Edited by Gail Lew. Arranged by Tom Roed, Jerry Ray, Larry Minsky. Piano method/...(+)
Edited by Gail Lew.
Arranged by Tom Roed,
Jerry Ray, Larry Minsky.
Piano method/supplement
(late-elementary piano).
Level: late elementary,
level 2. 24 pages.
Published by Belwin.
Piano - Advanced; Intermediate SKU: AP.1-ADV14739 21 Complete Transcri...(+)
Piano - Advanced;
Intermediate
SKU:
AP.1-ADV14739
21
Complete Transcriptions
as Played by Mike Ledonne
21 Lead Sheets.
Composed by Jim Snidero.
Improvisation;
Keyboard/Piano;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Jazz Conception.
Jazz. Book and Digital
Download. Advance Music
#01-ADV14739. Published
by Advance Music
(AP.1-ADV14739).
UPC:
805095147391.
English.
Exact
transcriptions, as played
by Mike LeDonne, plus 21
simple piano lead
sheets. See and hear
how a well known piano
player phrases and
articulates and comps for
the soloists. Play
along with one of today's
finest, swinging New York
rhythm sections: Mike
LeDonne on piano, Dennis
Irwin on bass, and Kenny
Washington on
drums. Use the book
for private lessons, for
self-study, or in any
combination up to a full
jazz ensemble, including
flute and clarinet. If
you are more advanced you
may want to use the book
to develop your sight
reading abilities, for
transcribing the comping
off or for just having
fun playing along with a
great jazz rhythm
section. The Jazz
Conception Series is also
perfectly suited for the
class room. It can be
used to develop younger
students jazz style in a
big band or small group.
In an improvisation class
the teacher can use the
etudes as studies in
improvisation. The Study
Guide provides an
analysis of each etude,
along with practice
assignments for each
etude.
Piano Solo. Composed by Andrew Lloyd Webber. TV-Film-Musical-Show. Book Only. 48...(+)
Piano Solo. Composed by
Andrew Lloyd Webber.
TV-Film-Musical-Show.
Book Only. 48 pages. Hal
Leonard Europe
#MUSRG10571. Published by
Hal Leonard Europe
All-In-One Piano Course. Composed by Jane Bastien, Lisa Bastien and Lori Bast...(+)
All-In-One Piano Course.
Composed by Jane Bastien,
Lisa Bastien and Lori
Bastien. Bastien New
Traditions. Method book.
71
pages. Published by Neil
A.
Kjos Music Company
All-In-One Piano Course. Composed by Lisa Bastien, Lori Bastien, and Jane ...(+)
All-In-One Piano Course.
Composed by Lisa Bastien,
Lori Bastien, and Jane
Bastien. Bastien New
Traditions. Method book.
Neil A. Kjos Music
Company
#WP458. Published by Neil
A.
Kjos Music Company
Piano Solo SKU: IS.PN7109EM Composed by Stephane Vande Ginste. Keyboards ...(+)
Piano Solo
SKU:
IS.PN7109EM
Composed
by Stephane Vande Ginste.
Keyboards - Piano.
Metropolis Music
Publishers #PN7109EM.
Published by Metropolis
Music Publishers
(IS.PN7109EM).
ISBN
9790365071098.
On
January 1st, 2016,
Stephane Vande Ginste had
an extraordinary
intention: he planned to
compose a 1-minute piece
for piano every single
day for the whole year.
The result is an
impressive collection of
piano miniatures which -
although contemporary -
result in a variety of
musical styles: apart
from some experimental
pieces, there are jazzy-
and poppy pieces, more
traditional etudes,
polyphonic compositions
and so on... The 366
pieces also tell various
stories: from very
emotional events like the
terrorist attacks in
Brussels over homages in
honor of deceased artists
(David Bowie,...) to
birthdays and festive
occasions,... . More than
once, even poetry
(Heinrich Heine, Anna
Enquist, ..) or other
pieces of art inspired
Stephane to compose his
daily one-minute piece.
Every single composition
originated from the here
and now, and therefore
capture the unfiltered
feelings and emotions of
that very unique moment
in time: joy, enthusiasm,
but also melancholy and
sadness.
On
January 1st, 2016,
Stephane Vande Ginste had
an extraordinary
intention: he planned to
compose a 1-minute piece
for piano every single
day for the whole year.
The result is an
impressive collection of
piano miniatures which -
although contemporary -
result in a variety of
musical styles: apart
from some experimental
pieces, there are jazzy-
and poppy pieces, more
traditional etudes,
polyphonic compositions
and so on... The 366
pieces also tell various
stories: from very
emotional events like the
terrorist attacks in
Brussels over homages in
honor of deceased artists
(David Bowie,...) to
birthdays and festive
occasions,... . More than
once, even poetry
(Heinrich Heine, Anna
Enquist, ..) or other
pieces of art inspired
Stephane to compose his
daily one-minute piece.
Every single composition
originated from the here
and now, and therefore
capture the unfiltered
feelings and emotions of
that very unique moment
in time: joy, enthusiasm,
but also melancholy and
sadness.
Piano Solo SKU: IS.PN7065EM Composed by Stephane Vande Ginste. Keyboards ...(+)
Piano Solo
SKU:
IS.PN7065EM
Composed
by Stephane Vande Ginste.
Keyboards - Piano.
Metropolis Music
Publishers #PN7065EM.
Published by Metropolis
Music Publishers
(IS.PN7065EM).
ISBN
9790365070657.
On
January 1st, 2016,
Stephane Vande Ginste had
an extraordinary
intention: he planned to
compose a 1-minute piece
for piano every single
day for the whole year.
The result is an
impressive collection of
piano miniatures which -
although contemporary -
result in a variety of
musical styles: apart
from some experimental
pieces, there are jazzy-
and poppy pieces, more
traditional etudes,
polyphonic compositions
and so on... The 366
pieces also tell various
stories: from very
emotional events like the
terrorist attacks in
Brussels over homages in
honor of deceased artists
(David Bowie,...) to
birthdays and festive
occasions,... . More than
once, even poetry
(Heinrich Heine, Anna
Enquist, ..) or other
pieces of art inspired
Stephane to compose his
daily one-minute piece.
Every single composition
originated from the here
and now, and therefore
capture the unfiltered
feelings and emotions of
that very unique moment
in time: joy, enthusiasm,
but also melancholy and
sadness.
Piano Solo SKU: IS.PN7156EM Composed by Stephane Vande Ginste. Keyboards ...(+)
Piano Solo
SKU:
IS.PN7156EM
Composed
by Stephane Vande Ginste.
Keyboards - Piano.
Metropolis Music
Publishers #PN7156EM.
Published by Metropolis
Music Publishers
(IS.PN7156EM).
ISBN
9790365071562.
On
January 1st, 2016,
Stephane Vande Ginste had
an extraordinary
intention: he planned to
compose a 1-minute piece
for piano every single
day for the whole year.
The result is an
impressive collection of
piano miniatures which -
although contemporary -
result in a variety of
musical styles: apart
from some experimental
pieces, there are jazzy-
and poppy pieces, more
traditional etudes,
polyphonic compositions
and so on... The 366
pieces also tell various
stories: from very
emotional events like the
terrorist attacks in
Brussels over homages in
honor of deceased artists
(David Bowie,...) to
birthdays and festive
occasions,... . More than
once, even poetry
(Heinrich Heine, Anna
Enquist, ..) or other
pieces of art inspired
Stephane to compose his
daily one-minute piece.
Every single composition
originated from the here
and now, and therefore
capture the unfiltered
feelings and emotions of
that very unique moment
in time: joy, enthusiasm,
but also melancholy and
sadness.
Piano Solo SKU: IS.PN7410EM Composed by Stephane Vande Ginste. Keyboards ...(+)
Piano Solo
SKU:
IS.PN7410EM
Composed
by Stephane Vande Ginste.
Keyboards - Piano.
Metropolis Music
Publishers #PN7410EM.
Published by Metropolis
Music Publishers
(IS.PN7410EM).
ISBN
9790365074105.
On
January 1st, 2016,
Stephane Vande Ginste had
an extraordinary
intention: he planned to
compose a 1-minute piece
for piano every single
day for the whole year.
The result is an
impressive collection of
piano miniatures which -
although contemporary -
result in a variety of
musical styles: apart
from some experimental
pieces, there are jazzy-
and poppy pieces, more
traditional etudes,
polyphonic compositions
and so on... The 366
pieces also tell various
stories: from very
emotional events like the
terrorist attacks in
Brussels over homages in
honor of deceased artists
(David Bowie,...) to
birthdays and festive
occasions,... . More than
once, even poetry
(Heinrich Heine, Anna
Enquist, ..) or other
pieces of art inspired
Stephane to compose his
daily one-minute piece.
Every single composition
originated from the here
and now, and therefore
capture the unfiltered
feelings and emotions of
that very unique moment
in time: joy, enthusiasm,
but also melancholy and
sadness.
Piano Solo SKU: IS.PN7407EM Composed by Stephane Vande Ginste. Keyboards ...(+)
Piano Solo
SKU:
IS.PN7407EM
Composed
by Stephane Vande Ginste.
Keyboards - Piano.
Metropolis Music
Publishers #PN7407EM.
Published by Metropolis
Music Publishers
(IS.PN7407EM).
ISBN
9790365074075.
On
January 1st, 2016,
Stephane Vande Ginste had
an extraordinary
intention: he planned to
compose a 1-minute piece
for piano every single
day for the whole year.
The result is an
impressive collection of
piano miniatures which -
although contemporary -
result in a variety of
musical styles: apart
from some experimental
pieces, there are jazzy-
and poppy pieces, more
traditional etudes,
polyphonic compositions
and so on... The 366
pieces also tell various
stories: from very
emotional events like the
terrorist attacks in
Brussels over homages in
honor of deceased artists
(David Bowie,...) to
birthdays and festive
occasions,... . More than
once, even poetry
(Heinrich Heine, Anna
Enquist, ..) or other
pieces of art inspired
Stephane to compose his
daily one-minute piece.
Every single composition
originated from the here
and now, and therefore
capture the unfiltered
feelings and emotions of
that very unique moment
in time: joy, enthusiasm,
but also melancholy and
sadness.
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.