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You've selected:
Piano Major Scales in 1 octave
Sheetmusic to print
16 sheet music found
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1
Piano Major Scales in 1 octave
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.901470 Composed by Hayden Woods. In…
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Easy Piano - Level 1 - Digital Download SKU: A0.901470 Composed by Hayden Woods. Instructional,Standards. Score. 3 pages. Hayden Lee Woods #5317863. Published by Hayden Lee Woods (A0.901470). A quick breakdown of the 12 major scales for the piano in one octave. These scales start with sharps before moving into flats.
$2.39
2.17 €
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Easy Piano
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Hayden Woods
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Piano Major Scales in 1 octave
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Hayden Lee Woods
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SheetMusicPlus
Mastery of Keys: A Comprehensive Guide of Scales, Arpeggios, and Chords
Piano solo
Piano Solo - Level 1 - Digital Download SKU: A0.1310433 Composed by Bill Walker. Ar…
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Piano Solo - Level 1 - Digital Download SKU: A0.1310433 Composed by Bill Walker. Arranged by Bill Walker. Instructional. Score. 201 pages. Bill Walker Music Publishing #899072. Published by Bill Walker Music Publishing (A0.1310433). Mastery of Keys: A Comprehensive Guide of Scales, Arpeggios, and Chords A book for every pianist: student, teacher, and professional!Whether you're just starting your musical journey or seeking to refine your craft, this book is your invaluable companion. With clear, practical exercises, you'll efforlessly navigate the intricate patterns of scales, arpeggios, and chords. From the foundational basics to the most intricate progressions, this book equips you with the tools to unlock your true potential as a pianist.Let's look inside: Section 1: Scales Five Finger Scales Major Scales: One Octave Major Scales: Two Octaves Major Scales: Three Octaves Major Scales: Four Octaves Minor Scales: Natural, Melodic, and Harmonic Major & Harmonic Minor Scales in 3rds Major & Harmonic Minor Scales in 6ths Major & Harmonic Minor Scales in 10th Major & Harmonic Minor Scales in Octaves Chromatic Scales Section 2: Arpeggios Major, Minor, Dominant 7th and Diminished 7th Section 3: Chords Scale-Tone Triads, Cadences, and Inversions 24 Chords Beginning on Each Root Note Section 4: Appendices Appendix A: The Circle of Fifths Diagram Appendix B: Glossary Within these pages, you'll find an approach that embraces all fifteen major and fifteen minor keys, illuminating the keyboard in its entirety. I acknowledge that some keys may seem less trodden in the world of music composition, but their existence justifies the learning of them. Playing in all keys isn't just about mastering notes; it's about enhancing your versatility, shapening your musical ear, and empowering you to tackle any piece of music that comes your way.Let your fingers dance across the keyboard, let the notes resonate with your heart, and let this book be a guiding star on your musical voyage.Happy Playing!
$14.99
13.63 €
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Piano solo
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Bill Walker
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Mastery of Keys: A Comprehensive Guide of Scales, Arpeggios, and Chords
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Bill Walker Music Publishing
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SheetMusicPlus
Hanon Piano / Keyboard Exercises 1 - 30 Condensed and Simplified for Beginners Easy Reading
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.887255 Composed by Charles-Louis Ha…
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Piano Solo - Level 2 - Digital Download SKU: A0.887255 Composed by Charles-Louis Hanon. Arranged by Martin Woodward. Instructional. Score. 37 pages. Martin Woodward #6513221. Published by Martin Woodward (A0.887255). Hanon Piano / Keyboard Exercises 1 - 30Condensed and Simplified for Beginners Easy ReadingIn this short book you will find condensed and simplified versions of the Hanon piano finger exercises 1 - 30 as well as the major, harmonic minor and melodic minor scales in every key (two octaves). What is Hanon? The ‘Hanon Virtuoso Pianist’ is a collection of piano finger exercises designed to give equal strength, agility and flexibility to all five fingers of both hands. Written by Charles-Louis Hanon sometime in the 1800s, these exercises without doubt have become one of the most widely used techniques by today’s pianists. In my opinion these are the best finger exercises available. One really great thing about these exercises is that they are applicable to both absolute beginners and advanced players alike, particularly as the reading ability required is minimal. Whatever your ability, these exercises will help improve your technique and finger strength. Having been written well over 100 years ago, the original work is now in the public domain and therefore digital copies can be acquired free of charge on the internet. However, most of these are very poor quality and the instructions are mainly in French or Russian - neither of which work too well for me! For the full version I personally recommend the ‘Alfred’ Edition edited by Allan Small which is clear and has instructions in English. So why do I need this book? The whole point is to make it easy to read and to reduce page turns - less is more! In the full version the first 30 exercises take up fifty pages whereas here there are three exercises per page for the first 20, then two per page for the next 10, reducing the fifty pages to just twelve. I initially produced this for my own use only but figured that others may like to take advantage of what I’ve done. Does this mean that the print is just smaller? No, not at all. If you are familiar with these exercises you will know that they are repeated patterns which ascend and descend for two octaves diatonically. To condense and simplify them and consequently eliminate an enormous amount of page turns I have shown: the all-important fingering on the first pattern (as per the original)then the repeated second patternthen ‘changeover’ patterns between ascending and descending - which are sometimes slightly differentthen finally the last pattern of each exercise which again is often very slightly different. I have also written them two octaves apart (for easy reading) and only shown them for one octave instead of two. In practice they should be played one octave apart and ultimately be practiced for two octaves. You can print out any or all the pages as required (the link for the pdf printable version is given at the end of the book).Please see: https://learn-keyboard.co.uk/hanon.html
$5.99
5.45 €
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Piano solo
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Charles-Louis Hanon
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Hanon Piano / Keyboard Exercises 1 - 30 Condensed and Simplified for Beginners Easy Reading
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Martin Woodward
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SheetMusicPlus
Scales in a fast and simple way (With Rule of Octave)
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.586571 Composed by Fabio H. Dentell…
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Easy Piano - Level 1 - Digital Download SKU: A0.586571 Composed by Fabio H. Dentello. Baroque,Classical,Renaissance,Romantic Period. Score. 1 pages. Fabio Dentello #195870. Published by Fabio Dentello (A0.586571). This little work shows in a simple way the Major scale, Natural Minor, Melodic, and Harmonic minor scales. Also, show the Rule of the octave. (Revised Version, the error in the Natural Minor's interval between G-C was corrected).
$2.00
1.82 €
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Easy Piano
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Fabio H
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Scales in a fast and simple way
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Fabio Dentello
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SheetMusicPlus
Major Scales, Chords, and Arpeggios for Piano, Level 2
Piano solo
Piano Solo - Level 1 - Digital Download SKU: A0.1298760 Composed by Debbie Winters,…
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Piano Solo - Level 1 - Digital Download SKU: A0.1298760 Composed by Debbie Winters, NCTM. Early Music,Instructional. Score. 44 pages. Debbie Winters #888629. Published by Debbie Winters (A0.1298760). It is important to introduce piano students to scales, chords, and arpeggios early in their course of study. By practicing the patterns in this book, students will recognize and be able to play the scale, chord, and arpeggio patterns when they encounter them in more advanced music. The scales introduced in this book are one-octave scales in the major keys of C, G, D, A, E, F, Bâ™, and Eâ™. Each scale is introduced in hands-separately patterns, followed by hands-together patterns. Included with each scale is a theory section that asks for the key’s tonic, sub-dominant, and dominant notes and corresponding chords. These primary chords are shown on the staff as a common cadence, giving students the opportunity to become comfortable with reading them and playing them. Also included are several improvisating and tranposing exercises that will give students the tools needed to perform with confidence.
$4.99
4.54 €
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Piano solo
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practicing the patterns in this book, students will recognize and be able to play the scale, chord, and arpeggio patterns when they encounter them in more advanced music
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Debbie Winters, NCTM
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Major Scales, Chords, and Arpeggios for Piano, Level 2
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Debbie Winters
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SheetMusicPlus
Broken Chords by Major Scale (in order of the 12 Major Scales)
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.1100702 Composed by Hayden Woods. I…
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Easy Piano - Level 1 - Digital Download SKU: A0.1100702 Composed by Hayden Woods. Instructional. Score. 7 pages. Hayden Lee Woods #704374. Published by Hayden Lee Woods (A0.1100702). A comprehensive exercise that formats the broken chords of all major scales, we explore all the major, minor and diminished chords in all root and inversion forms through the broken chord method. 36 chords in total across 12 scales in sequential order particular to each scale, broken into a root, 1st inversion, 2nd inversion and octave root ascending pattern.
$2.39
2.17 €
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Easy Piano
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Hayden Woods
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Broken Chords by Major Scale
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Hayden Lee Woods
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SheetMusicPlus
SCALES & CHORDS - C MAJOR
Piano solo
Piano - Level 3 - Interactive Download SKU: A0.1375692 Composed by Linda Schooley. …
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Piano - Level 3 - Interactive Download SKU: A0.1375692 Composed by Linda Schooley. This edition: Interactive Download. Classical. Score. 1 pages. Duration 44. Linda Schooley #4fivOvGjjB9pqrZeyNBg6a. Published by Linda Schooley (A0.1375692). Key: C major.Scales (one octave) & Primary Chords in C Major.
$4.00
3.64 €
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Piano solo
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Linda Schooley
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SCALES & CHORDS - C MAJOR
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Linda Schooley
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SheetMusicPlus
Erik Satie - Trois Gnossiennes, for piano duet
1 Piano, 4 hands
Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.740007
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Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.740007 Composed by Erik Satie (1866-1925). Arranged by Len Rhodes. 20th Century,Concert,Graduation. Score and parts. 12 pages. Len Rhodes Music #5200099. Published by Len Rhodes Music (A0.740007). Satie - Trois Gnossiennes for piano transcribed, and NOW AVAILABLE for piano duet. The three pieces have been perfectly arranged for the late elementary/early intermediate pianist on the higher part (primo); and a teacher or more advanced pianist on the lower part (secundo).In no. 1. the melodic line is shared between the hands in the upper part - the acciaccatura's are included, but these can be omitted if too challenging. The lower player has the chord progression, as Satie intended, only shared between the hands.In no. 2, the melodic line is doubled in the upper part (hands an octave apart). The lower part has the chord progression. In no. 3, the melodic line is again shared between the hands in the upper part - the few acciaccatura's are included, but these can be omitted if too challenging. Bar 24- 34 is an example of Satie's innovative new scales, in this case a simple six-note scale, constructed with the notes from the E minor and F# major triad chords. Arranger's note: Erik Satie often added whimsical instructions to his music: Light as an egg, Here comes the lantern, Open your head,Muffle the sound, Work it out yourself, etc. I have included, and translated, those he applied to these pieces.Your download is all THREE pieces.
$7.95
7.23 €
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1 Piano, 4 hands
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Erik Satie
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Erik Satie - Trois Gnossiennes, for piano duet
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Len Rhodes Music
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SheetMusicPlus
Major Scale Paper Keys, Fits on the keyboard and piano, For beginners
Piano solo
Piano Solo - Level 1 - Digital Download SKU: A0.906751 Composed by Joy Gilmore, Hsi…
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Piano Solo - Level 1 - Digital Download SKU: A0.906751 Composed by Joy Gilmore, Hsin Hui Gilmore. Instructional. Score. 10 pages. Joyful Sound Music #3860577. Published by Joyful Sound Music (A0.906751). Teachers and Students, Thank you for downloading this chart. On the keys, there are two different types of numbers. The regular numbers, like 1 2 3 4 5, are for the right hand. The numbers with the circles, like 1 2 3 4 5, are for the left hand. (Sheet music plus don't have the special font to display this) About the (*) marking If the (*) is before a number like *1 or *1, it means that it is in the 1st octave of the scale. If the (*) is after a number like 1* or 1*, it means that it is in the last octave of the scale. The numbers with underline, it means that is the 2nd and the 3rd octave of the scale. The dotted lines indicate that you can attach two key scales together to make one longer scale. Because of the limitations of the paper setup, there are only three octaves on each key. The paper key might have a slightly difference on the key size. It is because different manufacture have their own different key sized width. This paper keys should fit most keyboards or piano. This paper scale keyboard can help piano beginners start lessons and helps make practice easier. However, it is NOT RECOMMENDED for long term use. How to Print This pdf is designed for two sided (duplex) printers. Both sides on the same paper supposed to be in up side down format. Make sure you enable the two sided print function. You should be able to have a paper scale for three octaves on both sides. If you used duplex printing and your printer didn’t line up the scales, please use hand feed. Because every printers have different settings. You just need to try it in a different ways a couple times. Materials: I used the card stock from Sam’s club. It is 110lb greeting card paper. It is the cheapest one on the market. It cost $7.98 for 275 sheets. All of the papers are laminated.
$2.99
2.72 €
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Piano solo
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Joy Gilmore, Hsin Hui Gilmore
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2
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Major Scale Paper Keys, Fits on the keyboard and piano, For beginners
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Joyful Sound Music
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SheetMusicPlus
Introspection 1
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte.…
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Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte (A0.987080). This piece is one of an album of my contemporary classical compositions. Yes, I too wince at offering you something saddled with this oxymoron--contemporary classical--but this phrase is now an irresistible, commercially recognized category defying any principled protest from the ranks of wounded musicological curmudgeons like me. The style here employs a tonal palette that celebrates the more or less common practice of composers from J. S. Bach to Ravel, Prokofiev, and the 20th century American songbook. You will see that I reject Arnold Schoenberg's assertion that by 1910 tonality had exhausted itself, and needed to be reinvented according to an aesthetics that dismiss our scales and harmonies as purely arbitrary human conventions with no basis in nature. On the contrary, I believe that we are endowed by our nature to respond emotionally to our traditional materials of music in the same way as nature equips us to respond to the taste of food and drink. We differ in our taste for savory, sweet, and sour, but it is wrong to say that our very capacity to taste is a merely cultural convention. There is biology, and then physics too! By the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats. The major triad is a force of nature, like the sun, wind, and rain! I also like big fat juicy 13 chords, and contrapuntal weaving of melody! I believe the purpose of music is to sway us emotionally, and if it can uplift us too, so much the better! While I am not ashamed to write a bare triad, unadorned by chromatic alterations (much less by clusters of chord collisions) I have nevertheless employed much complicated harmony. Moreover, some passages are written in a spiky harmony that might be analyzed as bitonal, as at the meno mosso section, beginning at measure 112, where the mood I wanted to set inspired me to write the theme in C minor while the left hand climbs up from the bottom of the keyboard in a widely spaced, D-flat 13 arpeggio. I have composed these pieces with the skills of intermediate to early-advanced pianists in mind. This piece demands the ability to play some counterpoint between two voices in one hand. There is a section that requires one to play moderately fast octaves, but nothing as difficult as the G minor Prelude of Chopin (to say nothing of his harrowing octave Etude from Opus 25!) While there are many polyrhythmic passages, none is more complicated than two-against-three notes. All said, there is nothing here to make your hands (or, I dare say, your ears) bleed. The performing time is around nine minutes and a breath or three. I have a number of videos posted on YouTube.com, I have a website under construction, ericpaulnolte.com, and, since 2011, an occasional blog of my ravings on life, love, and the cosmos, at ericpaulnolte.blogspot.com. You may write me at nolte0125@gmail.com.
$3.99
3.63 €
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Piano solo
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the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats
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Eric Paul Nolte
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Introspection 1
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Eric Paul Nolte
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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
21.82 €
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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
Elementary Methods, Book 2
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.1273865 Composed by Hannah E. Adhik…
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Easy Piano - Level 1 - Digital Download SKU: A0.1273865 Composed by Hannah E. Adhikari. Children,Classical,Instructional,New Age,Romantic Period. Score. 22 pages. Hannah E. Adhikari #865995. Published by Hannah E. Adhikari (A0.1273865). Piano Methods Series: Elementary Methods, Book 2. Late Beginner to Elementary Level Staff Playing Book.Piano Method Books. Composed and Edited by Hannah E. Adhikari (b. 2000). Educational Piano Library. New Age Piano Solos. Piano Books. Beginner Piano. Female Composers. Digital Sheet Music. Recital. 22 pages.The Piano Methods Series by Hannah E. Adhikari is a concise way for any aged beginner to excel quickly and efficiently at the piano.The Elementary Methods Book 2, is for any aged Student, finished w/ the Piano Methods Primer + Book 1, to continue to Read Music on the Grand Staff, Play with New Musical Forms + Terms, Play Scalular Passages, Chordal Melodies, & Chordal + Octave accompaniments in the keys of C, F, + G Major & A , D, + E Minor. Includes: 3 Review Sheets, an Elementary Book of 20 Progressive pieces, & Printable Certificate of Completion. INSIDE LOOK*NOTE: The Student must learn to play in Key Signatures for this book as well as know the C, F, + G Major Scales & the A, D, + E Minor Scales along with their I, IV, V (V7) Primary Chords. (See Piano Technic Series by Hannah Adhikari)Â Level: Level 2-3.Type: Piano Method Book. Digital Sheet Music
$8.00
7.28 €
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Easy Piano
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Hannah E
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Elementary Methods, Book 2
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Hannah E. Adhikari
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SheetMusicPlus
Do-re-mi
Violin and Piano
Piano,Violin - Level 2 - Digital Download SKU: A0.1163413 By Various Artists. By Os…
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Piano,Violin - Level 2 - Digital Download SKU: A0.1163413 By Various Artists. By Oscar Hammerstein and Richard Rodgers. Arranged by Kristin Coleman Campbell. Broadway,Instructional,Musical/Show. 9 pages. Horsehair Music #763754. Published by Horsehair Music (A0.1163413). This arrangement of Do-Re-Mi is for violin solo with piano accompaniment. It is set in the key of D and is arranged for a level 3 violinist. Reinforce techincal concepts with this famous Broadway tune. It begins in first position. The reprise of the chorus is then played entirely in 3rd position. The piano then takes the melody for the 3rd reprise of the chorus and the violin plays an obbligato. 1 octave scales in both 1st and 3rd position challenge the student to play scales using sixteenth notes. There is minimal shifting from 1st to 3rd position. Alternate fingering is included for one passage using a 4th finger extension on the E string.Most of the bow strokes used are legato detache. There is one measure of up-bow staccato on a D major scale. And one measure of brushed off the string bowing for a D major scale.This arrangement of Do-Re-Mi will help students improve and reinforce technique while playing a song they love.
$4.99
4.54 €
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Violin and Piano
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Various Artists
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Do-re-mi
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Horsehair Music
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SheetMusicPlus
Scale Shapes
Easy Piano
C Instrument - Level 1 - Digital Download SKU: A0.1089687 Composed by Ruth Roland. …
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C Instrument - Level 1 - Digital Download SKU: A0.1089687 Composed by Ruth Roland. Contemporary,Country,Folk,Instructional,Traditional. Lead Sheet / Fake Book. 10 pages. Ruth Roland #693893. Published by Ruth Roland (A0.1089687). Scale shapes are finger spacings--an easier way to get to know your scales! When playing major scales we can use the same finger spacing for the entire octave. This pdf helps you crack the code. FiddleGeek is Ruth Roland, the creator of this system. Find her on YouTube with her fellow FiddleGeeks: youtube.com/c/FiddleGeeks Music lessons online or around Baton Rouge, Louisiana: batonrougemusiclessons.com For tips and tunes in your in-box, email ruthviolin@cox.net Subject line: LIST.
$4.99
4.54 €
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Easy Piano
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Ruth Roland
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Scale Shapes
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Ruth Roland
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SheetMusicPlus
COMPLETE Mixed Abilities Classroom Ensemble Pack AND Christmas Pack! Mega value bundle of the whole TWO series of music for classrooms and school ensembles
School Ensemble
Composed by Welsh trad., French Trad, L Mason, F. Gruber, J. Pierpont. Arranged by A…
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Composed by Welsh trad., French Trad, L Mason, F. Gruber, J. Pierpont. Arranged by Austin Ralphson. Blues, Funk Jazz, Classroom, General Instructional, Christmas. Score, Set of Parts. 973 pages. Published by Austin Ralphson
This pack contains over 900 pages of music for mixed ability ensembles. There are 4 original pieces and 5 Christmas pieces, as follows:<br> <br> <br> The Mixed Abilities School Ensemble Series<br> <br> Children (and adults) who learn a musical instrument will always progress at different rates.Students also develop some of the many skills involved in instrumental playing faster than other skills.<br> <br> The Mixed Abilities School Ensemble Series has the flexibility to allow pupils of different standards to play together in one ensemble (up to five parts). It also encourages students to develop improvisation skills by providing soloing opportunities within all parts, with suggested pitches for improvising.<br> <br> Each piece has five different parts which are split into four ability levels as follows:<br> <br> A – Range of about 5 notes, easy rhythms. B – Range of about 1 octave, basic rhythms. C – Range of about a 12th, some more difficult rhythms. D – Range of about 2 octaves, some rhythmic complexity.<br> <br> This enables the teacher to select parts which are suitable for the standard of individual players in the group. As a general rule, the pieces have been composed as follows:<br> <br> Part 1 – melody / countermelody (alternates with Part 2)<br> <br> Part 2 – melody / countermelody (alternates with Part 1)<br> <br> Part 3 – accompaniment (synchronises with Part 4)<br> <br> Part 4 –accompaniment (synchronises with Part 3)<br> <br> Part 5 – bass line (independent)<br> <br> Each part also comes in a wide array of transpositions, clefs and pitches. Hence, almost any combination of instruments can play together in an ensemble of mixed abilities,including:<br> <br> Flutes, clarinets, saxophones, mixed woodwind, trumpets, mixed brass (including brass band), violins, strings, keyboards/pianos, tuned percussion.<br> <br> An ensemble using any combination of instruments (as is often found within schools) will work effectively as well.<br> <br> Example: A quintet might be selected as follows:<br> <br> 1A (violin), 2C(trumpet), 3B (clarinet), 4B (tenor sax), 5D (trombone)<br> <br> The melody in 1A would be very simple but would contrast nicely when passed to the more difficult 2C. Parts 3B and 4B will have quite a simple accompaniment between them, whilst the bass line on 5D will be more complex and rhythmically interesting. Parts can obviously be doubled up as well beyond five players.<br> <br> Please note that the teacher of the ensemble should be careful to pick parts which are well-suited to the players’ abilities.<br> <br> This pack includes all four pieces in the series (volumes 1 and 2) as follows:<br> <br> BANANA BLUES is a 12-bar Blues piece<br> <br> CRAZY LATIN! has additional parts for Latin percussion commonly found in the classroom<br> <br> IT'S TIME FOR REGGAE! is a reggae piece<br> <br> FEEL THE FUNK brings funky, James Brown-esque rhythms into the classroom.<br> <br> Please listen to the mp3 file, which is an electronic example of a typical classroom setup.<br> <br> Score and all parts are included here in a variety of pitches, clefs and transpositions. It is the complete package with over 680 pages of music, representing a massive saving on individual purchase prices.<br> <br> <br> <br> 5 Christmas pieces:<br> <br> Each piece is arranged into 13 different parts which cater for the large majority of musicians within school. These include: <br> <br> * a variety of difficulties in C, B flat, E flat, higher octave for flutes and alto clef for violas <br> <br> * easy and standard bass parts in treble and bass clefs, and also in B flat and E flat for saxophones or brass band players <br> <br> * very easy violin and viola parts on open strings only <br> <br> * easy and standard piano parts <br> <br> * ukulele part in tab, chord patterns and chord letters <br> <br> * guitar part in tab, chord patterns and chord letters <br> <br> * general chord plan in chord letters <br> <br> Teachers / band leaders can select the parts which are most appropriate for their students. The music is intended to be repeated a number of times, with different parts coming in and out for each repeat to create variety.<br> <br> Printing and Copying<br> <br> The purchaser may print or copy all pages of this resource as required in order to facilitate a performance, but must not distribute to others.<br> <br> ** Also check out my Scales and Arpeggios Pack - excellent methods for learning scales and arpeggios at all levels (copy and paste into new tab) https://tinyurl.com/y8wl3qnq **
$34.99
31.83 €
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School Ensemble
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Welsh trad
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COMPLETE Mixed Abilities Classroom Ensemble Pack AND Christmas Pack! Mega value bundle of the whole TWO series of music for classrooms and school ensembles
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Austin Ralphson
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SheetMusicPlus
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