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Piano Solo - Level 5 - Digital Download SKU: A0.1216197 By Brian Golden. By Brian G…(+)

Brian Golden

Piano Solo - Level 5 - Digital Download SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812808. Published by Brian Golden (A0.1216197). Prelude 12 in Bb Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.

#Brian Golden

#Brian Golden

Piano Solo - Level 4 - Digital Download SKU: A0.1292437 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883010. Published by Brian Golden (A0.1292437). Prelude 21 in D Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden #812807. Published by Brian Golden (A0.1216196). Prelude 11 in Db Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.

Piano Solo - Level 4 - Digital Download SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #791038. Published by Brian Golden (A0.1191536). Prelude 6 in G Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883013. Published by Brian Golden (A0.1292495). Prelude 23 in G Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 5 - Digital Download SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian fromÂ 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #789177. Published by Brian Golden (A0.1189545). Prelude 1 in C Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden.Â Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843071. Published by Brian Golden (A0.1248579). Prelude 17 in E Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #812790. Published by Brian Golden (A0.1216178). Prelude 7 in Eb Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube.

Piano Solo - Level 4 - Digital Download SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494). Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #843078. Published by Brian Golden (A0.1248586). Prelude 18 in C# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883008. Published by Brian Golden (A0.1292438). Prelude 20 in F# Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 5 - Digital Download SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden #790596. Published by Brian Golden (A0.1191080). Prelude 4 in D Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian GoldenÂ Â The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Â Using Bachâ€™s and Chopinâ€™s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures â€“ Bachâ€™s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopinâ€™s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. Â In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Â Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.Â Â While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. Â First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Â Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.Â Â In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. Â This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Â Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.