Piano Solo - Medium SKU: BU.EBR-A040 Composed by Claude Debussy. This edi...(+)
Piano Solo - Medium
SKU: BU.EBR-A040
Composed by Claude
Debussy. This edition:
French Edition.
Classique. Anacrouse.
Partition Biographie
Notes sur l'oeuvre.
Score. Editions Bourges
#EBR-A040. Published by
Editions Bourges
(BU.EBR-A040).
Piano - Mixed SKU: YM.GTP01091567 Piano Pop and Vocal. Disney. Sheet musi...(+)
Piano - Mixed
SKU:
YM.GTP01091567
Piano
Pop and Vocal. Disney.
Sheet music. Yamaha Music
Media #GTP01091567.
Published by Yamaha Music
Media (YM.GTP01091567).
ISBN
9784636915679.
From
easy to advanced level,
piano solo to duet.
Please enjoy one melody
in various styles.
Cong Chu Ji Dao Gao
Ji ,Cong Gang Qin Du Zou
Dao He Zou ,Xiang Shou
Tong Yi Xuan Lu De Bu
Tong Feng Ge .
1.
Let It Go: Easy; 2. Let
It Go: Intermediate; 3.
Let It Go: Advanced; 4.
Let It Go: Piano Vocal
arrangement; 5. Let It
Go: Duet(1P4H,
Easy/Intermediate); 6.
Let It Go: Duet(1P4H,
Intermediate/Advanced);
7. Let It Go: Trio(1P4H
by 3, Entry-Easy). 1.
Sui Ta Ba : Chu Ji ; 2.
Sui Ta Ba : Zhong Ji ; 3.
Sui Ta Ba : Gao Ji ; 4.
Sui Ta Ba : Gang Qin Dan
Chang Bian Pei ; 5. Sui
Ta Ba : Si Shou Lian Dan
(1P4H, Chu Ji /Zhong Ji
); 6. Sui Ta Ba (1P4H,
Zhong Ji /Gao Ji ); 7.
Sui Ta Ba : San Ren (3Ren
4Shou , Chu Ji -Chu Ji
).
Ten Years of Popular Hits Arranged for Easy Piano. Arranged by Dan Coates. For P...(+)
Ten Years of Popular Hits
Arranged for Easy Piano.
Arranged by Dan Coates.
For Piano. Piano - Easy
Piano Collection. Decade
by Decade. Nostalgia;
Pop. Level: Easy Piano.
Book. 144 pages.
Published by Alfred
Publishing.
Piano solo - beginner SKU: YM.GTP01101773 Official Studio Ghibli Piano...(+)
Piano solo - beginner
SKU:
YM.GTP01101773
Official Studio Ghibli
Piano Solo Sheet Music
Collections. Composed
by Joe Hisaishi. Studio
Ghibli Favorites. Anime.
Book. Yamaha Music Media
#GTP01101773. Published
by Yamaha Music Media
(YM.GTP01101773).
ISBN
9784636114485. 8.75 x 12
inches.
Very
easy-to-play piano
collection with popular
Studio Ghibli songs for
beginners! This series of
solo piano sheet music
collections features 14
songs each from 10
popular Studio Ghibli
films, including My
Neighbor Totoro, Princess
Mononoke, and Spirited
Away. The level of
difficulty is at the
entry-level, with easy
arrangements suitable for
piano beginners. The
table of contents and the
title section of each
score include the song
titles and film names in
three languages:
Japanese, English, and
Chinese. Recommended for
use in piano lessons and
is perfect for students
in music classrooms. Be
sure to get both volumes
and enjoy all the
songs!
Arranged by Dan Coates. Piano - Intermediate / Advanced Collection; Piano Supple...(+)
Arranged by Dan Coates.
Piano - Intermediate /
Advanced Collection;
Piano Supplemental. The
Professional Touch
Series. Christmas.
Songbook. With standard
notation (does not
include words to the
songs). 52 pages. Alfred
Music #00-AF9681.
Published by Alfred Music
Piano SKU: M7.GRG-106126102 Die Klavierschule mit der ABC-Methode....(+)
Piano
SKU:
M7.GRG-106126102
Die Klavierschule mit
der ABC-Methode.
Edited by Margret Feils.
Arranged by Peter Wondra.
This edition:
Klebebindung. Sheet music
with 2 CDs and Online
material. 196 pages.
Edition Melodia #GRG
106126102. Published by
Edition Melodia
(M7.GRG-106126102).
ISBN 9783872523556.
German. Susanne
Thienel.
Die
Klavierschule mit der
ABC-Methode Fu?r
Jugendliche und
Erwachsene, die das
Klavierspiel erst lernen
möchten oder wieder
einsteigen wollen. Durch
ihre aus der Praxis
entwickelte ABC-Methode
kommt man auch ohne
Vorkenntnisse schnell zum
Klavierspiel und zu
ersten Erfolgen. Mit
langsam im
Schwierigkeitsgrad
ansteigenden
Originalkompositionen
sowie Titeln aus Rock,
Blues und Klassik. Alle
107 Titel auf 2 CDs
eingespielt und als
Slow-Down-Vorlage zum
langsamen Mitspielen. Mit
QR-Codes, um schnell und
gezielt zu der passenden
Slow-Version und den
Tutorials zu
gelangen.
Timeless Hits and Popular Favorites. Composed by Nancy Faber and Randall ...(+)
Timeless Hits and
Popular Favorites.
Composed by Nancy Faber
and Randall Faber. Faber
Piano Adventures�®.
Softcover. 80 pages.
Faber Piano Adventures
#FF3031. Published by
Faber Piano Adventures
(HL.159073).
Arrangements of the Most- Requested Popular Classics (Easy Piano). Arranged by ...(+)
Arrangements of the Most-
Requested Popular
Classics
(Easy Piano). Arranged by
Dan Coates. This edition:
Easy Piano. Book; Piano -
Easy Piano Collection;
Piano
Supplemental; Sing-Along.
Timeless Popular
Classics.
Movie; Pop; Standard. 132
pages. Published by
Alfred
Music
An Innovative Method Enhanced with Audio and MIDI Files for Practice and Perform...(+)
An Innovative Method
Enhanced with Audio and
MIDI Files for Practice
and Performance. By Kenon
D. Renfrow, E. L.
Lancaster. For Piano.
Piano - Alfred's Group
Piano for Adults.
Alfred's Group Piano for
Adults. Book and CD-ROM.
360 pages. Published by
Alfred Publishing.
Let's Play Jazz and More * Book 2 composed by Jay Latulippe and Sonny Doss. For ...(+)
Let's Play Jazz and More
* Book 2 composed by Jay
Latulippe and Sonny Doss.
For easy piano. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
Composed by Bela Bartok (1881-1945), edited by Dr Benjamin Suchoff. For piano. T...(+)
Composed by Bela Bartok
(1881-1945), edited by Dr
Benjamin Suchoff. For
piano. The Archive
Edition. Format: piano
solo book. With standard
notation, fingerings and
introductory text. 20th
Century and Hungarian.
150 pages. 9x12 inches.
Published by Dover
Publications.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
24 Easy Favorites Carefully Selected and Arranged in Order of Difficulty. Comp...(+)
24 Easy Favorites
Carefully
Selected and Arranged in
Order of Difficulty.
Composed
by Various. Easy Piano
Songbook. Movies,
Children,
Disney. Softcover. 88
pages.
Published by Hal Leonard