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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Prelude V
Sheetmusicplus
Non classifié
24
Piano & claviers
Piano seul
93
Orgue
15
Piano Facile
5
Piano, Voix et Guitare
1
2 Pianos, 8 mains
1
1 Piano, 4 mains
1
+ 1 instrumentations
Retracter
Guitares
Guitare
16
Ukulele
2
2 Guitares (duo)
1
Guitare notes et tablatures
1
Piano, Guitare (duo)
1
Voix
Pack Instrumental pour Chorale
13
Chorale SATB
2
Voix Baryton, Piano
1
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
8
Quatuor de Saxophones: 4 saxophones
2
Saxophone Alto
2
Flûte, Hautbois, Clarinette, Basson
2
Saxophone (partie séparée)
2
Flûte traversière et Piano
2
2 Saxophones (duo)
2
Flûte, Violon, Piano
1
Saxophone Alto et Piano
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette
1
Quatuor de Clarinettes: 4 clarinettes
1
Flûte, Clarinette (duo)
1
Hautbois (partie séparée)
1
Hautbois, Piano (duo)
1
Clarinette et Piano
1
Ensemble de Clarinettes
1
Saxophone Tenor
1
Quintette de Saxophone: 5 saxophones
1
+ 14 instrumentations
Retracter
Cuivres
Trompette, Piano
3
Trompette
3
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Trompette (partie séparée)
1
Trombone et Piano
1
Cordes
Violon et Piano
25
Quatuor à cordes: 2 violons, alto, violoncelle
6
Violoncelle
4
Violon
2
Alto, Piano
2
2 Violoncelles (duo)
1
Alto seul
1
Harpe
1
+ 3 instrumentations
Retracter
Orchestre & Percussions
Orchestre
3
Orchestre à Cordes
2
Orchestre d'harmonie
2
Ensemble de cuivres
1
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Prelude V
SheetMusicPlus
Partitions à imprimer
268 partitions trouvées
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Five Preludes for Piano 4H (1999)
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1 Piano, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Drake Mabry
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Five Preludes for Piano 4H
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Drake Mabry
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SheetMusicPlus
Small Ensemble Piano - Level 4 - SKU: A0.799363 Composed by Drake Mabry. 20th Century,Contemporary,Romantic Period. Score and parts. 23 pages. Drake Mab...
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Small Ensemble Piano - Level 4 - SKU: A0.799363 Composed by Drake Mabry. 20th Century,Contemporary,Romantic Period. Score and parts. 23 pages. Drake Mabry #2020827. Published by Drake Mabry (A0.799363). These five preludes are each based on a prelude from Chopin's 24 Preludes. I used this idea originally in 1977 for a piece for piano solo (also available on Sheet Music Plus). In 1999 I took the same Chopin preludes and did a new version for piano four-hands. Here's the guide to the preludes with their reference to the corresponding Chopin prelude. Prelude I – Chopin Prelude No. 4 Prelude II – Chopin Prelude No. 15 Prelude III – Chopin Prelude No. 24 Prelude IV – Chopin Prelude No. 7 Prelude V – Chopin Prelude No. 2. The duration is 12'00.
$7.99
Bach: Prelude (from Prelude & Fughetta in G Major, BWV 902 - 1.) - as played By Víkingur Ólafsson
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and VÃ
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Flavio Regis Cunha
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Bach: Prelude
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FRC Music
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1151827 By Johann Sebastian Bach and VÃkingur Ólafsson. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. ...
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Piano Solo - Level 4 - SKU: A0.1151827 By Johann Sebastian Bach and VÃkingur Ólafsson. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Festival,Instructional,Standards. Score. 8 pages. FRC Music #752030. Published by FRC Music (A0.1151827). J.S. Bach: Prelude & Fughetta in G Major, BWV 902 - 1. Prelude · VÃkingur Ólafsson Johann Sebastian Bach â„— 2018 Deutsche Grammophon GmbH, Berlin Released on: 2018-09-07 Composer: Johann Sebastian Bach.Advanced Intermediate.Format: Concert, 9 x 12 inches. 8 pages.
$5.99
Choralprelude V for Solo Organ
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Orgue
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Mark Andersen
#
Choralprelude V for Solo Organ
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International Artists Foundation
#
SheetMusicPlus
Organ - SKU: A0.945886 Composed by Mark Andersen. Christian,Contemporary,Sacred. Score. 4 pages. International Artists Foundation #6261527. Published by...
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Organ - SKU: A0.945886 Composed by Mark Andersen. Christian,Contemporary,Sacred. Score. 4 pages. International Artists Foundation #6261527. Published by International Artists Foundation (A0.945886). Choralprelude V for Solo Organ is suitable for service playing as well as recital work.
$5.00
Bach-Prelude V in D Major, BWV 874
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Piano seul
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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MPS
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Bach-Prelude V in D Major, BWV
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Classic Piano sheetz
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.659112 Composed by Johann Sebastian Bach. Arranged by MPS. Baroque. Score. 7 pages. Classic Piano sheetz #6301205. Publis...
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Piano Solo - Level 3 - SKU: A0.659112 Composed by Johann Sebastian Bach. Arranged by MPS. Baroque. Score. 7 pages. Classic Piano sheetz #6301205. Published by Classic Piano sheetz (A0.659112). Bach-Prelude V in D Major, BWV 874.
$2.99
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) (12-Piece Digital Pack)
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Pack Instrumental pour Chorale
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John M
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Ruth Elaine Schram
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A Prelude To Advent
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.310220 By John M. Neale (v. 1,2). Arranged by Ruth Elaine Schram. This edition: scorch. Carol,Christmas,Holiday,Winter. Choral Instrumental Pak....
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SKU: HX.310220 By John M. Neale (v. 1,2). Arranged by Ruth Elaine Schram. This edition: scorch. Carol,Christmas,Holiday,Winter. Choral Instrumental Pak. 1 pages. Hal Leonard - Digital #28676. Published by Hal Leonard - Digital (HX.310220).
Digital Pack includes
:
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Full Score
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Flute
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Oboe
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Bb Trumpet
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - F Horn
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Percussion
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Harp
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Violin 1
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Violin 2
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Viola
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Cello
A Prelude To Advent (with Prelude In E Minor and O Come, O Come, Emmanuel) - Double Bass
$50.00
🎵 Prelude V
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Guitare
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Contemporain
#
Andrea Balzani
#
🎵 Prelude V
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Andrea Balzani
#
SheetMusicPlus
Guitar - SKU: A0.1071018 By Andrea Balzani. By Andrea Balzani. Contemporary. Full Performance. Duration 87. Andrea Balzani #6912379. Published by Andrea...
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Guitar - SKU: A0.1071018 By Andrea Balzani. By Andrea Balzani. Contemporary. Full Performance. Duration 87. Andrea Balzani #6912379. Published by Andrea Balzani (A0.1071018). 🔹 Preludio V per Chitarra [for guitar]♦ Musica: ANDREA BALZANI 🎼 🎵 • Chitarra: Alessandro De Fusco 🎸  ► Andrea Balzani: https://linktr.ee/AndreaBalzaniâ–º Alessandro De Fusco: https://linktr.ee/alexander.layer✉ï¸â€Šâ€ŠContact: andreabalzani.workinprogress@gmail.com
$1.99
Carson Cooman: Nine Preludes for piano
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Carson Cooman
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Carson Cooman: Nine Preludes f
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.533554 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Publishing #3018601...
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Piano Solo - Level 4 - SKU: A0.533554 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Publishing #3018601. Published by Musik Fabrik Music Publishing (A0.533554). I. (Flowing)II. (Fast, nimble)III. (Funereal) (in memoriam Donald Martino)IV. (Dancing)V. (Distant, echoing) (for Richard and Dee Wilson)VI. (Moderate, singing, with humor) (for Michael Finnissy)VII. (Slow, very lyrical)VIII. (March)IX. (Envoi: Very slow, from afar)Nine Preludes (2007) for piano was written for and is dedicated to pianist Marilyn Nonken; it was commissioned byRichard Mason.Although the work is composed as a set of discrete movements, the preludes are very much interconnected, as motivicand developmental ideas run throughout the entire set. The basic musical material (founded upon collections of minorand major thirds) is shared among all nine movements. An elegiac quality runs throughout the work.The first prelude (Flowing) is inspired by the piano music of Johannes Brahms, whose contributions to the instrument’sliterature have been a significant and ongoing influence on my work.The second prelude is fast and bright. Consistent staccato textures are maintained as the two hands intertwine.The third prelude (Funereal) is dedicated to the memory of American composer Donald Martino (1931–2005). The musicrefers very obliquely to Martino’s setting of Robert Herrick’s poems of death and eternity in The White Island (1985).The fourth prelude (Dancing) is light and buoyant. After a melodic middle section, the opening music reverses itself to theend.The fifth prelude (Distant, echoing) is dedicated to Richard and Dee Wilson. Through large blocks of sustained sound (bothquiet and loud), the movement explores certain harmonic colors of the piano.The sixth prelude (Moderate, singing, with humor) is dedicated to English composer Michael Finnissy. The opening ismarked “like an ‘off-kilter’ folk song,†and this original melody is subjected to a variety of transformations and textures.The rhythmic patterns are constantly in flux.The seventh prelude (Slow, very lyrical) is melodic and passionate, with a nocturnal character. The middle builds to anintense climax before dying away.The eighth prelude (March) is spiky and crisp. In the trio, the march theme is turned first into a tonal ballad beforegradually transforming back into the language of the march. A faster reprise of the opening music follows.The ninth prelude (Envoi: Very slow, from afar) is an elegaic “farewell.†Romantic gestures and harmonies try to assertthemselves before the music dies away.Performance Note: Although it is preferred that the entire set of nine preludes be played in concert, individual preludes (or smallerassembled groupings) may be performed when necessary for programming needs. If the entire set is played, however, the order of thepreludes should not be changed. The movements should be listed in the program in the format shown at the top of this page.Recorded by Donna Amato on Carson Cooman: Piano works ALTARUS AIR-CD-9015
$25.95
Mozart-Bach Prelude and Fugue V from K.404a (arranged for woodwind quintet)
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W
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Daniel Kaplan
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Mozart-Bach Prelude and Fugue
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Daniel Kaplan
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,English Horn,Flute - Level 3 - SKU: A0.1410858 Composed by W.A. Mozart, J.S. Bach. Arranged by Danie...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,English Horn,Flute - Level 3 - SKU: A0.1410858 Composed by W.A. Mozart, J.S. Bach. Arranged by Daniel Kaplan. Baroque,Chamber,Classical. 40 pages. Daniel Kaplan #993249. Published by Daniel Kaplan (A0.1410858). Arrangement by Daniel Kaplan for woodwind quintet of Mozart's Prelude and Fugue No. 5 from his Six Preludes and Fugues for String Trio, K.404a. This is Mozart's arrangement of the 2nd and 3rd movements of Bach's Organ Sonata No. 2 in C minor, BWV 526. Mozart wrote this to play at the Sunday musicales of Baron van Swieten in Vienna, who insisted that all participants play music of Bach or Handel. Kaplan is engaged in a project to make classics from other genres available to woodwind players and has also arranged several other great works for this ensemble. The woodwind quintet is especially well suited for contrapuntal music since the distinctive tone colors of the wind instruments bring out the contrapuntal lines and make them clearer to the listener.Note that all six preludes and all six fugues from this work are also available as a single purchase on this website. This fifth Prelude and Fugue is being made available here for those who would rather buy one prelude and fugue at a time.
$4.95
Prelude 12 in Bb Minor Dorian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 12 in Bb Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812808. Published by Brian Golden (A0.1216197). Prelude 12 in Bb Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 21 in D Major Mixolydian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
#
Prelude 21 in D Major Mixolydi
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Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292437 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292437 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883010. Published by Brian Golden (A0.1292437). Prelude 21 in D Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 11 in Db Major Lydian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 11 in Db Major Lydian
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Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden...
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Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden #812807. Published by Brian Golden (A0.1216196). Prelude 11 in Db Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 6 in G Minor Dorian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 6 in G Minor Dorian
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Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #791038. Published by Brian Golden (A0.1191536). Prelude 6 in G Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 23 in G Major Lydian
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Brian Golden
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Prelude 23 in G Major Lydian
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883013. Published by Brian Golden (A0.1292495). Prelude 23 in G Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 2 in A Minor Aolian
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Brian Golden
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Prelude 2 in A Minor Aolian
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden...
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Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 1 in C Major Ionian
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Brian Golden
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Prelude 1 in C Major Ionian
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #789177. Published by Brian Golden (A0.1189545). Prelude 1 in C Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden.  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 17 in E Major Lydian
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Brian Golden
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Prelude 17 in E Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843071. Published by Brian Golden (A0.1248579). Prelude 17 in E Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 7 in Eb Ionian
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Brian Golden
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Prelude 7 in Eb Ionian
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #812790. Published by Brian Golden (A0.1216178). Prelude 7 in Eb Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube.
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Prelude 22 in B Minor Phrygian
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Brian Golden
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Prelude 22 in B Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494). Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 18 in C# Minor Dorian
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Brian Golden
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Brian Golden
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Prelude 18 in C# Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #843078. Published by Brian Golden (A0.1248586). Prelude 18 in C# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 20 in F# MInor Aolian
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Brian Golden
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Prelude 20 in F# MInor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883008. Published by Brian Golden (A0.1292438). Prelude 20 in F# Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 4 in D Minor Phrygian
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Brian Golden
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Prelude 4 in D Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden #790596. Published by Brian Golden (A0.1191080). Prelude 4 in D Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 5 in Bb Major Lydian
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Brian Golden
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Prelude 5 in Bb Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 15 in B Major Mixolydian
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Brian Golden
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Prelude 15 in B Major Mixolydi
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843064. Published by Brian Golden (A0.1248572). Prelude 15 in B Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 24 in E Minor Dorian
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Brian Golden
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Prelude 24 in E Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292440 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292440 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883014. Published by Brian Golden (A0.1292440). Prelude 24 in E Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
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Prelude 10 in F Minor Phrygian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 10 in F Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216194 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1216194 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812805. Published by Brian Golden (A0.1216194). Prelude 10 in F Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
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