Let's Fall To Pieces Together - Partitions musicales à imprimer

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Let's Fall To Pieces Together

Let's Fall To Pieces Together

#Let's Fall To Pieces Together

Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by Scott Camp
This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music. <br> <br> In my experience, every elementary piano student should be given the opportunity to successfully play:<br> Spinning Song (even if you leave out the middle section at first)<br> Minuet in G (page one)<br> Fur Elise (page one)<br> <br> Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection. <br> <br> All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions. <br> <br> "Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.<br> <br> Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening. <br> <br> So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior. <br> <br> If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly. <br> <br> "Practice Makes... "<br> <br> If you said "Perfect" then you've fallen into a sinister trap. <br> <br> "Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career. <br> <br> Here's the process in general:<br> Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?<br> <br> That's something for us professionals to consider.<br> <br> <br> Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!<br> <br> Contents<br> <br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G minor from the Notebook for Anna Magdalena Bach<br> Musette in D from the Notebook for Anna Magdalena Bach<br> Minuet in F Wolfgang Amadeus Mozart<br> Ecossaise in G Ludwig van Beethoven<br> Sonatina in G Ludwig van Beethoven<br> I Allegretto<br> II Romanze<br> Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler<br> I Allegro <br> The Wild Horseman, Op. 68, No. 8 Robert Schumann<br> Fur Elise (Famous Page 1) Ludwig van Beethoven<br> Spinning Song, Op. 14, No. 4 Albert Elmenreich<br> Arabesque, Op. 100, No. 2 Friedrich Burgmüller<br> Ballade, Op. 100, No. 15 Friedrich Burgmüller<br> Solfeggietto Carl Philipp Emanuel Bach<br> Toccatina, Op. 27, No. 12 Dmitri Kabalevsky<br> Fur Elise (Complete) Ludwig van Beethoven<br> Sonatina, Op. 55, No. 1 Friedrich Kuhlau<br> I Allegro <br> Sonatina, Op. 36, No. 3 Muzio Clementi<br> I Spiritoso <br> La Vélocité, Op. 109, No. 10 Friedrich Burgmüller<br> <br> <br> These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering. <br> <br> The hand position notation is used to better communicate what exactly is being demanded of the student. Students’ repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores “playing music on the piano” to primacy and supports “helping a student play music on the piano” as the central activity of the piano lesson. <br> <br> Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.<br> <br> Good luck!<br> Scott Camp<br> scottcampislandpiano@gmail.com

Guitar Tab - Advanced Intermediate - Digital Download Composed by Bradley Powell (The Candlelight Guitarist). Impressionistic, Post- Romantic, Jazz, Recital, New Age. Solo Part, Tablature. 6 pages. Published by Geofonica Artistworks
This is a beautiful, tender and heartfelt, finger-style guitar solo (ballad), exactly as performed by The Candlelight Guitarist on the album "Sunflower Serenity." As with other Candlelight Guitarist pieces, it seamlessly blends romantic popular, folk, classical and jazz styles. Written in both standard notation and TAB, it's for a strong intermediate level finger-style player (budding-into-more advanced), comfortable playing up to 12th position, with capable finger-style abilities (either classical or strong folk technique). Hear Brad's original recording at https://youtu.be/5wIn_Z5iuQA<br> <br> COMMENTS FROM LONG-ESTABLISHED REVIEWERS...<br> Dr. Beth - Amazon.com #1 Hall of Fame reviewer<br> "Brad has a knack for putting together gentle, soothing guitar medleys which provide the perfect background or relaxation soundtrack."<br> <br> Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age Retailer<br> "The Candleight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals."<br> <br> Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWER<br> "Bradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart." ... "Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences."<br> <br> Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: "Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell."<br> <br> Jana L. Perskie "Ceruleana" (New York, NY USA) ~ Amazon.com TOP 50 Reviewer.<br> "The talented and creative Bradley Powell is the Candlelight Guitarist. His music is original and some of the most soul soothing I have ever heard.<br> <br> Bob McKillop, founder and publisher, MaineFolkMusic.com<br> Brad Powell is a talented and highly trained California guitarist and composer who calls himself "The Candlelight Guitarist", and for good reason. His music is perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation – the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender."<br> <br> Grady Harp - HALL OF FAME TOP 100 REVIEWER<br> "music to soothe and calm and enrich the psyche. Would that there were more Brad Powells out there to help us all through these times. The world would be a saner place!"<br> <br> ABOUT: Bradley Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for "Little House on the Prairie"). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mi

Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo ViÃ±es, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâ€™s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâ€™s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo ViÃ±es, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâ€™s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâ€™s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. Th.

Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo ViÃ±es, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâ€™s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâ€™s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Instrumental Duet English Horn,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.859675 Composed by Sydney Stevens. 20th Century,Concert,Contemporary,New Age. Score and parts. 13 pages. Sydney Stevens, Water Music #3089187. Published by Sydney Stevens, Water Music (A0.859675). Contact: sydneystevenspianostudio@gmail.comClouds/Rain (from Seasons Suite): Dark clouds gather. A thunderstorm begins with gentle rain..High energy, forward moving instrumental. Arranged for Piano & English Horn. Full score & part scores included with download.Composed by Sydney Stevens (ASCAP).Sounds like: Paul McCandless, Scott Cossu, A la Windham HillFrom Album: SeasonsTheme: Music that portrays the building of a thunderstorm in mid-winter.Mood: Dark, flowing, energeticMusical Traits: Single notes and octaves in left hand piano with driving right hand triplet pattern.Long, sustained melodic English Horn part.Contemporary Classical (tonal with strong themes), New Age acoustics, Romantic, Easy listening.Performance Time: 2:52Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links: www.sydneystevenswatermusic.comhttps://www.linkedin.com/in/sydney-stevens-532a113a/ Review of Seasons Suite by Kathy Parsons (mainlypiano.com):The Seasons Suite begins with Colors Change, obviously about the transition of summer into fall, but also about the concept of change as we grow. Reflective and subdued, the interplay between Stevensâ€™ piano and Iimoriâ€™s oboe is effortless and flowing. Autumn Wind picks up the pace a bit, but continues the easy flow, bringing images of leaves swirling. Signs of Winter is a bit darker and more mysterious. Iimori is a big fan of Paul McCandless, and that musicianâ€™s influence is very strongly heard in these first three pieces - a very good thing! In Clouds, Iimori switches from oboe to English horn. This duet with the piano is a dramatic musical depiction of the gathering clouds and anticipation of a coming thunder storm. I really like it a lot! Snow is tranquility set to music. Sparrowâ€™s Song brings us to the beginnings of spring - the freshness in the air, and the joyful songs of birds in the yard. July reflects the laziness of a hot summer day. Seasonâ€™s Reprise brings together the themes from the various seasons, creating a lovely closing to the Suite.

C Instrument - Level 3 - Digital Download SKU: A0.1167844 By The Candlelight Guitarist. By Bradley Powell. Arranged by Bradley Powell. Classical,Folk,Jazz,New Age. Lead Sheet / Fake Book. 4 pages. Geofonica Artistworks #768176. Published by Geofonica Artistworks (A0.1167844). Detailed lead sheet for the piece Stream Serenade - composed by Bradley Powell (who records as The Candlelight Guitarist) from his album Music for Rest & Renewal (with nature sounds). Like other Candlelight Guitarist pieces, it blends classical, jazz, folk, blues and others styles. It is a simple piece, but with stylistic depth that can work well for players from early intermediate to advanced. This lead sheet is in standard notation, with the complete melody (including double stops, octaves and lead features), chord symbols, plus the key rhythm guitar intro pattern (also in standard notation).COMMENTS FROM LONG-ESTABLISHED REVIEWERS (for this and other Candlelight Guitarist recordings)...Dr. Beth - Amazon.com #1 Hall of Fame reviewerBrad has a knack for putting together gentle, soothing guitar medleys which provide the perfect background or relaxation soundtrack.Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age RetailerThe Candleight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals.Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWERBradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart. ... Â Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences.Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell.Jana L. Perskie Ceruleana (New York, NY USA) ~ Amazon.com TOP 50 Reviewer.The talented and creative Bradley Powell is the Candlelight Guitarist. His music is original and some of the most soul soothing I have ever heard.Bob McKillop, founder and publisher, MaineFolkMusic.comBrad Powell is a talented and highly trained California guitarist and composer who calls himself The Candlelight Guitarist, and for good reason. His music is perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation â€“ the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender.ABOUT: Brad Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protÃ©gÃ© of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under AndrÃ©s Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. When not making music, Brad is often out hiking with his four dogs. Since 2019, Brad has also played as the solo guitarist for Disney's Princess Breakfast Adventure at Disney's Grand Californian Resort by Disneyland, providing music for the Disney Princesses (Belle, Tiana, Jasmine, Rapunzel, Mulan, Aurora, Ariel, and Pocahontas) each morning!

Eight Tarot Cards for Madam Rubio ... Il Saltimbanco (1997) for two marimbas
Marimba

Marimba Solo - Level 4 - Digital Download SKU: A0.869369 Composed by Thomas Oboe Le…(+)

Marimba Solo - Level 4 - Digital Download SKU: A0.869369 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Individual part. 6 pages. Thomas Oboe Lee #33645. Published by Thomas Oboe Lee (A0.869369). Program note. Program note:Eight Tarot Cards for Madam Rubio! was originally a 22-movement work for two pianos entitled, The Visconti-Sforza Tarot Cards. I sent a copy of the two-piano version to Nancy Zeltsman who, with Janis Potter, recently created the marimba duo, Madam Rubio. They thought some of the pieces could translate very well as pieces for marimba duo. I have to give complete credit to Nancy's ingenuity and creativity for this version. The transcription, arrangement and order of Eight Tarot Cards for Madam Rubio! are completely hers. [The numbering of the movements may look bizarre, but it is the original Tarot numbering.] I. Il Saltimbanco ... The Mountebank shuffles his cards and does a samba. XVI. La Torre ... The Tower topples and crashes onto the populace gathered below. II. La Papessa ... The High Priestess concocts a magic potion. XXI. Il Mondo ... The World would be a happier place if we all dance together. XIII. La Morte ... Death lurks around the corner. X. La Ruota della Fortuna ... Fortunes rise and fall unpredictably. III. L'Imperatrice ... The Empress dances all night. XIX. Il Sole ... Sunshine, margaritas and salsa cubana. And if an encore is requested ... XVII. La Stella ... Twinkle, twinkle, little star ... [Marimba I requires a 4.5 octave (low E) instrument and Marimba II requires a 5-octave (low C) instrument.]
$9.99 9.03 € #Marimba #Thomas Oboe Lee #Eight Tarot Cards for Madam Rubio ... Il Saltimbanco #Thomas Oboe Lee #SheetMusicPlus

Eight Tarot Cards for Madam Rubio ... Il Saltimbanco (1997) for two marimbas
Marimba

Marimba Solo - Level 4 - Digital Download SKU: A0.869300 Composed by Thomas Oboe Le…(+)

Marimba Solo - Level 4 - Digital Download SKU: A0.869300 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Individual part. 6 pages. Thomas Oboe Lee #2023703. Published by Thomas Oboe Lee (A0.869300). Program note. Program note:Eight Tarot Cards for Madam Rubio! was originally a 22-movement work for two pianos entitled, The Visconti-Sforza Tarot Cards. I sent a copy of the two-piano version to Nancy Zeltsman who, with Janis Potter, recently created the marimba duo, Madam Rubio. They thought some of the pieces could translate very well as pieces for marimba duo. I have to give complete credit to Nancy's ingenuity and creativity for this version. The transcription, arrangement and order of Eight Tarot Cards for Madam Rubio! are completely hers. [The numbering of the movements may look bizarre, but it is the original Tarot numbering.] I. Il Saltimbanco ... The Mountebank shuffles his cards and does a samba. XVI. La Torre ... The Tower topples and crashes onto the populace gathered below. II. La Papessa ... The High Priestess concocts a magic potion. XXI. Il Mondo ... The World would be a happier place if we all dance together. XIII. La Morte ... Death lurks around the corner. X. La Ruota della Fortuna ... Fortunes rise and fall unpredictably. III. L'Imperatrice ... The Empress dances all night. XIX. Il Sole ... Sunshine, margaritas and salsa cubana. And if an encore is requested ... XVII. La Stella ... Twinkle, twinkle, little star ... [Marimba I requires a 4.5 octave (low E) instrument and Marimba II requires a 5-octave (low C) instrument.]
$9.99 9.03 € #Marimba #Thomas Oboe Lee #Eight Tarot Cards for Madam Rubio ... Il Saltimbanco #Thomas Oboe Lee #SheetMusicPlus

Eight Tarot Cards for Madam Rubio ... La Stella (1997) for two marimbas

Small Ensemble - Level 4 - Digital Download SKU: A0.869296 Composed by Thomas Oboe …(+)

Small Ensemble - Level 4 - Digital Download SKU: A0.869296 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 6 pages. Thomas Oboe Lee #2022197. Published by Thomas Oboe Lee (A0.869296). Program note. Program note:Eight Tarot Cards for Madam Rubio! was originally a 22-movement work for two pianos entitled, The Visconti-Sforza Tarot Cards. I sent a copy of the two-piano version to Nancy Zeltsman who, with Janis Potter, recently created the marimba duo, Madam Rubio. They thought some of the pieces could translate very well as pieces for marimba duo. I have to give complete credit to Nancy's ingenuity and creativity for this version. The transcription, arrangement and order of Eight Tarot Cards for Madam Rubio! are completely hers. [The numbering of the movements may look bizarre, but it is the original Tarot numbering.] I. Il Saltimbanco ... The Mountebank shuffles his cards and does a samba. XVI. La Torre ... The Tower topples and crashes onto the populace gathered below. II. La Papessa ... The High Priestess concocts a magic potion. XXI. Il Mondo ... The World would be a happier place if we all dance together. XIII. La Morte ... Death lurks around the corner. X. La Ruota della Fortuna ... Fortunes rise and fall unpredictably. III. L'Imperatrice ... The Empress dances all night. XIX. Il Sole ... Sunshine, margaritas and salsa cubana. And if an encore is requested ... XVII. La Stella ... Twinkle, twinkle, little star ... [Marimba I requires a 4.5 octave (low E) instrument and Marimba II requires a 5-octave (low C) instrument.]
$9.99 9.03 € #Thomas Oboe Lee #Eight Tarot Cards for Madam Rubio ... La Stella #Thomas Oboe Lee #SheetMusicPlus

Eight Tarot Cards for Madam Rubio ... La Morte (1997) for two marimbas

Small Ensemble - Level 4 - Digital Download SKU: A0.869291 Composed by Thomas Oboe …(+)

Small Ensemble - Level 4 - Digital Download SKU: A0.869291 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 2 pages. Thomas Oboe Lee #2022193. Published by Thomas Oboe Lee (A0.869291). Program note. Program note:Eight Tarot Cards for Madam Rubio! was originally a 22-movement work for two pianos entitled, The Visconti-Sforza Tarot Cards. I sent a copy of the two-piano version to Nancy Zeltsman who, with Janis Potter, recently created the marimba duo, Madam Rubio. They thought some of the pieces could translate very well as pieces for marimba duo. I have to give complete credit to Nancy's ingenuity and creativity for this version. The transcription, arrangement and order of Eight Tarot Cards for Madam Rubio! are completely hers. [The numbering of the movements may look bizarre, but it is the original Tarot numbering.] I. Il Saltimbanco ... The Mountebank shuffles his cards and does a samba. XVI. La Torre ... The Tower topples and crashes onto the populace gathered below. II. La Papessa ... The High Priestess concocts a magic potion. XXI. Il Mondo ... The World would be a happier place if we all dance together. XIII. La Morte ... Death lurks around the corner. X. La Ruota della Fortuna ... Fortunes rise and fall unpredictably. III. L'Imperatrice ... The Empress dances all night. XIX. Il Sole ... Sunshine, margaritas and salsa cubana. And if an encore is requested ... XVII. La Stella ... Twinkle, twinkle, little star ... [Marimba I requires a 4.5 octave (low E) instrument and Marimba II requires a 5-octave (low C) instrument.]
$9.99 9.03 € #Thomas Oboe Lee #Eight Tarot Cards for Madam Rubio ... La Morte #Thomas Oboe Lee #SheetMusicPlus

Eight Tarot Cards for Madam Rubio ... La Torre (1997) for two marimbas

Small Ensemble - Level 4 - Digital Download SKU: A0.869289 Composed by Thomas Oboe …(+)

Small Ensemble - Level 4 - Digital Download SKU: A0.869289 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 6 pages. Thomas Oboe Lee #2022187. Published by Thomas Oboe Lee (A0.869289). Program note. Program note:Eight Tarot Cards for Madam Rubio! was originally a 22-movement work for two pianos entitled, The Visconti-Sforza Tarot Cards. I sent a copy of the two-piano version to Nancy Zeltsman who, with Janis Potter, recently created the marimba duo, Madam Rubio. They thought some of the pieces could translate very well as pieces for marimba duo. I have to give complete credit to Nancy's ingenuity and creativity for this version. The transcription, arrangement and order of Eight Tarot Cards for Madam Rubio! are completely hers. [The numbering of the movements may look bizarre, but it is the original Tarot numbering.] I. Il Saltimbanco ... The Mountebank shuffles his cards and does a samba. XVI. La Torre ... The Tower topples and crashes onto the populace gathered below. II. La Papessa ... The High Priestess concocts a magic potion. XXI. Il Mondo ... The World would be a happier place if we all dance together. XIII. La Morte ... Death lurks around the corner. X. La Ruota della Fortuna ... Fortunes rise and fall unpredictably. III. L'Imperatrice ... The Empress dances all night. XIX. Il Sole ... Sunshine, margaritas and salsa cubana. And if an encore is requested ... XVII. La Stella ... Twinkle, twinkle, little star ... [Marimba I requires a 4.5 octave (low E) instrument and Marimba II requires a 5-octave (low C) instrument.]
$9.99 9.03 € #Thomas Oboe Lee #Eight Tarot Cards for Madam Rubio ... La Torre #Thomas Oboe Lee #SheetMusicPlus

Eight Tarot Cards for Madam Rubio ... La Papessa (1997) for two marimbas

Small Ensemble - Level 4 - Digital Download SKU: A0.869290 Composed by Thomas Oboe …(+)

Small Ensemble - Level 4 - Digital Download SKU: A0.869290 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 5 pages. Thomas Oboe Lee #2022195. Published by Thomas Oboe Lee (A0.869290). Program note. Program note:Eight Tarot Cards for Madam Rubio! was originally a 22-movement work for two pianos entitled, The Visconti-Sforza Tarot Cards. I sent a copy of the two-piano version to Nancy Zeltsman who, with Janis Potter, recently created the marimba duo, Madam Rubio. They thought some of the pieces could translate very well as pieces for marimba duo. I have to give complete credit to Nancy's ingenuity and creativity for this version. The transcription, arrangement and order of Eight Tarot Cards for Madam Rubio! are completely hers. [The numbering of the movements may look bizarre, but it is the original Tarot numbering.] I. Il Saltimbanco ... The Mountebank shuffles his cards and does a samba. XVI. La Torre ... The Tower topples and crashes onto the populace gathered below. II. La Papessa ... The High Priestess concocts a magic potion. XXI. Il Mondo ... The World would be a happier place if we all dance together. XIII. La Morte ... Death lurks around the corner. X. La Ruota della Fortuna ... Fortunes rise and fall unpredictably. III. L'Imperatrice ... The Empress dances all night. XIX. Il Sole ... Sunshine, margaritas and salsa cubana. And if an encore is requested ... XVII. La Stella ... Twinkle, twinkle, little star ... [Marimba I requires a 4.5 octave (low E) instrument and Marimba II requires a 5-octave (low C) instrument.]
$9.99 9.03 € #Thomas Oboe Lee #Eight Tarot Cards for Madam Rubio ... La Papessa #Thomas Oboe Lee #SheetMusicPlus

Eight Tarot Cards for Madam Rubio ... L'Imperatrice (1997) for two marimbas

Small Ensemble - Level 4 - Digital Download SKU: A0.869294 Composed by Thomas Oboe …(+)

Small Ensemble - Level 4 - Digital Download SKU: A0.869294 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 7 pages. Thomas Oboe Lee #2022199. Published by Thomas Oboe Lee (A0.869294). Program note. Program note:Eight Tarot Cards for Madam Rubio! was originally a 22-movement work for two pianos entitled, The Visconti-Sforza Tarot Cards. I sent a copy of the two-piano version to Nancy Zeltsman who, with Janis Potter, recently created the marimba duo, Madam Rubio. They thought some of the pieces could translate very well as pieces for marimba duo. I have to give complete credit to Nancy's ingenuity and creativity for this version. The transcription, arrangement and order of Eight Tarot Cards for Madam Rubio! are completely hers. [The numbering of the movements may look bizarre, but it is the original Tarot numbering.] I. Il Saltimbanco ... The Mountebank shuffles his cards and does a samba. XVI. La Torre ... The Tower topples and crashes onto the populace gathered below. II. La Papessa ... The High Priestess concocts a magic potion. XXI. Il Mondo ... The World would be a happier place if we all dance together. XIII. La Morte ... Death lurks around the corner. X. La Ruota della Fortuna ... Fortunes rise and fall unpredictably. III. L'Imperatrice ... The Empress dances all night. XIX. Il Sole ... Sunshine, margaritas and salsa cubana. And if an encore is requested ... XVII. La Stella ... Twinkle, twinkle, little star ... [Marimba I requires a 4.5 octave (low E) instrument and Marimba II requires a 5-octave (low C) instrument.]
$9.99 9.03 € #Thomas Oboe Lee #Eight Tarot Cards for Madam Rubio ... L'Imperatrice #Thomas Oboe Lee #SheetMusicPlus