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Third Piano Concerto in E minor
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Third Piano Concerto in E minor
Piano et Orchestre
Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minute…
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Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minutes. Zimmermann #Q564179. Published by Zimmermann
$19.99
18.47 €
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Piano et Orchestre
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Nikolai Medtner
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Third Piano Concerto in E minor
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.16 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Concertino Barocco (after C.P.E. Bach and G.B. Pescetti)
2 Pianos, 4 mains
2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.945464 Composed by…
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2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.945464 Composed by Carl Philipp Emanuel Bach, Giovanni Battista Pescetti. Arranged by Kiyoshi Tamagawa. Baroque. Score. 12 pages. Mastery for Strings Press #5999147. Published by Mastery for Strings Press (A0.945464). The practice of adding an accompaniment to a composition originally created for a solo instrument is a time-honored tradition in Western art music, whether the additional music be for one or a few instruments or an entire ensemble. In the latter case a concerto movement can be fabricated from a solo work. The Concertino Barocco (Little Baroque Concerto) takes as its basis two pieces of the Baroque era that have long been popular repertoire for advancing students of the keyboard: the Solfeggio (or Solfeggietto) by C.P.E. Bach, and the third movement, Presto, from the Sonata in C minor by Giovanni Battista Pescetti. These works are transformed into two miniature concerto movements by adding and interpolating short tutti passages at various points in the form, rather in the style of Antonio Vivaldi. Not a note has been added or subtracted from the original keyboard solos, so that a student who has mastered the originals may play this Concertino simply by memorizing the exact points in the original pieces where additional music for the orchestra has been added and they must wait to continue.
$9.99
9.23 €
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2 Pianos, 4 mains
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Carl Philipp Emanuel Bach, Giovanni Battista Pescetti
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Kiyoshi Tamagawa
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Concertino Barocco
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Mastery for Strings Press
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SheetMusicPlus
Concerto for Trombone and Piano accompaniment (piano reduction)
Trombone et Piano
Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Class…
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Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.
$35.00
32.33 €
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Trombone et Piano
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Cherry Classics Music
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John, W
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Concerto for Trombone and Piano accompaniment
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Gordon Cherry
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SheetMusicPlus
J. S. Bach, Sicilienne BWV 596, Transcription for piano by Christopher Ferreira
Piano seul
Composed by J. S. Bach, Antonio Vivaldi. Arranged by Christopher Ferreira. Baroque. …
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Composed by J. S. Bach, Antonio Vivaldi. Arranged by Christopher Ferreira. Baroque. Score. 2 pages. Christopher Ferreira #6030025. Published by Christopher Ferreira
This is a new transcription for piano of the third movement (Largo e spiccato) of J.S. Bach's Concerto in D minor, BWV 596. Bach's original organ concerto was itself a transcription of Vivaldi's Concerto in D minor for two violins and obbligato violoncello (RV 565, Op.3 No. 11). It has been arranged to bring out the best qualities of this hauntingly beautiful melody.
$4.99
4.61 €
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Piano seul
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J
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Christopher Ferreira
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J. S. Bach, Sicilienne BWV 596, Transcription for piano by Christopher Ferreira
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SheetMusicPlus
Piano Concerto n. 2 Third Movement
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1195453
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1195453 Composed by S. Rachmaninov. Arranged by Alessandro Macrì. 19th Century,Chamber,Classical,Film/TV. 11 pages. Music Macri Editions #794622. Published by Music Macri Editions (A0.1195453). Il Concerto per pianoforte e orchestra n. 2 in do minore, Op. 18 è il più popolare ed eseguito dei quattro concerti per pianoforte del compositore russo Sergej Vasil'eviÄ Rachmaninov, nonché uno dei concerti per pianoforte più famosi di tutti i tempi. Fu composto tra il 1900 ed il 1901.Il terzo movimento riprende il tono marziale del primo movimento, ma con un'atmosfera più ironica. Il primo tema ha un carattere guizzante, saltellante; dopo una sua elaborazione, si arriva al secondo tema, dolcemente cantabile, presentato dalle viole e dall'oboe e ripreso dal pianoforte, tema che indubbiamente può essere considerato tra i più belli e i più celebri fra tutti quelli composti da Rachmaninov. Lo sviluppo centrale si basa sul primo tema, che viene spezzettato ed alternato fra il solista e vari strumenti, con un accenno di un passo fugato. Questo sviluppo si salda praticamente con la ripresa, che si afferma con il ritorno, adesso con i violini, del secondo tema. Da qui deriva una nuova elaborazione prevalentemente mossa che porta, con il cambio della tonalità in do maggiore, alla trionfale affermazione del secondo tema (che quindi è il vero protagonista del finale) a piena orchestra. Segue una breve coda nuovamente mossa che in un clima ora festoso e trascinante porta alla conclusione. Terminano il brano tre accordi ripetuti che rappresentano la firma ritmica del compositore: ta- tatata (Rach - maninov).Esiste una leggenda riguardo al famosissimo secondo tema di questo movimento. A detta del critico Leonid Sabaneev tale tema non sarebbe di Rachmaninov, ma di un suo amico, Nikita Morozov. Ascoltando un brano di Morozov, Rachmaninov avrebbe detto: Oh, ma è una melodia che avrei potuto comporre io. Ebbene, perché non te la prendi?, avrebbe risposto Morozov, e Rachmaninov non si sarebbe fatto pregare.
$8.00
7.39 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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S
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Alessandro Macrì
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Piano Concerto n. 2 Third Movement
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Music Macri Editions
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SheetMusicPlus
Violin Friends Violin Method Book 3: 54 progressive pieces and fun exercises
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.1318336 Composed by Traditional. …
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Piano,Violin - Level 3 - Digital Download SKU: A0.1318336 Composed by Traditional. Arranged by Lauri Hamalainen. Chamber,Children,Classical,Instructional,Traditional. Educational Method. 76 pages. Suomi Music #906999. Published by Suomi Music (A0.1318336). Violin Friends Violin Method Book 3: 54 progressive pieces and fun exercises for advanced violin studentsLet’s play, together!Violin Friends Method Book Volume 3 is a fun and colorful collection of great music for the advanced violin player presenting music from J.S.Bach, G.Tartini, H.Purcell, R.Glinka, E.Elgar, F.Gossec, G.F.Handel, W.A.Mozart, L.van Beethoven, A.Dvorak, P.Tchaikovsky, and N.Baklanova.Violin Friends 3 is the third part of the Violin Friends family of music books. The repertoire and exercises in volume 3 use shifting and playing music in the 3rd position, scales on one string, etudes by F.Wohlfart, bowing exercises by O.Sevcik, and double-stops from J. Trott and J.S.Bach.Every method book uses QR codes to open play-along videos on the Violin Friends Youtube channelViolin Friends method book 3 contains:12 scales14 duos19 short pieces4 technical exercisesConcertino in G Major Op. 11 by F. KüchlerConcerto in B minor Op. 35 by O. RiedingConcerto in G Major Op. 34 by O. RiedingConcerto in D Major Op. 15 by F. KüchlerAll Violin Friends music is easily learnable with the help of simplified piano parts, Youtube play-along videos on the Violin Friends Youtube channel, and mp3 backing tracks on SoundCloud and the Violin Friends homepage www.violinfriends.com.Fun music for motivation, growth and improvement.The Violin Friends series of music books aims to inspire beginning string players and to give them much joy through music. Play, Together, Joy!Do to want your students to practice more, learn faster, and get better grades at examinations?Violin Friends and Viola Friends method books have a proven track record of taking teaching to the next level with innovative ways of engaging students since 2016.The books will inspire students to learn music independently at home and make the teachers' jobs easy. Violin Friends combines the most effective ways to build up the playing technique and enables students to use these skills immediately. Every new scale is followed by engaging duos and carefully selected pieces by the most influential classical composers. Students will learn the music faster with the help of play-along videos on Youtube and mp3 backing tracks on SoundCloud. Students who have studied the books are known to have made faster progress, performed more often, and got better grades at examinations.Benefits for teachers include one book combining warming-up exercises, repertoire, scales, etudes, great music that inspires students, and a time-saving teaching method that makes teaching easy and more fun.Students will be motivated to play music with their friends right from the beginning of their studies. They will be happy to use a colorful and fun music book with a magnificent repertoire, lots of play-along videos on Youtube, and free mp3 backing tracks on SoundCloud.
$29.90
27.62 €
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Violon et Piano
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Traditional
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Lauri Hamalainen
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Violin Friends Violin Method Book 3: 54 progressive pieces and fun exercises
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Suomi Music
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SheetMusicPlus
Hommages III. Sonata No. 1 'Gothic'
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1384065 Composed by David Fraser. 2…
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Piano Solo - Level 5 - Digital Download SKU: A0.1384065 Composed by David Fraser. 20th Century,21st Century,Classical,Romantic Period. Score. 39 pages. David Fraser #968426. Published by David Fraser (A0.1384065). David Fraserâ??s third composition is â??Sonata No.1 Gothicâ??, dedicated to Sergei Prokofiev, not as a representation of this genre of music, but in form. Specifically, Fraser uses a similar structure in Movement 1, starting at Measure 72 marked â??più mosso e con abbandonoâ?, to the notoriously difficult â??colossaleâ? section of Prokofievâ??s â??Piano Concerto No. 2, Op. 16â??, Movement 1. The sonataâ??s Movement 3 also follows a structure parallel to Movement 4 of Prokofievâ??s aforementioned piano concerto, employing fiendishly challenging syncopated jumps in both hands. Written in ternary form, Movements 1 and 3 of Fraserâ??s sonata are in C minor; Movement 2 is in E-flat minor, instead of the expected relative or dominant key. This work has explosive sentiments of rage that elicit a sense of immensity and darkness, touching on the macabre yet maintaining an alluring nature. The inspiration for the second movement comes from the German fairy tale Hansel and Gretel by the Brothers Grimm. The music begins with Hansel and Gretel walking into the witchâ??s house made of gingerbread, cake, and candy. The children have a sense of unease and fright once they enter the house, which is demonstrated in the music by the eeriness and darkness of the harmonies. The term oscuro is found at the beginning of the music â?? this is the Italian word for dark. The repeat, which begins at measure 25, is marked sempre sotto voce which translates to always under the voice, meaning always in a hushed tonal quality and dynamic volume. This section represents the children trying to tip-toe out of the house without the witch taking notice. The repeat is almost identical to the beginning section, with the exception of measures 39 and 40 which have ties in the right hand; the similar measures 15 and 16 in the first section do not have these ties. The right-hand trills in measures 53 through 55 symbolize the children attempting to quietly turn a key to unlock the door, which would lead them to freedom.This is the full version of the Sonata, containing all three movements, and is the third piece from 'Hommages: Suite pour le Piano'. 39 pages. ISMN 979-0-800277-00-9.
$9.99
9.23 €
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Piano seul
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David Fraser
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Hommages III. Sonata No. 1 'Gothic'
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David Fraser
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SheetMusicPlus
Hommages and Prelude No. 1
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1383996 Composed by David Fraser. 2…
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Piano Solo - Level 5 - Digital Download SKU: A0.1383996 Composed by David Fraser. 20th Century,21st Century,Classical,Romantic Period. Score. 178 pages. David Fraser #968350. Published by David Fraser (A0.1383996). This volume contains five solo piano pieces expertly crafted and meticulously edited for accuracy. Advanced pianists will welcome the technical challenges and heights of musicality these works require. Music terminology for â??Le Cygne noirâ?? and â??L'océanâ?? are in French, with regard to the dedications of these pieces. All other works use conventional music terminology in Italian. 178 pages. ISMN 979-0-800277-00-9.David Fraser wrote the first 41 measures of â??Rhapsody No. 1â?? in 1997 and subsequently completed this piece and all other works in this volume over the course of six months in 2019. When playing the original 41 measures of â??Rhapsody No. 1â?? in 2019, Fraser noted that the music had some resemblance to works by Sergei Rachmaninoff. This encouraged Fraser to compose the remainder of this piece in a manner reminiscent of Rachmaninoff and, consequently, author a suite of solo piano pieces as homages to some of his favorite composers. In Rachmaninoffâ??s famous â??Rhapsody on a Theme of Paganini, Op. 43â??, variation 18, the composer uses an upside-down inversion of a small melody by Paganini. Similarly, Fraser uses a backwards inversion of a small melody from Rachmaninoffâ??s variation for the Rhapsodyâ??s â??Adagioâ? section, which starts on Page 3.Le Cynge noir {The Black Swan} is the second piece Fraser authored, dedicated to his beloved piano composer, Maurice Ravel. In this piece, Fraser wrote in his own style while evoking images such as a swan gliding on a lake, peering at its reflection in the water, and taking flight into the clouds with its wings rustling in the wind. Fraser gleaned inspiration for this piece from Ravelâ??s song for voice and piano â??Histoires naturelles - Le cygneâ??, set to a poem by Jules Renard. In addition, Fraser alternates between the keys of C-sharp major and A major as a depiction of the magical swanâ??s internal conflict in choosing to exist as a black or white swan.Fraserâ??s third composition is â??Sonata No.1 Gothicâ??, dedicated to Sergei Prokofiev, not as a representation of this genre of music, but in form. Specifically, Fraser uses a similar structure in Movement 1, starting at Measure 72 marked â??più mosso e con abbandonoâ?, to the notoriously difficult â??colossaleâ? section of Prokofievâ??s â??Piano Concerto No. 2, Op. 16â??, Movement 1. The sonataâ??s Movement 3 also follows a structure parallel to Movement 4 of Prokofievâ??s aforementioned piano concerto, employing fiendishly challenging syncopated jumps in both hands. Written in ternary form, Movements 1 and 3 of Fraserâ??s sonata are in C minor; Movement 2 is in E-flat minor, instead of the expected relative or dominant key. This work has explosive sentiments of rage that elicit a sense of immensity and darkness, touching on the macabre yet maintaining an alluring nature. The fourth piece of this suite, â??L'océan {The Ocean}â?? dedicated to Claude Debussy, uses whole-tone scales throughout as lyrical motifs. The composition unfolds with the allusion of the sun glimmering on ocean waves, followed by the playfulness of eddies and gusts of wind. These themes merge into one another as the wind increases in ferocity, culminating in the start of a storm with sudden strikes of lightning preceded by the reverberation of thunder. The pitter-patter of rain on the water steadily evolves into a full tempest that engulfs the middle section of the piece. As the storm subsides and the ocean calms, night has fallen and the twinkling of stars in the firmament are reflecting upon the water. The piece ends with the return of the opening theme as the sun swiftly rises above the ocean on the horizon.Prelude No. 1 L'adieu {The Farewell} offers rich and lush harmonies with an enticing melody. This piece was written in memoriam to Fraser's mother.
$29.99
27.7 €
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Piano seul
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David Fraser
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Hommages and Prelude No. 1
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David Fraser
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SheetMusicPlus
Viola Friends Method Book 3
Alto, Piano
Piano,Viola - Level 3 - Digital Download SKU: A0.1318081 Composed by Traditional. A…
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Piano,Viola - Level 3 - Digital Download SKU: A0.1318081 Composed by Traditional. Arranged by Lauri Hamalainen. Chamber,Children,Classical,Instructional,Traditional. Educational Method. 77 pages. Suomi Music #906783. Published by Suomi Music (A0.1318081). VIOLA FRIENDS METHOD BOOK 3Viola Friends Method Book Volume 3 is a fun and colorful collection of great music for the advanced viola player presenting music from J.S.Bach, G.Tartini, H.Purcell, R.Glinka, E.Elgar, F.Gossec, G.F.Handel, W.A.Mozart, L.Beethoven, A.Dvorak, P.Tchaikovsky, and N.Baklanova.Viola Friends 3 is the third part of the Viola Friends family of music books. The repertoire and exercises in volume 3 use shifting and playing music in the 3rd position, scales on one string, etudes by Wohlfart, bowing exercises by Sevcik, and double-stops from J. Trott and Bach.Viola Friends method book 3 contains the most famous student concertinos for violin arranged for Viola and PianoConcertino in G Major Op. 11 by KüchlerConcerto in B minor Op. 35 by O. RiedingConcerto in G Major Op. 34 by O. RiedingConcerto in D Major Op. 15 by F. Küchler, All Viola Friends music is easily learnable with the help of simplified piano parts, Youtube play-along videos on the Violin Friends Youtube channel, and mp3 backing tracks on SoundCloud and the Violin Friends homepage www.violinfriends.com.
$24.90
23 €
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Alto, Piano
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Traditional
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Lauri Hamalainen
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Viola Friends Method Book 3
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Suomi Music
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SheetMusicPlus
Concertino for Flute and Strings
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.814750 Composed by Richard E…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.814750 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 74 pages. Dacker Music #3129233. Published by Dacker Music (A0.814750). As the title (which means little concerto) indicates, Concertino for Flute and Strings closely follows sonata forms on a somewhat smaller scale. Tonality is an important part of sonata form, and in this composition, the tonal relationships within and between the movements are all based on thirds. The tempi, form, and keys of the 3 movements are as follows: 1. Allegro molto - sonata-allegro - E minor 2. Andante moderato - theme and variations - C major 3. Allegro energico - abridged sonata-rondo - E minor This composition is the composer's transcription of his Sonatina for Flute and Piano.The price includes license to make as many copies of each part as required.Grade 4 - Duration 7:45
$45.00
41.57 €
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Orchestre de chambre
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Richard E Brown
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Concertino for Flute and Strings
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Dacker Music
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SheetMusicPlus
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