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Sparkling Rag for Solo Piano
Sheetmusic to print
11 sheet music found
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1
Sparkling Rag for Solo Piano
Piano solo
Composed by Richard St. Clair. Ragtime. Score. 5 pages. Published by Richard St. Clair (S0…
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Composed by Richard St. Clair. Ragtime. Score. 5 pages. Published by Richard St. Clair (S0.282547). - Score - Ragtime - Richard St. Clair
$4.99
4.65 €
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Piano solo
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Richard St
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Sparkling Rag for Solo Piano
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Richard St. Clair
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SheetMusicPlus
Piano for a Day: 30 piano pieces
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.819482 Composed by Sara Garrard. In…
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Piano Solo - Level 3 - Digital Download SKU: A0.819482 Composed by Sara Garrard. Instructional,Standards. Score. 40 pages. Sara Garrard #6188657. Published by Sara Garrard (A0.819482). 30 short pieces for solo piano -- 30 pictures, 30 moments, 30 moods.Music for a while shall all your cares beguile.Styles referenced here vary from Baroque to Romantic and beyond, with nods to favourite VGM soundtracks and more recent composers.Difficulty level: there are several more straightforward pieces, and a few challenges. The short length of all the pieces should help make them at least achievable challenges, appropriate for learners.This book is supplied with optional black and white or colour cover for printing. It would make a good gift for pianists of various levels, or a gift for yourself.The primary listener or audience is the player. Album available for listening/download: https://sonatina-3.bandcamp.com/album/piano-for-a-dayContents:1 Early Winter2 Sparkling3 The Singing Wood4 Garden Seat5 Night Song6 Romanze7 Arabesque8 Tree Root Music9 In The Night10 Memory11 November Polonaise12 Sleepy Cloud Dragon13 Sleepy Mushroom14 Dream Journey15 Snowstorm16 Reflections17 Swing Song18 Andantino19 Blue Garden20 Sarabande21 Stones22 Andante in Jade23 River Flow24 Drops25 Berceuse26 Waterways27 Whispers28 Over the Bridge29 Quiet Town30 King of simple graces
$16.00
14.93 €
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Piano solo
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Sara Garrard
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Piano for a Day: 30 piano pieces
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Sara Garrard
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SheetMusicPlus
Ragtag Rag
Piano solo
Piano - Early Intermediate - Digital Download SKU: F0.W9203 Composed by Christopher…
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Piano - Early Intermediate - Digital Download SKU: F0.W9203 Composed by Christopher Goldston. Sheet Music. Written For You. Its sauntering, lazy tune delightfully trips along with fun, rhythmic passages (triplet figures, staccato articulations). Some raised and lowered neighboring tones offer additional melodic interest. A gently descending chromatic base line also leads the r. Ragtime. Solo Sheet. 4 pages. The FJH Music Company - Digital #W9203. Published by The FJH Music Company - Digital (F0.W9203). UPC: 674398214426.Originally part of Fantastic Fingers, Book 3, Ragtag Rag is now available as a stand-alone solo sheet. Its sauntering, lazy tune delightfully trips along with fun, rhythmic articulations (triplet figures; clipped, staccato phrasing). Some raised and lowered neighbor tones offer additional melodic interest. A gentle, chromatic base line also leads the rag toward its conclusion. Goldston has cleanly captured the rag form for the early intermediate pianist. About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.50
2.33 €
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Piano solo
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Christopher Goldston
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clipped, staccato phrasing)
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Ragtag Rag
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The FJH Music Company - Digital
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SheetMusicPlus
Clown Rag
Piano solo
Piano Solo - Intermediate - Digital Download SKU: F0.W9330 Composed by Kevin Costle…
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Piano Solo - Intermediate - Digital Download SKU: F0.W9330 Composed by Kevin Costley. Sheet Music. Written For You. A pensive solo set in the key of D minor with large, open chords and lyrical phrases. Solo Sheet. 4 pages. The FJH Music Company - Digital #W9330. Published by The FJH Music Company - Digital (F0.W9330). UPC: 674398224401.This lively Joplin-esque piece for the intermediate student is tons of fun! The recurring syncopated pattern in the R.H. is supported by a steady L.H. accompaniment. Clever use of chromatic accidentals gives the impression of a tumbling clown as he teases the circus crowd with his tricks. Sure to be a favorite! About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.50
2.33 €
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Piano solo
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Kevin Costley
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Clown Rag
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The FJH Music Company - Digital
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SheetMusicPlus
Aragonesa
Piano solo
Piano - Late Intermediate - Digital Download SKU: F0.W9262 Composed by Timothy Brow…
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Piano - Late Intermediate - Digital Download SKU: F0.W9262 Composed by Timothy Brown. Sheet Music. Written For You. Solo Sheet. 5 pages. The FJH Music Company - Digital #W9262. Published by The FJH Music Company - Digital (F0.W9262). UPC: 674398218554.This dramatic Spanish style Late Intermediate piece is written in the key of F-sharp minor and played in 3/8 time. Utilizing a wide range of dynamics with rhythm consisting of dotted eighth notes, sixteenth notes, and triplet figures, this exciting piece brings out an array of musical elements and Spanish flare! About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.95
2.75 €
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Piano solo
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Timothy Brown
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Aragonesa
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The FJH Music Company - Digital
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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
22.38 €
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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
A Walk Through Time Suite
Piano solo
Piano Solo - Intermediate - Digital Download SKU: F0.W9337 Composed by Kevin Costle…
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Piano Solo - Intermediate - Digital Download SKU: F0.W9337 Composed by Kevin Costley. Sheet Music. Written For You. This energetic, easy-to-play rag is great for small hands. Solo Sheet. 10 pages. The FJH Music Company - Digital #W9337. Published by The FJH Music Company - Digital (F0.W9337). UPC: 674398225026.This intermediate level solo offers much variety with its three-movement structure. It can be performed either as a suite or as individual recital pieces. Each movement focuses on the thoughts concerning the different parts of time-the first being the expressive Thoughts of Yesterday, the second a reflective mood in Thoughts of Today, and the third with a quick forward motion in Thoughts of Tomorrow. Students will enjoy playing these movements while instilling their personal thoughts and feelings into the music. About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$3.50
3.26 €
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Piano solo
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Kevin Costley
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A Walk Through Time Suite
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The FJH Music Company - Digital
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SheetMusicPlus
Memories of Midnight
Piano solo
Piano Solo - Intermediate - Digital Download SKU: F0.W9058 Composed by Wynn-Anne Ro…
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Piano Solo - Intermediate - Digital Download SKU: F0.W9058 Composed by Wynn-Anne Rossi. Sheet Music. Written For You. Solo Sheet. 6 pages. The FJH Music Company - Digital #W9058. Published by The FJH Music Company - Digital (F0.W9058). UPC: 674398206223.Impressionistic-style piece paints the story of a horseback ride through the woods in the deepest night. This solo will encourage imaginative performance. About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.95
2.75 €
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Piano solo
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Wynn-Anne Rossi
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Memories of Midnight
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The FJH Music Company - Digital
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SheetMusicPlus
Stargazing
Piano solo
Piano - Early Intermediate - Digital Download SKU: F0.W9016 Composed by Kevin Olson…
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Piano - Early Intermediate - Digital Download SKU: F0.W9016 Composed by Kevin Olson. Sheet Music. Written For You. Space, Sky and Stars. Solo Sheet. 4 pages. The FJH Music Company - Digital #W9016. Published by The FJH Music Company - Digital (F0.W9016). UPC: 674398203666.A lovely, gentle melody to be voiced over with a soft accompaniment. This solo features crossed-hand figures, broken chord accompaniment, and encourages playing with light thumbs. About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$1.99
1.86 €
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Piano solo
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Kevin Olson
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Stargazing
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The FJH Music Company - Digital
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SheetMusicPlus
Russian Soldier's Story
Piano solo
Piano - Intermediate - Digital Download SKU: F0.W9019 Composed by Timothy Brown. Sh…
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Piano - Intermediate - Digital Download SKU: F0.W9019 Composed by Timothy Brown. Sheet Music. Written For You. Around the World. Solo Sheet. 4 pages. The FJH Music Company - Digital #W9019. Published by The FJH Music Company - Digital (F0.W9019). UPC: 674398203697.This creative piece will motivate the student to develop his or her own story line - one way to encourage musical interpretation that is personal. About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.50
2.33 €
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Piano solo
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Timothy Brown
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Russian Soldier's Story
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The FJH Music Company - Digital
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SheetMusicPlus
Ozark Dance
Piano solo
Piano - Elementary - Digital Download SKU: F0.W9358 This title is on the 2017-20…
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Piano - Elementary - Digital Download SKU: F0.W9358 This title is on the 2017-2021 National Federation of Music Clubs list. Composed by Kevin Costley. Sheet Music. Written For You. This dreamy composition is easy enough to encourage expressive playing. Solo Sheet. 3 pages. The FJH Music Company - Digital #W9358. Published by The FJH Music Company - Digital (F0.W9358). UPC: 674398226504.Written in the style of a country square dance, this piece for the elementary student is tons of fun to play! The melody flows easily between the left and right hands with well-placed staccatos that sound just like fiddles, and the teacher duet part adds the lively feel of a Saturday night hoedown. About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.50
2.33 €
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Piano solo
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Kevin Costley
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Ozark Dance
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The FJH Music Company - Digital
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SheetMusicPlus
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