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The Call of the Sea Score
Piano seul
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.63 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.63 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
The Call of the Sea
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1251035 Composed by Danny Vye. Cont…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.1251035 Composed by Danny Vye. Contemporary. Score. 6 pages. Danny Vye #845330. Published by Danny Vye (A0.1251035). Danny Vye's contemporary solo piano single The Call of the Sea was released on the 16th June 2023. The music aims to be engaging and relaxing.
$1.99
1.82 €
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Piano seul
#
Danny Vye
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The Call of the Sea
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Danny Vye
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SheetMusicPlus
The Wonderful Season Of Love
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1298554 Composed by Franz Waxman an…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.1298554 Composed by Franz Waxman and Paul Francis Webster. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Pop,Singer/Songwriter. Score. 6 pages. Timothy Stapay #888449. Published by Timothy Stapay (A0.1298554). The Wonderful Season Of Love is better known as the Theme from Peyton Place, written by Franx Waxman.  In 2005, the American Film Institute recognized the score in its 100 Years of Film Scores, for which it received a nomination.Peyton Place was an American prime-time soap opera that aired on ABC in half-hour episodes from September 15, 1964, to June 2, 1969.  The movie of the same name  was a 1957 American drama film starring Lana Turner, Hope Lange, Lee Philips, Lloyd Nolan, Diane Varsi, Arthur Kennedy, Russ Tamblyn, and Terry Moore..  It was based partly on Grace Metalious's bestselling 1956 novel of the same name. Lyrics:Where I was born time was told, Not by the clock nor the calendar, But by the seasons.  Summer was carefree contentment,Autumn was that bittersweet time of regret, And then Winter fell with a cold mantle of caution and chill.  Spring was promise, But there was a fifth season, Of love, and only the wise knew where to find it!They say that the seasons are four,They come and they go by my door;From April's first roseTo the day that it snows,Same moon is smiling above.They say that the seasons are four,But you and I know there are more!And best of them allIs the one that we callThe wonderful season of love!They say that the seasons are four,But you and I know there are more!And best of them allIs the one that we callThe wonderful season of love!
$6.99
6.39 €
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Piano seul
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Franz Waxman and Paul Francis Webster
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Timothy Stapay
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The Wonderful Season Of Love
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Timothy Stapay
#
SheetMusicPlus
Nocturne No. 4 (Call of the Sea)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.945021 Composed by Anne Louise Duer…
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Piano Solo - Level 3 - Digital Download SKU: A0.945021 Composed by Anne Louise Duerr Diamos. 20th Century,Contemporary,World. Score. 2 pages. Anne L. Diamos #5954041. Published by Anne L. Diamos (A0.945021). The Sea is calling, today, right now... run on down to the beach and jump right in with this song, the fourth in the Nocturne series. Feel free to add your own fingerings, whatever works best for your hands. For the intermediate pianist, this piece is perfect for your summertime practice. As always, please try to have fun. --Anne
$4.99
4.56 €
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Piano seul
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Anne Louise Duerr Diamos
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Nocturne No. 4
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Anne L. Diamos
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SheetMusicPlus
The End Of The World
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1200229 By Skeeter Davis. By Arthur…
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Piano Solo - Level 4 - Digital Download SKU: A0.1200229 By Skeeter Davis. By Arthur Kent and Sylvia Dee. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Rock,Standards. Score. 6 pages. Timothy Stapay #799031. Published by Timothy Stapay (A0.1200229). An arrangement of The End Of The World, a song covered by many famous artists. includingThe Carpenters; thanks to the phenomenal singing of Karen Carpenter. The End of the World was written by composer Arthur Kent and lyricist Sylvia Dee, who often worked as a team.The Carpenters (officially known as Carpenters were an American vocal and instrumental duo consisting of siblings Karen (1950–1983) and Richard Carpenter (born 1946). They produced a distinctive soft musical style, combining Karen's contralto vocals with Richard's harmonizing, arranging, and composition skills. During their 14-year career, the Carpenters recorded 10 albums along with many singles and several television specials. Karen possessed a powerful singing voice, and close miking brought out many nuances in her performances. Richard arranged their music to take advantage of this, though Karen had a three-octave vocal range. Richard's work with Karen was influenced by the music of Les Paul, whose overdubbing of the voice of wife and musical partner Mary Ford allowed her to be used as both the lead and harmony vocals.[6] By multi-tracking, Richard was able to use Karen and himself for the harmonies to back Karen's lead. The overdubbed background harmonies were distinctive to the Carpenters, but it was the soulful, engaging sound of Karen's lead voice that made them so recognizable. Record executive Mike Curb said it was Karen's voice that took the Carpenters above straight pop music into pop rock.  She was known as a one take wonder and could deliver a strong performance on the first attempt.Richard Carpenter was the creative force behind the Carpenters' sound. An accomplished keyboard player, composer and arranger, music critic Daniel Levitin called him one of the most gifted arrangers to emerge in popular music. The duo's smooth harmonies were not in step with contemporary music, which was dominated by heavy rock. Instead, the Carpenters strove for a rich and melodic sound, along the same vein as the Beach Boys and the Mamas & the Papas, but with greater fullness and orchestration including frequent use of small string and horn sections and introspective lyrics centred around relationships. Richard also admired the musicianship and arranging skills of Frank Zappa, and the two briefly met backstage at the Billboard Forum in 1975.End Of The World: Lyrics:Why does the sun go on shining?Why does the sea rush to shore?Don't they know it's the end of the world?'Cause you don't love me any moreWhy do the birds go on singing?Why do the stars glow above?Don't they know it's the end of the world?It ended when I lost your love[Bridge]I wake up in the morning and I wonderWhy everything's the same as it wasI can't understand, no, I can't understandHow life goes on the way it doesWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you said goodbyeWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you
$6.99
6.39 €
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Piano seul
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Skeeter Davis
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Timothy Stapay
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The End Of The World
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Timothy Stapay
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SheetMusicPlus
The Wreck Of The Edmund Fitzgerald
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1043795 By Gordon Lightfoot. By Gor…
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Piano Solo - Level 5 - Digital Download SKU: A0.1043795 By Gordon Lightfoot. By Gordon Lightfoot. Arranged by Dean Gilbert. Folk. Score. 6 pages. Dean Gilbert #648473. Published by Dean Gilbert (A0.1043795). Forty-five years ago, on November 10, 1975 29 crew members lost their lives on the Edmund Fitzgerald sailing across Lake Superior. I took Gordon Lightfoot's beautiful song and turned it into my own piano arrangement. You will notice that the ship bell is heard throughout the song. This song is in six parts. The summon begins with the ship's bell ringing summoning everyone to gather for a story, Next is The Voyage Begins with a calm Lake Superior. The ship bell rings again announce heavy seas ahead and we are now into the next section called The Storm Begins. The bell continues to ring warning the crew of heavy waves. The next section is called The Gales of November. The intensity picks up. The bell rings with force calling for help. The next section is called The Sinking. You can hear the waves crashing into the ship as the bell continues to call for help. At the end the ship sinks as the bell continues to ring. There is one last ring as it settles on the bottom of Lake Superior. The last section is The Memorial. It is the stillness of the water after a storm with no sign of the Edmund Fitzgerald. The bell ring 29 times for each of the crew members. Enjoy.
$4.99
4.56 €
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Piano seul
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Gordon Lightfoot
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Dean Gilbert
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The Wreck Of The Edmund Fitzgerald
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Dean Gilbert
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SheetMusicPlus
The Calling of the Seasons
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1309238 Composed by Eric Bingham-Ku…
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Piano Solo - Level 4 - Digital Download SKU: A0.1309238 Composed by Eric Bingham-Kumpf. 21st Century. Score. 7 pages. Eric Bingham-Kumpf #898414. Published by Eric Bingham-Kumpf (A0.1309238). 4 Movements.
$10.00
9.15 €
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Piano seul
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Eric Bingham-Kumpf
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The Calling of the Seasons
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Eric Bingham-Kumpf
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SheetMusicPlus
Spirals in the Sky
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1260605 Composed by Martha Hill Dun…
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Piano Solo - Level 4 - Digital Download SKU: A0.1260605 Composed by Martha Hill Duncan. 21st Century,Classical,Contemporary. Score. 27 pages. Abundant Silence #853798. Published by Abundant Silence (A0.1260605). SPIRALS IN THE SKY, BY MARTHA HILL DUNCANFOR SOLO PIANO, LATE INTERMEDIATE, 21 PAGES.....................................In this whimsical marriage of astronomy and music, my husband,  astrophysicist, Dr. Martin Duncan and I have combined our talents to celebrate the beauty of the night sky and the magic of music. M.H. DuncanMartha Hill Duncan’s passion for music started early, inspired by her mother, who sang and played the piano by ear. Martha was a member of the first graduating class of the Houston High School for Performing and Visual Arts and earned a Bachelor of Music degree in Composition from the University of Texas at Austin.Her piano works have been inspired, at least in part, by her long-time career as a piano teacher and some of these pieces, as well as her art songs, appear in educational publications and syllabi. Piano collection titles include The Sunken Garden, Isla Vista Suite, Precipitations, Angular Measures, Limestone Etchings, Rainy Days and Cottage Days. Since moving from the United States to Canada, many of her compositions have been inspired by Canadian landscapes and texts. In January 2014, her youth opera, Searching the Painted Sky, with poet/librettist Janet Windeler Ryan, was premiered at the National Opera Association Convention in New York City. She was named a finalist for the 2020 Louis Applebaum Award.A former piano examiner for the Royal Conservatory of Music, she is also a founding member of Red Leaf Pianoworks, a self-publishing composers’ collective. Originally from Houston, Texas, Martha and her husband Martin have lived in Kingston, Ontario since 1988. She also conducts the women’s choir She Sings! and has two grown children and two granddaughters. To explore more of her music, please visit www.marthahillduncan.comDr. Martin Duncan was born in London, England and was raised in Montreal, Canada. As a child, his biggest question was, “What would happen if...?†His first experiments involved creating foul-smelling concoctions with his chemistry set in hisparents’ basement. He survived and went on to complete an Honours Physics degree at McGill University, followed by graduate degrees in astronomy at the Universities of Toronto and Texas at Austin. Post-doctoral research was performed at Cornell University, the University of Toronto and the University of California, Santa Cruz. In 1988, he became a professor of astronomy and physics at Queen’s University in Kingston, Ontario.In his academic career he has co-authored over 120 scientific papers, which have been cited over 8,000 times. He has presented numerous invited talks at international scientific conferences and has been the guest speaker at many public lectures. His research has ranged from the study of black holes to simulations of the formation and orbital evolution of planets and comets. He is best known for the prediction of the existence of a disk of small icy bodies beyond Neptune, which he and his colleagues called the Kuiper Belt. In 1996, the International Astronomical Union named Asteroid 6115 “martinduncan†in honor of his contributions to planetary dynamics.
$19.50
17.84 €
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Piano seul
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Martha Hill Duncan
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Spirals in the Sky
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Abundant Silence
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SheetMusicPlus
1. Bulbul the Bird
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1138387 By Louise du Toit. By Louis…
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Piano Solo - Level 3 - Digital Download SKU: A0.1138387 By Louise du Toit. By Louise du Toit. Arranged by Louise du Toit. Contemporary. Score. 4 pages. Louise du Toit #738715. Published by Louise du Toit (A0.1138387). Bulbul the Bird is the first in a series of fifteen original contemporary compositions for piano, titled 15 Animal Compositions for Piano and created to musically describe the movement and habits of specific wildlife creatures. From music notes to words: Bulbul the bird leaps from one branch to another, searching for sunlight through the leaves of the trees. The warm sunrays on his beautiful body delight him when he sits quietly for a moment, every now and then fluttering his colorful wings and feathers as a sign of satisfaction. A heavy feathery fellow joins him for a few fleeting moments of dialogue before flying off to another acacia tree, leaving Bulbul to continue his morning exercises as he reaches for the highest branches, in an effort to be closer to the African sun..
$4.99
4.56 €
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Piano seul
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Louise du Toit
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Louise du Toit
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1. Bulbul the Bird
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Louise du Toit
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SheetMusicPlus
Three Pieces for Piano: I- Sea Shanty
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1412897 Composed by Clay Burnett. C…
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Piano Solo - Level 4 - Digital Download SKU: A0.1412897 Composed by Clay Burnett. Classical,Contemporary. Score. 2 pages. Clay Parker Burnett #983550. Published by Clay Parker Burnett (A0.1412897). The first movement of a collection of three pieces for piano, this piece is an original composition inspired by and written in the style of a sea shanty, as simple tune that sailors would often sing to accompany the rhythmical labor performed aboard merchant sailing vessels. The form is sort of a call and response with a solo followed by a hearty chorus.
$3.99
3.65 €
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Piano seul
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Clay Burnett
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Three Pieces for Piano: I- Sea Shanty
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Clay Parker Burnett
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SheetMusicPlus
Land and Sea
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.961644 Composed by Kim S. Bean. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.961644 Composed by Kim S. Bean. Contemporary,Sacred,Spiritual,Standards. Score. 5 pages. Kim S. Bean #5871371. Published by Kim S. Bean (A0.961644). Piano Solo, with optional narration. 5 pages. Day 3 from a suite called The Seven Days of Creation.There is a rollicking seafaring feel to this piece with its 6/8 rhythms and accents. One should feel the salt spray in their faces as they climb every wave, glimpsing land at each crest.Other pieces available in this suite are: Let There Be Light, Sky, Celestial Guides, Wind and Water Ballet, Parade of Creatures and Sabbath Rest.
$5.99
5.48 €
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Piano seul
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Kim S
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Land and Sea
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Kim S. Bean
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SheetMusicPlus
Song of the Sea
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1001980 Composed by Bryan Cook. Con…
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Piano Solo - Level 3 - Digital Download SKU: A0.1001980 Composed by Bryan Cook. Contemporary,Instructional,Standards. Score. 1 pages. Bryan Cook Music #6348339. Published by Bryan Cook Music (A0.1001980). Piano Solo: Duration 1:04 Was meant to be a the opening number of variations based on the sea theme. The first movement is meant to sound like waves crashing on the shore with the sun coming up. If you like this piece, I've made a choral piece called Heave Ho! Robin based upon the base theme from this piece. Happy Playing!
$1.99
1.82 €
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Piano seul
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Bryan Cook
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Song of the Sea
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Bryan Cook Music
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SheetMusicPlus
Capturing the Joy of Winter: 16 piano solos celebrating the season
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1263171 Composed by Barbara Arens. …
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Piano Solo - Level 4 - Digital Download SKU: A0.1263171 Composed by Barbara Arens. Arranged by Alison Mathews. 21st Century,Advent,Celtic,Christmas,Contemporary,Irish. Score. 40 pages. Barbara Arens #856152. Published by Barbara Arens (A0.1263171). What are your favourite things about Winter? Snow and frost? Feeling cosy in front of a fire? Having a romantic evening by candle light? Letting your imagination roam to the far north, home of reindeer, endless snowy forests and northern lights? This is what the music in ‘Capturing the Joy of Winter’ is about.‘Capturing the Joy of Winter’ is a collaborative project with the aim of extending and complementing our first book, ‘Capturing the Spirit of Christmas’. It provides a collection of pieces celebrating the winter season. Unlike our first book, which contains arrangements of traditional carols, this book is based on the rich tradition of secular folk music and songs inspired by the season. We discovered highly evocative folk music imbued with the winter spirit from around the world and had a wonderful time choosing just the right melodies to arrange as solo piano pieces. Amongst them are a Nordic reindeer call; a Joik (a hauntingly beautiful form of song from the Sami people of Lapland); an evocative Scottish winter song and an ancient flute melody celebrating the hardy plum blossom.
$12.50
11.43 €
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Piano seul
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Barbara Arens
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Alison Mathews
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Capturing the Joy of Winter: 16 piano solos celebrating the season
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Barbara Arens
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SheetMusicPlus
The Island
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1026725 Composed by Jesse Holan. 20…
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Piano Solo - Level 4 - Digital Download SKU: A0.1026725 Composed by Jesse Holan. 20th Century,Concert,Contemporary. Score. 3 pages. Jesse Holan Enterprises #6359527. Published by Jesse Holan Enterprises (A0.1026725). The Island is the sister vignette another piano piece I wrote, Fives, now focusing on color as a design principle instead of rhythm. Since sound is heard from 20 to 20k Hz and light is perceived from about 375 to 750 THz, there is a huge speed difference between the two kinds of waves, but overall, waves are waves. My synesthetic view of reality allows me to see pictures and colors when I hear tones. To me, C is White, Db is Orange, D is Yellow, Eb is Seafoam, E is Green, F is Brown, Gb is Red, G is Grey, Ab is Violet, A is Pink, Bb is Gold, and B is Blue. There is some logical flow to my chromatic rainbow, but admittedly it’s a little interpretive. It’s just what I see! Associating colors with notes is a personalized thing; two of my friends both have perfect pitch yet each perceive unique chromatic schemes in their minds for tones, which also differ from mine. This project shows how I use my mental color wheel to musically paint a stormy island sunset.
$4.99
4.56 €
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Piano seul
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Jesse Holan
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The Island
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Jesse Holan Enterprises
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SheetMusicPlus
7 Silver Themes
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1027006 Composed by Denis Kleimenov…
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Piano Solo - Level 3 - Digital Download SKU: A0.1027006 Composed by Denis Kleimenov. Classical,Jazz,Latin. Score. 40 pages. Vechera #632491. Published by Vechera (A0.1027006). The themes included in this collection were kept for a long time in a music manuscript notebook that traveled with me around the globe (Astrakhan - Turku - Vladivostok - Qingdao) and crossed the equator twice. The spirit of travel impregnated the pages of this notebook and inspired me for the search of fresh musical ideas. These different themes sound close to near-jazz style, and they are written for free performance. Based on harmony and melodic line, the performer is free to improvise and interpret themes to his liking, add new instruments and create his own arrangements. Historically, in jazz, the main melodic idea of ​a piece is called a theme. There is a theme, so you can improvise. Following this tradition, I have named my collection 7 Silver Themes.
$5.00
4.57 €
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Piano seul
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Denis Kleimenov
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7 Silver Themes
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Vechera
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SheetMusicPlus
Light of the World: A Song for Advent - Piano Solo
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1504111 By Stacey Plays Hymns. By S…
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Piano Solo - Level 2 - Digital Download SKU: A0.1504111 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Advent,Christian,Christmas,Religious,Sacred. Score. 4 pages. Anastace #1079566. Published by Anastace (A0.1504111). Here is a beautiful, simple advent song I wrote to serve churches through the season of Advent, particularly during the candle lighting portion of each Sunday the weeks leading up to Christmas. This piano solo version is perfect to use as a prelude or postlude to any Advent service or Christmas week service, particularly if the vocal version is already being used by the congregational as a piece of the liturgy. There are recordings available for each of the weeks of Advent and this piano solo as well on all streaming platforms as of November 1, 2024, in case that is helpful to your service preparation or while learning the song. There is also an instrumental track entitled Fill Our Hearts, which is musically cohesive to the main song and is a great song to stream after service, to keep the mood matching and inspire the congregation to leave singing the melody, Let Your love fill our hearts, Jesus, Light of the world.This piano solo is easy yet flowing, with beautiful dynamic contrast and a lilting, hopeful 6/8 feel. Also available, by searching Stacey Plays Hymns and the song title on this site, is a full piano vocal accompaniment version and a lead sheet version for those who play guitar or piano based on chords.Purchase includes a free license for four church services with under 300 people, with proper attribution and credit to Stacey Plays Hymns in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!
$5.99
5.48 €
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Piano seul
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Stacey Plays Hymns
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Anastace
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Light of the World: A Song for Advent - Piano Solo
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Anastace
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SheetMusicPlus
Shattering Sea
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1249124 By Tori Amos. By Tori Amos.…
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Piano Solo - Level 3 - Digital Download SKU: A0.1249124 By Tori Amos. By Tori Amos. Arranged by Todd J. Scallan. Classical,Romantic Period. Score. 7 pages. Todd J. Scallan #843585. Published by Todd J. Scallan (A0.1249124). Sheet music arrangement for solo piano of Shattering Sea, which is track #1 from the Tori Amos album Night of Hunters. This piece is a variation on Song of the Madwoman on the Seashore, Preludes Op. 31, No. 8 composed by Charles-Valentin Alkan in 1844.
$5.99
5.48 €
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Piano seul
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Tori Amos
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Todd J
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Shattering Sea
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Todd J. Scallan
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SheetMusicPlus
Seas of Sunlit Splendour
Piano seul
Piano Solo - Digital Download SKU: A0.909112 Composed by Stephen Richard Thomas Bro…
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Piano Solo - Digital Download SKU: A0.909112 Composed by Stephen Richard Thomas Brown. 20th Century. Score. 6 pages. Stephen Richard Thomas Brown #3530599. Published by Stephen Richard Thomas Brown (A0.909112). This is a dramatic piece musically intended to describe the naturally occurring diamonds fashioned by sunlight being reflected upon the ever changing waters of the seas.
$3.99
3.65 €
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Piano seul
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Stephen Richard Thomas Brown
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Seas of Sunlit Splendour
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Stephen Richard Thomas Brown
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SheetMusicPlus
Variations On The Austrian National Anthem
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1319841 Composed by Wolfgang Amadeu…
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Piano Solo - Level 5 - Digital Download SKU: A0.1319841 Composed by Wolfgang Amadeus Mozart / Holger A. Jung. Arranged by Holger A. Jung. Classical. Score. 11 pages. Holger A. Jung #908399. Published by Holger A. Jung (A0.1319841). The following piece for piano solo is entirely in the tradition of the so-called First Viennese School. This work is primarily inspired by the 2nd movement  of the String Quartet op. 76/3 (also called  Kaiserquartett) by Joseph Haydn. The Variations on the Austrian National Anthem are a conscious stylistic copy,  using the typical phrases and ornaments that we know from many composers  of the second half of the 18th century. The basic theme is generally attributed  to Wolfgang Amadeus Mozart. Recent research provides evidence that the composer Johann Baptist Holzer could be the original author of the anthem. Holzer was a contemporary and lodge brother of Mozart.
$5.75
5.26 €
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Piano seul
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Wolfgang Amadeus Mozart / Holger A
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Holger A
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Variations On The Austrian National Anthem
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Holger A. Jung
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SheetMusicPlus
12. Ubhejane the Rhino
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1138739 By Louise du Toit. By Louis…
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Piano Solo - Level 4 - Digital Download SKU: A0.1138739 By Louise du Toit. By Louise du Toit. Arranged by Louise du Toit. Contemporary. Score. 10 pages. Louise du Toit #739041. Published by Louise du Toit (A0.1138739). Ubhejane the Rhino is the twelfth in a series of fifteen original contemporary compositions for piano, titled 15 Animal Compositions for Piano and created to musically describe the movement and habits of specific wildlife creatures. From music notes to words: Ubhejane the rhino is fuming. A born fire-fighter, he is used to stamping out small fires with his huge feet, protecting his natural surroundings from careless humans who often leave their camping sites without extinguishing the campfires. Today he picked up the infuriating scent of black smoke from a fire in nearby Umfolozi and upon reaching the camp where the blaze is rapidly growing bigger, he storms right through it, angrily snorting while extinguishing the flames on his way. After running around in beautiful Zululand, he finally comes to rest at a waterhole where he quenches his thirst among a herd of waterbucks before wallowing in a mud pit to cool off. When the wind carries the smell of a female rhinoceros towards him, he runs off again in search of some company. On top of his back sits a small parasite bird, clinging to his thick, leathery skin and listening to the grunts, snorts and snuffs of the two white rhinos as they prepare their lunch, grasping and pulling plants from the ground..
$4.99
4.56 €
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Piano seul
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Louise du Toit
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Louise du Toit
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12. Ubhejane the Rhino
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Louise du Toit
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SheetMusicPlus
(i Can Recall) Spain
Piano seul
Piano - Level 4 - Digital Download SKU: A0.1290542 By Chick Corea. By Al Jarreau, A…
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Piano - Level 4 - Digital Download SKU: A0.1290542 By Chick Corea. By Al Jarreau, Artie Maren, Chick Corea, and Joaquin Rodrigo. Arranged by Popnroll 1976. Jazz,Latin. Score (Chords/Lyrics). 4 pages. Popnroll 1976 #881260. Published by Popnroll 1976 (A0.1290542). Spain (I Can Recall) - Al Jarreau (Vocal/Synthesizer Solo/Scat Solo)This is a lead sheet with a complete copy of the synthesizer solo and scat solo of the vocal version of Chick Corea's famous song Spain from the album This Time released in 1980 by Al Jarreau, a jazz fusion singer known for his singing percussion.PDF format, 4 pages.Lyrics：Al Jarreau, Arthur J. Maren Composer：Chick Corea, Joaquin Vidre RodrigoVocal：Al Jarreau Synthesizer & Rhodes Electric Piano：Larry Williams Bass: Abraham Laboriel Drums: Steve Gadd Produced by Jay GraydonSong Description 　This is a jazz fusion classic from Chick Corea's 1972 Return To Forever album, Light As A Feather, with lyrics by Al himself. 　The synthesizer solo was played by Larry Williams, a keyboardist and saxophonist of the fusion band Seawind, who skillfully used upper structure triad arpeggios to drive the song in a wide range. 　Al's scat solo in the latter half of the song is a highlight. It starts with a relaxed phrase, moving in a close range in the first half, and shows a sign of excitement with flutter tangling in D (a technique unique to wind instruments that makes the sound tremble by fine movements of the tongue) at the beginning of the second half. The last four bars of the song are a perfect blend of alternating scales and blue notes, folding in exquisite ups and downs, and finally resolving to B major at the end. 　In the chord progression, the second half of [B] and Gmaj7 (two beats after Dmaj7) in [E] and [M] are not Chick Corea's original, but he seems to use them in this arrangement.
$9.99
9.14 €
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Piano seul
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Chick Corea
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Popnroll 1976
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(i Can Recall) Spain
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Popnroll 1976
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SheetMusicPlus
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) - D MAJOR VERSION
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1764…
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Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1764). Arranged by Trancribed by Flavio Regis Cunha. Baroque Period, Early Music, Wedding, Graduation, Recital. Score. 12 pages. Published by Flavio Regis Cunha
Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas. 'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Boréades?, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, Ólafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas.
'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Boréades?, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, Ólafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.
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Piano seul
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Jean-Philippe Rameau
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Rameau: Les Boréades: "The Arts and the Hours" for Piano
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Flavio Regis Cunha
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