| The Black Keys - El Camino Guitare notes et tablatures [Partition] Cherry Lane
By The Black Keys. For Guitar. Play It Like It Is. Softcover. Guitar tablature. ...(+)
By The Black Keys. For
Guitar. Play It Like It
Is. Softcover. Guitar
tablature. 60 pages.
Published by Cherry Lane
Music
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| Piano Technique:Vol 1 Exercises on Black Keys Piano seul Kunzelmann
By Various. Edited by Nicolai Popov. For piano. Studies (18) on black keys by Bu...(+)
By Various. Edited by
Nicolai Popov. For piano.
Studies (18) on black
keys by
Busoni,Chopin,Hofmann,Jos
effy,Neuhaus,and Walter.
Published by Edition
Kunzelmann.
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| The Black Keys - Brothers Guitare notes et tablatures Cherry Lane
By The Black Keys. Play It Like It Is. Guitar tablature. 100 pages. Published by...(+)
By The Black Keys. Play
It Like It Is. Guitar
tablature. 100 pages.
Published by Cherry Lane
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| The Five Great Keys Guitare [Poster] Santorella Publications
The Five Great Keys composed by Phil Black. For guitar. This edition: Paperback....(+)
The Five Great Keys
composed by Phil Black.
For guitar. This edition:
Paperback. Reference.
Educational. Color
poster. Text Language:
English. 1 pages.
Published by Santorella
Publications
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| Accent on Black Keys Piano seul Willis Music
| | |
| Piano Workshop 3 Piano seul - Facile Schott
Piano - easy SKU: HL.49015424 14 Introductory pieces to Contemporary P...(+)
Piano - easy SKU:
HL.49015424 14
Introductory pieces to
Contemporary Piano
Music. Composed by
Gertrud Firnkees. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 32 pages.
Schott Music #ED 8093.
Published by Schott Music
(HL.49015424). ISBN
9790001083218. The
cat wants to catch the
bird * On an out-of-tune
church organ * The Cuckoo
is hiding * Silent keys
sound * Computer Games *
Water Games *
Thunderstorm * Box of
Bricks * Frightening
Story * Chimes * Stones
fall into the water and
draw circles * spiritual
on black keys * cluster
Song * on the intercity
-. $24.99 - Voir plus => Acheter | | |
| The Black Keys - Attack and Release Guitare notes et tablatures [Partition] Cherry Lane
By The Black Keys. Play It Like It Is. Softcover. Guitar tablature. 80 pages. Pu...(+)
By The Black Keys. Play
It Like It Is. Softcover.
Guitar tablature. 80
pages. Published by
Cherry Lane Music
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| The Black Keys : Gold on the Ceiling Fanfare [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By The Black Keys. By Brian Burton, Dan Auerbach, and Patrick Carney. Arranged b...(+)
By The Black Keys. By
Brian Burton, Dan
Auerbach, and Patrick
Carney. Arranged by Paul
Murtha and Will Rapp. For
Marching Band (Score and
Parts). Contemporary
Marching Band. Grade 3-4.
Published by Hal Leonard
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| The Black Keys - Turn Blue Guitare notes et tablatures Hal Leonard
By The Black Keys. For Guitar. Guitar Recorded Version. Softcover. Guitar ...(+)
By The Black Keys. For
Guitar. Guitar Recorded
Version. Softcover.
Guitar
tablature. 82 pages.
Published by Hal Leonard
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| The Black Keys - A Collection Guitare notes et tablatures [Partition] Cherry Lane
By The Black Keys. Play It Like It Is. Softcover. Guitar tablature. 80 pages. Pu...(+)
By The Black Keys. Play
It Like It Is. Softcover.
Guitar tablature. 80
pages. Published by
Cherry Lane Music
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| Yoshiko Kurokawa: Piano Scales on All Keys Complete Book Piano seul - Intermédiaire Yamaha
Piano - Intermediate SKU: YM.GTP01100873 Composed by Various. Piano Educa...(+)
Piano - Intermediate
SKU:
YM.GTP01100873
Composed by Various.
Piano Educational.
Yoshiko Kurokawa.
Studies, Exercises.
Method Book. Yamaha Music
Media #GTP01100873.
Published by Yamaha Music
Media (YM.GTP01100873).
ISBN
9784636106282. The
scale training exercise
complete book, supervised
by Yoshiko Kurokawa. This
is a revolutionary
collection of all-key
scale exercises designed
to help both aspiring and
practicing pianists
practice essential scales
efficiently. The major
and minor (harmonic and
melodic minor) scales in
the 12 keys are an
important part of the
practice for learning
tonality and training the
muscles and joints of the
hand. The human hand is
flexible, and the thumb
and other fingers bend in
different directions,
making it easy to turn
and play a wide range of
notes. However, it is
important to learn scales
from an early age because
the correct playing style
is required, such as
knowing how to turn the
fingers when playing
speed is faster, the
position of the black
keys and white keys, and
how to use the wrist. To
play scales smoothly with
all five fingers (one
hand), the turn of the
first finger is
significant. It is
advisable to practice
scales from an early age
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fingering of the scale
changes depending on the
key. It takes a lot of
time to learn them
because fingering is
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hand and the left hand as
well. Also, although the
scale is written in
two-fourths time, if you
are not used to it, you
may end up playing one
octave at a time. Various
exercises are described
in this book to help you
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takes a lot of time to
play scales well by
nature, but that is why
it is important to
practice efficiently. $12.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Composition For Young Musicians Piano seul [Partition + CD] - Facile Alfred Publishing
(A Fun Way for Kids to Begin Creating Music) Written by Jennifer Wilson. Instruc...(+)
(A Fun Way for Kids to
Begin Creating Music)
Written by Jennifer
Wilson. Instructional
book and CD for easy
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notation, black and white
photos, instructional
photos, illustrations,
instructional text and
composition activities.
47 pages. Published by
Alfred Publishing.
(1)$18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Torch Songs in Sultry Keys Piano, Voix [Partition] Hal Leonard
Torch Songs in Sultry Keys - 2nd Edition. (45 Standards in Low Keys for Women Si...(+)
Torch Songs in Sultry
Keys - 2nd Edition. (45
Standards in Low Keys for
Women Singers). By
Various. Vocal
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146 pages. Published by
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| Minor Scale Pro, Book 2 Piano seul - Intermédiaire Alfred Publishing
An Introduction to Minor Scales Beginning on Black Keys. Piano Collection; Pi...(+)
An Introduction to Minor
Scales Beginning on Black
Keys. Piano Collection;
Piano Supplemental; Solo.
Minor Scale Pro. Book. 28
pages. Alfred Music #00-
48643. Published by
Alfred
Music
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| Learn to Play Bass with Metallica Basse electrique [Partition + Accès audio] - Facile Cherry Lane
Bass SKU: HL.2500189 Everything You Need To Know About Starting To Pla...(+)
Bass SKU:
HL.2500189
Everything You Need To
Know About Starting To
Play Bass!. By
Metallica. Hal Leonard
Guitar Method. Metal,
Hard Rock and
Instructional. Softcover
Audio Online. With bass
tablature, standard
notation, chord names,
instructional text,
instructional photos and
introductory text. 48
pages. Published by
Cherry Lane Music
(HL.2500189). ISBN
9781575603339. UPC:
073999196351. 9x12
inches. Joe Charupakorn
Book/Online
Audio. Discover the
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tracks with complete
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lesson. Songs include:
Battery â?¢ Blackened
â?¢ The Call of Ktulu
â?¢ Damage, Inc. â?¢
Enter Sandman â?¢ Eye
of the Beholder â?¢
Fade to Black â?¢ Fuel
â?¢ Hero of the Day
â?¢ Mama Said â?¢
Master of Puppets â?¢
One â?¢ Ride the
Lightning â?¢ Seek and
Destroy â?¢ The
Unforgiven â?¢ Until It
Sleeps â?¢ and more.
Audio is accessed online
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files include PLAYBACK ,
a multi-functional audio
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points, change keys, and
pan left or right.
About Hal
Leonard Guitar
Method The
world-famous Hal Leonard
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Students enjoy its
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| Very Young Pianist Listens And Creates, Book 1 Piano seul - Débutant Kjos Music Company
By Jane Bastien. (Very Young Pianist Library). Bastien Piano. Ear Training. Leve...(+)
By Jane Bastien. (Very
Young Pianist Library).
Bastien Piano. Ear
Training. Level: Book
A,1. Music Book. Size
232. Published by Neil A.
Kjos Music Company.
$5.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alfred's Teach Your Child to Play Piano, Book 1 Piano seul [Partition + CD] - Débutant Alfred Publishing
(The Easiest Piano Method Ever!). By Christine H. Barden, Gayle Kowalchyk and E....(+)
(The Easiest Piano Method
Ever!). By Christine H.
Barden, Gayle Kowalchyk
and E. L. Lancaster. For
Piano. Book; CD;
Method/Instruction; Piano
Method. Early Elementary.
96 pages. Published by
Alfred Music Publishing
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Guitar Essentials Guitare [Poster] Santorella Publications
Guitar Essentials composed by Phil Black. For guitar. This edition: Paperback. R...(+)
Guitar Essentials
composed by Phil Black.
For guitar. This edition:
Paperback. Reference.
Educational. Color
poster. Text Language:
English. 1 pages.
Published by Santorella
Publications
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Noona Comprehensive Music Magic Piano Lessons Pre-Primer Piano seul - Débutant Heritage Music Press
By Walter Noona. Piano. Level: Pre-Primer. Piano method. Published by Heritage M...(+)
By Walter Noona. Piano.
Level: Pre-Primer. Piano
method. Published by
Heritage Music Press.
(1)$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jane Smisor Bastien : Pre Reading Experiences Of Music Through The Piano Piano seul - Débutant Kjos Music Company
By Jane Smisor Bastien. Bastien Piano. Music Through the Piano Library. Level: P...(+)
By Jane Smisor Bastien.
Bastien Piano. Music
Through the Piano
Library. Level: Primer.
Music Book. Published by
Neil A. Kjos Music
Company.
(5)$5.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zebra Music Piano Piano seul Novello & Co Ltd.
Piano SKU: HL.14036601 Composed by Giles Swayne. Music Sales America. Cla...(+)
Piano SKU:
HL.14036601 Composed
by Giles Swayne. Music
Sales America. Classical.
Book [Softcover]. 18
pages. Novello & Co Ltd.
#NOV100335. Published by
Novello & Co Ltd.
(HL.14036601).
8.25x11.75x0.116
inches. Giles
Swayne's Zebra
Music comprises
twelve pieces written to
be suitable for the
junior contemporary Piano
student, offering new
music ideas to younger
players. As the title
suggests, the music is
written in 'layers' of
black and white keys: one
hand may be playing the
black keys while the
other hand plays the
white; or both may be on
white, or both on black -
only the final piece
mixes the colours. By
combining these simple
modes with exciting and
unusual rhythms, Swayne
produces a sense of
global style within
acessible pieces. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Noona Comprehensive Music Magic Piano Playing with Sound Activity Workbook Pre-Primer Piano seul [Livre d'activité] Heritage Music Press
By Walter Noona. For piano. Piano method. Published by Heritage Music Press. (40...(+)
By Walter Noona. For
piano. Piano method.
Published by Heritage
Music Press.
(40/1019H) Level:
Pre-Primer.
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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