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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
Ian J
Non classifié
2 783
Piano & claviers
Piano seul
4 604
Piano, Voix
1 628
Piano Facile
1 327
Piano, Voix et Guitare
1 144
Orgue
372
Accompagnement Piano
265
1 Piano, 4 mains
164
Piano Trio: piano, violon, violoncelle
62
2 Pianos, 4 mains
54
Instruments en Do
47
Piano grosses notes
32
Accordéon
27
Piano Quintette: piano, 2 violons, alto, violoncelle
17
Orgue, Piano (duo)
16
Piano Quatuor: piano, violon, alto, violoncelle
15
Piano Quatuor: piano, 2 violons, violoncelle
14
Piano (partie séparée)
10
Orgue, Trompette (duo)
9
1 Piano, 6 mains
6
Clavecin
5
Clavier
2
Ligne De Mélodie, Piano
1
2 Orgues (duo)
1
2 Accordéons
1
Orgue, Voix
1
2 Pianos, 8 mains
1
+ 21 instrumentations
Retracter
Guitares
Guitare
229
Guitare notes et tablatures
209
2 Guitares (duo)
77
Paroles et Accords
48
Ukulele
39
Ligne De Mélodie, (Paroles) et Accords
37
Piano, Guitare (duo)
26
Basse electrique
25
Mandoline
6
Dulcimer
3
4 Guitares (Quatuor)
2
Banjo
2
3 Guitares (trio)
2
Mandoline, Piano (duo)
1
Orchestre à Plectres
1
2 Mandolines (duo)
1
+ 11 instrumentations
Retracter
Voix
Chorale SATB
1 031
Chorale 3 parties
493
Chorale 2 parties
192
Chorale TTBB
177
Voix duo, Piano
53
Chorale Unison
50
Pack Instrumental pour Chorale
45
Chorale SSAA
44
Voix seule
33
Voix duo
30
Chorale
19
Voix Soprano, Piano
16
Voix Tenor, Piano
12
Voix Baryton, Piano
11
Voix Alto, Piano
11
Voix basse, Piano
10
Voix haute
9
Chorale SSAB, Piano
6
Voix, Guitare
5
Chorale SSAB a cappella
4
Voix moyenne, Piano
3
Voix basse
3
Chorale SSATB
3
Voix Soprano
1
Chorale, Orgue
1
Voix d'Enfants
1
Chorale SSAATTBB
1
+ 22 instrumentations
Retracter
Vents
Flûte traversière et Piano
352
Clarinette et Piano
248
Saxophone Alto et Piano
226
Hautbois, Piano (duo)
203
Quatuor de Saxophones: 4 saxophones
181
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
168
Flûte et Guitare
166
Saxophone Tenor et Piano
146
Clarinette
128
2 Flûtes traversières (duo)
127
2 Clarinettes (duo)
120
Flûte traversière
117
2 Saxophones (duo)
109
Quatuor de Clarinettes: 4 clarinettes
103
Saxophone Soprano et Piano
101
Flûte, Hautbois, Clarinette, Basson
91
Saxophone
87
Saxophone Alto
68
Quintette de Saxophone: 5 saxophones
68
Quatuor de Flûtes : 4 flûtes
57
Saxophone Tenor
52
Saxophone (partie séparée)
51
Quintette de Clarinettes: 5 clarinettes
51
3 Saxophones (trio)
49
Saxophone Baryton, Piano
46
Ensemble de saxophones
45
Cor anglais, Piano
42
Flûte, Clarinette (duo)
42
Flûte, Violon, Piano
42
3 Clarinettes (trio)
37
Quintette de Flûte : 5 flûtes
37
Trio de Flûtes: 3 flûtes
29
Hautbois (partie séparée)
29
Ensemble de Clarinettes
29
Clarinette Basse, Piano
23
Flûte, Clarinette et Basson
20
Ensemble de Flûtes
18
Clarinette, Basson (duo)
17
Clarinette (partie séparée)
17
2 Flûte à bec (duo)
15
2 Hautbois (duo)
14
Hautbois, Clarinette, Basson (trio d'anches)
12
Hautbois, Basson (duo)
12
Flûte, Clarinette, Piano (trio)
12
Hautbois
11
Flute (partie séparée)
10
Saxophone et Piano
10
Flûte, Hautbois, Basson
10
Hautbois, Clarinette (duo)
10
Flûte à bec Soprano, Piano
9
Flûte, Violoncelle, Piano (trio)
8
Hautbois, Violoncelle
8
Flûte à bec Soprano
8
Flûte, Alto (duo)
8
Saxophone Soprano
7
2 Flûtes traversières, Piano
7
Flûte, Hautbois, Clarinette (trio)
7
Flûte, Violoncelle
7
2 Clarinettes, Piano
7
Flûte, Violon
7
Flûte, Trombone (duo)
6
Clarinette, Violoncelle (duo)
6
2 Saxophones, Piano
6
Piccolo, Piano
6
Flûte à bec Alto
6
Flute, harpe et violon
5
Flûte à Bec, Piano
5
Clarinette, Harpe (duo)
4
Clarinette, Guitare (duo)
4
Flûte, Basson et Piano
4
Ensemble De Flûte à bec
4
3 Hautbois
4
Clarinette et Alto
4
Flûte, Violon, Violoncelle et Piano
4
4 Hautbois
4
Quatuor de Flûtes à bec
3
Hautbois, violon (duo)
3
Clarinette, Violon (duo)
3
Ocarina
3
Flûte à bec Tenor
3
Hautbois et alto (duo)
3
Saxophone, Clarinette (duo)
3
Clarinette, Trombone (duo)
3
Hautbois, trombone (duo)
3
Hautbois, Harpe
3
Flûte à bec Alto, Piano
2
Piccolo
2
Flûte, Hautbois (duo)
2
Clarinette Basse
2
Hautbois, Basson et Piano
2
Flûte à bec, Guitare (duo)
2
Flûte, Clarinette, Violon (trio)
2
Flûte, Saxophone (duo)
2
Instruments en Mib
2
Hautbois, Flûte
2
Cor Anglais
1
Saxophone, Basson (duo)
1
Flûte irlandaise
1
Saxophone et violoncelle
1
Flûte, Tuba (duo)
1
Clarinette, Basson, Piano (trio)
1
Flûte et Quatuor à Cordes
1
Flûte à bec Alto, Basse continue
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Alto et Piano
1
Saxophone et Guitare
1
Harmonica, Piano
1
Flûte, Violon et Violoncelle
1
Flûte traversière, Orgue (duo)
1
Saxophone et Harpe
1
Clarinette, Tuba
1
Flûte à Bec
1
Hautbois, Clarinette et Piano (Trio)
1
+ 108 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
219
Trompette, Piano
213
Trombone et Piano
173
Trompette
136
Quatuor de Cuivres
132
Quatuor de Cuivres : 2 trompettes, trombone, tuba
121
Cor et Piano
116
Trombone
73
2 Trompettes (duo)
50
Euphonium, Piano (duo)
48
Ensemble de Trombones
46
Cor anglais, Piano
42
Tuba et Piano
42
Quatuor de cuivres: 4 trombones
40
Quatuor de Cuivres: 2 trompettes, Cor, trombone
39
2 Trombones (duo)
29
Cor
28
Ensemble de Trompettes
25
Trompette (partie séparée)
23
Trompette, Trombone (duo)
21
Trombone (partie séparée)
19
Quatuor de cuivres: 4 cors
18
2 Cors (duo)
16
Tuba
10
3 Trombones (trio)
9
Cor (partie séparée)
8
Trompette, Cor (duo)
7
Euphonium
6
2 Trompettes, Clavier (piano ou orgue)
6
Trio de Cuivres
5
Trompette, Basson (duo)
5
Tuba (partie séparée)
4
Cor, Tuba (duo)
3
Trompette, Violoncelle (duo)
3
Trombone, Violon (duo)
3
Quatuor de cuivres: 4 trompettes
3
Tuba et Orgue
3
Cor et Harpe
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Cor et Basson (duo)
2
2 Tubas (duo)
2
Instruments en Sib
2
Trombone, Cor (duo)
2
4 Tubas
2
Euphonium, Tuba (duo)
2
3 Cors (trio)
2
Trompette, Tuba (duo)
2
2 Euphoniums et 2 Tubas
2
Cor, Violoncelle (duo)
2
2 Euphoniums (duo)
2
Cor Anglais
1
Trompette, Trombone, Piano
1
Bass Clef Instruments
1
3 Tubas (trio)
1
Trombone, Tuba (duo)
1
2 Trombones, Piano
1
Cor et Orgue
1
Trompette, Saxophone (duo)
1
Trombone basse et Piano
1
Trompette, Violoncelle et Piano
1
Ensemble de Tubas
1
Trompette, Harpe
1
Trombone, Alto (duo)
1
3 Trompettes (trio)
1
+ 59 instrumentations
Retracter
Cordes
Violon et Piano
452
Quatuor à cordes: 2 violons, alto, violoncelle
342
Violoncelle, Piano
288
Alto, Piano
232
Violon
141
Violoncelle
96
2 Violons (duo)
87
Violon, Violoncelle (duo)
83
Trio à Cordes: violon, alto, violoncelle
71
Alto seul
66
Harpe
53
Violon, Alto (duo)
50
2 Violoncelles (duo)
50
Violon (partie séparée)
45
Quintette à cordes: 2 violons, alto, violoncelle, basse
32
2 Altos (duo)
30
Contrebasse, Piano (duo)
25
Trio à Cordes: 2 violons, violoncelle
23
Alto, Violoncelle (duo)
17
Piano Trio: Violon, Alto, Piano
15
Violoncelle (partie séparée)
15
4 Violoncelles
14
Contre Basse
14
Contrebasse (partie séparée)
13
Trio à cordes
12
Alto (partie séparée)
12
Trio à Cordes: 3 violoncelles
11
Trio à cordes: 3 violins
8
Quintette à cordes: 2 violons, 2 altos, violoncelle
8
2 Violons, Piano
7
Harpe, Flûte (duo)
7
Harpe et Piano
6
Quatuor à cordes: 4 violons
6
Violon, Basson (duo)
6
2 Harpes (duo)
5
Trio à Cordes: 2 violons, alto
4
Violon, Guitare (duo)
4
Violon, Clarinette, Piano (trio)
3
Alto et Basson
3
2 Contrebasses (duo)
3
Violoncelle, Contrebasse (duo)
3
Violoncelle , Guitare (duo)
2
Violon, Tuba (duo)
2
4 Harpes
2
Trio à cordes: 3 altos
2
Harpe, Violon (duo)
2
2 Violoncelles, Piano
2
Quatuor à cordes : 4 altos
2
Alto et Harpe
1
Ensemble d'Altos
1
Harpe, Violon, Violoncelle
1
Harpe (partie séparée)
1
Ensemble de Violons
1
Violon, Orgue
1
Violon, Trompette et Piano
1
Violon, Basse continue
1
4 Contrebasses
1
2 Altos, Piano
1
Harpe, Violoncelle (duo)
1
Alto, Guitare (duo)
1
+ 55 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
195
Orchestre d'harmonie
157
Ensemble de cuivres
93
Orchestre
80
Cloches
62
Batterie
51
Orchestre de chambre
46
Ensemble Jazz
42
Fanfare
16
Jazz combo
13
Ensemble de Percussions
10
Percussion (partie séparée)
6
Quintette à Vent
4
Percussion
3
Ensemble d'École
2
Batterie (partie séparée)
2
Timbales (partie séparée)
2
Marimba
2
Xylophone, Piano
1
Vibraphone (partie séparée)
1
Piano et Orchestre
1
Timbales
1
Quatuor à Vent : 4 instruments à vents
1
Xylophone
1
4 Percussions
1
+ 20 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
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VIOLONCELLE
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METHODE : TECHNIQUES
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9976
Prelude 1 in C Major Ionian
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 1 in C Major Ionian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
(+)
Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #789177. Published by Brian Golden (A0.1189545). Prelude 1 in C Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden.  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 7 in Eb Ionian
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 7 in Eb Ionian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
(+)
Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #812790. Published by Brian Golden (A0.1216178). Prelude 7 in Eb Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube.
$5.99
Prelude 13 in F# Major Ionian
#
Piano seul
#
AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 13 in F# Major Ionian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843062. Published by Brian Golden (A0.1248571). Prelude 13 in F# Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 19 in A Major Ionian
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Brian Golden
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Prelude 19 in A Major Ionian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292493 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292493 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883006. Published by Brian Golden (A0.1292493). Prelude 19 in A Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 22 in B Minor Phrygian
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Brian Golden
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Brian Golden
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Prelude 22 in B Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494). Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 4 in D Minor Phrygian
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Brian Golden
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Prelude 4 in D Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden #790596. Published by Brian Golden (A0.1191080). Prelude 4 in D Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 10 in F Minor Phrygian
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Brian Golden
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Prelude 10 in F Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216194 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1216194 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812805. Published by Brian Golden (A0.1216194). Prelude 10 in F Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
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Prelude 16 in G# Minor Phrygian
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Brian Golden
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Prelude 16 in G# Minor Phrygia
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248575 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 8 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248575 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 8 pages. Brian Golden #843067. Published by Brian Golden (A0.1248575). Prelude 16 in G# Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 11 in Db Major Lydian
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Brian Golden
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Prelude 11 in Db Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden...
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Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden #812807. Published by Brian Golden (A0.1216196). Prelude 11 in Db Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 23 in G Major Lydian
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Brian Golden
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Brian Golden
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Prelude 23 in G Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883013. Published by Brian Golden (A0.1292495). Prelude 23 in G Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 17 in E Major Lydian
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Brian Golden
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Brian Golden
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Prelude 17 in E Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843071. Published by Brian Golden (A0.1248579). Prelude 17 in E Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 5 in Bb Major Lydian
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Brian Golden
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Prelude 5 in Bb Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 12 in Bb Minor Dorian
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Brian Golden
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Brian Golden
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Prelude 12 in Bb Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812808. Published by Brian Golden (A0.1216197). Prelude 12 in Bb Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 6 in G Minor Dorian
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Brian Golden
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Brian Golden
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Prelude 6 in G Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #791038. Published by Brian Golden (A0.1191536). Prelude 6 in G Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 18 in C# Minor Dorian
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Brian Golden
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Brian Golden
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Prelude 18 in C# Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #843078. Published by Brian Golden (A0.1248586). Prelude 18 in C# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 24 in E Minor Dorian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 24 in E Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292440 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292440 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883014. Published by Brian Golden (A0.1292440). Prelude 24 in E Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 14 in D# Minor Dorian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 14 in D# Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248570 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248570 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843063. Published by Brian Golden (A0.1248570). Prelude 14 in D# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Happy Birthday Through The Modes - for piano
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Len Rhodes
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Len Rhodes
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Happy Birthday Through The Mod
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Len Rhodes Music
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1294014 By Len Rhodes. By Patty and Mildred J. Hill (1859). Arranged by Len Rhodes. Holiday,Standards,Traditional. Score....
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Piano Solo - Level 4 - SKU: A0.1294014 By Len Rhodes. By Patty and Mildred J. Hill (1859). Arranged by Len Rhodes. Holiday,Standards,Traditional. Score. 7 pages. Len Rhodes Music #884496. Published by Len Rhodes Music (A0.1294014). An exciting “journey for the musician who wants more for their birthday than the tried and tested major key! These seven piano arrangements (including guitar chords) begin with the familiar major (Ionian) mode; and then journey through Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian modes. I think this arranger’s favourite is the Phrygian.Your download contains all seven modal versions - enjoy!
$6.95
Prelude 2 in A Minor Aolian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 2 in A Minor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden...
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Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 20 in F# MInor Aolian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 20 in F# MInor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883008. Published by Brian Golden (A0.1292438). Prelude 20 in F# Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 8 in C Minor Aolian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 8 in C Minor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden #812802. Published by Brian Golden (A0.1216191). Prelude 8 in C Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Ionian Mode Church and Chords in C
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Piano Facile
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INTERMÉDIAIRE
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Sebastian C
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Ionian Mode Church and Chords
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Sebastian
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SheetMusicPlus
Easy Piano - Level 3 - SKU: A0.1047284 Composed by Sebastian C. Davis. Classical,Contemporary,Jazz,Multicultural,Traditional,World. Score. 1 pages. Seba...
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Easy Piano - Level 3 - SKU: A0.1047284 Composed by Sebastian C. Davis. Classical,Contemporary,Jazz,Multicultural,Traditional,World. Score. 1 pages. Sebastian #651837. Published by Sebastian (A0.1047284). Este exercÃcio foi criado para desenvolvimento auditivo do indivÃduo como músico, ao conhecer algo, fica mais fácil reconhecê-lo, então eu apresento a escala no modo grego que se chama Ionian (Jônico) a primeira escala de uma série de 7, também apresento os acordes que podem ser usados na aplicação do modo. Toquem e ouçam a sonoridade tanto dos acordes, quantos da escala, que está em Dó Jônico (C Ionian) Para a leitura de ambas as claves, a escala está disposta na clave de G e de F, os acordes estão transcritos para as duas mãos, o instrumento a ser usado para tocar esses acordes será o piano, mas nada impede que ele seja tocado pelo, violão por exemplo. - Gratidão! This exercise was created for auditory development of the individual as a musician, knowing something, it is easier to recognize it, so I present the scale in the Greek mode that is called Ionian (Ionian) the first scale of a series of 7, I also present the chords that can be used in the application of the mode. Play and hear the sound of both the chords, how many of the scale, which is in C Ionian (C Ionian) For the reading of both claves, the scale is arranged in the clave of G and F, the chords are transcribed to both hands, the instrument to be used to play these chords will be the piano, but I didn't ask him to be played by the guitar for example. Gratitude!
$2.00
Pianosonata number 3, 1st movement
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Piano seul
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AVANCÉ
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Contemporain
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Ian J Miller
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Pianosonata number 3, 1st move
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Ian Miller
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1082708 Composed by Ian J Miller. 20th Century,Classical. Score. 19 pages. Ian Miller #686925. Published by Ian Miller (A...
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Piano Solo - Level 5 - SKU: A0.1082708 Composed by Ian J Miller. 20th Century,Classical. Score. 19 pages. Ian Miller #686925. Published by Ian Miller (A0.1082708). A sonata with scope for interpretation. It is based on the classical form (repeats are ignored in the mp3 file) but it has some features that are more modern. The differences in dynamics should be more marked than the mp3 file, and it should be fun to play. So far, this has been restricted to personal use, so a world premier public performance is available.
$3.99
ALLEGRO FROM "CONCERTO IN G MAJOR BWV 973 "(EASY PIANO) - J. S. BACH
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Piano seul
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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Juliano Music
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ALLEGRO FROM "CONCERTO IN
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Juliano Alessandro Molteni
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SheetMusicPlus
Easy Piano - Level 3 - SKU: A0.804411 Composed by Johann Sebastian Bach. Arranged by Juliano Music. Baroque,Instructional,Sacred. Score. 6 pages. Julian...
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Easy Piano - Level 3 - SKU: A0.804411 Composed by Johann Sebastian Bach. Arranged by Juliano Music. Baroque,Instructional,Sacred. Score. 6 pages. Juliano Alessandro Molteni #5743041. Published by Juliano Alessandro Molteni (A0.804411). MY EASY ARRANGEMENT OF ALLEGRO FROM CONCERTO IN G MAJOR BWV 973 BY J. S. BACH.
$2.49
Piano sonata number 3, movement 3
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Piano seul
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AVANCÉ
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Contemporain
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Ian J Miller
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Piano sonata number 3, movemen
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Ian Miller
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1084460 Composed by Ian J Miller. 20th Century,Classical. Score. 19 pages. Ian Miller #686928. Published by Ian Miller (A...
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Piano Solo - Level 5 - SKU: A0.1084460 Composed by Ian J Miller. 20th Century,Classical. Score. 19 pages. Ian Miller #686928. Published by Ian Miller (A0.1084460). A sonata rondo to complete the work, with an emphasis on melody. A piano with a rich bass will bring out the best of the middle part, where the accompaniment is effectively a further theme, and good balance is required. Towards the end there is scope to express skilled playing. The somata has had no public performance so a world premier public performance is available.
$3.99
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