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
(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.
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and
Piano, S. 49.
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
Elisa Koehler. Arranged
by Elisa Koehler.
Romantic. Score and
part(s). With Standard
notation. 36 8 pages.
Carl Fischer #W002681.
Published by Carl Fischer
(CF.W2681).
Piano seul [Partition + Accès audio] - Intermédiaire Faber Piano Adventures
Developing Artist Original Keyboard Classics. Edited by Nancy Faber and Randall ...(+)
Developing Artist
Original Keyboard
Classics. Edited by Nancy
Faber and Randall Faber.
Faber Piano Adventures.
Classical, Supplementary.
Softcover Audio Online.
128 pages. Faber Piano
Adventures #FF1282.
Published by Faber Piano
Adventure
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. 208
pages. 9x12 inches.
Published by 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.
Easy to Int. Solos 65 Works from Symphonies, Operas, Concertos, Piano Literature...(+)
Easy to Int. Solos 65
Works from Symphonies,
Operas, Concertos, Piano
Literature and Chamber
Music. World's Greatest
Classical Music. Size
9x12 inches. Published by
Hal Leonard.
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With f...(+)
Edited by Amy Appleby.
For piano. Format: piano
solo book (spiral bound).
With fingerings. Baroque,
classical period,
romantic period and
americana. 240 pages.
9x12 inches. Published by
Music Sales.
Piano Solo Piano/Keyboard SKU: HL.1189843 Composed by Various. Piano. Cla...(+)
Piano Solo Piano/Keyboard
SKU: HL.1189843
Composed by Various.
Piano. Classical.
Softcover. Published by
Hal Leonard (HL.1189843).
ISBN 9781705192412.
UPC: 196288131489.
9.0x12.0x0.236
inches.
Sometimes
you just need some
soothing piano music to
relax, unwind, and let
go. This collection
gathers nearly 40
beautiful classical
favorites for the
intermediate-level
player. Works include:
Air (from Water Music)
(Händel) �
Arietta, Op. 12, No. 1
(Grieg) â?¢ Bagatelle
in G Major, Op. 126, No.
5 (Beethoven) â?¢ Canon
in D (Pachelbel) â?¢
Clair De Lune (Debussy)
â?¢ Gymnopedie No. 1
(Satie) â?¢ Lullaby
(Cradle Song) (Brahms)
â?¢ La Pastorale
(Burgmüller) �
Piano Sonata No. 8
â??Pathetiqueâ?
(Beethoven) â?¢ Prelude
in A Major, Op. 28, No. 4
(Chopin) â?¢ Prelude in
C Major (Bach)â?¢
Reverie (Debussy) â?¢
Slumber Song (Gurlitt)
â?¢ The Swan (Le Cygne)
(Saint-Säens) �
Waltz in A-Flat Major,
Op. 39, No. 15 (Brahms)
â?¢ and more.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Norbert
Gertsch. Softbound.
Partitur-Bibliothek
(Score Library).
In
Cooperation with G. Henle
VerlagEB
10766 is printed in score
form; two copies are
needed for
performance.Our edition
EB
8578 contains
Ferrucci Busoni's
cadenzas for the Piano
Concerto in C m. Solo
concerto; Classical.
Study Score. 72 pages.
Duration 30'. Breitkopf
and Haertel #PB 15110-07.
Published by Breitkopf
and Haertel
(BR.PB-15110-07).
ISBN
9790004212677. 6.5 x 9
inches.
The
editorial quality of the
new edition is guaranteed
not only by Schiff's
sensitive fingerings and
stylistically
well-grounded cadenzas,
but also by the Mozart
scholar Norbert Gertsch
to whom Henle has
entrusted its urtext
editions.Breitkopf/Henle
cooperation means: Each
work is edited according
to predetermined
standardized editorial
guidelines. First and
foremost among the
sources consulted were
Mozart's handwritten
scores, being the most
important sources. In
some cases they had not
been available when the
previous editions were
being prepared. Moreover,
we know today that in
addition to Mozart's own
manuscripts, early copies
in parts and prints also
contain important
information regarding the
musical text.Die
Editionen werden den
Intentionen des
Komponisten so weit wie
moglich gerecht. Gemass
Mozarts Anweisungen in
den Autographen ist
beispielsweise im unteren
Klaviersolosystem sowohl
der Partituren als auch
der Klavierauszuge
durchgangig die
Bassstimme des Orchesters
wiedergegeben. (Andreas
Friesenhagen,
FonoForum)L'interet
particulier de cette
nouvelle edition reside
dans les notations
complementaires des
parties de violon ayant
pour source la premiere
execution de l'oeuvre par
Joseph Joachim et Robert
Hausmann avec, tres
probablement,
l'autorisation du
compositeur, ces notes de
jeu refletant les
pratiques de l'epoque.
(Crescendo).
For solo piano. Format: piano solo book. Baroque, classical period and romantic ...(+)
For solo piano. Format:
piano solo book. Baroque,
classical period and
romantic period. Series:
The World's Great
Classical Music. 224
pages. 9x12 inches.
Published by Hal Leonard.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by
Ernst-Gunter Heinemann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). In
Cooperation with G. Henle
Verlag EB 10767 is
printed in score form;
two copies are needed for
performance. You will
find the original
cadenzas under Mozart, 36
Cadenzas for his own
Piano Concertos. Our
edition EB 8579 contains
a Ferrucci Busoni
cadenza. Solo concerto;
Classical. Study Score.
76 pages. Duration 26'.
Breitkopf and Haertel #PB
15111-07. Published by
Breitkopf and Haertel
(BR.PB-15111-07).
ISBN
9790004212684. 6.5 x 9
inches.
One of the
most frequently performed
concertos of all, it was
written while Mozart was
working on the opera Le
nozze di Figaro. The
source situation is
clear: the autograph
score has survived, and
the first printed
editions were not
published until after
Mozart's death.The
editorial quality of the
new edition is guaranteed
not only by Schiffs
sensitive fingerings and
stylistically
well-grounded cadenzas,
but also by the Mozart
scholar Ernst-Gunter
Heinemann to whom Henle
has entrusted its urtext
editions.Breitkopf/Henle
cooperation means: Each
work is edited according
to predetermined
standardized editorial
guidelines. First and
foremost among the
sources consulted were
Mozarts handwritten
scores, being the most
important sources. In
some cases they had not
been available when the
previous editions were
being prepared. Moreover,
we know today that in
addition to Mozarts own
manuscripts, early copies
in parts and prints also
contain important
information regarding the
musical text.
Composed by Sergei Rachmaninoff. For solo piano. Format: piano solo book. With b...(+)
Composed by Sergei
Rachmaninoff. For solo
piano. Format: piano solo
book. With black and
white photos. Romantic
period. 160 pages. 9x12
inches. Published by
Creative Concepts.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all
SKU:
PR.816600040
Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040).
UPC:
680160600045. 5.5x5
inches.
This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1)
CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series.
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).
Piano seul [Partition] - Intermédiaire/avancé Hal Leonard
(The World's Great Classical Music) For solo piano. Format: piano solo book. Wit...(+)
(The World's Great
Classical Music) For solo
piano. Format: piano solo
book. With introductory
text and composer
biographies. Classical
period, romantic period,
impressionistic and
baroque. 240 pages. 9x12
inches. Published by Hal
Leonard.
Arranged by Jerry Ray, composed by Wolfgang Amadeus Mozart (1756-1791). Collecti...(+)
Arranged by Jerry Ray,
composed by Wolfgang
Amadeus Mozart
(1756-1791). Collection
for easy solo piano.
Series: Simply Mozart. 80
pages. Published by
Alfred Publishing.
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 128 pages.
Published by Hal Leonard.
102 Selections from Symphonies, Ballets, Operas, and Piano Literature for Piano ...(+)
102 Selections from
Symphonies, Ballets,
Operas, and Piano
Literature for Piano
Solo. By Various. World's
Greatest Classical Music.
Size 9x12 inches. 256
pages. Published by Hal
Leonard.