SKU: YM.GTP01097599
ISBN 9784636975994.
From easy to advanced level, piano solo to duet. Please enjoy one melody in 12 various styles. CONTENTS1. Ito: Piano Solo - Entry; 2. Ito: Piano Solo - Easy; 3. Ito: Piano Solo - Intermediate(arr. by Murakami); 4. Ito: Piano Solo - Intermediate(arr. by Anzai); 6. Ito: Piano Solo - Advanced; 7. Ito: Piano Solo in Jazz Style - Advanced; 8. Ito: Voice with Piano accompaniment - Intermediate; 9. Ito: Duet(1P4H) - Intermediate; 10. Ito: 2-part Chorus with Piano accompaniment; 11. Ito: Voice with Piano accompaniment - Advanced: 12. Ito: Melody.
SKU: YM.GTP01096994
ISBN 9784636969948.
From easy to advanced level, piano solo to duet. Please enjoy one melody in various styles. Cong Chu Ji Dao Gao Ji ,Cong Gang Qin Du Zou Dao He Zou ,Xiang Shou Tong Yi Xuan Lu De Bu Tong Feng Ge . 1. Lemon: Melody; 2. Lemon: Piano Solo - Entry; 3. Lemon: Piano Solo - Easy; 4. Lemon: Piano Solo - Intermediate; 5. Lemon in A minor: Piano Solo - Intermediate; 6. Lemon: Piano Solo - Advanced; 7. Lemon: Voice and Piano; 8. Lemon: Piano Duet.
SKU: YM.GTP01097060
ISBN 9784636970609.
From easy to advanced level, piano solo to duet. Please enjoy one melody in various styles. Cong Chu Ji Dao Gao Ji ,Cong Gang Qin Du Zou Dao He Zou ,Xiang Shou Tong Yi Xuan Lu De Bu Tong Feng Ge . 1. Paprica: Melody; 2. Paprica: Piano Solo - Entry; 3. Paprica: Piano Solo - Easy; 4. Paprica: Piano Solo - Intermediate; 5. Paprica in C Major: Piano Solo - Intermediate; 6. Paprica: Piano Solo - Advanced; 7. Paprica: Voice & Piano; 8. Paprica: Piano Duet.
SKU: YM.GTP01097744
ISBN 9784636977448.
From easy to advanced level, piano solo to duet. Please enjoy one melody in various styles.
SKU: YM.GTP01097921
ISBN 9784636907414.
SKU: YM.GTP01091567
ISBN 9784636915679.
From easy to advanced level, piano solo to duet. Please enjoy one melody in various styles. Cong Chu Ji Dao Gao Ji ,Cong Gang Qin Du Zou Dao He Zou ,Xiang Shou Tong Yi Xuan Lu De Bu Tong Feng Ge . 1. Let It Go: Easy; 2. Let It Go: Intermediate; 3. Let It Go: Advanced; 4. Let It Go: Piano Vocal arrangement; 5. Let It Go: Duet(1P4H, Easy/Intermediate); 6. Let It Go: Duet(1P4H, Intermediate/Advanced); 7. Let It Go: Trio(1P4H by 3, Entry-Easy). 1. Sui Ta Ba : Chu Ji ; 2. Sui Ta Ba : Zhong Ji ; 3. Sui Ta Ba : Gao Ji ; 4. Sui Ta Ba : Gang Qin Dan Chang Bian Pei ; 5. Sui Ta Ba : Si Shou Lian Dan (1P4H, Chu Ji /Zhong Ji ); 6. Sui Ta Ba (1P4H, Zhong Ji /Gao Ji ); 7. Sui Ta Ba : San Ren (3Ren 4Shou , Chu Ji -Chu Ji ).
SKU: HL.132352
UPC: 884088971861.
Volume 29 B V (Various Compositions) contains works of greatly varying difficulty: from the simplest of miniatures, belonging to the pedagogic repertory, to pearls of pianistic lyricism, including masterpieces readily played by the most outstanding pianists: Lento con gran espressione, Nocturne E minor, Impromptu C sharp minor and Funeral March in C minor, Ecossaises in D, G, D flat major, Contredanse, [Allegretto], Cantabile in B flat major, Presto con leggierezza, Spring, Sostenuto, Moderato, Galop Marquis.
SKU: BT.BMI15010643
ISBN 9789043147880. English-German-French-Dutch.
This album contains fifteen easy compositions for piano solo, inspired by the city: from honking cars, and dark alleys to imposing skyscrapers…one of the pieces is even based on mobile phone ringtones. The album is aimed at students who have beenplaying the piano for three to four years; the level of difficulty varies for each piece some are slightly easier, or trickier, than the others. Each work has its own specific mood and style, and where possible I have also tried to incorporatevarious techniques or characters within one composition. This music would make a suitable competition selection, as well as appropriate concert or exam pieces.Deze pianobundel bestaat uit vijftien eenvoudige composities voor pianosolo, ge nspireerd op de geluiden van een stad: van toeterende auto’s, duistere stegen tot imposante wolkenkrabbers… Er zit zelfs een werkje bij dat is gebaseerd op gsm-ringtones.Het album is bedoeld voor leerlingen die drie vier jaar piano spelen; de moeilijkheidsgraad varieert per stuk het ene is wat makkelijker of moeilijker dan het andere. Elk werk heeft een specifieke sfeer en stijl, en waar mogelijk heb ik ookgeprobeerd om diverse technieken of karakters in één compositie te verwerken. De muziek is daarom erg geschikt als verplicht werk, en eveneens om te spelen tijdens een concert of examen.Dieses Album enthält 15 leichte Kompositionen für Klavier solo, die von Klängen der Stadt inspiriert wurden: von hupenden Autos und dunklen Gassen bis hin zu imposanten Wolkenkratzern. Ein Stück basiert sogar auf Handyklingeltönen. Das Album richtetsich an Schüler, die seit drei oder vier Jahren Klavier spielen. Der Schwierigkeitsgrad der Stücke ist unterschiedlich manche sind etwas einfacher, manche schwieriger als die anderen Stücke. Jedes Werk hat eine eigene Stimmung und einen speziellenStil. Wo es möglich war, habe ich auch versucht, verschiedene Techniken oder Charaktere innerhalb einer Komposition zu verwenden. Diese Musik eignet sich gut für Wettbewerbe, aber auch als Konzert- oder Prüfungsstücke.Cet album contient quinze compositions faciles pour piano solo, inspirées par les sons d’une ville : des voitures klaxonnantes et ruelles sombres aux gratte-ciels imposants…l’un des morceaux est même basé sur des sonneries de portable. L’album viseles étudiants jouant du piano depuis trois ou quatre ans ; le niveau de difficulté varie entre chaque pièce - certaines sont plus faciles que d’autres. Chaque morceau a son propre ton et style, et, si possible, j’ai aussi essayé d’inclure destechniques et caractères différents par composition. Cette musique est convenable pour des concours, concerts ou examens.
SKU: ET.PNO48
ISBN 9790207024046.
In her Impromptu, Helena Winkelman conjures an atmosphere of timelessness, employing musical elements variously meditative and percussive, punctuated by shadowy accents in the contrabass register and delicate flourishes in the soprano. This masterful composition, engrossing and adventurous, is a rewarding challenge for the performer. Performing notes Attentive pedaling is key to producing the spectral resonances in this Impromptu. The impressionistic atmosphere of the piece requires a carefully gauged use of all three pedals, even where not expressly noted in the score. Especially with the right pedal many small ad lib. changes are necessary to create this impressionistic atmosphere. The central pedal only holds the bass notes. Care must be taken that the pedals are not changed at the same time to avoid the third pedal affecting notes that should not be. The composer wrote Impromptu with Schubert’s Hungarian Melody (D817) playing in her mind’s ear, and suggests that her Impromptu be programmed to follow it attacca in performance.
SKU: BT.MS0415
Spanish.
Con no menos de 25 toques para piano en los estilos boogie-woogie y ragtime, nuestro método le divertirá durante mucho rato. Pero no sólo… En efecto, la idea es aprender tocando, progresar pasándolo bien, pero estos toques le permitirán también descubrir y trabajar todas las técnicas, los gimmicks y otras figuras de estilo que hacen su originalidad. Y para ayudarle a abordarlos más fácilmente, le señalamos todas las digitaciones. Inspirados en los mayores artistas y teclistas de dichos estilos (Scott Joplin, Joseph Lamb, James Scott, Pine Top Smith, Meade Lux Lewis, Albert Ammons... y otros muchos), estos 25 toques brindan un amplio panorama del boogie-woogie y del ragtimeen el piano. En el disco incluido en el método, uno encontrará varios archivos audios y v deos. Los v deos (mp4) presentan en imágenes los 25 toques tales como se deben tocar, a velocidad normal o más lenta. Las grabaciones audios (mp3), por su parte, nos brindan los playbacks correspondientes, aqu también en dos aires diferentes. Ud podrá tocar los toques propuestos al estudio o aprovechar la ocasión para desarrollar libremente sus propias ideas de acompañamiento en el estilo.
SKU: BT.MS0389
En el teclado del piano, la dos manos desempeñan un papel diferente (bajo/acordes, acordes/melod a...) y resulta imprescindible poder tocar cada mano independientemente de la otra, procurando conservar una perfecta coordinación de las dos. Nuestro método enfoca de manera muy progresiva el problema desde el punto de vista técnico y musical. As cada dificultad señalada con un ejercicio espec fico tiene su aplicación inmediata en un pequeño toque... para que la técnica quede siempre al servicio de la música y del placer de tocar. Los ejercicios de este tercer y último volumen van a profundizar las nociones abordadas en los 2 volúmenes anteriores... ¡pero no sólo! Vd encontrarátambién un trabajo sobre los ternarios, las extensiones, los intervalos sostenidos y en espejo, los tresillos compartidos, los arpegios de 4 sonidos, los desfases r tmicos, los 3 por 2 invertidos, las figuras a base de semicorcheas, la clave, etc... elementos imprescindibles para reforzar la independencia de las manos en el piano. En el disco adjunto al método, Vd encontrará varios archivos audios y v deos. Los v deos (mp4) presentan en imágenes todos los ejercicios y los toques tales como uno debe tocarlos. Las grabaciones audios (mp3), por su parte, le brindan los playbacks correspondientes, en dos aires distintos, en los cuales podrá tocar los toques propuestos al estudio.
SKU: BT.MS0378
Con no menos de 25 toques reggae y ska para piano y otros teclados, nuestro método le permitirá pasarlo bien durante un buen rato pero no sólo… En efecto se trata de aprender tocando, de progresar disfrutando, y nuestros toques le permitirán también descubrir y trabajar todas las técnicas que contribuyen a crear unos buenos acompañamientos en el estilo… y en particular ¡el famoso “skankâ€! Y por último, inspirándose en los mayores artistas y teclistas de ayer y de hoy (The Skatalites, Bob Marley / The Wailers, UB40, Madness, The Specials, Jimmy Cliff, Alpha Blondy, Burning Spear, Peter Tosh...),dichos 25 toques le brindarán un amplio panorama de los estilos reggae y ska en elteclado. En el disco incluido en el método, Ud encontrará varios ficheros audios y v deos. Los v deos (mp4) presentan en imágenes los 25 toques tales como uno debe tocarlos, a velocidad normal, y luego más lenta. Las grabaciones audio (mp3), por su parte, presentan los playbacks correspondientes, aqu también en dos aires diferentes. Ud podrá tocar los toques propuestos al estudio, o aprovechar para desarrollar libremente sus propias ideas de acompañamiento en el estilo.
SKU: BT.MUSMS0370
Con sus 25 acompañamientos en el piano para canciones pop, este método le divertirá durante un buen rato. Pero no sólo... En efecto se trata de aprender tocando, y progresar disfrutando y nuestros toques le permitirán también descubrir y trabajar todas las técnicas que contribuyen a hacer unos buenos acompañamientos en el estilo: toque en acordes placados, semi-arpegiados o arpegiados, fórmulas melódicas de mano derecha con o sin contracanto a la mano izquierda, síncopas rítmicas... ¡lo tiene todo! Y por último, inspirándose en los grandes artistas y pianistas deayer y de hoy (The Beatles, Michael Jackson, Oasis, Madonna, Elton John, Mika, Robbie Williams...), esos 25 toques le brindarán un amplio panorama del piano pop y canciones. En el disco incluido en el método uno encontrará varios ficheros audios y vídeos. Los vídeos (mp4) presentan en imágenes los 25 toques tales como se deben tocar, a velocidad normal (en su playback) y luego más lenta. Las grabaciones audios (mp3), por su parte presentan los playbacks correspondientes también en dos aires diferentes. Ud podrá tocar entonces las canciones propuestas o aprovechar para desarrollar con toda libertad sus propias ideas de acompañamientos en dicho estilo.
SKU: YM.GTP01101644
ISBN 9784636113259. 8.75 x 12 inches.
Spirited Away from Studio Ghibli Piano Collection features 11 arrangements of 6 songs from Spirited Away. Featuring iconic songs from Studio Ghibli films, this series includes arrangements at various levels, from beginner to intermediate, in piano solo and piano duet arrangements to suit all difficulty levels and styles. The first four pages of each book feature full color stills from the film scenes. It is ideal for piano learners, piano enthusiasts, and, of course, Studio Ghibli fans!
SKU: HL.14045610
ISBN 9788438703199. Spanish.
SKU: B7.B151
8.5x11 inches.
CAFE for solo piano by Marc Douyon is based on the Haitian folk tune Manmam voyem peze cafe. The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part of the colorful musical tapestry as well. Cafe is divided into two main parts, the Prelude and the Dance. This work begins with lyrical melodic fragments over a light chordal accompaniment. A recitative follows with a theme, which is also lyrical in nature. But, soon after, that same theme from the recitative takes on a happier character in a waltz accompanied by a walking bass. There, syncopated rhythm, sequences, chromatic harmony, and refrain-like passages take the dance to new heights until the end.
SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: BT.EMBZ7190
English-German-Hungarian.
The most important and only autograph source of the French Suites, the Klavierbüchlein für Anna Magdalena Bach (1722) contains the first three suites in fragments only, and the sixth not at all. This is why the numerous copies which have come down to us, are of special significance. Among the copies of major importance is the manuscript which for a long time had been attributed to Bach, and which comprises the first for suites in full (Deutsche Staastsbibliothek, Berlin) as well as the copy by Gerber (1725-26) and the second volume of the Klavierbüchlein (1925). A few manuscripts originating from the circle of Bach's pupils should also be added to them.The texts of thevarious copies show a lot of deviations. The present edition relies on the first formulation - at least where this can be decided at all - but it gives all the major devations of the copies as variants, either in footnotes or after the movement concerned. (Tamás Zászkaliczky).
SKU: BO.B.2086
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