Par BAY WILLIAM. Un texte très basique qui n'importe qui aidera à apprendre à jouer portable clavier rapidement et facilement. Il peut être utilisé avec pratiquement toute chord automatique de clavier électronique et les effets de la rythmique, Casio, Bontempi et Yamaha. La musique est écrite comme big notes, marquées avec leur nom de la lettre. Les diagrammes de clavier sont également inclus. Le livre couvre de nombreuses fonctionnalités automatiques trouvées communément sur les claviers. / Niveau : Débutant / All Styles - Methods / Méthode / Clavier Electronique

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano

Par DOBRZYNSKI IGNACY FELIKS. Dobrzynski’s Two Mazurkas are worthy of pianists’ attention. Despite the considerable simplification of means and the use of a conventional form, the composer succeeded in creating miniatures not devoid of charm, elegance and a certain unpretentious freshness. Their performance does not require advanced skill, so they may represent valuable additions to the repertoire for older pupils of primary schools of music, at the same time preparing them to play more difficult nineteenth-century miniatures, including the mazurkas of Chopin. Dobrzynski’s mazurkas are also undoubtedly worth using in piano teaching as an extra or special item on the secondary-school level, in music clubs and in amateur performance. Finally, they may also find a place in cultural, patriotic or occasional events of various kinds as examples of Polish music of the period under the Partitions. The present edition is based on the first edition from 1868. A few noticeable errors have been corrected. The proposed fingering and pedalling come entirely from the editors, and added performance markings are given in brackets./ Répertoire / Piano

This is the first time that a version of Gustav Holst's The Planets for solo Piano has been published. In this glorious publication, the emotional rollercoaster that is this seven-movement orchestral suite can be played on a single Piano, with those crashing chords and textural melodies sounding just fantastic on the solo keys.Originally scored for two pianos and four hands, this epic orchestral work continues to astound and astonish audiences around the world, even a century after Holst begun work on the first movement, Mars, the Bringer of War. This volume allows the solo pianist to emulate those glorious melodies, wonderful harmonies and dynamic rhythms, bringing the wonder of The Planets to the keys.This unique arrangement of The Planets reduces the entire orchestra to just a solo Piano, with some fingering hints throughout. The lovely engraving is an absolute pleasure to read from, and the sound of those thunderous rhythms and sweet melodies sounds absolutely brilliant coming from the purity and clarity of a solo Piano. With all seven movements included in this The Planets sheet music, you'll be able to learn Mars, Venus, Mercury, Jupiter, Saturn, Uranus and Neptune, in the entire work that's sometimes thunderous, occasionally calm, often bombastic but always beautiful.With the full-colour astrophotography of the cover, the detailed, accurate and clear engraving and the inherent uniqueness of such an arrangement befits the timeless and enduring achievement of a work like this. The compositional history and musical qualities of The Planets are fascinating, and the lengthy introduction details the rhythms, the harmonies and the personality that Holst injected into his work, so you can learn about this glorious work before delving into the stunning arrangement of each of the seven movements.For the first time, the epic and vast work of art that is Gustav Holst's The Planets has been arranged for solo Piano, so you can play the entirety of these seven movements as a single pianist, incorporating all of the atmospheric dynamics and universal themes into the keys. / Piano

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre

Par ARCHER DARRELL. When a prelude or offertory is played, it is obvious when the congregation occasionally gets ?swept away? and becomes intensely involved in the spirit of the music. Some may even begin to clap their hands in response to a favorite rhythmic hymn, gospel tune or anthem. With its messages of hope, resurrection and redemption, the music of the Easter season is a source of great joy and celebration for Christian believers. This collection presents the thrill and excitement of the Easter message through creative and engaging keyboard arrangements composed in the country/gospel style. Chord symbols are offered above the grand staff so that rhythm backup players can be included, and as an aid to those with improvising skills.While these melodies communicate the good news of the gospel, some of the arrangements are more subdued and reflective, while others are more energetic and upbeat. / Date parution : 2022-06-08/ Recueil / Piano

Original for Violin (and Piano). Par REGER MAX. Max Reger’s well-known Romance in G major WoO II/10 was written as a supplement for the Neue Musik-Zeitung, which was the recipient of works - particularly songs and piano pieces - by Reger in the years 1900 and 1901. Reger himself designatedhis Romance shortly after its publication as “an occasional piece of the worst kind - for me!” The work was published in 1910 both in its original scoring for violin (and piano) as well as in its first arrangements for other solo instruments./ Répertoire / Violon et Piano

Par BENEDICT ROBERT. A collection of the world's most famous carols arranged for piano students. Most are fairly easy and modern, with popular harmonic settings to appeal to young students and audiences alike. Harmonic textures vary from one piece with a single-line countermelody in the left hand to simple block, arpeggiated, or waltz-style chord accompaniments. A few pieces use slightly more elaborate 'boogie' accompaniments with grace notes or jazz-inspired harmonies. Melody lines occasionally move into the left hand for added interest. All of the carols include lyrics. One song, Santa and Me, is written with a separate vocal line and piano part. / Niveau : Débutant / Christmas - Solos / Recueil / Piano

This set of entertaining pieces in a jazz/blues style was written especially for children. Imaginative lyrics convey the blues spirit of life's ups and downs to the early grade student. Pieces remain in middle C position with an occasional sharp or flat. No eighth notes or dotted rhythms are used. / Piano

Né dans le village de marque dans le Haut-Palatinat, Max Reger (1873 1916) a été enseigné par le célèbre théoricien de la musique Hugo Riemann. Après avoir terminé ses études et travaille en tant qu'interprète et compositeur indépendant à Wiesbaden, il a déménagé à Weiden, en proie à des crises personnelles et, éventuellement, à Munich. Pour mieux se faire connaître sur la scène musicale, il avait certaines de ses oeuvres plus petites insérées dans le magazine d'Musikzeitung Neue. C'est comment son Romanze G-Dur pour violon et piano a été publiée en Novembre 1901, un beau travail occasionnel, idéal pour des leçons de musique ou comme un rappel tranquille après un concert, également dans un arrangement pour alto et piano. / Violon Et Piano / 6 pages / niveau : Intermédiaire / Partition

These six lyrical waltzes are part of a whole series of dances for piano from the quill of the young Offenbach. It is quite likely that their creation was occasioned by various events before they were joined together into a collection for publication. Each piece is dedicated to a particular individual (or 'rose') from amongst the Parisian nobility: A pretty bouquet to which the only twenty-year-old composer was certainly not indifferent. For him, it was surely also a means of attaining a special place in the fashionable salons. / Piano

Les neuf facile, agréable à lire des fragments de ce livre peut être joué dans la première position avec une utilisation occasionnelle doigt quatrième. Ces morceaux belle permettre au musicien débutant pour effectuer confortablement à un stade précoce de leur développement - et l'expérience du spectacle est vital pour tout musicien! / Violon Et Piano / 24 pages / niveau : Facile / Partition + Cd

Edward Elgar écrivit grandes oeuvres symphoniques pour instruments solistes avec accompagnement d'orchestre, mais aussi des oeuvres de musique de chambre et des oeuvres occasionnels, en particulier pour le violon: pour 'Salut d'amour' par exemple ou 'Chant de nuit'. Cette série comprend aussi 'La Capricieuse', composé en 1891. Le violoniste formé Elgar a su écrire un caprice, ou un morceau de musique même 'irascible', qui est à la hauteur du nom de 'Capricieuse'. Bien que la charmante miniature ne peut pas rivaliser avec la popularité de 'Pomp and Circumstance', on peut difficilement imaginer un plus drôle que ce réglage. Virtuose goody 'comme une pièce rappel après une soirée de concert difficile / Violon Et Piano