Piano SKU: BT.MUSAM39645 The Complete Piano Player. Tuition. Book Only. C...(+)
Piano
SKU:
BT.MUSAM39645
The
Complete Piano Player.
Tuition. Book Only.
Composed 1992. 232 pages.
Music Sales #MUSAM39645.
Published by Music Sales
(BT.MUSAM39645).
ISBN
9780711906723.
English.
All five
books of The Complete
Piano Player series are
published in this single
volume at a substantial
savings over the price of
the five individual
books. Complete with
keyboard chart.
SATB choir with Piano SKU: HL.48186489 Composed by Composers Various. Led...(+)
SATB choir with Piano
SKU: HL.48186489
Composed by Composers
Various. Leduc.
Softcover. 98 pages.
Alphonse Leduc #AL30757.
Published by Alphonse
Leduc (HL.48186489).
UPC: 888680832667.
6.75x9.75
inches.
“AL
30 757 ' French Music for
Mixed Choir Those who
love choral singing often
lament not knowing how to
go about finding, among
the heaps of scores
written for multiple
singers, the rare gem
whose discovery would
intensify the enjoyment
of singing together. What
unknown treasure might
bring a programme the
touch of originality that
makes it stand out? As
the fruit of long and
hard research on the
subject, this anthology
of French pieces for
choir is one we hope will
go down in history. The
first section is made up
of original works written
for choral ensemble:
Gabriel Fauré's
Op. 35 Madrigal exhales a
melancholy sensuality
that is shared to some
degree by Reynaldo Hahn's
Rondels ' and within this
Renaissance pastiche lies
a real masterpiece,
'Gardez le trait de la
fenêtre'. Le Ballet
des ombres, written by a
young Berlioz, drinks
from the whimsical source
of Romanticism (Herder).
The second section
assembles choral
transcriptions of
melodies ' such as Beau
soir by Debussy and Deux
Prières by Milhaud
' along with excellent
arrangements like 'Choral
inappétissant'
extracted from Satie's
piano in Sports et
divertissements. A
treasure trove of pure
delight.&rdquo.
Piano - Late Elementary SKU: FJ.FJH2314 Arranged by Robert Schultz. Piano...(+)
Piano - Late Elementary
SKU: FJ.FJH2314
Arranged by Robert
Schultz. Piano
Collection; Piano
Supplemental. Robert
Schultz Piano Library.
Christmas. Book. The FJH
Music Company Inc
#98-FJH2314. Published by
The FJH Music Company Inc
(FJ.FJH2314).
ISBN
9781619282391. UPC:
241444394656.
English.
Playing
Piano with Three Chords
is an introduction to
basic chord playing and
hands-together playing
written for the late
elementary pianist. This
collection features
seasonal favorites that
are harmonized with no
more than three chords in
easy key signatures.
Titles include Snow Lay
On the Ground; O
Christmas Tree; Jingle
Bells; Deck the Halls; Up
On the Housetop; Silent
Night; and eight others.
A diagram of the basic
chord progression is
shown in the root
position and then in the
inversions used in the
arrangement. Lyrics
included.
Composed by Timothy Brown. Sheet Music. FJH Written For You Piano Solos. This ti...(+)
Composed by Timothy
Brown. Sheet Music. FJH
Written For You Piano
Solos. This title is on
the 2017-2021 National
Federation of Music Clubs
list. Single. 3 pages
pages. Published by The
FJH Music Company Inc
(FJ.W9434).
Piano SKU: BT.MUSME0282 Composed by Paul Murphy. Play Music. Tuition. Boo...(+)
Piano
SKU:
BT.MUSME0282
Composed
by Paul Murphy. Play
Music. Tuition. Book with
CD. Composed 2015. Play
Music Publishing
#MUSME0282. Published by
Play Music Publishing
(BT.MUSME0282).
English.
The 30
pieces contained within
this tutorial are aimed
exclusively at piano
beginners. All pieces are
easy to play and will
enable you to rapidly
gain substantial
experience in piano
playing and, since they
are adapted versions of
real musical pieces, you
will at no time lose your
pleasure of playing. In
order not to overwhelm
you, the level of
difficulty of the pieces
to be performed increases
progressively, allowing
you to work in a fluent
and coherent manner. The
piano pieces put together
in this tutorial will
also allow you to
discover musical styles
which are totally
different from one
another, forming a large
panorama of contemporary
and classic music. You
will get a tasteof
popular music, jazz,
ragtime, blues and rock.
So you can rest assured,
there’s something
for everyone in here(!)
The CD attached to the
book will make your study
even more enjoyable.
Every musical piece
appears twice: the first
time for demonstration
purposes (with the piano)
and the second in the
form of a backing track
(without the piano), in
order to give you the
opportunity to play the
piano and enjoy the
accompaniment of other
musicians.
Piano SKU: HL.360543 Book and Audio Online. Piano Solo Songbook. C...(+)
Piano
SKU:
HL.360543
Book and
Audio Online. Piano
Solo Songbook. Classical.
Softcover Audio Online.
Rockschool #RSK200140.
Published by Rockschool
(HL.360543).
ISBN
9781789361940. 9.0x12.0
inches.
The new RSL
Classical Piano syllabus
aims to reflect the
widening tastes of young
people, positioning
itself at the forefront
of thevast array of music
available to pianists,
encompassing the rich
heritage of music from
the Baroque right through
to the modern day and
emerging composers. The
repertoire strikes a
balance between a radical
redesign and maintaining
a recognisable structure,
and sticks to four key
principles: championing
ethnically diverse
composers, representing
genders, acknowledging
the history and tradition
of piano learning, and
enabling students to feel
comfortable studying
music in a popular and
classical environment.
The syllabus books are
all beautifully
presented, and to the
high standard for which
RSL books have become
renowned from their
market-leading Rockschool
examinations for
contemporary music. Each
contains 10 pieces from a
diverse range of
composers and include
everything students need
to take their exams,
including technical
exercises and supporting
texts for sight-reading,
ear tests and general
musicianship
questions.
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For pi...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Riemenschneider. For
piano. Format: piano solo
book. With piano
reduction, introductory
text, instructional text,
lyrics and performance
notes. Baroque. 184
pages. 9x12 inches.
Published by Schirmer
(Volumes 1-5, Complete) Written by Kenneth Baker. For piano. Format: instruction...(+)
(Volumes 1-5, Complete)
Written by Kenneth Baker.
For piano. Format:
instructional book. With
standard notation, chord
names, lyrics,
instructional text,
illustrations, fingerings
and pull-out keyboard
chart. Learn to play. 240
pages. 9x12 inches.
Published by Music Sales.
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 best-loved
Christian hymns that have
inspired praise and
worship for over four
centuries. Series: Piano
Treasury Series. 392
pages. Published by Music
Sales.
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
Piano (Piano Solo) SKU: HL.49046935 Solo Piano. Composed by Gregor...(+)
Piano (Piano Solo)
SKU: HL.49046935
Solo Piano.
Composed by Gregory
Spears. Piano Solo.
Classical. Softcover. 98
pages. Duration 6180
seconds. Schott Music
#ED30418. Published by
Schott Music
(HL.49046935).
ISBN
9781705169353. UPC:
842819116837.
9.25x12.0x0.5
inches.
SEVEN DAYS
is a cycle for solo piano
in 21 movements, most
lasting between three and
seven minutes,
distributed in the form
of a custom app produced
by the 92Y and released
during their Fall 2021
season. Using the app on
their phones, listeners
are asked to listen to
three movements a day
according to an
approximate schedule -
one movement in the
morning, one in the
afternoon, and another
sometime in the evening -
for seven days. The music
is performed by Pedja
Muzijevic and presented
alongside paintings by
Gloria Maximo. (Please
visit 92Y.org for
information on how to
download the Seven Days
app.) The work is
designed as a listening
experience that tunes us
into the passing of time,
connecting us both to the
present moment as well as
the cycle of the week.
The experience invites
music to inhabit and
structure our everyday -
to find us where we are
in the world. The
morning-afternoonevening
schedule is meant to
focus participants on the
dawn-to-dusk cycle as
well as to create a
communal listening
ritual. It is also an
experiment in large-scale
form, designed to draw
attention to musical
material developing
across a week-long
expanse, interspersed
with vast silences. SEVEN
DAYS was shaped by a year
spent in relative
isolation due to the
pandemic. While it is a
work composed during a
time of quarantine, it
will be experienced first
by an audience in the
process of returning to a
more normal world. In
that sense, it is an
artwork born out of a
year of relatively
cloistered existence that
seeks to preserve aspects
of that experience as we
move forward. The piece
was also inspired by the
work of Morton Feldman
and Chantal Akerman,
whose large-scale works
consider time, process,
and stillness. Their art
struck me with a fresh
relevance during the
silent stretches of the
pandemic year 2020. It
was also a year in which
writings about time,
penned by contemplatives
like Henry David Thoreau
and Thomas Merton, held
new weight. All of this
in turnresonated with
Gloria Maximo's profound
paintings, which I've
long admired. SEVEN DAYS
is an artwork we are
invited to do - using
music to point our
attention to the present
moment, the everyday, and
the seemingly mundane. It
is a piece listeners are
also asked to live within
as it unfolds over a week
rather than to witness it
live. The key players
here are time and the
listener's own
surroundings, starring
together alongside music
and art in a wordless
drama. -Gregory
Spears.