| Accent on Performance March Collection Alfred Publishing
(22 Full Band Arrangements Correlated to Accent on Achievement (Piano)). Compose...(+)
(22 Full Band
Arrangements Correlated
to Accent on Achievement
(Piano)). Composed by
John O'Reilly and Mark
Williams. Concert Band.
For Piano. Band
Supplement; Book. Accent
on Performance. Form:
March. 48 pages.
Published by Alfred Music
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| All-star Marching Band (1p, 4h) 1 Piano, 4 mains [Feuillet] - Facile Alfred Publishing
For piano duets (1 piano, 4 hands). Keyboard. Level: Late Elementary (2). Publis...(+)
For piano duets (1 piano,
4 hands). Keyboard.
Level: Late Elementary
(2). Published by Alfred
Publishing.
$4.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tastenzauberei Band 4 Piano Facile Mitropa Music
Piano - beginner SKU: BT.1684-11-400-M Klavierschule Band 4. Compo...(+)
Piano - beginner SKU:
BT.1684-11-400-M
Klavierschule Band
4. Composed by Aniko
Drabon. Tastenzauberei.
Method. Book, CD and
Audio Online. Composed
2011. 100 pages. Mitropa
Music #1684-11-400 M.
Published by Mitropa
Music (BT.1684-11-400-M).
ISBN 9789043134613.
9x12 inches.
German. Ein
zauberhafter Einstieg ins
Klavierspiel!
Das ist
Tastenzauberei: • für Kinder
ab dem Vor- und
Grundschulalter
• sowohl für den
Einzel- als auch für
den Gruppenunterricht
• Quereinstieg
in die Arbeit mit jedem
der Bände ist
möglich •
kindgerechtes Lerntempo
• Motivation
der Schüler durch die
ansprechende Gestaltung
und Smiley-Aufkleber als
Bonbon“ •
viele Spielstücke (oft
vierhändig für
Schüler und Lehrer
oder zwei Schüler)
machen Tastenzauberei von
Anfang an zu einem
klangvollen Erlebnis
• professionelle
Mitspiel- und Demo-CDs,
eingespielt von der
Autorin selbst
Der neueste und letzte
Band 4 enthält etwas
anspruchsvolleres
Material sowie Anregungen
zum Improvisieren, Lieder
begleiten oder
vierhändigen
Musizieren. Die Stücke
bilden die Grundlage
für die Erweiterung
der musiktheoretischen
Kenntnisse, wozu u.a.
Begriffe wie Konsonanz,
Dissonanz, Funktionen,
Kadenz oder Modulation
zählen. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Dave Matthews Band: Under The Table And Dreaming Piano, Voix et Guitare [Partition] - Intermédiaire Cherry Lane
Performed by The Dave Matthews Band. For voice, piano and guitar chords. Format:...(+)
Performed by The Dave
Matthews Band. For voice,
piano and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Pop rock.
104 pages. 9x12 inches.
Published by Cherry Lane
Music
(5)$17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Band Expressions[TM], Book Two: Student Edition Piano seul [Partition + CD] Alfred Publishing
By Robert W. Smith, Michael Story. For Piano. Band Method. Expressions Music Cur...(+)
By Robert W. Smith,
Michael Story. For Piano.
Band Method. Expressions
Music Curriculum[TM].
Level: Level 2. Book and
CD. 96 pages. Published
by Alfred Publishing.
$14.95 - Voir plus => AcheterDélais: 1 to 2 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 | | |
| Folksongs - Super Easy Songbook Piano Facile Hal Leonard
Piano/Keyboard SKU: HL.381031 Composed by Various. Super Easy Songbook. F...(+)
Piano/Keyboard SKU:
HL.381031 Composed by
Various. Super Easy
Songbook. Folk.
Softcover. 96 pages.
Published by Hal Leonard
(HL.381031). ISBN
9781705152423. UPC:
196288019435.
9.0x12.0x0.292
inches. It's super
easy! This series
features accessible
arrangements for piano,
with simple right-hand
melody, letter names
inside each note, basic
left-hand chord diagrams,
and no page turns. The
arrangements also include
lyrics. This big edition
includes 60 folk
favorites: Auld Lang Syne
* Aura Lee * Beautiful
Dreamer * Buffalo Gals
(Won't You Come Out
Tonight?) * (Oh, My
Darling) Clementine *
Cockles and Mussels
(Molly Malone) * Danny
Boy * Deep River * For
He's a Jolly Good Fellow
* Frankie and Johnny *
He's Got the Whole World
in His Hands * My Bonnie
Lies over the Ocean * My
Wild Irish Rose * Nobody
Knows the Trouble I've
Seen * 'O Sole Mio *
Sailing, Sailing *
Scarborough Fair * She'll
Be Comin' 'Round the
Mountain * Simple Gifts *
Skip to My Lou * Take Me
Out to the Ball Game *
Wayfaring Stranger *
Wellerman * When Johnny
Comes Marching Home *
When the Saints Go
Marching In * The Yellow
Rose of Texas * and
more. $15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Noona Digital Piano Method Book 1 Piano seul [Partition] Heritage Music Press
By Walter Noona. For piano. Level: Level 1. Piano method. Published by Heritage ...(+)
By Walter Noona. For
piano. Level: Level 1.
Piano method. Published
by Heritage Music Press.
(40/1001)
(1)$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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