| The Real Little Classical Fake Book - 2nd Edition Piano solo - Intermediate Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard
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| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Easy Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.
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| Concerto in F minor Op. 21 for 2 Pianos 2 Pianos, 4 hands PWM (Polskie Wydawnictwo Muzyczne)
(Chopin National Edition Volume XXXI). Composed by Frederic Chopin (1810-1849). ...(+)
(Chopin National Edition Volume XXXI). Composed by Frederic Chopin (1810-1849). Edited by Ekier and Jan Ekier. For 2 Pianos, 4 Hands. PWM. 112 pages. Polskie Wydawnictwo Muzyczne #51600016. Published by Polskie Wydawnictwo Muzyczne
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| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. 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). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Baroque Era - Easy to Intermediate Piano Piano solo - Easy Hal Leonard
91 Selections from Keyboard Literature, Concertos, Oratorios and Operas. By Vari...(+)
91 Selections from Keyboard Literature, Concertos, Oratorios and Operas. By Various. World's Greatest Classical Music. 224 pages. Published by Hal Leonard.
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| We Wish You a Merry Christmas Piano solo - Beginner Alfred Publishing
Arranged by Beatrice A. Miller. For Piano. Piano Quartet (Two Pianos, Eight Hand...(+)
Arranged by Beatrice A. Miller. For Piano. Piano Quartet (Two Pianos, Eight Hands). Level: Elementary. 12 pages. Published by Alfred Publishing.
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| Wolfgang Amadeus Mozart: Mozart Piano solo [Sheet music] - Intermediate Hal Leonard
Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano s...(+)
Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano solo book. Classical period. Series: The World's Great Classical Music. 224 pages. 9x12 inches. Published by Hal Leonard.
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| The Most Famous Classical Music for Easier Piano Piano solo - Intermediate Hal Leonard
Composed by Various. Piano. Classical. Softcover. 250 pages. Published by Hal ...(+)
Composed by Various. Piano.
Classical. Softcover. 250
pages. Published by Hal
Leonard
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| Concerto No. 1 in E Minor Op. 11 - Version for One Piano Piano solo PWM (Polskie Wydawnictwo Muzyczne)
(Chopin National Edition, A. XIIIa Vol. 13). Composed by Frederic Chopin (1810-1...(+)
(Chopin National Edition, A. XIIIa Vol. 13). Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier. For Piano. PWM. Softcover. 92 pages. Polskie Wydawnictwo Muzyczne #51600006. Published by Polskie Wydawnictwo Muzyczne
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| Masterpieces for the Modern Pianist Piano solo - Easy Willis Music
A Unique Classical Collection of Favorites and Undiscovered Gems. Composed by ...(+)
A Unique Classical Collection
of Favorites and Undiscovered
Gems. Composed by Various.
Edited by Charmaine Siagian
and Sonya Schumann. Willis.
Classical. Softcover. 272
pages. Published by Willis
Music
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| Giovanni Battista Viotti: erto No. 22 in A minor Violin and Piano Carl Fischer
By Giovanni Battista Viotti. Edited by Fritz Kreisler. For violin and piano. The...(+)
By Giovanni Battista Viotti. Edited by Fritz Kreisler. For violin and piano. The Masters Collection. Published by Carl Fischer.
$22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Wedding Collection Piano solo [Sheet music] Amsco Wise Publications
For Piano. Popular, Classical, Weddings. Sheet Music. 128 pages. Published by Wi...(+)
For Piano. Popular, Classical, Weddings. Sheet Music. 128 pages. Published by Wise Publications.
$24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Grieg - Concerto in A Minor, Op. 16 Piano and Orchestra [Sheet music + CD] Ricordi
for Piano and Orchestra Soloist in Concert Series. By Edvard Grieg. Piano Large ...(+)
for Piano and Orchestra Soloist in Concert Series. By Edvard Grieg. Piano Large Works (Arranged for piano). Size 9x12 inches. 56 pages. Published by Ricordi.
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| L'Estro Armonico (RV 522) 2 Violins, Piano [Reduction] Schott
Concerto Grosso in a minor, Op. 3, No. 8. By Antonio Vivaldi. Arranged by Tivada...(+)
Concerto Grosso in a minor, Op. 3, No. 8. By Antonio Vivaldi. Arranged by Tivadar Nachez. Schott. Size 9x12 inches. 34 pages. Published by Schott.
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| Concerto in E Minor Op. 11 - Version with Second Piano 2 Pianos, 4 hands PWM (Polskie Wydawnictwo Muzyczne)
(Chopin National Edition 30B, Vol. Vla). Composed by Frederic Chopin (1810-1849)...(+)
(Chopin National Edition 30B, Vol. Vla). Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier. For 2 Pianos, 4 Hands. PWM. 140 pages. Polskie Wydawnictwo Muzyczne #51600007. Published by Polskie Wydawnictwo Muzyczne
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| Violoncello Concerto in B flat major Wq 171 Piano solo Breitkopf & Härtel
Harpsichord/piano SKU: BR.OB-5509-12 Urtext. Composed by Carl Phil...(+)
Harpsichord/piano SKU: BR.OB-5509-12 Urtext. Composed by Carl Philipp Emanuel Bach. Edited by Ulrich Leisinger. This edition: harpsichord/piano part. Stapled. Orchester-Bibliothek (Orchestral Library). The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. Solo concerto; Early classical. Part. 16 pages. Duration 27'. Breitkopf and Haertel #OB 5509-12. Published by Breitkopf and Haertel (BR.OB-5509-12). ISBN 9790004338452. 9 x 12 inches. The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts. $17.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The 10 Greatest Piano Concertos (10 Eulenburg Audio+scores Boxed Set) Piano and Orchestra [Sheet music + CD] Eulenburg
Piano and orchestra SKU: HL.49019951 This edition: Paperback/Soft Cover. ...(+)
Piano and orchestra SKU: HL.49019951 This edition: Paperback/Soft Cover. Sheet music with CD. Eulenberg Audio plus Score. Softcover with CD. 1288 pages. Eulenburg Edition #EAS11. Published by Eulenburg Edition (HL.49019951). ISBN 9783795772604. UPC: 841886021464. Schumann: Concerto in A minor, Beethoven: Concerto No. 3, Brahms: Concerto No. 2, Grieg: Concerto in A minor, Mozart: Concerto No. 23, Tchaikovsky: Concerto No. 1, Beethoven: Concerto No. 4, Chopin: Concerto No. 1, Chopin: Concerto No. 2, Liszt: Concerto No. 1. $124.00 - See more - Buy online | | |
| Violin Concerto No. 22 In A Minor - Violin/Piano Violin and Piano [Set of Parts] Schirmer
Set of performance parts. By Giovan Battista Viotti. Arranged by Henry Schradiec...(+)
Set of performance parts. By Giovan Battista Viotti. Arranged by Henry Schradieck. (Violin). String Solo. Size 9x12 inches. 28 pages. Published by G. Schirmer, Inc.
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| Piano Concerto No. 2 in G-minor Op. 22 Piano solo [Sheet music] G. Henle
Piano Reduction. Composed by Camille Saint-Saens (1835-1921). Edited by P...(+)
Piano Reduction. Composed by Camille Saint-Saens (1835-1921). Edited by Peter Jost. Henle Music Folios. Softcover. 78 pages. G. Henle #HN1355. Published by G. Henle (HL.51481355).
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| Concerto in A minor, Op. 82 (OISTRAKH)
Violin and Piano IMC (International Music Co.) By Alexander Glazunov.
Violin and piano.
Published by
International Music Co.
$23.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Gefällt Mir! Classics Piano solo Bosworth
Piano SKU: BT.BWHBRM7813 Arranged by Hans Gunter Heumann. Piano Gefäll...(+)
Piano SKU: BT.BWHBRM7813 Arranged by Hans Gunter Heumann. Piano Gefällt Mir! Classical. CD Only. Composed 2016. Bosworth & Co. #BWHBRM7813. Published by Bosworth & Co. (BT.BWHBRM7813). German. The accompanying CD for Hans-Günter Heumann 's Piano Gefällt Mir! Classics , featuring demonstrations of all the tracks in the book, this is a wonderful way to improve your playing and easily learn the pieces. $13.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Concerto In F Minor Op.21 Version For 1 Piano, Wn A Xviiib Vol.15 Piano solo PWM (Polskie Wydawnictwo Muzyczne)
Composed by F Chopin. Edited by Jan Ekier. Piano. PWM. 78 pages. Polskie Wydawni...(+)
Composed by F Chopin. Edited by Jan Ekier. Piano. PWM. 78 pages. Polskie Wydawnictwo Muzyczne #51600015. Published by Polskie Wydawnictwo Muzyczne
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| Simply Classic Orchestral and Operatic Masterworks, Book 2 Piano solo [Sheet music] - Intermediate Alfred Publishing
Arranged by Margaret Goldston. For Piano. Piano Collection. Masterwork; Opera. L...(+)
Arranged by Margaret Goldston. For Piano. Piano Collection. Masterwork; Opera. Level: Early Intermediate. Book. 32 pages. Published by Alfred Publishing.
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Johann Sebastian Bach : Concerto in D Minor, BWV 596 Brass Quintet: 2 trumpets, horn, trombone, tuba Eighth Note Publications
By Johann Sebastian Bach (1685-1750). Arranged by David Marlatt. For Double Bras...(+)
By Johann Sebastian Bach (1685-1750). Arranged by David Marlatt. For Double Brass Quintet. Brass Ensemble - Quintet; Masterworks. Eighth Note Publications. Baroque. Duration 00:09:32. Published by Eighth Note Publications
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