
Piano seul
12
Instruments en Do
3
Orgue
2
Piano, Voix
1
+ 1 instrumentations
Retracter
Guitares
Guitare
2
Banjo
1
Ukulele
1
Voix
Chorale 3 parties
1
Chorale SATB
1
Chorale 2 parties
1
Vents
2 Saxophones (duo)
5
2 Flûtes traversières (duo)
3
2 Clarinettes (duo)
3
2 Hautbois (duo)
3
Clarinette et Piano
2
Flûte traversière
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
Saxophone Alto et Piano
1
+ 3 instrumentations
Retracter
Cuivres
Quatuor de cuivres: 4 trombones
12
2 Trombones (duo)
3
Instruments en Sib
2
2 Cors (duo)
2
2 Euphoniums (duo)
2
2 Trompettes (duo)
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
2 Tubas (duo)
1
+ 3 instrumentations
Retracter
Cordes
2 Violons (duo)
3
Quatuor à cordes: 2 violons, alto, violoncelle
1
Violon
1
Violon, Alto (duo)
1
Harpe
1
2 Violoncelles (duo)
1
+ 1 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
2
Fanfare
1
Cloches
1
Ensemble de cuivres
1
Orchestre de chambre
1
Autres
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AUTRES INST…
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CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
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ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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PUNK
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SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Light March book
Piano seul
Partitions à imprimer
12 partitions trouvées
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1
Light March book
Piano seul
Piano - easy - Digital Download SKU: S9.Q2296 Popular marches in easy movements
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Piano - easy - Digital Download SKU: S9.Q2296 Popular marches in easy movements. This edition: Sheet music. Downloadable. Schott Music - Digital #Q2296. Published by Schott Music - Digital (S9.Q2296).
$16.99
15.64 €
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Piano seul
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Light March book
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Schott Music - Digital
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SheetMusicPlus
Winning Fight March for Pianoforte
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1456161 Composed by Abe Holzmann. A…
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Piano Solo - Level 4 - Digital Download SKU: A0.1456161 Composed by Abe Holzmann. Arranged by Keith Terrett. 20th Century,Contest,Festival,Historic,Instructional,Multicultural,World. Score. 9 pages. Keith Terrett #1035313. Published by Keith Terrett (A0.1456161). Abe Holzmann wrote some very fine marches, but here's one inspired by a book. Herbert Kaufman's 1910 book The Winning Fight inspired this winning march (it's a book about self-mastery and fostering a can-do attitude). Tiis march was published by Leo Feist in New York City in 1911.Arrangement of a March by Abe Holzmann (1874-1939), writthn in 1911. He also wrote what is probably his best known march Blaze Away''.Blaze Away! is a 1901 march by the German-American composer Abe Holzmann. It was his greatest success.Holzmann was inspired by the Battle of Manila Bay during the Spanish–American War, when a command to American sailors to open fire on the Spanish fleet was reputedly met with the response Well boys, let's blaze away by the gunners. Building on the war fever in the United States, the cover of the sheet music featured an image resembling Theodore Roosevelt charging at San Juan Hill. Very popular as a two-step, its success outlasted the war and it became a repertoire piece amongst military bands around the world.Abraham Holzmann (19 August 1874 – 16 January 1939) was an American composer, famous for his march Blaze-Away! Abraham Holzmann was born in New York City. His parents were Jacob Holzmann, a Hungarian-Jewish immigrant and Isabella Holzmann, a native of Louisiana. The young Holzmann learned music in Germany. A review originally published by the New York Herald on Sunday, 13 January 1901, entitled German Composer who Writes American Cakewalk Music describes [h]is knowledge of bass and counterpoint is thorough, and his standard compositions bear the stamp of harmonic lore, which makes his proclivity for the writing of the popular style of music the more remarkable. Abe married Isabelle Fishblatt around 1908, and he became the manager of the Orchestra Department at Jerome Remick & Company, music publisher in New York. He was an early member (1923) of the American Society of Composers, Authors and Publishers (ASCAP). He earned his livelihood as composer/arranger for Tin Pan Alley publishers, including Leo Feist. He later was advertising manager for the American Federation of Musicians publication, International Musician. He was a member of Freemasonry, the Elks, and Knights of Pythias, all in New York City. Holzmann died in East Orange, New Jersey at age 64. He was survived by his widow, a daughter Natalie Holzmann, three half-brothers, and four sisters. His music was especially revered by ragtime enthusiasts, although he composed marches, waltzes, and other light music. His 1899 composition Smokey Mokes was briefly featured in the 1936 movie San Francisco.
$4.99
4.59 €
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Piano seul
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Abe Holzmann
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Keith Terrett
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Winning Fight March for Pianoforte
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Keith Terrett
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SheetMusicPlus
Piano Suite No. 1 3. "The Royal Puppet" March
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1134356 Composed by Adam Walter Car…
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Piano Solo - Level 4 - Digital Download SKU: A0.1134356 Composed by Adam Walter Carlsen. Classical,Contemporary. Score. 6 pages. Adam Walter Carlsen #734446. Published by Adam Walter Carlsen (A0.1134356). A light piano suite with 5 distinctive sections. Facebook: https://www.facebook.com/adam.carlsen.35 Twitter: https://twitter.com/AdamCarlsen2Website: AdamCarlsenMusic.com.
$1.99
1.83 €
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Piano seul
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Adam Walter Carlsen
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Piano Suite No. 1 3. "The Royal Puppet" March
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Adam Walter Carlsen
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SheetMusicPlus
Pianistic piano book
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.931709 Composed by Tom Horton. Film…
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Piano Solo - Level 2 - Digital Download SKU: A0.931709 Composed by Tom Horton. Film/TV,Jazz,Latin,Pop,Standards. Score. 23 pages. Tom Horton #5375289. Published by Tom Horton (A0.931709). Piano Book. A stunning selection of 10 new pieces and arrangements for Piano with performance notes and chord symbolsThe pieces in this Piano book range from post Piano Grade 1 up to approx. Grade 3Pieces include:March of the Quavers – a Baroque style piano piece featuring Quavers and SemiquaversStrollin’ – a loose, relaxed and pleasant little swing number in G major.La Paloma – with a ‘Latin’ feel, typical of the Habaneras style of music and danceRainbow Sorbet – a piece in a driving disco styleBill Bailey (won’t you please come home) – a classic standard from the 1900's popular with Dixie and trad jazz bandsA Penguin’s Curiosity – picture a small baby penguin on its first adventure away from the nestFlâner – a French word meaning ‘to wander’, this piece represents an individual taking a strollSole Bay Solitude – inspired by the delightful and well-known seaside town of SouthwoldWaltz for Jenna – a simple little waltz written for the family cat JennaSmiley Face – dedicated to the composers daughter Abigail, the 'smiliest' baby – ever!For more details visit Tom's website: www.tomhorton.co.uk
$13.95
12.84 €
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Piano seul
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Tom Horton
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Pianistic piano book
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Tom Horton
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SheetMusicPlus
Leichte Tänze (Easy Dances), Book 1 for piano solo (11 pieces)
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1378691 Composed by Matyas Seiber. …
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Piano Solo - Level 2 - Digital Download SKU: A0.1378691 Composed by Matyas Seiber. Arranged by T. Ling. 20th Century,Instructional,Jazz. Score. 14 pages. Thomas Swee Chin #963352. Published by Thomas Swee Chin (A0.1378691). Easy Dances Vol. 1 by Mátyás Seiber is a collection of accessible and engaging piano pieces designed for beginner to early-intermediate pianists. The collection features a variety of dance styles, each with its own distinctive character and mood.Seiber's compositions in Easy Dances Vol. 1 are characterized by their catchy melodies, simple yet effective harmonies, and rhythmic vitality. The pieces are designed to be approachable for pianists who are still developing their technique, providing opportunities for musical expression and exploration.The collection may include dances such as waltzes, foxtrots, tangos, marches, and more, offering a diverse range of musical experiences for pianists of all levels. While the pieces are designed to be easy to learn and play, they are also musically satisfying, allowing pianists to develop their skills while enjoying the process of making music.Overall, Easy Dances Vol. 1 is a delightful collection that captures the joy and spirit of dance music, making it an excellent choice for pianists looking to expand their repertoire and explore new musical styles.11 pieces included here for piano solo less the 2 duet pieces.
$10.80
9.94 €
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Piano seul
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Matyas Seiber
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T
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Leichte Tänze
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Thomas Swee Chin
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SheetMusicPlus
Wedding Classics Refreshed, Book 2: Processionals and Recessionals (a Collection of 20 Piano Solos)
Piano seul
Composed by Various. Arranged by Sharon Wilson. Romantic Period, Classical Period, Baro…
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Composed by Various. Arranged by Sharon Wilson. Romantic Period, Classical Period, Baroque Period, Christian, Wedding. Sheet Music Single. 62 pages. Published by Sharon Wilson
This collection of intermediate piano solos includes 20 arrangements of favorite classical pieces frequently used for weddings. All the songs in this collection are well-suited for processionals and recessionals of the ceremony participants (bride, groom, bridesmaids, groomsmen, parents/family, flower girl, Bible boy, ring bearer, etc.). Several of these songs can also be used as part of the prelude, as interludes during candle-lighting, or as background music for a reception. These arrangements were created to make challenging classical music more accessible for the intermediate player or easier to sight-read by more advanced players (comes in handy when asked to perform on short notice). Another feature of these arrangements is they are consistent at the intermediate to advanced-intermediate skill level throughout each piece. Many have been simplified and only include excerpts from the longer original movements. Other simplified characteristics include easier key signatures, timings, and fingerings and some melodies were modified to create a more contemporary sound. Each of the 20 arrangements is also available separately with accompanying preview pages and audio samples. Titles in this collection include: Air from ?The Water Music? (George Frideric Handel) Arrival of the Queen of Sheba from ?Solomon? (George Frideric Handel) Bridal Chorus from ?Lohengrin? (Richard Wagner) Clair de Lune from ?Suite Bergamasque? (Claude Debussy) Fanfare (Jacques-Nicolas Lemmens) Für Elise (Ludwig van Beethoven) Grand Processional from ?Symphony No. 1? (Johannes Brahms) Hornpipe with Bourrée from ?The Water Music? (George Frideric Handel) Jesu, Joy of Man?s Desiring (Johann Sebastian Bach) Largo from ?Xerxes? (George Frideric Handel) Lascia Ch?io Pianga from ?Rinaldo? (George Frideric Handel) Prelude No. 1 in C Major (Johann Sebastian Bach) Rondeau from ?Theme from Masterpiece Theater? (Jean Joseph Mouret) Serenade from ?Swan Song? (Franz Schubert) Sleepers, Awake from ?Cantata No. 140? (Johann Sebastian Bach) Spring from ?The Four Seasons? (Antonio Vivaldi) St. Anthony Chorale from ?Variations on a Theme of Haydn? (Johannes Brahms) Trumpet Tune (Jeremiah Clarke) Trumpet Voluntary (Jeremiah Clarke) Wedding March from ?A Midsummer Night?s Dream? (Felix Mendelssohn)This collection of intermediate piano solos includes 20 arrangements of favorite classical pieces frequently used for weddings. All the songs in this collection are well-suited for processionals and recessionals of the ceremony participants (bride, groom, bridesmaids, groomsmen, parents/family, flower girl, Bible boy, ring bearer, etc.). Several of these songs can also be used as part of the prelude, as interludes during candle-lighting, or as background music for a reception.
These arrangements were created to make challenging classical music more accessible for the intermediate player or easier to sight-read by more advanced players (comes in handy when asked to perform on short notice). Another feature of these arrangements is they are consistent at the intermediate to advanced-intermediate skill level throughout each piece. Many have been simplified and only include excerpts from the longer original movements. Other simplified characteristics include easier key signatures, timings, and fingerings and some melodies were modified to create a more contemporary sound.
Each of the 20 arrangements is also available separately with accompanying preview pages and audio samples.
Titles in this collection include:
Air from ?The Water Music? (George Frideric Handel)
Arrival of the Queen of Sheba from ?Solomon? (George Frideric Handel)
Bridal Chorus from ?Lohengrin? (Richard Wagner)
Clair de Lune from ?Suite Bergamasque? (Claude Debussy)
Fanfare (Jacques-Nicolas Lemmens)
Für Elise (Ludwig van Beethoven)
Grand Processional from ?Symphony No. 1? (Johannes Brahms)
Hornpipe with Bourrée from ?The Water Music? (George Frideric Handel)
Jesu, Joy of Man?s Desiring (Johann Sebastian Bach)
Largo from ?Xerxes? (George Frideric Handel)
Lascia Ch?io Pianga from ?Rinaldo? (George Frideric Handel)
Prelude No. 1 in C Major (Johann Sebastian Bach)
Rondeau from ?Theme from Masterpiece Theater? (Jean Joseph Mouret)
Serenade from ?Swan Song? (Franz Schubert)
Sleepers, Awake from ?Cantata No. 140? (Johann Sebastian Bach)
Spring from ?The Four Seasons? (Antonio Vivaldi)
St. Anthony Chorale from ?Variations on a Theme of Haydn? (Johannes Brahms)
Trumpet Tune (Jeremiah Clarke)
Trumpet Voluntary (Jeremiah Clarke)
Wedding March from ?A Midsummer Night?s Dream? (Felix Mendelssohn)
$18.99
17.48 €
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Piano seul
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Various
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Wedding Classics Refreshed, Book 2: Processionals and Recessionals
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Sharon Wilson
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SheetMusicPlus
Elegie in Eb Minor (Classical Music for Tablet Series)
Piano seul
Instrumental Solo - Level 5 - Digital Download SKU: A0.818281 By Stephen R Dalrympl…
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Instrumental Solo - Level 5 - Digital Download SKU: A0.818281 By Stephen R Dalrymple. By Sergei Rachmaninoff. Arranged by Edited by Stephen R Dalrymple. Romantic Period. Individual part. 18 pages. Stephen R Dalrymple #4966281. Published by Stephen R Dalrymple (A0.818281). Élegié in E Flat Minor for solo piano (Classical Music for Tablet Series) ♫ by Sergei Vasilyevich Rachmaninoff (Opus 3.1) ♫ Rachmaninoff (born in 1873) , Russian composer, virtuoso pianist, and conductor, was considered one of the finest pianists of his day. His compositions belong to the Romantic period of music history. He graduated at the Moscow Conservatory in 1892. After the premiere of his First Symphony in 1897, the negative reaction by an important critic sent him into a tailspin of depression that lasted several years. ♫ In 1909 he performed a series of 26 performances with the Boston Symphony Orchestra in the USA. In 1914 he travelled to England for a concert tour. ♫ In February 1917 on the day the Socialist Revolution began in St Petersburg, he performed a benefit piano recital in Moscow for wounded Russian soldiers. When he returned home, he found that a group of Social Revolutionary Party members had seized his property as their own communal property. He had invested most of his earnings on the estate, but left it behind. Rachmaninoff's concert performance in Yalta on 5 September 1917 was to be his last in Russia. The chaos and tension of the October Revolution was daunting. He composed with the noise of gunshots and rallies in the background. He received an invitation to perform 10 recitals across Scandinavia. He accepted the offer, using it as an excuse to obtain permits so he and his family could flee Russia. ♫ He returned to the USA in November 1918 and America became his home. When he became an American citizen in 1943, Sergei Rachmaninoff said: “This is the only place on earth where a human being is respected for what he is and what he does, and it does not matter who he is and where he came from.†He died in March 1943 from cancer at the age of 70. (condensed from Wikipedia - October 2022) ♫ Rachmaninoff’s Opus 3 contains 5 piano pieces. The first is the Élegié in E Flat Minor, the second is the Prelude in C# Minor (one of his most famous piano compositions). This opus was finished in 1892, when he was 19 years old. The Prelude in C# Minor is loud, explosive, and declarative; the Élegié in E Flat Minor is soft, fluid, and contemplative. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Sequenced by the Editor ♫ 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
3.67 €
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Piano seul
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Stephen R Dalrymple
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Edited by Stephen R Dalrymple
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Elegie in Eb Minor
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Stephen R Dalrymple
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SheetMusicPlus
Pastoral Poems Suite No. 1
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1486727 Composed by Adam Walter Car…
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Piano Solo - Level 3 - Digital Download SKU: A0.1486727 Composed by Adam Walter Carlsen. Contemporary. Score. 35 pages. Adam Walter Carlsen #1063793. Published by Adam Walter Carlsen (A0.1486727). This is a suite that has 6 movement for solo piano. This composition is an intermediate level work that can be played in any concert setting. I chose the title, Morning Walk in the Garden because the piece has a pastoral like melody with soft accompaniment. I chose the title, Galloping through the Blooming Meadow has staccato Alberti bass accompaniment style with a fanfare like melody. I chose the title, Stream flowing through the Autumn Forest because the tempo never changes throughout and there are no longer pauses in the movement. I chose the title, Exploring the Wonderous Mountain Valley because it has a fanfare like melody with a march like accompaniment that's resent throughout the movement. I chose the title, Voyaging the Harmonious Lake at Sunset because of the slow singable melody with a very soft and simple accompaniment. I chose the title, Observing the Gorgeous Sky while Hiking because of the bouncy rhythm going on in the accompaniment and the light cheerful melody played throughout. Facebook: https://www.facebook.com/adam.carlsen.35Twitter: https://twitter.com/AdamCarlsen2Website: AdamCarlsenMusic.com.
$5.99
5.51 €
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Piano seul
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Adam Walter Carlsen
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Pastoral Poems Suite No. 1
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Adam Walter Carlsen
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SheetMusicPlus
Really Easy Piano Solos in the Key of C
Piano seul
Easy Piano - Level 1 - Digital Download SKU: A0.999939 Composed by Various. Arrange…
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Easy Piano - Level 1 - Digital Download SKU: A0.999939 Composed by Various. Arranged by S.R. Geer, ASCAP. Classical,Folk. Score. 19 pages. Suzanne Geer #6657113. Published by Suzanne Geer (A0.999939). Collection of 17 easy piano solos in the key of C for the beginning pianist, with large print music and simplified left hand notes. Companion book to: Really Easy Key of G Piano Solos; Really Easy Key of D Piano Solos and Really Easy Key of F Piano Solos. Contents of this book: Au Claire de la Lune, Merrily We Roll Along, Bile ’Em Cabbage Down, Go Tell Aunt Rhodie, Ode to Joy, Lightly Row, This Old Man, London Bridge, Happy Birthday to You, Bingo, French Folk Song, Mary Had a Little Lamb, Twinkle Twinkle Little Star, Hot Cross Buns, Hallelujah Chorus Theme, When the Saints Go Marching In and the Can Can.
$6.99
6.43 €
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Piano seul
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Various
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S
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Really Easy Piano Solos in the Key of C
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Suzanne Geer
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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
35.85 €
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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
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…
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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
35.85 €
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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
#
SheetMusicPlus
The Stars and Stripes Forever, Intermediate piano solo, C Major
Piano seul
Piano Solo - Intermediate - Digital Download Composed by John Philip Sousa (1854-1932…
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Piano Solo - Intermediate - Digital Download Composed by John Philip Sousa (1854-1932). Arranged by Amy J. Snyder. Repertoire, Fourth of July, Recital, Patriotic, Americana. Sheet Music Single. 7 pages. Published by Amy J. Snyder
The Stars and Stripes Forever, patriotic march written by John Philip Sousa is a must for every 4th of July celebration! This arrangement is for intermediate level piano solo but follows the same style as the original 1897 version. The key has been changed to the key of C Major for easier playing. It is simplified a bit by eliminating the octaves and 4-note chords, but maintaining a satisfying blend of melody and accompaniment. Lots of helpful fingering, and expression marks. Great for patriotic events and recitals. Arranged by Amy J. Snyder. Visit Amy at https://www.facebook.com/amyjsnyder7. If you enjoy this piece, you may also enjoy Amy's intermediate arrangement of America the Beautiful , and slightly more challenging advanced intermediate arrangements of Yankee Doodle Dandy, God Bless the U.S.A., God Bless America, You're a Grand Old Flag, My Country 'Tis of Thee/America the Beautiful, The Battle Hymn of the Republic, O Say Can You See, America the Beautiful, and The Washington Post.The Stars and Stripes Forever, patriotic march written by John Philip Sousa is a must for every 4th of July celebration! This arrangement is for intermediate level piano solo but follows the same style as the original 1897 version. The key has been changed to the key of C Major for easier playing. It is simplified a bit by eliminating the octaves and 4-note chords, but maintaining a satisfying blend of melody and accompaniment. Lots of helpful fingering, and expression marks. Great for patriotic events and recitals. Arranged by Amy J. Snyder. Visit Amy at https://www.facebook.com/amyjsnyder7. If you enjoy this piece, you may also enjoy Amy's intermediate arrangement of America the Beautiful , and slightly more challenging advanced intermediate arrangements of Yankee Doodle Dandy, God Bless the U.S.A., God Bless America, You're a Grand Old Flag, My Country 'Tis of Thee/America the Beautiful, The Battle Hymn of the Republic, O Say Can You See, America the Beautiful, and The Washington Post.
$5.25
4.83 €
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Piano seul
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John Philip Sousa (1854-1932)
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Amy J
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The Stars and Stripes Forever, Intermediate piano solo, C Major
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Amy J. Snyder
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SheetMusicPlus
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