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Harpsichord Method
Sheetmusic to print
21 sheet music found
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1
Harpsichord Method
Harpsichord
Harpsichord or spinet - intermediate - Digital Download Based on 16th to 18th-century…
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Harpsichord or spinet - intermediate - Digital Download Based on 16th to 18th-century sources. This edition: Sheet music. Downloadable. Schott Music - Digital #Q54919. Published by Schott Music - Digital
The edition is part of the ABRSM syllabus (grade 5).
$24.99
23.01 €
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Harpsichord
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Harpsichord Method
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Schott Music - Digital
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SheetMusicPlus
Bach Harpsichord Concerto no. 2 in E major, BWV 1053
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1101547 By Johann Sebastian Bac…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1101547 By Johann Sebastian Bach. By Johann Sebastian Bach (1685-1750)j. Arranged by Johann Sebastian Bach. Baroque,Classical,Instructional,Multicultural,World. Score and parts. 15 pages. Gabriel Vinicius #704925. Published by Gabriel Vinicius (A0.1101547). Johann Sebastian Bach wrote his Harpsichord Concerto no. 2 in E, BWV 1053 in 1738, and it was published in 1854 in Leipzig by C.F. Peters. This concerto is thought to be based on a concerto for a wind instrument, probably oboe or oboe d'amore, and from stylistic considerations, it may have dated from Bach's time in Leipzig. It exists, like BWV 1052, in a later transcription in his cantatas Gott soll allein mein Herze haben, BWV 169, and Ich geh und Suche mit Verlangen, BWV 49, from which further inferences can be made about the original concerto. Bach changed his method of arrangement with this work, significantly altering the ripieno parts from the original concerto for the first time, limiting much more to the tutti sections. The lower string parts were much reduced in scope, allowing the harpsichord bass to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture. A standard rendition of the piece lasts 19 minutes. The work calls for two violins, a viola, and a continuo section, besides the solo harpsichord.
$5.00
4.6 €
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Orchestra
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Johann Sebastian Bach
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Bach Harpsichord Concerto no. 2 in E major, BWV 1053
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Gabriel Vinicius
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SheetMusicPlus
Robert Klenck - Minuetto (in G minor) (no. 112), a violin duo from Klenck's Violin method (1892) - N
Harpsichord,Organ,Piano,Voice - Level 2 - Digital Download SKU: A0.913008 Composed …
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Harpsichord,Organ,Piano,Voice - Level 2 - Digital Download SKU: A0.913008 Composed by Robert Klenck. Arranged by Andrei Lucian Dragoi. Contemporary,Instructional,Standards. 4 pages. Andrei-Lucian Dragoi #4718681. Published by Andrei-Lucian Dragoi (A0.913008). This Minuetto (in G minor) (no. 112) (which is originally a violin duo from Klenck's Violin method (1892) - Notebook no. 1) was arranged for easy piano solo: this booklet includes the piano score and its lead sheet.Reference:http://vixrapedia.org/wiki/RK
$1.99
1.83 €
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Robert Klenck
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Robert Klenck - Minuetto
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Andrei-Lucian Dragoi
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SheetMusicPlus
Invention 4 in D Minor BWV 775
Piano solo
Composed by Johann Sebastian Bach (1685-1750). Baroque Period, Method, Etudes and Exercise…
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Composed by Johann Sebastian Bach (1685-1750). Baroque Period, Method, Etudes and Exercises, Repertoire. Individual Part. 4 pages. Published by Arte Nova Music Lab (S0.150429). - Individual Part - Baroque Period,Method,Etudes and Exercises,Repertoire - Arte Nova Music Lab
$3.00
2.76 €
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Piano solo
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Johann Sebastian Bach
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Invention 4 in D Minor BWV 775
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Arte Nova Music Lab
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SheetMusicPlus
Calming Uneven Technique
Composed by Robert Moody. Method, Etudes and Exercises, Classroom, General Instructional, …
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Composed by Robert Moody. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. Score. 7 pages. Published by Published by Robert Moody (S0.271497). - Score - Method,Etudes and Exercises,Classroom,General Instructional,Technique Training - Published by Robert Moody
$1.99
1.83 €
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Robert Moody
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Calming Uneven Technique
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SheetMusicPlus
Symphonic Fantasy Orchestration
Composed by Miguel Serrat. Method, Etudes and Exercises, Repertoire, General Instructional…
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Composed by Miguel Serrat. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. Individual Part, Score. 12 pages. Published by Miguel Serrat (S0.352103). - Individual Part,Score - Method,Etudes and Exercises,Repertoire,General Instructional,Technique Training - Miguel Serrat
$5.99
5.52 €
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Miguel Serrat
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Symphonic Fantasy Orchestration
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Miguel Serrat
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SheetMusicPlus
Teoria e ExercÃcios
Composed by Marcelo Torca. Arranged by Marcelo Torca. Method. Individual Part. 21 pages. P…
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Composed by Marcelo Torca. Arranged by Marcelo Torca. Method. Individual Part. 21 pages. Published by Marcelo Torca (S0.17419). - Individual Part - Method - Marcelo Torca
$4.99
4.59 €
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Marcelo Torca
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Teoria e ExercÃcios
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Marcelo Torca
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SheetMusicPlus
Aleksander Czarnecki - Tales of the Hidden Kingdom, Op. 15
Small Ensemble Flute,Harp,Piano,Piccolo - Level 5 - Digital Download SKU: A0.1032136
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Small Ensemble Flute,Harp,Piano,Piccolo - Level 5 - Digital Download SKU: A0.1032136 Composed by Aleksander Czarnecki. Contemporary. Score and parts. 162 pages. Aleksander Norbert Czarnecki #4411649. Published by Aleksander Norbert Czarnecki (A0.1032136). Aleksander Czarnecki (1993-2018) was a Polish polymath, pianist - composer, mathematician and a philosopher. His research focused on the Calabi Yau manifold. He left an astonishing musical legacy, unprecedently rich, diverse and impressive for his young age, including several large scale works as well as piano/orchestra miniatures, chamber music, pieces for piano solo etc. His unmistakingly personal compositional style could be easiest described as post-classical/post - tonal, and is instantly recognizable by its highly intrinsic, intellectually refined idiom of Scriabinesque, modernist/ avant guarde, New Complexity , later minimalist/repetitive music influences married with frequent appeals to historic techniques (contrapunctus, Gregorian plain chant, French harpsichordists, ethnic modality), a dense emotional drive and a profound sensitivity, all in the best of the resolutely post-Romantic tradition further enhanced with a super-human - as if machine induced - level of pianistic/structural difficulty, typically far beyond the one represented by the most demanding examples of, say, Godovsky's/Cziffra's transcriptions or Sorabji's works. (Jozef Kapustka, pianist)Aleksander Czarnecki on his scientific research: My research work concentrates on the modularity conjecture for Calabi-Yau manifolds according to which the Galois representation is isomorphic ( exact to the semisimplification and the finite number of Euler factors) to the Galois representation assigned to an automorphic form -equivalently the L-series of the Calabi-Yau manifold should be equal to the L-series of a certain modular form. The modularity conjecture has been extensively studied by many algebraic geometricians (Dieulefait, van Straten, Yuri, Schoen, Hulek, Verrill, Schuett, Meyer) however these studies have not resulted in producing a sufficiently representative number of examples of small level modular forms. In the best understood, rigid case of Calabi-Yau threefolds defined over the field of rational numbers, the modularity conjecture delivers from a more general Serre conjecture, as proven by Wirtemberger and Khare. Additionally, the modularity has been known a property only for certain particular Calabi-Yau varieties. For some non rigid Calabi-Yau threefolds (certain double octics) defined over rationals ( or more generally over particular number fields) the existence of modular or Hilbert modular forms has been hypothetically suggested. I am mainly interested in Frobenius polynomials of non-rigid double octics and have been extensively working with variants of Dwork's deformation method, monodromy and selected p-adic methods including algorithms by Kedlaya, Lauder, Tuitman et al. , Picard-Fuchs operators etc. (Aleksander Czarnecki, 2018)
$99.00
91.16 €
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Aleksander Czarnecki
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Aleksander Czarnecki - Tales of the Hidden Kingdom, Op. 15
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Aleksander Norbert Czarnecki
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SheetMusicPlus
Tu, Doamna noastră, Sfântă Marie! (You, our Lady, Saint Mary!) - a religious song (prayer) based
Harpsichord,Low Voice,Medium Voice - Level 2 - Digital Download SKU: A0.913010 Comp…
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Harpsichord,Low Voice,Medium Voice - Level 2 - Digital Download SKU: A0.913010 Composed by Robert Klenck (b.1850-d.1921). Arranged by Andrei Lucian Dragoi. Contemporary,Instructional,Standards. 4 pages. Andrei-Lucian Dragoi #4718695. Published by Andrei-Lucian Dragoi (A0.913010). Tu, Doamna noastră, Sfântă Marie! (You, our Lady, Saint Mary!) - a religious song (prayer) based on Minuetto (in G minor) (no. 112), a violin duo from Klenck's Violin method (1892) - Notebook no. 1 -Music by: Robert Klenck (b.1850 - d.1921) (Romanian violinist and teacher) and dr. Andrei-Lucian Drăgoi Arrangement with harmonic&melodic modifications and (both Romanian and English) lyrics by: dr. Andrei-Lucian DrăgoiThe Violin II part from the Klenck's original version of this Minuetto in Gm was preserved and attributed to acoustic/classical guitar, harpsichord or viola as the accompaniment line that minimally sustains the alto voice part. The original Minuetto in Gm can be also accessed at this URL: https://www.scoreexchange.com/scores/362369.htmldr. Andrei-Lucian Drăgoi also created a Vixrapedia article on Robert Klenck life and work which can be accessed at this URL:https://www.vixrapedia.org/wiki/RK
$2.00
1.84 €
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Robert Klenck
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Tu, Doamna noastră, Sfântă Marie!
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Andrei-Lucian Dragoi
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SheetMusicPlus
Sonatina in C major of Clementi
Piano solo
Instrumental Duet Harpsichord,Instrumental Duet,Piano - Level 2 - Digital Download SKU:…
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Instrumental Duet Harpsichord,Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.862669 Composed by Clementi, M. Arranged by Michael Bomier. Classical,Concert,Graduation,Instructional,Standards. Score and parts. 4 pages. Michael Butkus-Bomier #3636619. Published by Michael Butkus-Bomier (A0.862669). This indispensable teaching piece is here presented as a sheet music single, with one movement per page, at the lowest price SMP allows. If you method does not contain it, here it is, with a super-convenient format, and a great price. MBB.
$1.99
1.83 €
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Piano solo
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Clementi, M
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Sonatina in C major of Clementi
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Michael Butkus-Bomier
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SheetMusicPlus
Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
Cello, String Bass (duet)
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU:…
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU: A0.841356 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 106 pages. Artistic Score Engraving di Galvagno Michele #6029285. Published by Artistic Score Engraving di Galvagno Michele (A0.841356). Jean-Baptiste Sebastien Bréval (1753-1823) was a French cellist and composer, who is, perhaps, best known for his cello sonatas, namely the ones in C major (Op. 40, No. 1) and G major (Op. 12, No. 5). Bréval was one of the last students of the cellist and composer Martin Berteau (1691-1771), continuing his teacher’s tradition of composing sonatas for cello with bass accompaniment. With both composers, the bass part was to be played by a second cello, very likely by the cello teacher. Many cellists opt in to have Berteau’s unfigured bass part realised by a harpsichord. However, the two-cello layout was common in the late Classical Era, especially in method books, such as Bréval’s own Traité du violoncelle (where Bréval states that the bass and the cello are one and the same), as well as Romberg’s, Dotzauer’s, et al. Romberg and Dotzauer even composed sonatas for cello and basso (second cello) accompaniment as well, Op. 43 and Op. 103, respectively. Our current publication presents student cellists with a beautifully engraved edition of Bréval’s 6 Cello Sonatas, Op. 28 and Air de Malborough, Op. 13. Bréval composed the Sonatas in c1795, most likely in conjunction with Op. 40, since Op. 28, No. 1 picks up right where Op. 40, No. 6 leaves off. Whereas Op. 40 and Op. 28, Nos. 1-4 are in two fast movements, Op. 28, Nos. 5 and 6 include a slow middle movement, No. 6 even using the thumb. The autograph, which the editor used as the primary source, and the first edition both present each sonata on four pages in score form. Our volume includes a score and parts for each player. The cello part includes fingering and bowing suggestions by Yuriy Leonovich. Each sonata begins with an Allegro movement in sonata form. The finales vary from five-part rondos (Nos. 1, 3, 5), to sonata form (Nos. 2, 6), to theme and variations (No. 4). The slow movement of No. 5 is in simple binary form, and No. 6 is in simple ternary. The six keys Bréval used for Op. 28 are the same as the ones he used for Op. 40, only in a different order. Op. 40 uses the following order: C, F, G, B-flat, A, D. Op. 28 uses the following order: D, C, A, G, B-flat, F. The Op. 28 sonatas are primarily written in tenor clef, whereas Op. 40 is primarily written in bass clef. The playing range is identical for both sets, with the exception of the high B-flat in m. 46 in the slow movement of No. 6, and high B and C in m. 37 of the finale of No. 6. Bréval explores more advanced bow techniques as well.
$24.95
22.97 €
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Cello, String Bass (duet)
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Jean-Baptiste Breval
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Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
25 temas didáticos - seção (a)
C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Leve…
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C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Level 2 - Digital Download SKU: A0.1313765 By Sérgio Matias da Cunha. By Sérgio Matias da Cunha. Arranged by Sérgio Matias da Cunha. Instructional. Educational Method. 27 pages. Sérgio Matias da Cunha #902478. Published by Sérgio Matias da Cunha (A0.1313765). Antecedendo aos “25 temas didáticos - seção(b)â€, e aos “10 estudos progressivosâ€, nesta primeira etapa encontram-se 25 temas com marcações de dedilhado, cuidadosamente elaborados somente sobre as notas naturais do teclado (notas brancas), baseados na disposição dos pentacórdios, nas notas de referência da clave de FA e da clave de SOL, nos movimentos paralelo, contrário e oblÃquo entre as duas mãos, bem como, disposição de acordes, arpejos e progressões sobre os graus tonais da tonalidade de DO maior. Conta-se ainda com diversas informações teóricas junto à s respectivas partituras.  Encontre mais partituras, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques†no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).
$9.99
9.2 €
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Sérgio Matias da Cunha
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25 temas didáticos - seção
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Sérgio Matias da Cunha
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SheetMusicPlus
Desenvolvendo a coordenação
C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Leve…
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C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Level 2 - Digital Download SKU: A0.1313760 By Sérgio Matias da Cunha. By Sérgio Matias da Cunha. Arranged by Sérgio Matias da Cunha. Instructional. Educational Method. 10 pages. Sérgio Matias da Cunha #902473. Published by Sérgio Matias da Cunha (A0.1313760). Partituras com informações relacionadas à coordenação motora, buscando desenvolver a independência da mão esquerda e da mão direita através de estratégias psicomotoras apresentadas entre as cinco músicas cifradas e com dedilhado, e duas atividades estrategicamente elaboradas, capazes de oferecer uma base eficaz, eficiente e efetiva a esse respeito. Conta-se ainda com diversas outra informações teóricas e atividades paralelas. Encontre mais partituras, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques†no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).
$4.99
4.59 €
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Sérgio Matias da Cunha
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Desenvolvendo a coordenação
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Sérgio Matias da Cunha
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SheetMusicPlus
Método - Curso de Teclado Primeiros Toques - Volume 2 - Sérgio Cunha
C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Leve…
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C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Level 1 - Digital Download SKU: A0.1314021 By Sérgio Matias da Cunha. By Sérgio Matias da Cunha. Arranged by Sérgio Matias da Cunha. Instructional. Educational Method. 108 pages. Sérgio Matias da Cunha #902748. Published by Sérgio Matias da Cunha (A0.1314021). Integrando a coleção de quatro volumes, no volume 2 (com 108 páginas), após responder um questionário de revisão, as músicas folclóricas ganharão um novo acompanhamento, desenvolvido através do reconhecimento das notas dos acordes e de sua distribuição dentro de um determinado movimento rÃtmico da mão esquerda. Neste segundo nÃvel, denominado 12 músicas folclóricas - nÃvel 2, serão apresentados 12 padrões rÃtmicos para o acompanhamento com a mão esquerda de cada melodia, um padrão rÃtmico para cada música folclórica, a serem distribuÃdos no pentagrama da clave de FA pelo próprio aluno, que no final deste estudo contará com um gabarito para eventuais correções.  Teremos também jogos musicais;  25 temas didáticos -seção (a) ;  10 estudos progressivos e  25 temas didáticos - seção (b) que trazem várias informações teóricas junto à s partituras, como explicações sobre figuras rÃtmicas, execução das notas, velocidade, grafia, abreviações, sinais de repetição, alterações ascendentes e descendentes das notas naturais, entre outros conceitos que visam embasar o estudante para um pleno crescimento prático e teórico. Algumas músicas do volume 3 poderão ser escolhidas pelo professor para serem tocadas pelo aluno paralelamente enquanto estuda o volume 2. Encontre várias partituras colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques†no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).
$18.00
16.57 €
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Sérgio Matias da Cunha
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Método - Curso de Teclado Primeiros Toques - Volume 2 - Sérgio Cunha
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Sérgio Matias da Cunha
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SheetMusicPlus
Método - Curso de Teclado Primeiros Toques - Volume 1 - Sérgio Cunha
C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Leve…
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C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Level 1 - Digital Download SKU: A0.1314018 By Sérgio Matias da Cunha. By Sérgio Matias da Cunha. Arranged by Sérgio Matias da Cunha. Instructional. Educational Method. 124 pages. Sérgio Matias da Cunha #902745. Published by Sérgio Matias da Cunha (A0.1314018). Integrando a coleção de quatro volumes, no  volume 1 (com 124 páginas) você terá uma seleção de atividades e jogos para o desenvolvimento da percepção rÃtmica e sonora neste estágio inicial de musicalização;  várias atividades para uma introdução ao teclado com o  reconhecimento das teclas e suas relações; estudos preliminares com informações teóricas e introdutórias para a identificação das notas na partitura e no teclado através da formação e progressão dos acordes de três sons; jogos musicais e um panorama geral com os acordes mais populares, atendendo aos que procuram uma atuação mais imediata através da praticidade das cifras. Além disso, um primeiro estudo dos elementos rÃtmicos, baseado nos movimentos do corpo e exercÃcios de coordenação, possibilitando a execução das 12 músicas folclóricas - nÃvel 1, a serem lidas e executadas com a mão esquerda na clave de FA e com a mão direita na clave de SOL. Encontre várias partituras colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques†no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).
$18.00
16.57 €
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Sérgio Matias da Cunha
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Método - Curso de Teclado Primeiros Toques - Volume 1 - Sérgio Cunha
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Sérgio Matias da Cunha
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SheetMusicPlus
10 estudos progressivos
C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Leve…
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C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Level 2 - Digital Download SKU: A0.1313777 By Sérgio Matias da Cunha. By Sérgio Matias da Cunha. Arranged by Sérgio Matias da Cunha. Instructional. Educational Method. 12 pages. Sérgio Matias da Cunha #902492. Published by Sérgio Matias da Cunha (A0.1313777). Após os “25 temas didáticos - seção(a)†e antecedendo aos “25 temas didáticos - seção(b)â€, apresentamos estes “10 estudos progressivosâ€, atentamente construÃdos para oferecer uma experiência progressiva e eficiente sobre a tonalidade de DO maior (notas brancas), envolvendo os acordes que formam seu campo harmônico, proporcionando uma evolução rÃtmica, harmônica e melódica, guiada não somente pelo conhecimento erudito, mas também pela capacidade intuitiva e associativa de quem o executa progressivamente. Encontre mais partituras, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques†no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).
$6.99
6.44 €
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Sérgio Matias da Cunha
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10 estudos progressivos
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Sérgio Matias da Cunha
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SheetMusicPlus
25 temas didáticos - seção(b)
C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Leve…
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C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Level 2 - Digital Download SKU: A0.1313781 By Sérgio Matias da Cunha. By Sérgio Matias da Cunha. Arranged by Sérgio Matias da Cunha. Instructional. Educational Method. 27 pages. Sérgio Matias da Cunha #902497. Published by Sérgio Matias da Cunha (A0.1313781). Sucedendo aos “10 estudos progressivosâ€, e aos “25 temas didáticos - seção(a)â€, nesta etapa encontram-se 25 temas com marcações de dedilhado, cuidadosamente elaborados com um diferencial de apresentar não somente as notas naturais, mas também notas alteradas com sustenido e com bemol,  de forma ocorrente e/ou fixa, assinaladas no decorrer de cada tema através de ilustrações e comentários. Os temas são baseados na disposição dos pentacórdios, movimentos paralelo, contrário e oblÃquo entre as duas mãos, bem como, disposição de acordes, arpejos, cromatismos e progressões sobre os tons vizinhos diretos e indiretos da tonalidade. Conta-se ainda com diversas informações teóricas junto à s respectivas partituras.  Encontre mais partituras, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques†no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).
$9.99
9.2 €
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Sérgio Matias da Cunha
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25 temas didáticos - seção(b)
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Sérgio Matias da Cunha
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SheetMusicPlus
Spinning Song of Ellmenreich for Piano Solo
Organ, Piano (duet)
Instrumental Duet,Piano Harpsichord,Instrumental Duet,Organ,Piano - Level 2 - Digital Down…
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Instrumental Duet,Piano Harpsichord,Instrumental Duet,Organ,Piano - Level 2 - Digital Download SKU: A0.862683 Composed by Ellmenreich, A. Arranged by Michael Bomier. Concert,Instructional,Romantic Period,Standards. Score and parts. 6 pages. Michael Butkus-Bomier #3691369. Published by Michael Butkus-Bomier (A0.862683). Here is another in our series of piano lesson standards. Set up for maximum visual clarity and general rather than specific instructions as to interpretation. We are planning to gather our Piano Lesson Favorites into a book called...you guessed it, Piano Lesson Favorites. So, each of these titles are bargain priced, and the collection will be a fine book for any teacher and their emerging intermediate students, regardless of what method series the student or teacher has used. MBB.
$1.99
1.83 €
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Organ, Piano (duet)
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Ellmenreich, A
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Spinning Song of Ellmenreich for Piano Solo
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Michael Butkus-Bomier
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SheetMusicPlus
Jazz Dodecathlon - Book 1
Piano solo
Piano Solo, Organ, Harpsichord, Keyboard - Intermediate - Digital Download Composed…
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Piano Solo, Organ, Harpsichord, Keyboard - Intermediate - Digital Download Composed by Cristiano Vecchi. Jazz, Bebop, Method, Etudes and Exercises, Technique Training. Solo Part. 97 pages. Published by Cristiano Vecchi
$7.77
7.15 €
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Piano solo
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Cristiano Vecchi
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Jazz Dodecathlon - Book 1
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Cristiano Vecchi
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SheetMusicPlus
You Raise Me Up - Easy Piano Solo in C Key (With Fingerings)
Easy Piano
By Josh Groban. Arranged by Miranda Wong. For Piano,Piano Solo,Organ,Harpsichord,Keyboard/…
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By Josh Groban. Arranged by Miranda Wong. For Piano,Piano Solo,Organ,Harpsichord,Keyboard/Synthesizer. TV,Method,Pop,Children's Music,Wedding. Easy/Beginner. Score,Sheet Music Single. 2 pages. Published by Miranda Wong
$4.99
4.59 €
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Easy Piano
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Josh Groban
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You Raise Me Up - Easy Piano Solo in C Key
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Miranda Wong
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
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)
$23.99
22.09 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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