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Etude in Arpeggiated 4ths for Solo Piano
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CORNET
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Etude in Arpeggiated 4ths for Solo Piano
SheetMusicPlus
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Etude in Arpeggiated 4ths for Solo Piano
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Piano seul
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AVANCÉ
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Peter Saltzman
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Etude in Arpeggiated 4ths for
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Salt Muse, Inc
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1156486 By Peter Saltzman. By Peter Saltzman. 20th Century,Classical,Jazz. Score. 8 pages. Salt Muse, Inc #756807. Publis...
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Piano Solo - Level 5 - SKU: A0.1156486 By Peter Saltzman. By Peter Saltzman. 20th Century,Classical,Jazz. Score. 8 pages. Salt Muse, Inc #756807. Published by Salt Muse, Inc (A0.1156486). This study is the first in a series of 6 I composed in the early 1990s. As the title suggests, it's all about arpeggiated 4ths. Harmonically and melodically, it's in a jazz style, though rhythmically, it's almost nothing but straight 16ths. The tune (in the left hand) reminds me of Thelonious Monk.
$3.95
Etude 2.5 + 3.0 for Piano Solo from 25 Etudes using Symmetry, Mirroring and Intervals
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Piano seul
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AVANCÉ
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Michael Bomier
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Etude 2.5 + 3.0 for Piano Solo
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.862555 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 5 pages. Michael Butkus-Bomier #2034473. ...
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Piano Solo - Level 5 - SKU: A0.862555 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 5 pages. Michael Butkus-Bomier #2034473. Published by Michael Butkus-Bomier (A0.862555). When using the intervals of a 4th and a tritone as material for a non-jazz piece, one has to be careful not to make the music sound like jazz, as this particular interval set comprises the essential dominant chord voicing for most jazz pianists. G-C#-F#, for instance, as a representation of A13 or A7. So, this piece uses complete symmetry, mirroring and topographically equivalent fingerings throughout, so as to avoid this problem. Admittedly, the spellings are not easy to decipher. They often use the flatted form of a note in one clef, and the sharped form of that same musical alphabet letter in the other. This is to avoid endless naturals, as the half-step motion, so typical of movement between 4ths and tritones, necessitates. Arpeggiated figures, block chords, and even some delicious chimes at the close make this piece more than a mere display of intervallic and pianistic options. It has a feeling all its own, as the sequential chromatic meandering up from the lower end of the keyboard to the upper shows each color in turn, all the while keeping to the strict rules that these etudes were constructed under.This is the last of the groups of two interval pieces. Running time is just under 3 mins. MBB.
$2.25
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Etude in Arpeggiated 4ths for Solo Piano