| Surprising Solos, Book 2 Piano seul [Partition] FJH
By Wynn-anne Rossi. For Piano. Composers In Focus. Easy-to-play solos feature qu...(+)
By Wynn-anne Rossi. For
Piano. Composers In
Focus. Easy-to-play solos
feature quick-changing
dynamics, time
signatures, harmonies,
and movements on the
keyboard. Students will
learn to expect the
unexpected. Contents
include: Soccer Plays;
Big Ben Boogie; Spinning
and Spinning; Being
Silly; Giant Snowflakes;
Hoppin' Finger Blues;
Skeleton Bones; My Quiet
Place. Level: Late
Elementary/Early
Intermediate. Book.
Published by The FJH
Music Company Inc.
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Klar/obskur Oboe,bassoon And Piano Performance Score Hautbois, Basson et Piano Schott
Oboe, bassoon and piano - difficult SKU: HL.49016219 Composed by Benjamin...(+)
Oboe, bassoon and piano -
difficult SKU:
HL.49016219 Composed
by Benjamin Schweitzer.
This edition: Saddle
stitching. Sheet music.
Misc. Score (also
performance score).
Composed 2006. 73 pages.
Duration 10'. Schott
Music #ED 20121.
Published by Schott Music
(HL.49016219). ISBN
9790001146449. UPC:
884088202538.
9.0x12.0x0.195
inches. The
chiaroscuro-technique
developed by painters of
the Italian renaissance
served to intensify
contrasts and effects of
optical depth. In
Klar/Obskur, I tried to
transfer the general idea
of this technique on the
rather unusual
instrumentation of two
double-reed woodwinds and
piano. On the one hand, a
clear, well articulated
playing is characteristic
for these instruments, on
the other hand, they have
an often underestimated
potential of 'twilight':
air-sounds and fragile,
shady colours have a
especially attractive
when being produced by
double-reed instruments
(which are often, and
superficially regarded as
being less capable of
differentiated sounds
than flute or clarinet).
The piano, too, has a
broad bandwidth of
possibilities between
percussive and delicate
playing to complement the
woodwinds which, in
return, can absorb and
continue the fading piano
sounds.The beginning
introduces the two
contrasting elements that
form the basic material
for the piece: a clear,
sharp chord, followed by
fragile, dim sounds. The
changes between these
elements as well as their
combination and
amalgamation produce an
enormous spectrum of
colours and gesture.
After this 'motto-like'
opening follow four quite
clearly separated short
sections, each of them
being characterised by a
well-defined texture: a
partly almost
imperceptible air-sound
passage, a short sequence
of microintervallic
notes, a burst of
virtuosity and a recourse
to the fragile sounds of
the beginning.The second,
longer main part consists
of three sections merging
subtly into each other: a
short unisono-passage,
marked elastic [federnd],
is being dissolved into
its basic elements; from
these remainders, a
confrontation of low,
'arcane' bassoon and
piano sounds and a
strongly ornamented
melodic line of the oboe
emerges, leading to a
short but powerful
climax. The piece is
concluded by an extended,
relaxed epilogue,
containing a short piano
solo and a duet of oboe
and bassoon and, finally,
a quotation of the
'elastic' character of
the middle
section.Benjamin
Schweitzer. $40.00 - Voir plus => Acheter | | |
| Poul Ruders: Dramaphonia (Score) - Intermédiaire/avancé Wilhelm Hansen
Piano and Chamber Ensemble - Grade 4 SKU: HL.14027981 Composed by Poul Ru...(+)
Piano and Chamber
Ensemble - Grade 4
SKU: HL.14027981
Composed by Poul Ruders.
Music Sales America. 20th
Century. Score. Composed
2002. Edition Wilhelm
Hansen #WH30293.
Published by Edition
Wilhelm Hansen
(HL.14027981). ISBN
9788759808368.
English. 'Dramaphon
ia' for piano solo and 11
instruments forms the
first part of a trilogy
of solo-concertos, the
remaining two being one
for percussion and
smaller symphony
orchestra ('Monodrama')
and the last
('Polydrama') for
violoncello and full
orchestra. All three
pieces are in one
movement each and may be
performed together, thus
presenting a vast
concerto grosso of the
duration of one hour and
a half. Each concerto,
however, stands by
itself, offering its own
story: having employed
the word drama in all
three pieces, I naturally
want to imply that
something is going on, a
series of hidden events
created by each
listener's own inner
theatre which enables him
to stage his own,
personal associations,
and in the case of
'Dramaphonia', the
compositorical tension
alters between action and
frozen panoramas. In the
percussion concerto, the
rhythmical progression is
being constantly
intensified, whereas the
metric proportions of
Dramaphonia tighten and
loosen, like a magnifying
glass being wielded in
and out of focus.
'Dramaphonia' is
commissioned and
dedicated to LONTANO and
Poul Rosenbaum. $105.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Variations on "America" Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370). ISBN
9781491135075. UPC:
680160686247. Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Little New Broadway Fake Book Instruments en Do [Fake Book] Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway. Softcover....(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway.
Softcover.
696 pages. Published by
Hal
Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Southern Gospel Piano - Giving Thanks Piano seul - Intermédiaire Mel Bay
Piano - Intermediate SKU: MB.31087 Old Time, Saddle-stitched. Folk. Book....(+)
Piano - Intermediate
SKU: MB.31087 Old
Time, Saddle-stitched.
Folk. Book. Mel Bay
Publications, Inc #31087.
Published by Mel Bay
Publications, Inc
(MB.31087). ISBN
9781513478043. 8.75X11.75
inches. All of us can
probably be rightfully
described as being too
unappreciative and too
quick to complain. Few
individuals have been
criticized for being
overly
thankful.
This
book is presented to help
generate a focus on
giving thanks for and
being aware of our
innumerable blessings
provided by our
Creator.
May these
wonderful gospel songs
and great hymns arranged
in the popular Southern
Gospel style be an
encouragement to
everyone.
$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The New Broadway Fake Book Instruments en Do Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway, Musicals. ...(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway, Musicals.
Softcover. 696 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sisi Ne Moja Piano seul - Intermédiaire Santa Barbara Music Publishing
Piano - Intermediate SKU: SB.SBMP-1693 Composed by Jacob Narverud. Classi...(+)
Piano - Intermediate
SKU: SB.SBMP-1693
Composed by Jacob
Narverud. Classical.
Octavo. 16 pages. Santa
Barbara Music Publishing
#SBMP1693. Published by
Santa Barbara Music
Publishing
(SB.SBMP-1693). UPC:
000308159653. Ever
clever, composer Narverud
came up with a highly
rhythmic celebratory
composition. The title
translates “We are
oneâ€, the theme
being that all human
beings have much in
common. The energetic
djembe sets the tone, the
piano adds its own
rhythmic design, and the
singers deliver the
message, at times
sounding as though there
should be a campfire at
the center of their
circle. This BEST SELLER
is great fun, a profound
message, and an
intriguing piece. See
composer notes below for
pronunciation. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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