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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.55 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.55 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
No Greater Love
Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105110
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Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105110 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary. Full Performance. Duration 254. David Kai #708357. Published by David Kai (A0.1105110). A song for Good Friday. Scripture reference: John 15:13. No one has greater love than this, to lay down one’s life for one’s friends. NO GREATER LOVE words and music by David Kai ©1985 A chilly wind blows upon Calvary's hill, the sky is as dark as the night, the sweat and the blood trickle down to the ground, as the townspeople gaze at the sight, And the hands that once held the children near are nailed onto the tree, Why did you have to suffer that for me? They beat him until he could hardly stand, a crown of thorns pierced his head, and all of that time not a single word in his defense he said, And I stood within that angry crowd that jeered along the way, for I helped to put you on the cross that day. CHORUS For the man on the cross filled with sorrow and pain, will bring us to God once again, for no greater love has been shown since that day when the Saviour took our sins away. For all of my life your boundless love I want to get to know, 'though sometimes I've turned my back on you and I’ve heard the rooster crow, but then you've appeared just like a friend to guide my wandering way, no longer on the cross, you're here today. The Light of the World, the Bread of Life, the Son of God, Morning Star, my earthly mind can't comprehend all of the things you are, but even through glass that's dark and dim, my eyes can plainly see, you loved us so much you died to set us free. CHORUS For the man on the cross filled with sorrow and pain, will bring us to God once again, for no greater love has been shown since that day when the Savior took our sins away. No greater love, no there's no greater love, No greater love, no there's no greater love, There's no greater love than to lay down your life for a friend.
$1.99
1.82 €
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David Kai
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David Kai
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No Greater Love
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David Kai
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SheetMusicPlus
S.Rachmaninoff- Themes from Piano Concerto No 2- Solo Piano (simplified version)
Piano seul
Composed by S Rachmaninoff. Arranged by Grant Horsley. Romantic Period, Movies, Reperto…
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Composed by S Rachmaninoff. Arranged by Grant Horsley. Romantic Period, Movies, Repertoire, Wedding, Recital. Sheet Music Single. 12 pages. Published by Grant Horsley Music
Originally for piano and orchestra and notably used in the film "Brief Encounter" I have carefully arranged the beautiful romantic themes of this piece for solo piano. I have combined the orchestral textures with the piano solo to bring them together as a cohesive piece. There is no stretches greater than an octave, and the part is heavily reduced from the original-but the piece still falls into advanced intermediate as I have kept the passion (just less notes!) Each section could easily be used as a separate piece. The full score is 11 pages and it is nearly10 minutes long- for full suitability on level of difficulty, the youtube link provide the full score- I wanted to give opportunities for pianists to play an easier version of this fabulous piece. I made the recording live on a digital piano, with technology to enhance. Great for valentine's day, weddings, anniversaries, romantic events, it's a firm favourite with lots of people as the themes are so memorable- just fantastic to play.Originally for piano and orchestra and notably used in the film "Brief Encounter" I have carefully arranged the beautiful romantic themes of this piece for solo piano. I have combined the orchestral textures with the piano solo to bring them together as a cohesive piece. There is no stretches greater than an octave, and the part is heavily reduced from the original-but the piece still falls into advanced intermediate as I have kept the passion (just less notes!) Each section could easily be used as a separate piece.
The full score is 11 pages and it is nearly10 minutes long- for full suitability on level of difficulty, the youtube link provide the full score- I wanted to give opportunities for pianists to play an easier version of this fabulous piece. I made the recording live on a digital piano, with technology to enhance.
Great for valentine's day, weddings, anniversaries, romantic events, it's a firm favourite with lots of people as the themes are so memorable- just fantastic to play.
$6.99
6.38 €
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Piano seul
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S Rachmaninoff
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Grant Horsley
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S.Rachmaninoff- Themes from Piano Concerto No 2- Solo Piano
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Grant Horsley Music
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SheetMusicPlus
Music from the film "Brief Encounter" by Rachmaninoff- Arranged for Solo Piano (simplified)
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by S Rachmaninoff. A…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by S Rachmaninoff. Arranged by Grant Horsley. Movies, Repertoire, Valentine's Day, Wedding, Recital. Sheet Music Single. 15 pages. Published by Grant Horsley Music
Originally for piano and orchestra, I have carefully arranged the beautiful romantic themes of this piece for solo piano. I have combined the orchestral textures with the piano solo to bring them together as a cohesive piece. There is no stretches greater than an octave, and the part is heavily reduced from the original-but the piece still falls into advanced intermediate as I have kept the passion (just less notes!) Each section could easily be used as a separate piece.<br> The full score is 11 pages and it is nearly10 minutes long- for full suitability on level of difficulty, the youtube link provide the full score- I wanted to give opportunities for pianists to play an easier version of this fabulous piece. I made the recording live on a digital piano, with technology to enhance.<br> Great for valentine's day, weddings, anniversaries, romantic events, it's a firm favourite with lots of people as the themes are so memorable- just fantastic to play.Originally for piano and orchestra, I have carefully arranged the beautiful romantic themes of this piece for solo piano. I have combined the orchestral textures with the piano solo to bring them together as a cohesive piece. There is no stretches greater than an octave, and the part is heavily reduced from the original-but the piece still falls into advanced intermediate as I have kept the passion (just less notes!) Each section could easily be used as a separate piece.<br> The full score is 11 pages and it is nearly10 minutes long- for full suitability on level of difficulty, the youtube link provide the full score- I wanted to give opportunities for pianists to play an easier version of this fabulous piece. I made the recording live on a digital piano, with technology to enhance.<br> Great for valentine's day, weddings, anniversaries, romantic events, it's a firm favourite with lots of people as the themes are so memorable- just fantastic to play.
$6.50
5.93 €
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Piano seul
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S Rachmaninoff
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Grant Horsley
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Music from the film "Brief Encounter" by Rachmaninoff- Arranged for Solo Piano
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Grant Horsley Music
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SheetMusicPlus
Four Impressions on Debussy (4 Piano Preludes - Full Orchestra) ? Score and Parts
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1370381 Composed by Claude Debu…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1370381 Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. OlivePress Music #954757. Published by OlivePress Music (A0.1370381). From Debussyâ??s Préludes, Book I:I: The Wind Over The PlainsII: The Girl With The Flaxen HairIII: Puckâ??s DanceIV: The Sunken CathedralDebussyâ??s piano music is filled with colour, texture, vibrancy, sonority. To play it is to be taken inside a sound world greater than the instrument itself. In other words, it seems to demand orchestration. Whether the fanfare call of Puckâ??s Dance, the sotto voce flurries evoking The Wind Over The Plains, or the deepest and highest reaches of the musical spectrum explored in the under-water world of The Sunken Cathedral, Debussyâ??s music seems to drop hints at obvious orchestral manoeuvres. His great skill, of course, was condensing these musical ideas to the piano. But the fruit is there fo the taking, and indeed other orchestrations exist of the complete suite of piano preludes â?? Books I and II. So, why another?This particular suite cherry-picks some of my own favourite movements from the suite, and arranges them in a â??symphonicâ?? structure to present an opening, expository movement (The Wind Over The Plains), a romantic Adagio (The Girl With The Flaxen Hair), a sprightly â??scherzoâ?? (Puckâ??s Dance), concluding with an epic finale (The Sunken Cathedral). This condensed suite may make the music more approachable for some orchestras, and offers something shorter to concert programmes wishing to feature other major works alongside, instead of performing all 24 preludes.I hope you enjoy performing this suite as much as I enjoyed arranging it.Instrumentation: Piccolo 2 Flutes 2 Oboes Cor Anglais 2 Clarinets in Bâ? Bass Clarinet in Bâ? 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in Bâ? 2 Trombones Bass Trombone Tuba Timpani Percussion (3/4 players): Triangle, Crash Cymbals, Suspended Cymbal, Bass Drum, Tam-Tam, Glockenspiel, Tubular Bells Celesta Harp Violin 1 (divisi à 4) Violin 2 (divisi à 4) Viola (divisi à 4) Violoncello (divisi à 4) Contrabass (B extension where possible) (divisi à 4)
$99.99
91.26 €
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Orchestre
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Claude Debussy
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Ben Trigg
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Four Impressions on Debussy
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OlivePress Music
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SheetMusicPlus
Theory Book 1 Sight Singing
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1039486 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1039486 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Classical,Contemporary,Instructional,Jazz. Score. 7 pages. Sandra schlink #644257. Published by sandra schlink (A0.1039486). Theory Book 1 Sight Singing This book was created to help you improve your musicianship by focusing on ear training. It is a companion book to the Theory Book 1 Note Names and Theory Book 1 Counting. With these books you will be able to sight read with greater ease and speed. Please also look at my Jazz Duet book 3, jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and viola and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Here is a recording of part of one of the duets from Jazz trumpet book 1. https://youtu.be/tSyeLB1E8wc Thank you so much.
$7.99
7.29 €
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Piano, Voix et Guitare
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Sandra Schlink
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Sandra Schlink
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Theory Book 1 Sight Singing
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sandra schlink
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SheetMusicPlus
Theory Sight Singing book 5
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1037832 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1037832 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Instructional. Score. 16 pages. Sandra schlink #642739. Published by sandra schlink (A0.1037832). Theory Sight Singing book 5 is great for ear training and improved musicianship. They start simply and become progressively more difficult. Theory Book 5 Sight Singing This book was created to help you improve your musicianship by focusing on ear training. It is a companion book to the Theory Book 5 Note Names and Theory Book 5 Counting. With these books you will be able to sight read with greater ease and speed. Please also look at my Jazz Duet book 3 , jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and tuba and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument and start playing together with the corresponding book. Thank you so much.
$7.99
7.29 €
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Piano, Voix et Guitare
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Sandra Schlink
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Sandra Schlink
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Theory Sight Singing book 5
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sandra schlink
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SheetMusicPlus
trumpet and piano duets book 1
2 Trompettes (duo)
Trumpet Duet Trumpet - Level 3 - Digital Download SKU: A0.1039628 By Sandra Schlink…
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Trumpet Duet Trumpet - Level 3 - Digital Download SKU: A0.1039628 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Classical,Contemporary,Contest,Festival,Jazz. Score. 9 pages. Sandra schlink #643819. Published by sandra schlink (A0.1039628). Trumpet and piano duets book 1 Please also look at my Jazz Trumpet Duet book 3, jazz Trumpet duets book 2, jazz Trumpet duets book 1, Jazz and classical duets, jazzTrumpet duets book. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Here is a recording of part of one of the duets from Jazz trumpet book 1. https://youtu.be/tSyeLB1E8wc We also have theory books to help with musicianship and sight reading. Theory book 1 counting. This series of books have been written to help musicians improve rhythm and sight reading skills. They start simply and become progressively more difficult. This book was created to help you improve your musicianship by focusing on learning to read the notes with greater speed.. It is a companion book to the Theory Book 1 Sight Singing and Theory Book 1 Note Names. With these books you will be able to sight read with greater ease and speed. Thank you so much.
$11.99
10.94 €
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2 Trompettes (duo)
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Sandra Schlink
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Sandra Schlink
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trumpet and piano duets book 1
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sandra schlink
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SheetMusicPlus
Cello and Piano Duets Book 1
2 Violoncelles (duo)
Cello Duet Cello - Level 2 - Digital Download SKU: A0.1037542 By Sandra Schlink. By…
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Cello Duet Cello - Level 2 - Digital Download SKU: A0.1037542 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Classical,Contemporary. Score. 21 pages. Sandra schlink #642468. Published by sandra schlink (A0.1037542). Cello and piano duets book 1 Please also look at my Jazz Cello Duet book 3, jazz Cello duets book 2, jazz Cello duets book 1, Jazz and classical Cello duets, jazz Cello duets book. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Here is a recording of part of one of the duets from Jazz trumpet book 1. https://youtu.be/tSyeLB1E8wc We also have theory books to help with musicianship and sight reading. Theory book 1 counting. This series of books have been written to help musicians improve rhythm and sight reading skills. They start simply and become progressively more difficult. This book was created to help you improve your musicianship by focusing on learning to read the notes with greater speed.. It is a companion book to the Theory Book 1 Sight Singing and Theory Book 1 Note Names. With these books you will be able to sight read with greater ease and speed. Thank you so much.
$14.99
13.68 €
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2 Violoncelles (duo)
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Sandra Schlink
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Sandra Schlink
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Cello and Piano Duets Book 1
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sandra schlink
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SheetMusicPlus
Clarinet and piano duets book 1
2 Clarinettes (duo)
Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.1037546 By Sandra Schli…
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Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.1037546 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Classical,Contemporary. 2 scores. 21 pages. Sandra schlink #642472. Published by sandra schlink (A0.1037546). Clarinet and piano duets book 1 Please also look at my Jazz Clarinet Duet book 3, jazz Clarinet duets book 2, jazz Clarinet duets book 1, Jazz and classical Clarinet duets, jazz Clarinet duets book. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Here is a recording of part of one of the duets from Jazz trumpet book 1. https://youtu.be/tSyeLB1E8wc We also have theory books to help with musicianship and sight reading. Theory book 1 counting. This series of books have been written to help musicians improve rhythm and sight reading skills. They start simply and become progressively more difficult. This book was created to help you improve your musicianship by focusing on learning to read the notes with greater speed.. It is a companion book to the Theory Book 1 Sight Singing and Theory Book 1 Note Names. With these books you will be able to sight read with greater ease and speed. Thank you so much.
$14.99
13.68 €
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2 Clarinettes (duo)
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Sandra Schlink
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Sandra Schlink
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Clarinet and piano duets book 1
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sandra schlink
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SheetMusicPlus
Flute and Piano Duets
2 Flûtes traversières (duo)
Flute Duet Flute - Level 3 - Digital Download SKU: A0.999257 By Sandra Schlink. By …
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Flute Duet Flute - Level 3 - Digital Download SKU: A0.999257 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Christmas,Classical,Contemporary,Contest,Festival,Jazz. Score. 13 pages. Sandra schlink #6086697. Published by sandra schlink (A0.999257). Flute and piano duets book 1 Please also look at my Jazz Flute Duet book 3, jazz Flute duets book 2, jazz Flute duets book 1, Jazz and classical Flute duets, jazz Flute duets book. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Here is a recording of part of one of the duets from Jazz trumpet book 1. https://youtu.be/tSyeLB1E8wc We also have theory books to help with musicianship and sight reading. Theory book 1 counting. This series of books have been written to help musicians improve rhythm and sight reading skills. They start simply and become progressively more difficult. These books were created to help you improve your musicianship by focusing on learning to read the notes with greater speed.. It is a companion book to the Theory Book 1 Sight Singing and Theory Book 1 Note Names. With these books you will be able to sight read with greater ease and speed. Thank you so much.
$11.99
10.94 €
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2 Flûtes traversières (duo)
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Sandra Schlink
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Sandra Schlink
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Flute and Piano Duets
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sandra schlink
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SheetMusicPlus
Letters In A Book
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1111874 By Zane Kuche…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1111874 By Zane Kuchera. By Music by Zane Kuchera and Words by Bogi Taylor. Arranged by Zane Kuchera. Broadway,Film/TV,Folk,Musical/Show,Pop,Singer/Songwriter. Score. 7 pages. Zane Kuchera Music #714085. Published by Zane Kuchera Music (A0.1111874). Letters In A Book. Pop/Adult Contemporary. “We are collectively greater than the sum of our partsâ€. Words: Bogi Taylor. Music & performance: Zane Kuchera. ©2020 Zane Kuchera Music (ASCAP) All Rights Reserved Worldwide zanekuchera.com https://album.link/trcx7v3qzx8xx.
$4.99
4.55 €
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Piano, Voix et Guitare
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Zane Kuchera
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Zane Kuchera
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Letters In A Book
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Zane Kuchera Music
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SheetMusicPlus
Amelia Flies
SA, Piano (With Optional Accompaniment MP3) - Digital Download SKU: LX.15-3983H Com…
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SA, Piano (With Optional Accompaniment MP3) - Digital Download SKU: LX.15-3983H Composed by Kirstina Rasmussen Collins. Educational, Concert, General. Octavo. 12 pages. Heritage Music Press - Digital #e15/3983H. Published by Heritage Music Press - Digital (LX.15-3983H). Amelia Flies is a piece that celebrates the daring and adventurous life and calling of Amelia Earhart. Capturing the feeling of flight, these Amelia Earhart quotes have been assembled into a compelling text by composer, Kirstina Rasmussen Collins. Posing the question, What do dreams know of boundaries?, this thought-provoking piece is an encouragement to singers and audiences to follow a calling that is greater than ourselves.
$2.50
2.28 €
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Kirstina Rasmussen Collins
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Amelia Flies
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Heritage Music Press - Digital
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SheetMusicPlus
Theory book 4 counting.
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1037623 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1037623 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Instructional. Score. 14 pages. Sandra schlink #642526. Published by sandra schlink (A0.1037623). Theory book 4 counting. This series of books have been written to help musicians improve rhythm and sight-reading skills. They start simply and become progressively more difficult. This book was created to help you improve your musicianship by focusing on learning to read the notes with greater speed.. It is a companion book to the Theory Book 4 Sight Singing and Theory Book 4 Note Names. With these books you will be able to sight read with greater ease and speed. Please also look at my Jazz Duet book 3, jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and viola and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Here is a recording of part of one of the duets from Jazz trumpet book 1. https://youtu.be/tSyeLB1E8wc Thank you so much.
$7.99
7.29 €
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Piano, Voix et Guitare
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Sandra Schlink
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Sandra Schlink
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Theory book 4 counting.
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sandra schlink
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SheetMusicPlus
theory book 1 counting
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1037617 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1037617 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Classical,Contemporary,Traditional. Score. 20 pages. Sandra schlink #642518. Published by sandra schlink (A0.1037617). Theory book 1 counting. This series of books have been written to help musicians improve rhythm and sight reading skills. They start simply and become progressively more difficult. This book was created to help you improve your musicianship by focusing on learning to read the notes with greater speed.. It is a companion book to the Theory Book 1 Sight Singing and Theory Book 1 Note Names. With these books you will be able to sight read with greater ease and speed. Please also look at my Jazz Duet book 3, jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and viola and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Here is a recording of part of one of the duets from Jazz trumpet book 1. https://youtu.be/tSyeLB1E8wc Thank you so much.
$7.99
7.29 €
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Piano, Voix et Guitare
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Sandra Schlink
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Sandra Schlink
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theory book 1 counting
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sandra schlink
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SheetMusicPlus
Theory book 3 counting.
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1037621 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1037621 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Instructional. Score. 25 pages. Sandra schlink #642523. Published by sandra schlink (A0.1037621). Theory book 3 counting. This series of books have been written to help musicians improve rhythm and sight-reading skills. They start simply and become progressively more difficult. This book was created to help you improve your musicianship by focusing on learning to read the notes with greater speed.. It is a companion book to the Theory Book 3 Sight Singing and Theory Book 3 Note Names. With these books you will be able to sight read with greater ease and speed. Please also look at my Jazz Duet book 3, jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and viola and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Here is a recording of part of one of the duets from Jazz trumpet book 1. https://youtu.be/tSyeLB1E8wc Thank you so much.
$7.99
7.29 €
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Piano, Voix et Guitare
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Sandra Schlink
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Sandra Schlink
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Theory book 3 counting.
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sandra schlink
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SheetMusicPlus
The End Of The World
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1200229 By Skeeter Davis. By Arthur…
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Piano Solo - Level 4 - Digital Download SKU: A0.1200229 By Skeeter Davis. By Arthur Kent and Sylvia Dee. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Rock,Standards. Score. 6 pages. Timothy Stapay #799031. Published by Timothy Stapay (A0.1200229). An arrangement of The End Of The World, a song covered by many famous artists. includingThe Carpenters; thanks to the phenomenal singing of Karen Carpenter. The End of the World was written by composer Arthur Kent and lyricist Sylvia Dee, who often worked as a team.The Carpenters (officially known as Carpenters were an American vocal and instrumental duo consisting of siblings Karen (1950–1983) and Richard Carpenter (born 1946). They produced a distinctive soft musical style, combining Karen's contralto vocals with Richard's harmonizing, arranging, and composition skills. During their 14-year career, the Carpenters recorded 10 albums along with many singles and several television specials. Karen possessed a powerful singing voice, and close miking brought out many nuances in her performances. Richard arranged their music to take advantage of this, though Karen had a three-octave vocal range. Richard's work with Karen was influenced by the music of Les Paul, whose overdubbing of the voice of wife and musical partner Mary Ford allowed her to be used as both the lead and harmony vocals.[6] By multi-tracking, Richard was able to use Karen and himself for the harmonies to back Karen's lead. The overdubbed background harmonies were distinctive to the Carpenters, but it was the soulful, engaging sound of Karen's lead voice that made them so recognizable. Record executive Mike Curb said it was Karen's voice that took the Carpenters above straight pop music into pop rock.  She was known as a one take wonder and could deliver a strong performance on the first attempt.Richard Carpenter was the creative force behind the Carpenters' sound. An accomplished keyboard player, composer and arranger, music critic Daniel Levitin called him one of the most gifted arrangers to emerge in popular music. The duo's smooth harmonies were not in step with contemporary music, which was dominated by heavy rock. Instead, the Carpenters strove for a rich and melodic sound, along the same vein as the Beach Boys and the Mamas & the Papas, but with greater fullness and orchestration including frequent use of small string and horn sections and introspective lyrics centred around relationships. Richard also admired the musicianship and arranging skills of Frank Zappa, and the two briefly met backstage at the Billboard Forum in 1975.End Of The World: Lyrics:Why does the sun go on shining?Why does the sea rush to shore?Don't they know it's the end of the world?'Cause you don't love me any moreWhy do the birds go on singing?Why do the stars glow above?Don't they know it's the end of the world?It ended when I lost your love[Bridge]I wake up in the morning and I wonderWhy everything's the same as it wasI can't understand, no, I can't understandHow life goes on the way it doesWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you said goodbyeWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you
$6.99
6.38 €
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Piano seul
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Skeeter Davis
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Timothy Stapay
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The End Of The World
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Timothy Stapay
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SheetMusicPlus
Are You Washed in the Blood?
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1380736 Composed by E.A. Hoffman. A…
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Easy Piano - Level 1 - Digital Download SKU: A0.1380736 Composed by E.A. Hoffman. Arranged by Andres M. Bascar, Jr. 20th Century,A Cappella,Advent,Children,Christian. Score. 2 pages. Clem & Jun Bascar #965519. Published by Clem & Jun Bascar (A0.1380736). Teaching our children to love, sing and play the hymns so that the next generation will not forget hymns whic are far of greater values than the songs of today.
$3.99
3.64 €
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Piano Facile
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E
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Andres M
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Are You Washed in the Blood?
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Clem & Jun Bascar
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SheetMusicPlus
The Counter of The Point
Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.943859
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Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.943859 Composed by Jonah Koppitz. 20th Century,Contemporary. Score and parts. 1 pages. Jonah Koppitz #5748861. Published by Jonah Koppitz (A0.943859). The first thing that you should know about this piece is that it breaks nearly every rule of counterpoint that it can. To me, this composition represents the antithesis of how classical composers thought to compose. By directly contradicting the rules they follow and still creating music, it shows that stiff rule formats and limits on what makes good music are not necessary and oftentimes restrict creative composing. My only hope is that, if Johann Joseph Fux were alive today, he’d see my work as an abomination of all the rules he holds so dear.My Ruleset:1. In sixth species counterpoint (countercounterpoint/anticounterpoint), you may write as many notes as desired in your new melody for each note in the cantus firmus.2. The first note and the last note must not form either an octave, unison, or a fifth with the cantus firmus.3. The penultimate note of your melody should not be an even scale degree.4. Augmented Fourths must resolve down and Diminished Fifths must resolve up.5. You may use parallel motion very recklessly because it obscures the independence of the voices.6. The harmonic interval formed between the voices on the downbeat of every measure may not be a perfect/major consonance-unison, third, fifth, sixth or octave. Diminished, Augmented, and Minor are fine.7. The interval formed between the voices on the second beat of every measure may not be a major third or major sixth.8. The overall shape of your melody should have a single high-point, preferably as far from the middle as is reasonable.9. Except for on the first beat of a measure, Consonant intervals are only allowed if preceded by a dissonant interval on a strong beat.10. Every Chord is fair game.11. The interval between the first beat of each measure should alternate between even numbers and odd numbers.12. Leaps must prepare, leap, and resolve in the same direction and may be greater than a fifth.13. Functional Harmony is for cowards who let chords tell them what to do.
$1.99
1.82 €
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directly contradicting the rules they follow and still creating music, it shows that stiff rule formats and limits on what makes good music are not necessary and oftentimes restrict creative composing
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Jonah Koppitz
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The Counter of The Point
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Jonah Koppitz
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SheetMusicPlus
Theory Book 9 Note Names
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1108574 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1108574 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Christian,Classical,Instructional,Jazz,Singer/Songwriter. Score. 14 pages. Sandra schlink #711220. Published by sandra schlink (A0.1108574). Theory Book 9 Note Names. This series of books have been written to help musicians improve note recognition and sight-reading skills. They start simply and become progressively more difficult. Theory Book 9 Note Names. This series of books have been written to help musicians improve note recognition and sight-reading skills. They start simply and become progressively more difficult. It is a companion book to the Theory Book 4 Sight Singing and Theory Book 4 Counting. With these books you will be able to sight read with greater ease and speed. Please also look at my jazz Duet book 3, jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and viola and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Thank you so much.
$7.99
7.29 €
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Piano, Voix et Guitare
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Sandra Schlink
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Sandra Schlink
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Theory Book 9 Note Names
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sandra schlink
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SheetMusicPlus
Theory Book 8 Note Names
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1106716 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1106716 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Broadway,Classical,Comedy,Instructional,Jazz,Musical/Show. Score. 14 pages. Sandra schlink #709653. Published by sandra schlink (A0.1106716). Theory Book 8 Note Names. This series of books have been written to help musicians improve note recognition and sight-reading Theory Book 3 Note Names. This series of books have been written to help musicians improve note recognition and sight-reading skills. They start simply and become progressively more difficult. Theory Book 6 Note Names. This series of books have been written to help musicians improve note recognition and sight-reading skills. They start simply and become progressively more difficult. It is a companion book to the Theory Book 3 Sight Singing and Theory Book 3 Counting. With these books you will be able to sight read with greater ease and speed. Please also look at my Jazz Duet book 3, jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and viola and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Thank you so much g skills. They start simply and become progressively more difficult. Please also look at my theory book 1 counting, theory book 2 note name, theory book 1 sight singing and beginning piano books.
$7.99
7.29 €
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Piano, Voix et Guitare
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Sandra Schlink
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Sandra Schlink
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Theory Book 8 Note Names
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sandra schlink
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SheetMusicPlus
Pitch Only - Bass Clef (Sight Reading Exercise Book)
Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,…
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Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Piano,Timpani,Trombone,Tuba,Voice - Level 2 - Digital Download SKU: A0.931838 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313621. Published by Dots and Beams (A0.931838). This book provides its user with a series of notes on a bass staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above and below the staff extend to the space just beyond the fourth ledger line. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls.As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years and still find a valuable way to use them.
$10.00
9.13 €
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Nathan Petitpas - Dots and Beams
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Pitch Only - Bass Clef
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Dots and Beams
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SheetMusicPlus
Theory book 4 Note Names
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1037640 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1037640 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Instructional. Score. 15 pages. Sandra schlink #642542. Published by sandra schlink (A0.1037640). Theory Book 4 Note Names. This series of books have been written to help musicians improve note recognition and sight-reading skills. They start simply and become progressively more difficult. Theory Book 6 Note Names. This series of books have been written to help musicians improve note recognition and sight-reading skills. They start simply and become progressively more difficult. It is a companion book to the Theory Book 4 Sight Singing and Theory Book 4 Counting. With these books you will be able to sight read with greater ease and speed. Please also look at my Jazz Duet book 3, jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and viola and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Thank you so much.
$7.99
7.29 €
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Piano, Voix et Guitare
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Sandra Schlink
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Sandra Schlink
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Theory book 4 Note Names
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sandra schlink
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SheetMusicPlus
Theory Book 6 Note Names
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1037644 By Sandra Sch…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1037644 By Sandra Schlink. By Sandra Schlink. Arranged by Sandra Schlink. Instructional. Score. 15 pages. Sandra schlink #642546. Published by sandra schlink (A0.1037644). Theory Book 6 Note Names. This series of books have been written to help musicians improve note recognition and sight reading skills. They start simply and become progressively more difficult. It is a companion book to the Theory Book 6 Sight Singing and Theory Book 6 Counting. With these books you will be able to sight read with greater ease and speed. Please also look at my Jazz Duet book 3, jazz duets book 2, jazz duets book 2, Jazz and classical duets, jazz duets book and viola and piano duets books. You can also play any of these books with other instruments. Just buy the book for the other instrument, start playing together with the corresponding book and enjoy playing music with your friends. Thank you so much.
$7.99
7.29 €
#
Piano, Voix et Guitare
#
Sandra Schlink
#
Sandra Schlink
#
Theory Book 6 Note Names
#
sandra schlink
#
SheetMusicPlus
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