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Vous avez sélectionné:
Upward Circles
Partitions à imprimer
4 partitions trouvées
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Upward Circles
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Piano Facile
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DÉBUTANT
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Katie Spitler
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Upward Circles
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Katie Spitler
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.1427579 Composed by Katie Spitler. 21st Century,Children,Early Music,Instructional,Standards. Score. 1 pages. Katie Spitl...
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Easy Piano - Level 1 - SKU: A0.1427579 Composed by Katie Spitler. 21st Century,Children,Early Music,Instructional,Standards. Score. 1 pages. Katie Spitler #1008314. Published by Katie Spitler (A0.1427579). Piano exercies can be cheerful and enjoyable! This light and lively etude is written to practice the upward movement of both hands (separately) by way of standard, clever fingerings. Be sure to follow the fingerings as written! This is how we learn to effortlessly and smoothly shift our fingers up the keyboard.
$3.99
Gnossienne No. 3 (Tablature +)
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Guitare notes et tablatures
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FACILE
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Classique
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Contemporain
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Erik Satie
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Brian Streckfus
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Gnossienne No. 3
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1156458 Composed by Erik Satie. Arranged by Brian Streckfus. 20th Century,Classical,Romantic Period. Guitar Tab. 7 pages. Bri...
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Guitar - Level 2 - SKU: A0.1156458 Composed by Erik Satie. Arranged by Brian Streckfus. 20th Century,Classical,Romantic Period. Guitar Tab. 7 pages. Brian Streckfus #756776. Published by Brian Streckfus (A0.1156458). IMPORTANT NOTE: You get both tablature version and sheet music version in one 7 page PDF! Hopefully this makes these arrangements all-inclusive for different purposes and skill levels. Also the tab version is meant for Drop D tuning and the sheet music is for standard tuning! Just be careful with your printer settings if you don't want two versions!1. Impressionism French minimalist piece arranged for guitar in Drop D Tuning.2. The composer indications in text are not my recommendations, but the original composer's. 2. Guitar tablature added with circles for half notes and whole notes.3. Measures and time signatures removed to reflect the ethos of the original composer. 4. Engraved to fit on four pages. Many of the lines themselves represent a musical phrase, making my arrangement that much easier to perform musically.  5. Courtesy accidentals added but they just look like regular accidentals. I did this especially because the piece is one gigantic measure and accidental etiquette is hard to follow under those circumstances. 6. Some overly contrived ties removed.This one is a real challenge to engrave because the original composer didn't have bar lines or time signatures. Cool idea but that can cause even the best sheet music programs to glitch out a bit when you have 16/4 hidden time signatures! This especially causes problems with accidentals, and it also causes rhythm problems when multiple voices are happening. As always, I like to try to have notes with upward stems represent the main voice, and downward stems to represent background voices, even though this leads to a bit of messiness with stem collisions. Normally the sheet music shows the rhythm the best, but dare I say the tab actually keeps track of time pretty well since all the voices are condensed into one rhythm line.
$1.99
Invention No. 3 in C minor for two voices
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Piano seul
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INTERMÉDIAIRE
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Robert W
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Invention No. 3 in C minor for
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Padgett Music Llc
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1141386 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional. Score. 2 pages. Padgett Music Ll...
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Piano Solo - Level 3 - SKU: A0.1141386 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional. Score. 2 pages. Padgett Music Llc #741710. Published by Padgett Music Llc (A0.1141386). I composed my Invention No. 3 in C minor for two voices during the Spring of 2012. The motive is intriguing as the first twelve notes are immediately followed by their inversion after a drop of a seventh to form a contrapuntal palindrome. This inversion is followed by an octave leap upwards to D that circles back to the starting note C. In bar 3, the lower voice introduces the motive a fourth lower at the dominant as the upper voice states the countermotive which concludes in bar 4 with an augmented tonal version of the descending scale run from the original motive. The ensuing episode in bars 5-8 is constructed from fragments of the motive in the upper voice accompanied by an embellished form of the countermotive in the lower voice. A series of ascending broken thirds accompanied by a rising scale run cadences in the tonic key of C minor in bar 10 before abruptly redirecting to G minor in bar 11. At this juncture, the motive and countermotive are restated in their inversions. The episodic sequence from bars 5-9 is also stated in an inverted form in bars 13-17. In bar 18, the motive is stated by the upper voice in G minor with the countermotive now in the lower voice. This formula is repeated a whole step lower in F minor in bars 20-21 followed by the modulation sequence from bars 5-8 reprised with the voices exchanging places. In bar 27, a cadence in F minor redirects back to C major in bar 28 followed by a modulation sequence culminating in C minor in bar 30 that cadences to a final Picardy Third in bar 32.
$3.99
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Upward Circles
