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Ten Shape Preludes
Partitions à imprimer
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Ten Shape Preludes
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1084379 Composed by Loretta K Notar…
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Piano Solo - Level 4 - Digital Download SKU: A0.1084379 Composed by Loretta K Notareschi. 20th Century,Classical,Contemporary,Contest,Festival. Score. 30 pages. Disegni Music #688557. Published by Disegni Music (A0.1084379). The Ten Shape Preludes are so named because each prelude explores a pleasing shape in the hand or hands on the piano. I sat at the instrument with my hands on the keys to conceive each one, and I let my imagination be guided by the shapes that my hands, as a pianist, are naturally drawn to make. In this way, I hope the works are both idiomatic and graceful. While I wrote them with the powerful artistry of the dedicatee, Steve Beck, in mind, I wanted them to also be approachable for everyday playing—a combination of virtuosity and ease that brings to mind the Italian word sprezzatura (a studied nonchalance).
$15.00
13.72 €
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Piano seul
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Loretta K Notareschi
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Ten Shape Preludes
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Disegni Music
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SheetMusicPlus
Bruyeres (from Préludes / Book 2, L. 123:5) - As played By Víkingur Ólafsson
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.597507 By Claude Debussy and VÃk…
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Piano Solo - Level 3 - Digital Download SKU: A0.597507 By Claude Debussy and VÃkingur Ólafsson. By Claude Debussy. Arranged by Flavio Regis Cunha. 20th Century,Contemporary,Contest,Festival,Instructional. Score. 8 pages. Flavio Regis Cunha #6331203. Published by Flavio Regis Cunha (A0.597507). Are you an aspiring pianist looking for that special piece to bring out your technical and artistic abilities? Look no further – VÃkingur Ólafsson's interpretation of Claude Debussy's 'Bruyeres' (from Préludes / Book 2, L. 123:5) is sure to impress!  With its graceful melodies, beautiful ambiance and intricate form, it's easy to see why 'Bruyeres' remains one of Debussy's most beloved pieces. Now you can take your skill as a pianist to the next level with VÃkingur Ólafsson's performance of the work – and share his mesmerising journey through the music.  Easy to read and follow, use the sheet music to dazzle your friends and bring Debussy's 'Bruyeres' into your own practice room. Order now and find out why this is a must-have for amateurs and professionals alike!Advanced Intermediate Level.Format: Concert 9 x 12 inches.5 Pages.Program NotesBruyeres is a short musical composition for solo piano written by the French composer Claude Debussy. It is one of the pieces included in his second book of Préludes, and is marked Allegretto ma non troppo. This piece has been described as “Pastoraleâ€, due to its innocent melodic lines and its depictions of a rural landscape. The piece begins with a rather dreamy, wistful melody. From there, the piece develops as it moves into more complex harmonic shapes, and its energy increases with the building little rhythms. By the end, the music has worked its way into a dynamic and exciting climax. This piece is a great example of Debussy’s masterful skill in transforming ordinary sounds into something larger and more beautiful; something that truly captures the emotion of being in a field of heather.
$5.99
5.48 €
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Piano seul
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Claude Debussy and VÃkingur Ólafsson
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Flavio Regis Cunha
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Bruyeres
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Flavio Regis Cunha
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SheetMusicPlus
Oelflecke auf dem Wasser [woodwind quintet]
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.596552 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.596552 Composed by Juan MarÃa Solare. Concert,Contemporary,Instructional,World. 20 pages. Juan Maria Solare #4598385. Published by Juan Maria Solare (A0.596552). Ölflecke auf dem Wasser ( Oil spots on the water )This is my second Wind Quintet. The first one (Strange preludes and double canon) was written in 1992, this one in 2003 and there are numerous sketches (even complete movements) for a third one.The title Oil spots on the water doesn't have much with ecological issues, but rather with those abstract, colourful, poly-semantic shapes of small oil spots on asphalt, especially when it rains.The Wind Quintet Ölflecke auf dem Wasser was selected in 2003 in a shortlist of 31 among 270 compositions for the project Neue Kammermusik für Musikschulen (New chamber music for music schools) by the Verband deutscher Musikschulen (Association of German Schools of Music) in Bonn, Germany.In October 2004 this piece, together with two other pieces by the same composer, received first prize at the Bremer Komponistenwettweberb organised by the Council of the Music (Landsmusikrat) in Bremen, Germany.Ölflecke auf dem Wasser was first performed on 10th July 2004 at the Castle Sonderhausen in Germany by the Wind Quintet of the Music School Carl Schroeder of Sonderhausen: Eva-Maria Albrecht (flute), Malte Schneegaß (oboe), Antje Eckstein (clarinet) Julia Wallis (bassoon), Manuela Hirsch (horn), Stephan Uhl (conductor); in the cycle Neue Musik in alten Residenzen (New Music in old residencies) of the Council of the Music Thüringen.After the premiere, Stephan Uhl published an article about the piece: Juan MarÃa Solares 'Ölflecke auf dem Wasser' (2003) für Bläserquintett. Anregungen zur Praxisarbeit zwischen Interpretation und Improvisation (Oil spots on the water (2003) by Juan MarÃa Solare: Ideas about rehearsal practice between performance and improvisation). This article was published in November 2004 in the book Ensembleleitung Neue Kammermusik (Dokumentation und Arbeitshilfe des Modellprojekts), edited by the VdM (Verband deutscher Musikschulen - Association of German Music Schools), Bonn, ISBN 3-925574-59-X, pages 82-86.In March 2005 Oil spots on the water was chosen in the shortlist at the Piece of the Year Competition organised by Alan Taylor and the London Chamber Group. In this context it was performed on 10th July 2005 at a venue unknown to the composer.
$4.00
3.66 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Juan MarÃa Solare
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Oelflecke auf dem Wasser [woodwind quintet]
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Juan Maria Solare
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SheetMusicPlus
Prelude No 4 in Em (Fire In The Sky)
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1189647 Composed by Simon James. C…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1189647 Composed by Simon James. Classical,Contemporary,Instructional. Individual part. 5 pages. DML #789280. Published by DML (A0.1189647). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both and I would have to say that I have been influenced by Tarrega’s Preludes which he wrote mostly for his students and so have called them Preludes rather than Studies. I learnt Tarrega’s pieces such as Adelita and Lagrima early in my study of the guitar and always enjoyed their nature as both technical exercises but also performance pieces. I have tried to emulate that with these pieces. This Prelude is based on the use of thirds and sixths on the guitar. These intervals are the easiest to play on guitar and the sweetest sounding though they can still be used dramatically as in this work. The middle section, or B section if you prefer, uses chords with dissonance built into the chord shape and which are also not too difficult to play.
$2.99
2.74 €
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Guitare
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Simon James
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Prelude No 4 in Em
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DML
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SheetMusicPlus
Seven Pieces in Twentieth-Century Styles
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 2…
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Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00
4.57 €
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Piano seul
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James Siddons
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Seven Pieces in Twentieth-Century Styles
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James Siddons Music and Writings
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SheetMusicPlus
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