Finger G. - Two Easy Sonatas- Flb Et Bc

This collection of the most beautiful 100 easy original compositions for piano presented by Schott contains a selection of works that accompany every pupil in the first years of his or her piano lessons.



The volume contains compositions from the days of Johann Pachelbel (1653-1706) to the days of Alexander Grechaninov (1864-1956), providing playing material from the high baroque period to the early 20th century. Apart from numerous individual pieces, there are also easy sonatas and sonatinas by Haydn, Cimarosa, Clementi, Mozart and Beethoven. Complete with fingerings, tempo suggestions in the form of metronome numbers and notes on the execution of ornaments, the collection with its modern, readable typeface is ideal not only for lessons, but also for the private music-making of every music lover.



This album represents superb value for money! / Partition /

This collection of the most beautiful 100 easy original compositions for piano presented by Schott contains a selection of works that accompany every pupil in the first years of his or her piano lessons. The volume contains compositions from the days of Johann Pachelbel (1653-1706) to the days of Alexander Grechaninov (1864-1956) providing playing material from the high baroque period to the early 20th century. Apart from numerous individual pieces there are also easy sonatas and sonatinas by Haydn Cimarosa Clementi Mozart and Beethoven. Complete with fingerings tempo suggestions in the form of metronome numbers and notes on the execution of ornaments the collectionwith its modern readable typeface is ideal not only for lessons but also for the private music-making of every music lover. This album represents superb value for money!

50 Famous Pieces For Piano / Hard Cover. The popular anthology Best of Piano Classics is now available as an exclusive hardcover edition, with ribbon bookmark and high-quality binding. A thoughtful gift for any pianist! Selected for pupils in their first years of piano lessons, this volume contains 50 of the most beautiful original compositions for piano from the days of Johann Sebastian Bach (1685-1750) to the days of Alexander Grechaninov, providing playing material from the baroque period to the early 20th century. Apart from numerous individual pieces, it also contains easy sonatas and sonatinas by Haydn, Clementi, Mozart, and Beethoven. Complete with fingerings, tempo suggestions and notes on the execution of ornaments, this collection with its modern and reader-friendly layout is ideal for lessons and for playing at home. / Classique / Recueil / Piano

Wunderkind Sonatas Volume III for Piano and Violin K. 26-31 Editor: Wolf-Dieter Seiffert Fingering and bowing for Violin: Benjamin Schmid Fingering Piano: Ariane Haering In autumn 1765 Mozart's family was in Holland, not least at the request of Princess Caroline von Nassau-Weilburg. The fame of the prodigy Wolfgang Amadeus had already reached her so that she had an extraordinary desire to see this child (according to Leopold Mozart). The Sonatas for Piano K. 26-31 that can also have a violin accompaniment were composed in The Hague. They were published in 1766 and were naturally dedicated to the princess. An early copy which has nothing to do with Mozart was consulted by the New Mozart Edition as a primary source alongside the first edition. Our Urtext edition revises the musical text, deleting the misleading additions from this source. Violin Sonata (Wunderkind) E flat major KV 26 Level of difficulty (Violin): medium (Level 4) Violin Sonata (Wunderkind) G major KV 27 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) C major KV 28 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) D major KV 29 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) F major KV 30 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) B flat major KV 31 Level of difficulty (Violin): easy (Level 2)

Piano Sonata D major K. 284 (205b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold The Sonata in D major is the last of the Six Sonatas K. 279-284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich, Augsburg and Mannheim, a fact he proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect, for instance having a slow Rondeau en Polonaise as the middle movement of the Sonata in D major. The six sonatas, which were previously only published together in the complete volumes (HN 1 and 3), are now all available as single editions with new prefaces. Mozart dedicated this Sonata to a Freiherr Thaddäus von Dürnitz - which is why it has often been called the Dürnitz-Sonata. It is undoubtedly the best, the most brilliant and the most technically demanding of these six early Sonatas. Understandably, Mozart retained a special affection for it and continued to perform it himself. It was this Sonata of which he said that it sounded incomparable on Stein's new fortepianos. FIRST MOVEMENT A first version of the beginning of the first movement, written on one and a half pages, was cancelled by Mozart. On the same page, he started anew to write the final version underneath. The thematic material of this opening movement (and to a lesser degree also that of the following movements) is laid out on a more ample, nearly orchestral scale, a departure from the intimacy of the early sonatas. The tremolo effect in measures 13-16 and the unison announcements of the first subject read very much like a piano reduction of an orchestral tutti. The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions a favourite harmonic formula of the baroque and classical periods. (There are analogous passages in the subsidiary themes in Gluck's overture Iphigénie en Tauride and the first movements of J. S. Bach's Italian Concert). This functions as a solo passage in contrast to the ensuing tutti entries in m.30. The development moves through a circle of minor keys before the recapitulation begins in measure 72. SECOND MOVEMENT Mozart called the second movement a Rondeau en Polonaise, so it is a dance. The opening four measures from a kind of dialogue (like the theme of the first movement of the preceding G major Sonata), and Mozart subjects them to felicitous counter-statement is heightened by Mozart's meticulous dynamic markings. THIRD MOVEMENT The last movement of the Sonata is a pianistically rewarding, cheerful set of variations, which, up to the adagio variation, has the character of a gavotte. It shows Mozart's special gift for writing variations at its most brilliant. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. The adagio variation is on special interest to Mozart scholars, for it gives us some insights into his concept of impromptu ornamentation. The autograph is only modestly ornamented, and Mozart presumably embellished it in performance as his fancy dictated. But a richly ornamented version survived in the first edition, published during Mozart's lifetime, and undoubtedly this embellished version is Mozart's own work. Who else could embellish in such an ingenious way? It illuminates Mozart's ideas on ornamentation in general and in particular. Paul and Eva-Badura-Skoda

The sonatas published in 1732 in Amsterdam, London and Paris under Benedetto Marcello?s name are to the present day firmly established in the cello repertoire. Although Marcello?s authorship is not undisputed ? by this time, the composer had already specialised in sacred works ? the musical beauty of the sonatas is all the more captivating. This four-movement F major Sonata offers all cellists well-versed in the first four positions a good introduction to the classical literature and to reading tenor clef. In this Urtext edition, the figured continuo part is additionally furnished with an easy-to-play keyboard realisation by Wolfgang Kostujak. The enclosed solo part provides fingerings and bowing marks for the cellist ? and thus the optimal provisions for a class recital!

Classical Guitar Solos - Favorite Sonatinas. In this book, guitarist and music historian David Grimes presents 20 ?small sonatas? or sonatinas, complete with detailed performance notes and bio sketches of each of the contributing composers: Leonhard von Call, Matteo Carcassi, Ferdinando Carulli, Mauro Giuliani, Francesco Molino, and Antonio Nava. While flexible, the early 19th-century sonatina form usually consists of 2 - 4 contrasting movements, here in guitar-friendly keys, making these pieces ideal for performance by intermediate-level students. In all but the most challenging passages, Grimes has intentionally kept fingering to a minimum to allow students to form their own concept of this critical skill. Then, as many bass notes in these pieces are played on open strings, the player must develop a sense of when to selectively damp dissonant tones or observe a rest? exposing and overcoming yet another shortcoming in the education of many guitarists. Most classic guitar teachers are familiar with the easy didactic studies by Carcassi, Carulli and Giuliani; Favorite Sonatinas offers more highly developed, but not yet virtuoso pieces by the same Italian triumvirate? plus three more composers in a similar vein? promoting confident, enjoyable sight-reading by guitarists of all levels.