Fantasie-Legende für Posaune und Klavier by early 20th Century Danish composer Axel Jørgensen was forgotten for quite a while but has been rediscovered, edited and recorded by noted Danish Trombonist and educator Niels-Ole Bo Johansen.

The work is in a late Romantic style with hints of expressionism, about 4 minutes in length and is appropriate for advanced intermediate level performers (range is up to a high B).

The beautifully performed sample is by Mr. Johansen and pianist Erik Kaltoft from the CD, The French Connection.

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

From Robert Orledge's notes:

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).

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.

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.

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?

From Robert Orledge's notes:

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).

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.

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.

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.

The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.

The sound sample is the live performance.

The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).

Ford explains the significance of these unique scores:

"In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."

"By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."

"Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."

"Now, anyone wishing to realize a chromicon is at liberty to follow any path?straight or curvilinear?from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."

"Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."

Video of Chromicon III
https://www.youtube.com/watch?v=VHMw-vzZlGE

Recorded by Nicolas Horvath on Grand Piano records (GP822)

Debussy?s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bédier?s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner?s Tristan und Isolde are that none of the action takes place in Cornwall and that ?Isolde of the White Hands? is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.

The idea of a Tristan that restored its ?legendary character? and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan?s death. Even if he thought that Mourey?s poetry was ?not very lyrical and many passages do not exactly ?invite? music?, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ?one of the 363 themes for the ?Roman de Tristan?? in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong ?Le Faucon?. After a short atmospheric introduction, Debussy?s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy?s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.

Unfortunately, Mourey?s actual libretto has been lost and the project eventually foundered because Bédier?s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey?s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!

Robert Orledge

This "Classical Pop" cover, arranged by Kawai Artist Christine Brown, is an (adv./intermediate) solo piano arrangement of the iconic "Bohemian Rhapsody", a chill, classical/new age version of the song. From the popular piano cover album"Timeless", part 2 of a collection of classic rock/pop hits that are blended "seamlessly" with other pop or classical songs, appealing to generations young and old, being introduced to the iconic classics in a new way. Christine is a distinguished Kawai Piano Artist and award-winning composer of contemporary classical solo piano. Christine?s music is a unique blend of new age, contemporary and classical sounds. With her graceful, elegant touch, Christine paints a colorful landscape with thoughtful musical interpretations of life's emotions and experiences. Since the young age of three, she has been fascinated by the piano. Christine's childhood classical training is evident in her melodic and thematic compositions, while rich harmonies reflect her background in accompanying various choral groups. From Chopin to Joplin, her influences were varied and many, and she also enjoyed creating her own arrangements of popular songs. While attending the University of Colorado, Christine was inspired by George Winston's new age genre of solo piano, yet for many years the piano remained only a hobby. Christine rediscovered her passion for the piano, immersing herself in her music after the loss of her mother in 1990. She began composing, using the piano to voice her emotions, releasing heartfelt compositions that captured listeners.

Christine has released 13 CDs, including her original works, "a mixture of passion, exceptional playing chops and an abundance of grace consistently puts her music in a category of its own. . . the pieces express a wide range of emotions and experiences with depth, sincerity and an elegant touch." MainlyPiano.com. Her original music on ?Souvenirs" (2014) won Best Solo Piano Album of the Year by Whisperings Solo Piano Radio. Christine?s unique arrangements of holiday, pop/rock and children?s music have earned numerous awards. ?A Classic Christmas II? was awarded Best Holiday Album of 2018 by SoloPiano.com. ?Seamless? (2016), a creative mashup collection, was awarded SoloPiano.com's Pop/Rock Piano Album of the Year 2016 a unique fusion of popular cover songs and classical and new age pieces, a sophisticated and seamless musical tapestry with clever medleys of timeless melodies. Original albums, ?Ascend? (2017), ?The Wishing Well" (2011) and "Promise" ( 2009), were also nominated for Piano Album of the Year. Reviewers have noted Christine?s music as ?so stunning and full flowing, with wonderfully crafted compositions and magical and emotive performances. Her care and attention to detail while creating such incredibly powerful and moving pieces will not go unnoticed."

Christine?s style of playing has a unique classical influence with a new age sensitivity that evokes strong emotions. Inspired by her life experiences and emotions, Christine creates captivating music that tells a story, with depth and sincerity. Fans write, "Her music is vibrant, colorful and full of life. Skilled at the art of blending chords and note progressions into beautiful aural tapestries, her emotions come through her music ... and through her music she is able to reach out and touch the hearts of millions of appreciative piano music fans." Christine currently resides in San Diego, California.

A gorgeous arrangement of the Moody Blues classic, "Nights in White Satin", blended with nuances of Debussy's classical masterpiece, "Clair de Lune". This "Classical Pop" cover, arranged by Kawai Artist Christine Brown, is a solo piano arrangement from the popular piano cover album"Timeless", part 2 of a collection of classic rock/pop hits that are blended "seamlessly" with classical songs, appealing to generations young and old, being introduced to the iconic classics in a new way. Christine is a distinguished Kawai Piano Artist and award-winning composer of contemporary classical solo piano. Christine?s music is a unique blend of new age, contemporary and classical sounds. With her graceful, elegant touch, Christine paints a colorful landscape with thoughtful musical interpretations of life's emotions and experiences. Since the young age of three, she has been fascinated by the piano. Christine's childhood classical training is evident in her melodic and thematic compositions, while rich harmonies reflect her background in accompanying various choral groups. From Chopin to Joplin, her influences were varied and many, and she also enjoyed creating her own arrangements of popular songs. While attending the University of Colorado, Christine was inspired by George Winston's new age genre of solo piano, yet for many years the piano remained only a hobby. Christine rediscovered her passion for the piano, immersing herself in her music after the loss of her mother in 1990. She began composing, using the piano to voice her emotions, releasing heartfelt compositions that captured listeners.

Christine has released 13 CDs, including her original works, "a mixture of passion, exceptional playing chops and an abundance of grace consistently puts her music in a category of its own. . . the pieces express a wide range of emotions and experiences with depth, sincerity and an elegant touch." MainlyPiano.com. Her original music on ?Souvenirs" (2014) won Best Solo Piano Album of the Year by Whisperings Solo Piano Radio. Christine?s unique arrangements of holiday, pop/rock and children?s music have earned numerous awards. ?A Classic Christmas II? was awarded Best Holiday Album of 2018 by SoloPiano.com. ?Seamless? (2016), a creative mashup collection, was awarded SoloPiano.com's Pop/Rock Piano Album of the Year 2016 a unique fusion of popular cover songs and classical and new age pieces, a sophisticated and seamless musical tapestry with clever medleys of timeless melodies. Original albums, ?Ascend? (2017), ?The Wishing Well" (2011) and "Promise" ( 2009), were also nominated for Piano Album of the Year. Reviewers have noted Christine?s music as ?so stunning and full flowing, with wonderfully crafted compositions and magical and emotive performances. Her care and attention to detail while creating such incredibly powerful and moving pieces will not go unnoticed."

Christine?s style of playing has a unique classical influence with a new age sensitivity that evokes strong emotions. Inspired by her life experiences and emotions, Christine creates captivating music that tells a story, with depth and sincerity. Fans write, "Her music is vibrant, colorful and full of life. Skilled at the art of blending chords and note progressions into beautiful aural tapestries, her emotions come through her music ... and through her music she is able to reach out and touch the hearts of millions of appreciative piano music fans." Christine currently resides in San Diego, California.

10,000 REASONS (Bless the Lord, O My Soul), written by Jonas Myrin and Matt Redman, has been recorded by many of today's top Christian artists, and continues to be one of the most popular Praise and Worship songs of the 21st century. This arrangement, for pianists at an advanced intermediate level, wonderfully showcases the tune, capturing its beautiful simplicity. Judicious use of pedal, attention to dynamic markings, and, above all, sensitive and expressive interpretation,, will result in a memorable experience for both player and listener. Enjoy!

Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper.

Composed by Maurice Ravel (1875-1937). Arranged for Bb Clarinet and Piano by Seunghee Lee. Piano Score (4 pages), Clarinet in Bb (1 page). Published by Musica Solis.

Best Collection for Adult Piano Students: 30 of the most important and beloved classical piano pieces

Why this collection?

These are the editions I created and use for myself and my adult piano students. They are not "arrangements" or simplifications in any way. They are better described as "clarifications" with clean page layouts and comprehensive fingering.

These editions enable students to encounter the composers "face to face" by stripping away antiquated publishing conventions. Traditional editions, especially the economical older ones, prevent students from being able to prepare and perform the beloved music, rather than enabling and supporting successful performance.

Traditional piano music publications suffer from two fatal flaws: (1) the economic need to "save paper" resulting in page layouts that are too dense, and which compound the problem by obfuscating the natural 2 and 4 bar structures of music, and (2) the absence of technical solutions (fingering).

The exception in this collection is the arrangement of the Pachelbel Canon in D, because it was not originally composed for keyboard.

Contents

1 Canon in D and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Pachelbel

2 Prelude No. 1 in C Major, BWV 846 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach

3 Prelude No. 2 in C minor, BWV 847 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach

4 Prelude No. 21 in Bb Major, BWV 866 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach

5 Aria from the Goldberg Variations, BWV 988 and#8195;and#8195; and#8195;and#8195;and#8195;Johann Sebastian Bach

6 Invention No. 1 in C Major, BWV 772 and#8195; and#8195;and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;Johann Sebastian Bach

7 Menuet No. 2 from French Suite No. 1, BWV 812 and#8195;and#8195;and#8195; Johann Sebastian Bach

8 Menuet No. 2 from English Suite No. 4, BWV 809 and#8195;and#8195;and#8195;Johann Sebastian Bach

9 Menuet from French Suite No. 2, BWV 813 and#8195; and#8195; and#8195;and#8195;and#8195;Johann Sebastian Bach

10 ?Jesu, Joy of Man?s Desiring?, from Cantata, BWV 147 and#8195;Johann Sebastian Bach

11 Sarabande from Suite in D minor, HWV 437 and#8195;and#8195;and#8195;and#8195;and#8195; George Frideric Handel

Sonata in A, K. 331 ?Rondo alla Turca? and#8195; and#8195; and#8195;and#8195;and#8195;and#8195; Wolfgang Amadeus Mozart

12and#8195;and#8195;III. Allegretto

Sonata in C, K. 545 and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Wolfgang Amadeus Mozart

13and#8195;and#8195;I. Allegro

14 II. Andante

15 Für Elise and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Ludwig van Beethoven

Sonata No. 14 ?Moonlight? Sonata and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Ludwig van Beethoven

16and#8195;and#8195;I. Adagio sostenuto (transposed to D minor)

and#8195;and#8195; I. Adagio sostenuto (original key C# minor)

Sonata Op. 13, No. 2 ?Pathetique? and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Ludwig van Beethoven

17and#8195;and#8195;I. Grave/Allegro

18and#8195;and#8195;II. Adagio

19 Impromptu, Op. 90, No. 2 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Franz Schubert

20 Prelude in E minor, Op. 28 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin

21 Prelude in C minor, Op. 28 and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin

22 Nocturne No. 20 in C# minor and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin

23 Nocturne in Eb, Op. 9, No. 2 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Frédéric Chopin

24 Träumerei Op. 15, No. 7 from ?Scenes from Childhood? Robert Schumann

25 Ständchen (?Serenade?) D. 957/S. 560 and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Franz Schubert/Franz Liszt

26 Rêverie and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Claude Debussy

27 La fille aux cheveux de lin (?The Girl with the Flaxen Hair?) Claude Debussy

28 Arabesque No. 1 and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;Claude Debussy

29 Clair de Lune and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Claude Debussy

30 Gymnopedie and#8195; and#8195; and#8195; and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195;and#8195; Erik Satie

DOCTOR GRADUS AD PARNASSUM from ?Children?s Corner Suite? by CLAUDE DEBUSSY for PIANO SOLO. The Latin phrase gradus ad Parnassum means "steps to Parnassus?. Debussy composed Children's Corner between 1906 and 1908. This piece is actually a rather ingenious study in finger independence with a Twentieth Century vocabulary. In the middle, the pianist slows down and tries his material in other keys for exercise. Debussy's Doctor Gradus Ad Parnassum is of intermediate difficulty and requires experienced fingers. The pianist gets wilder toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".This edition also includes a short biography of Debussy and some facts about the piece.

Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940

La Fille aux Cheveux de Lin

The Girl with Flaxen Hair

Music by Claude Debussy (FR, 1862 - 1918)

Trumpet and piano arrangement by Frédéric Quinet (FR, 1985)
Artist version. (3"30')
Set of part with :
Trumpet in Bb
Piano

With ten of the most popular pieces for wedding ceremonies, this intermediate-level collection is perfect for aspiring and professional musicians alike. Arranged for alto and tenor sax duet with optional piano accompaniment.

Air on the G String
Bridal Chorus
Canon in D
Clair de Lune
The Four Seasons (Spring)
Jesu, Joy of Man's Desiring
Ode to Joy
Prelude No. 1 from the Well-Tempered Clavier Bk 1
Trumpet Voluntary
Wedding March

Includes all scores and parts.

"Have Yourself a Merry Little Christmas" has got to be one of the most classic Christmas songs of all time. It was written by Hugh Martin and Ralph Blane for the 1944 movie "Meet Me in St. Louis", starring Judy Garland. According to an interview with the writers in 1989, when Judy first read the words she refused to sing it because the words were too depressing. Martin and Blane revised it, and that version was used in the movie. This piano solo is written for advanced intermediate level, and begins with a beautiful, flowing style, full of rich chording, and changes into a "piano bar" style, with a single line melody in the R.H. and bass and chords in the L.H. The melody is written using many triplets and a swing rhythm that is similar to the way it is sung by many famous artists. There is lots of helpful fingering, making many passages flow with ease. Pedal this song about every 2 beats to maintain a clean sound. Arranged by Amy J. Snyder. Visit AmyJoMusic at www.facebook.com/amyjsnyder7and#65279;. Copyright (c) 1943 (Renewed) METRO-GOLDWYN-MAYER INC. (c) 1944 (Renewed) EMI FEIST CATALOG INC. All Rights Controlled and Administered by EMI FEIST CATALOG INC. (Publishing) and ALFRED MUSIC (Print) All Rights Reserved.

With this sheet music, you can play "Rocket Man" by Elton John on piano!

It's an accurate, carefully created piano arrangement of the full song.

The entire melody is included in the piano part, so it makes for a perfect instrumental / piano solo cover.

Thanks to Elton John's impressive piano skills, "Rocket Man" is certainly a challenging piece to play - but it will sound amazing when you master it!

"Rocket Man (I Think It's Going to Be a Long, Long Time)" first appeared on Elton John's 1972 album "Honky Château", and served as the album's first single.

Inspired by Ray Bradbury's story "The Rocket Man" and David Bowie's "Space Oddity", the song became one of Elton John's biggest hits! It was certified Platinum 3 times in the United States, and is also included on Rolling Stone magazine's list of the 500 greatest songs of all time.

Elton John's 1972 super hit makes for an amazing piano performance!

This is a very dramatic arrangement of O the Deep, Deep Love of Jesus for advanced intermediate piano solo. The intro, interlude and ending are borrowed from Bach's 2-part Invention in A minor. The hymn begins quietly and simple, but builds in intensity by the 2nd verse with bass octaves, chords, and arpeggios and R.H. 3 and 4 note chords. Use rubato on the quieter sections for a very moving performance. LOTS of helpful fingering added (especially the Bach sections!). This tune of the hymn is an old Welsh melody that is very haunting; it blends with the Bach invention very nicely. Great arrangement for church prelude, offertory or special music; impressive recital piece, too. Arranged by Amy J. Snyder. Visit Amy at https://www.facebook.com/amyjsnyder7.

Format: PDF Songbook (96 pages)

Title: Memories: Best of Solo Piano

Info: Contains 15 solo piano songs

Album: Memories - Best of Solo Piano

Artist: Ryan Stewart

Composer: Ryan Stewart

Publisher: Ryan Stewart Music Copyright © 2015 - All rights reserved. Please do not share, distribute or otherwise copy this sheet music without the express permission from Ryan Stewart Music http://www.ryanstewartmusic.com.

COMPOSER: Ryan Stewart

INSTRUMENTS: Piano Solo

GENRES: 21st Century, New Age

LEVEL: Intermediate and Advanced songs

Song: Garden Of Souls (Solo Piano) Album: Memories - Best of Solo Piano Artist: Ryan Stewart Composer: Ryan Stewart Publisher: Ryan Stewart Music Copyright © 2015 - All rights reserved. Please do not share, distribute or otherwise copy this sheet music without the express permission from Ryan Stewart Music http://www.ryanstewartmusic.com.

Fantasy Sonata, Op. 40 for Trombone and Piano by Benjamin Schroen is a work composed in 1900 which was forgotten and now rediscovered by musicologist and conductor, Dr. Keith Davies Jones.

Fantasy Sonata is written in the same virtuoso style as compositions of that period by Joseph Serafin Alschausky, and though quite challenging, it is fully idiomatic for the trombone. There is a passing ?reference? to the Concerto by Rimsky-Korsakov, and it is just possible that Schroen might have been familiar with that work as a trombonist himself. There are also some stylistic similarities to the Fantasia for trombone and organ Op.58 composed in the mid-19th century by Friedrich August Belcke (1795 ? 1874).

The 6.5-minute work featuring several short cadenzas, contrasting dramatic and expressive sections is in Romantic style, in bass and tenor clef and appropriate for intermediate to advanced performers.