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AUTRES
Vous avez sélectionné:
Piano solo late intermediate - "Artesian Pool"
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3451
Piano solo late intermediate - "Carnival"
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950549 Composed by Kathi Kerr. Blue…
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Piano Solo - Level 4 - Digital Download SKU: A0.950549 Composed by Kathi Kerr. Blues,Jazz,Ragtime. Score. 3 pages. Melody Music Publishers #6500261. Published by Melody Music Publishers (A0.950549). This song for the late intermediate piano solo in 6/8 time uses variation starting on bar 10 where the exact melody notes are held while embellishments are played surrounding the melody. Play the melody notes louder than the other notes. Watch the fingering. Count the dotted quarter note as the beat.
$4.99
4.56 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - "Carnival"
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - "Bike Ride For Two"
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950546 Composed by Kathi Kerr. Film…
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Piano Solo - Level 4 - Digital Download SKU: A0.950546 Composed by Kathi Kerr. Film/TV,Jazz,Pop,R & B,Rock. Score. 2 pages. Melody Music Publishers #6500251. Published by Melody Music Publishers (A0.950546). In this piano solo for the late intermediate student, make sure to hold the quarter and half notes starting in bar 6 while playing the sixteenth notes. Notice the fermata on G sharp in measure 13, changed from the G natural in bar 11. Hold the fermata as long as you like for a dramatic effect before repeating back to the sign.
$4.99
4.56 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - "Bike Ride For Two"
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - The Ice Dancer
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950571 Composed by Kathi Kerr. Folk…
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Piano Solo - Level 4 - Digital Download SKU: A0.950571 Composed by Kathi Kerr. Folk,Pop,Romantic Period. Score. 2 pages. Melody Music Publishers #6511913. Published by Melody Music Publishers (A0.950571). Bring out the left hand melody in this piano song for the late intermediate piano student. Use finger pedaling with no damper pedal to keep a clean, dry sound. This has a fun and moving kind of tempo.
$2.99
2.73 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - The Ice Dancer
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - The Flutists
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950568 Composed by Kathi Kerr. Pop.…
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Piano Solo - Level 4 - Digital Download SKU: A0.950568 Composed by Kathi Kerr. Pop. Score. 2 pages. Melody Music Publishers #6511907. Published by Melody Music Publishers (A0.950568). Variation is used in this piano song for the late intermediate piano student and pianist starting on measure 10. The left hand harmony stays the same while the right hand embellishes on the melody. Fingering in the right hand is especially important for the running lines to be ready for the next note.
$2.99
2.73 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - The Flutists
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - Spaniard's Dance
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950566 Composed by Kathi Kerr. Jazz…
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Piano Solo - Level 4 - Digital Download SKU: A0.950566 Composed by Kathi Kerr. Jazz,Romantic Period. Score. 2 pages. Melody Music Publishers #6511903. Published by Melody Music Publishers (A0.950566). Here is the 6/4 meter in this piano song for the late intermediate student and pianist. This has a Spanish feel to it and a building effect as you repeat each section a little louder than the last. Watch the fingering for the consecutive 6ths. Notice you have two thumbs in a row in measures 1 and 5 which you can't play legato, however since the top note changes fingers, it will sound legato.
$2.99
2.73 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - Spaniard's Dance
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - Remembering Yesterday"
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950560 Composed by Kathi Kerr. Pop,…
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Piano Solo - Level 4 - Digital Download SKU: A0.950560 Composed by Kathi Kerr. Pop,Romantic Period. Score. 3 pages. Melody Music Publishers #6511899. Published by Melody Music Publishers (A0.950560). This piano song for the late intermediate student and pianist is a slower, more expressive type of song. Focus on phrasing and dynamics. In bars 12 and 13, the rhythm has a slight off feel with the left hand. You may want to play that as a rhythm drill using one-note and counting aloud. This kind of off beat feel gives a great syncopation.
$2.99
2.73 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - Remembering Yesterday"
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - "Butterfly Wing"
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950553 Composed by Kathi Kerr. Blue…
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Piano Solo - Level 4 - Digital Download SKU: A0.950553 Composed by Kathi Kerr. Blues,Film/TV,Jazz. Score. 3 pages. Melody Music Publishers #6500259. Published by Melody Music Publishers (A0.950553). This piano song for the late intermediate level student starts in D minor then changes to the F major key on bar 12. which is the relative major of D minor (changes name but keeps the same key signature). Play with a lot of expression and rubato. Repeat bars 20-23 three times, playing it louder and faster each time. The last chord is a Picardy Third, which changes the I chord from minor to its parallel major, meaning it keeps the same name. Count the dotted quarter note as the beat.
$4.99
4.56 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - "Butterfly Wing"
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - "Boardwalk Games"
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950545 Composed by Kathi Kerr. Blue…
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Piano Solo - Level 4 - Digital Download SKU: A0.950545 Composed by Kathi Kerr. Blues,Jazz,Ragtime. Score. 2 pages. Melody Music Publishers #6500257. Published by Melody Music Publishers (A0.950545). In this piano song for the late intermediate student, the pedal can be used, but very lightly, depending mostly on finger pedaling. Make sure to play the held notes in the right hand louder, which is the melody, and the surrounding eighth notes softer. Notice the chromatic scale on bars 13 and 14. This has a fast-moving tempo but starts out slowly.
$4.99
4.56 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - "Boardwalk Games"
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - The Roundabout
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950572 Composed by Kathi Kerr. Celt…
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Piano Solo - Level 4 - Digital Download SKU: A0.950572 Composed by Kathi Kerr. Celtic. Score. 2 pages. Melody Music Publishers #6511917. Published by Melody Music Publishers (A0.950572). This piano song for the late intermediate student is in the Irish/Celtic style. Notice in bar 5 how the theme repeats only in the key of A minor and again in bar 13. This gives a forward motion feel. Keep the feel light and bouncy with energy.
$2.99
2.73 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - The Roundabout
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Melody Music Publishers
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SheetMusicPlus
Piano solo late intermediate - The Last Dance
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950569 Composed by Kathi Kerr. Jazz…
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Piano Solo - Level 4 - Digital Download SKU: A0.950569 Composed by Kathi Kerr. Jazz,Latin,Pop. Score. 2 pages. Melody Music Publishers #6511915. Published by Melody Music Publishers (A0.950569). Watch for the accidentals in this piano song for the late intermediate student. Remember the bar line cancels the accidental unless there's a tie. Bars 9-12 may need spot practicing and make sure bar 12 is smooth in repeating back to the sign.
$2.99
2.73 €
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Piano seul
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Kathi Kerr
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Piano solo late intermediate - The Last Dance
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Melody Music Publishers
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SheetMusicPlus
Nimrod (for Violin Solo and Piano)
Violon et Piano
Piano Solo, Violin - Intermediate - Digital Download Composed by Edward Elgar (1857…
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Piano Solo, Violin - Intermediate - Digital Download Composed by Edward Elgar (1857-1934). Arranged by Flavio Regis Cunha. Romantic Period, Easter, Wedding, Funeral, Recital. Score, Solo Part. 8 pages. Published by Flavio Regis Cunha
Edward Elgar composed his Variations on an Original Theme, Op. 36, popularly known as the Enigma Variations, between October 1898 and February 1899. It is an orchestral work comprising fourteen variations on an original theme.<br> <br> Elgar dedicated the work "to my friends pictured within", each variation being a musical sketch of one of his circle of close acquaintances (see musical cryptogram). Those portrayed include Elgar's wife Alice, his friend and publisher Augustus J. Jaeger and Elgar himself.<br> <br> In naming his theme "Enigma" Elgar posed a challenge which has generated much speculation but has never been conclusively answered. The Enigma is widely believed to involve a hidden melody.<br> <br> The name of the variation IX (NIMROD) refers to Augustus J. Jaeger, who was employed as music editor by the London publisher Novello & Co. He was a close friend of Elgar's, giving him useful advice but also severe criticism, something Elgar greatly appreciated. Elgar later related how Jaeger had encouraged him as an artist and had stimulated him to continue composing despite setbacks. Nimrod is described in the Old Testament as "a mighty hunter before the Lord", Jäger being German for hunter.<br> <br> In 1904 Elgar told Dora Penny ("Dorabella") that this variation is not really a portrait, but "the story of something that happened". Once, when Elgar had been very depressed and was about to give it all up and write no more music, Jaeger had visited him and encouraged him to continue composing. He referred to Ludwig van Beethoven, who had a lot of worries, but wrote more and more beautiful music. "And that is what you must do", Jaeger said, and he sang the theme of the second movement of Beethoven's Piano Sonata No. 8 Pathétique. Elgar disclosed to Dora that the opening bars of "Nimrod" were made to suggest that theme. "Can't you hear it at the beginning? Only a hint, not a quotation."<br> <br> This variation has become popular in its own right and is sometimes used at British funerals, memorial services, and other solemn occasions. It is always played at the Cenotaph, Whitehall in London at the National Service of Remembrance. A version was also played during the Hong Kong handover ceremony in 1997 and at the opening ceremony of the London 2012 Olympic Games. The “Nimrod” variation was the final orchestral composition (before the national anthem) played by the Greek National Orchestra in a televised June 2013 concert, before the 75-year-old Athenian ensemble was dissolved in the wake of severe government cutbacks.<br> <br> An adaptation of the piece appears at the ending of the 2017 film Dunkirk as part of the scoreEdward Elgar composed his Variations on an Original Theme, Op. 36, popularly known as the Enigma Variations, between October 1898 and February 1899. It is an orchestral work comprising fourteen variations on an original theme.<br> <br> Elgar dedicated the work "to my friends pictured within", each variation being a musical sketch of one of his circle of close acquaintances (see musical cryptogram). Those portrayed include Elgar's wife Alice, his friend and publisher Augustus J. Jaeger and Elgar himself.<br> <br> In naming his theme "Enigma" Elgar posed a challenge which has generated much speculation but has never been conclusively answered. The Enigma is widely believed to involve a hidden melody.<br> <br> The name of the variation IX (NIMROD) refers to Augustus J. Jaeger, who was employed as music editor by the London publisher Novello & Co. He was a close friend of Elgar's, giving him useful advice but also severe criticism, something Elgar greatly appreciated. Elgar later related how Jaeger had encouraged him as an artist and had stimulated him to continue composing despite setbacks. Nimrod is described in the Old Testament as "a mighty hunter before the Lord", Jäger being German for hunter.<br> <br> In 1904 Elgar told Dora Penny ("Dorabella") that this variation is not really a portrait, but "the story of something that happened". Once, when Elgar had been very depressed and was about to give it all up and write no more music, Jaeger had visited him and encouraged him to continue composing. He referred to Ludwig van Beethoven, who had a lot of worries, but wrote more and more beautiful music. "And that is what you must do", Jaeger said, and he sang the theme of the second movement of Beethoven's Piano Sonata No. 8 Pathétique. Elgar disclosed to Dora that the opening bars of "Nimrod" were made to suggest that theme. "Can't you hear it at the beginning? Only a hint, not a quotation."<br> <br> This variation has become popular in its own right and is sometimes used at British funerals, memorial services, and other solemn occasions. It is always played at the Cenotaph, Whitehall in London at the National Service of Remembrance. A version was also played during the Hong Kong handover ceremony in 1997 and at the opening ceremony of the London 2012 Olympic Games. The “Nimrod” variation was the final orchestral composition (before the national anthem) played by the Greek National Orchestra in a televised June 2013 concert, before the 75-year-old Athenian ensemble was dissolved in the wake of severe government cutbacks.<br> <br> An adaptation of the piece appears at the ending of the 2017 film Dunkirk as part of the score
$5.99
5.48 €
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Violon et Piano
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Edward Elgar (1857-1934)
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Flavio Regis Cunha
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Nimrod
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Flavio Regis Cunha
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SheetMusicPlus
BELLA CIAO (from the Netflix Series "La Casa de Papel") for PIANO (EARLY INTERMEDIATE)
Piano seul
Piano Solo - Early Intermediate - Digital Download Composed by Traditional italian.…
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Piano Solo - Early Intermediate - Digital Download Composed by Traditional italian. Arranged by Flavio Regis Cunha. Romantic Period, Movies, Folk, European, Recital. Score. 5 pages. Published by Flavio Regis Cunha
"Bella ciao" ("Goodbye beautiful") is an Italian protest folk song that originated in the hardships of the mondina women, the paddy field workers in the late 19th century who sang it to protest against harsh working conditions in the paddy fields of North Italy. The song was modified and adopted as an anthem of the anti-fascist resistance by the Italian partisans between 1943 and 1945 during the Italian Resistance, the resistance of Italian partisans against the Nazi German forces occupying Italy, and, during the Italian Civil War, the Italian partisan struggle against the fascist Italian Social Republic and its Nazi German allies. Versions of "Bella ciao" are sung worldwide as an anti-fascist hymn of freedom and resistance.<br> <br> This version was written for piano solo."Bella ciao" ("Goodbye beautiful") is an Italian protest folk song that originated in the hardships of the mondina women, the paddy field workers in the late 19th century who sang it to protest against harsh working conditions in the paddy fields of North Italy. The song was modified and adopted as an anthem of the anti-fascist resistance by the Italian partisans between 1943 and 1945 during the Italian Resistance, the resistance of Italian partisans against the Nazi German forces occupying Italy, and, during the Italian Civil War, the Italian partisan struggle against the fascist Italian Social Republic and its Nazi German allies. Versions of "Bella ciao" are sung worldwide as an anti-fascist hymn of freedom and resistance.<br> <br> This version was written for piano solo.
$4.99
4.56 €
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Piano seul
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Traditional italian
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Flavio Regis Cunha
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BELLA CIAO
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Flavio Regis Cunha
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SheetMusicPlus
Carol of the Bells for Solo Piano
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Ar…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Ryan F. Smith. Christian, Spiritual, Christmas. 4 pages. Published by Southern Harmony, LLC
This clever arrangement of the beloved Christmas carol is designed for late intermediate to early advanced pianists. .This clever arrangement of the beloved Christmas carol is designed for late intermediate to early advanced pianists. .
$3.99
3.65 €
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Piano seul
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Mykola Leontovych
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Ryan F
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Carol of the Bells for Solo Piano
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Southern Harmony, LLC
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SheetMusicPlus
Pure Imagination (solo piano)
Piano seul
Piano Solo - Advanced Intermediate - Digital Download By Leslie Bricusse and Anthony Ne…
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Piano Solo - Advanced Intermediate - Digital Download By Leslie Bricusse and Anthony Newley. Arranged by Rupert Austin. 9 pages. Published by Rupert Austin
An arrangement for solo piano of the much loved song from the 1971 film Willy Wonka and the Chocolate Factory. A performance can be viewed at youtube.com/c/rupertaustin/videos. The song is first presented in a gentle jazz ballad style (bars 1-24). The tempo then picks up for a swing exploration, at a relaxed tempo, of the song in bars 25-74. During bars 70-74 the tempo slows and the mood changes in preparation for a very different dream-like presentation of the song, where the melody is mostly played by the left hand with the right hand providing a rippling accompaniment that gently splashes across a wide range of the keyboard. In this section the accent marks in the score do not indicate strong accents, but indicate where moderate emphasis is required to bring out the melody above the surrounding accompaniment. In bars 99-115 the arrangement returns to the style of the opening. From bar 116 a coda takes the opening three notes of the melody and wistfully explores them in a chromatic and richly harmonized descent towards a peaceful close. Performance duration is about 6 minutes, but shorter versions of the arrangement are possible such that the swing section or the dream section (or both) can be omitted, with directions for this marked in the score in bars 25 and 74. Fingering suggestions are provided in many places, but these will not suit all hands and alternative effective fingerings are possible.An arrangement for solo piano of the much loved song from the 1971 film Willy Wonka and the Chocolate Factory. A performance can be viewed at youtube.com/c/rupertaustin/videos.
The song is first presented in a gentle jazz ballad style (bars 1-24). The tempo then picks up for a swing exploration, at a relaxed tempo, of the song in bars 25-74. During bars 70-74 the tempo slows and the mood changes in preparation for a very different dream-like presentation of the song, where the melody is mostly played by the left hand with the right hand providing a rippling accompaniment that gently splashes across a wide range of the keyboard. In this section the accent marks in the score do not indicate strong accents, but indicate where moderate emphasis is required to bring out the melody above the surrounding accompaniment. In bars 99-115 the arrangement returns to the style of the opening. From bar 116 a coda takes the opening three notes of the melody and wistfully explores them in a chromatic and richly harmonized descent towards a peaceful close.
Performance duration is about 6 minutes, but shorter versions of the arrangement are possible such that the swing section or the dream section (or both) can be omitted, with directions for this marked in the score in bars 25 and 74.
Fingering suggestions are provided in many places, but these will not suit all hands and alternative effective fingerings are possible.
$7.00
6.4 €
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Piano seul
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Leslie Bricusse and Anthony Newley
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Rupert Austin
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Pure Imagination
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Rupert Austin
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SheetMusicPlus
Hymns Refreshed Songbook (14 Sacred Solos for Intermediate Piano)
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Various. Arranged by Pam Turner…
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Piano Solo - Intermediate - Digital Download Composed by Various. Arranged by Pam Turner. Christian, Contemporary Christian, Gospel, Sacred, General Worship. Sheet Music Single. 62 pages. Published by Pamela Turner
Hymns Refreshed is a collection of timeless hymns updated to contemporary styling. Great for church services, weddings, Recitals, or your own enjoyment. Graded from Late Intermediate to Early Advanced, these polished arrangements will suit any occasion where sacred music is desired. Complete your sacred library with Hymns Refreshed, Hymns Refreshed 2 (593745), and Hymns Refreshed 3! (803581) Connect with Pam at www.pamturnerpiano.com and on facebook at https://facebook.com/pamturnerpiano Contains For the Beauty of the Earth; In Christ There Is No East or West; Holy, Holy, Holy; My Shepherd Will Supply My Need; He Leadeth Me; Amazing Grace; Near the Cross; Come, Thou Fount of Every Blessing; Joshua Fought the Battle of Jericho; Abide With Me; Be Still My Soul; Nearer My God to Thee; Be Thou My Vision; Come, Ye Thankful People, Come.Hymns Refreshed is a collection of timeless hymns updated to contemporary styling. Great for church services, weddings, Recitals, or your own enjoyment. Graded from Late Intermediate to Early Advanced, these polished arrangements will suit any occasion where sacred music is desired.
Complete your sacred library with Hymns Refreshed, Hymns Refreshed 2 (593745), and Hymns Refreshed 3! (803581)
Connect with Pam at www.pamturnerpiano.com and on facebook at https://facebook.com/pamturnerpiano
Contains For the Beauty of the Earth; In Christ There Is No East or West; Holy, Holy, Holy; My Shepherd Will Supply My Need; He Leadeth Me; Amazing Grace; Near the Cross; Come, Thou Fount of Every Blessing; Joshua Fought the Battle of Jericho; Abide With Me; Be Still My Soul; Nearer My God to Thee; Be Thou My Vision; Come, Ye Thankful People, Come.
$12.95
11.84 €
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Piano seul
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Various
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Pam Turner
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Hymns Refreshed Songbook
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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…
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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
35.61 €
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Piano seul
#
Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
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…
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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
35.61 €
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Piano seul
#
Claude Debussy/Robert Orledge
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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
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SheetMusicPlus
12 Piano Songs Later Intermediate Volume 3
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950583 Composed by Kathi Kerr. Inst…
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Piano Solo - Level 4 - Digital Download SKU: A0.950583 Composed by Kathi Kerr. Instructional,Jazz,Pop,Romantic Period. Score. 29 pages. Melody Music Publishers #6516723. Published by Melody Music Publishers (A0.950583). Here are 12 original piano songs volume 3 for the late intermediate student and pianist that offer specific learning tools. Each song in this volume starts with a rundown from the composer, Kathi Kerr, on what is taught and what to watch for. Key signatures range from D, A, and F major and D minor. Rhythm includes whole, half, dotted half, quarter, and eighth notes and rests. Time signatures include 4/4, 3/4, 6/8, and 2/2 or cut time. If you're wanting to improve your reading and technique skills, these songs will do just that!
$8.99
8.22 €
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Piano seul
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Kathi Kerr
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12 Piano Songs Later Intermediate Volume 3
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Melody Music Publishers
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SheetMusicPlus
12 Piano Songs Later Intermediate Volume 1
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950577 Composed by Kathi Kerr. Inst…
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Piano Solo - Level 4 - Digital Download SKU: A0.950577 Composed by Kathi Kerr. Instructional,Jazz,Pop,Romantic Period. Score. 27 pages. Melody Music Publishers #6516717. Published by Melody Music Publishers (A0.950577). Here are 12 original piano songs volume 1 for the late intermediate student and pianist that offer specific learning tools. Each song in this volume starts with a rundown from the composer, Kathi Kerr, on what is taught and what to watch for. Key signatures range from D, A, and F major and D minor. Rhythm includes whole, half, dotted half, quarter, and eighth notes and rests. Time signatures include 4/4, 3/4, 6/8, and 2/2 or cut time. If you're wanting to improve your reading and technique skills, these songs will do just that!
$8.99
8.22 €
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Piano seul
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Kathi Kerr
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12 Piano Songs Later Intermediate Volume 1
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Melody Music Publishers
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SheetMusicPlus
Fred Bock Piano Favorites of Bill and Gloria Gaither
Piano seul
Piano/Keyboard - late intermediate SKU: HL.8739135 Piano Solo. By Bill Gaith…
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Piano/Keyboard - late intermediate SKU: HL.8739135 Piano Solo. By Bill Gaither and Gloria Gaither. Arranged by Fred Bock. Piano Solos. Fred Bock Publications. Christmas, General Worship, Sacred. 40 pages. Fred Bock Music Company #BG0984. Published by Fred Bock Music Company (HL.8739135). ISBN 9780634030116. UPC: 073999391350. 9.0x12.0x0.144 inches.12 Gaither favorites expertly arranged for solo piano by Fred Bock: Even So, Lord Jesus, Come * Get All Excited * God Gave the Song * He Started the Whole World Singing * He Touched Me * I Will Serve Thee * Let's Just Praise the Lord * Old Friends * Something Beautiful * The King Is Coming * and more. Includes a touching introduction by Bill Gaither.
$14.99
13.7 €
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Piano seul
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Bill Gaither and Gloria Gaither
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Fred Bock
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Fred Bock Piano Favorites of Bill and Gloria Gaither
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Fred Bock Music Company
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SheetMusicPlus
Amazing Grace - Piano solo (late beginner/early intermediate)
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.896658 Composed by Traditional. Arr…
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Piano Solo - Level 2 - Digital Download SKU: A0.896658 Composed by Traditional. Arranged by Ene Nixon. Christian,Gospel,Sacred,Spiritual. Score. 3 pages. Ene Nixon #5997409. Published by Ene Nixon (A0.896658). Amazing Grace - Piano Solo. Late beginner, early intermediate arrangement.
$2.99
2.73 €
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Piano seul
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Traditional
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Ene Nixon
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Amazing Grace - Piano solo
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Ene Nixon
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SheetMusicPlus
It Is Well With My Soul - Late Intermediate Piano Solo
Piano Facile
Piano Solo, Easy Piano - Intermediate - Digital Download Composed by Horatio Spafford, …
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Piano Solo, Easy Piano - Intermediate - Digital Download Composed by Horatio Spafford, Phillip P. Bliss. Arranged by JoLaYo. Christian, Sacred, Praise and Worship, General Worship. Individual Part, Solo Part. 5 pages. Published by Josiah Yowell
This is a Late Intermediate Solo Piano arrangement of the sacred song "It Is Well With My Soul" by Horatio Spafford and Phillip P. Bliss. This arrangement is not very difficult, nor is it very easy. If you're looking for an arrangement that is right in the middle, this is it! I have included musical directional guidance such as finger numbers, dynamics, etc. These help the performer play it with as much ease as possible. I made this arrangement more sorrowful sounding than the average It Is Well arrangement to help communicate that even though we have the hope of the future heaven, we are still in the stormy trials of the present. Enjoy!~ As an arranger/transcriber, I strive to make my arrangements/sheets as high-quality and performer-friendly as possible. If you enjoy this arrangement, please feel free to contact me to make requests for future arrangements! Also, if there is anything you dislike about the arrangement, or edits you believe are necessary, I will definitely consider adding them/updating the arrangement if you contact me! Email me at: sebbyomusic@gmail.comThis is a Late Intermediate Solo Piano arrangement of the sacred song "It Is Well With My Soul" by Horatio Spafford and Phillip P. Bliss. This arrangement is not very difficult, nor is it very easy. If you're looking for an arrangement that is right in the middle, this is it! I have included musical directional guidance such as finger numbers, dynamics, etc. These help the performer play it with as much ease as possible.
I made this arrangement more sorrowful sounding than the average It Is Well arrangement to help communicate that even though we have the hope of the future heaven, we are still in the stormy trials of the present. Enjoy!~
As an arranger/transcriber, I strive to make my arrangements/sheets as high-quality and performer-friendly as possible. If you enjoy this arrangement, please feel free to contact me to make requests for future arrangements! Also, if there is anything you dislike about the arrangement, or edits you believe are necessary, I will definitely consider adding them/updating the arrangement if you contact me!
Email me at: sebbyomusic@gmail.com
$4.99
4.56 €
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Piano Facile
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Horatio Spafford, Phillip P
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JoLaYo
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It Is Well With My Soul - Late Intermediate Piano Solo
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SheetMusicPlus
Amazing Grace (piano solo: beginner - intermediate)
Piano Facile
Easy Piano - Level 2 - Digital Download SKU: A0.942225 Composed by Tune New Britain…
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Easy Piano - Level 2 - Digital Download SKU: A0.942225 Composed by Tune New Britain. Arranged by Julia Rose-Spence. Christian,Contemporary,Praise & Worship,Sacred. Score. 3 pages. Julia Rose-Spence #6351527. Published by Julia Rose-Spence (A0.942225). A beautiful arrangement of one of the most popular melodies of all time for piano solo. This is an ideal arrangement for beginner - intermediate piano players. Try the advanced arrangement once you have mastered this one! Check out Julia's website https://www.juliarosespence.com to find out more about her and also to find out latest news and releases. Her debut Album, 'Awakening Dawn' is available now. The sheet music is coming soon to Sheet Music Direct... You can also find her @thepianoarranger on Facebook to communicate with her directly and request new arrangements! Have a browse through her growing catalogue on Sheet Music Direct for more beautiful, inspiring piano pieces - https://www.sheetmusicplus.com/publishers/julia-rose-spence/16549
$3.99
3.65 €
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Piano Facile
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Tune New Britain
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Julia Rose-Spence
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Amazing Grace
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Julia Rose-Spence
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SheetMusicPlus
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