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| Charles Tomlinson Griffes: Roman Sketches, Op. 7 Piano solo - Intermediate/advanced Alfred Publishing
Composed by Charles Tomlinson Griffes (1884-1920). Edited by Albert Mendoza. ...(+)
Composed by Charles Tomlinson
Griffes (1884-1920). Edited
by Albert Mendoza.
Masterworks; Piano Solo.
Alfred Masterwork Edition.
Form: Suite. 20th Century;
Masterwork; Recital. Book. 52
pages. Alfred Music #00-
46906. Published by Alfred
Music
$10.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Play Piano With Ray Charles Book/CD Piano solo [Sheet music + CD] Amsco Wise Publications
Songbooks, Artist Folios. Play Piano With. Play Piano With... Ray Charles. S...(+)
Songbooks, Artist Folios. Play
Piano With. Play Piano With...
Ray Charles. Softcover Book
and CD. Wise Publications
#AM91964. Published by Wise
Publications
$26.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Rockschool Piano Grade 7 - (2019) Piano solo Editions Marc Reift
Piano - Grade 7 SKU: BT.RSK200096 Rockschool Piano 2019. Exam Material. B...(+)
Piano - Grade 7 SKU: BT.RSK200096 Rockschool Piano 2019. Exam Material. Book Only. Composed 2019. Rockschool #RSK200096. Published by Rockschool (BT.RSK200096). ISBN 9781789360523. English. The essential syllabus for the aspiring, contemporary pianist. Piano Grade 7 will provide you with everything you need for your Grade 7 exam, including a diverse range of repertoire, a truly innovative range of supporting tests and a vast array of professionally recorded backing tracks and audio examples. $27.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ray Piano solo [Sheet music] - Easy Hal Leonard
Music from the Motion Picture Sounddtrack. Performed by Ray Charles. Easy Piano ...(+)
Music from the Motion Picture Sounddtrack. Performed by Ray Charles. Easy Piano Songbook (Easy arrangements for piano). Size 9x12 inches. 64 pages. Published by Hal Leonard.
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dan Coates - Complete Advanced Piano Solos
Piano solo [Sheet music] - Advanced Alfred Publishing
The Greatest Love Of All Composed by Michael Masser, Linda Creed Homecoming Com...(+)
The Greatest Love Of All Composed by Michael Masser, Linda Creed
Homecoming Composed by Hagood Hardy
Weve Got Tonight Composed by Bob Seger
Song From M*a*s*h (Suicide Is Painless) Composed by Johnny Mandel, Mike Altman
Misty Composed by Erroll Garner, Johnny Burke
Other Side Of Midnight Composed by Michel Legrand
The Rose Composed by Amanda Mc Broom
Tears In Heaven Composed by Eric Clapton, Will Jennings
Theme From New York, New York Composed by Fred Ebb, John Kander
Heart Composed by Richard Adler, Jerry Ross
Hey There Composed by Richard Adler, Jerry Ross
Colors Of My Life Composed by Cy Coleman, Michael Stewart
Over The Rainbow Composed by Harold Arlen, E.y. Harburg
Separate Lives Love Theme From "white Nights"
Theme From Ice Castles Composed by Marvin Hamlisch, Carole Bayer Sager
Tonight I Celebrate My Love Composed by Michael Masser, Gerry Goffin
In This Life Composed by Mike Reid, Allen Shamblin
Up Where We Belong Composed by W Jennings, B Sainte, Marie, J Nitzsche
From A Distance Composed by Julie Gold
I Will Always Love You Composed by Dolly Parton
Oh! What It Seemed To Be Composed by Bennie Benjamin, George David Weiss, Frankie
I Believe I Can Fly Composed by R. Kelly
Valentine Composed by Jim Brickman, Jack Kugell
How Do I Live Composed by Diane Warren
Colors Of The Wind Composed by Stephen Schwartz, Alan Menken
A Dream Is A Wish Your Heart Makes Composed by Mack David, Al Hoffman, Jerry Livingston
see less... Tell Him Composed by Linda Thompson, David Foster
Con Te Patiro / Time To Say Goodbye Composed by Lucio Quarantotto, Francesco Sartori
Karen's Theme Composed by Richard Carpenter
The Prayer Composed by Carole Bayer Sager, David "babyface" Foster
My One True Friend Composed by Carole Bayer Sager, Carole King
Love Solo Composed by Dan Coates
I Don't Want To Miss A Thing Composed by Diane Warren
As Time Goes By Composed by Herman Hupfeld
La Vie En Rose Composed by Louiguy, Piaf (French), David (Eng.)
What's New? Composed by Bob Haggart, Johnny Burke
Summer Me, Winter Me Composed by Michel Legrand, Alan, Marilyn Bergman
Evergreen Composed by Barbra Streisand, Paul Williams
Arthur's Theme (Best That You Can Do) Composed by Burt Bacharach, Carole Bayer Sager
Can You Read My Mind Composed by John Williams, Leslie Bricusse
Love And Marriage Composed by Jimmy Van Heusen, Sammy Cahn
Desperado Composed by Don Henley, Glenn Frey
The Wind Beneath My Wings Composed by Jeff Silbar, Larry Henley
How Do You Keep The Music Playing? Composed by Michel Legrand, Alan Bergman
Anywhere The Heart Goes Composed by Henry Mancini, Will Jennings
Once Before I Go Composed by Dean Pitchford, Peter Allen
Star Wars - Main Theme Composed by John Williams
Open Arms Composed by Steve Perry, Jonathan Cain
Canon In D Composed by Johann Pachelbel
That's What Friends Are For Composed by Burt Bacharach, Carole Bayer Sager
Friends Or Lovers Both To Each Composed by Paul Gordon, Jay Gruska
Forever Composed by Kenny Loggins, Eva Loggins, David Foster
Saving All My Love For You Composed by Gerry Goffin, Michael Masser
Miss Celie's Blues Composed by Quincy Jones, Rod Temperton, And
Anne's Theme Composed by Hagood Hardy
One Moment In Time Composed by Albert Hammond, John Bettis
Kei's Song Composed by David Benoit
I Say A Little Prayer Composed by Burt Bacharach, Hal David
Happy Birthday To You Composed by Mildred J. Hill, Patty S. Hill
May You Always Composed by Larry Marks, Dick Charles
If My Friends Could See Me Now Composed by Cy Coleman, Dorothy Fields
You Can Always Count On Me Composed by Cy Coleman, David Zippel
Ashokan Farewell Composed by Jay Ungar
Everything I Do I Do It For You Composed by Bryan Adams, Robert Lange, Michael Kamen
Send In The Clowns Composed by Stephen Sondheim
She Loves Me Composed by Sheldon Harnick, Jerry Bock
How Could I Ever Know? Composed by Marsha Norman, Lucy Simon
My Unknown Someone Composed by Cy Coleman, Adolph Green, Betty Comden
Favorite Son Composed by Cy Coleman, Adolph Green, Betty Comden
I Swear Composed by Gary Baker, Frank Myers
I Can Love You Like That Composed by S Diamond, M Derry, J Kimball
Beauty And The Beast Composed by Howard Ashman, Alan Menken
Angel Eyes Composed by Jim Brickman
If You Believe Composed by Jim Brickman
Because You Loved Me Composed by Diane Warren
Un-break My Heart Composed by Diane Warren
Ragtime Composed by Stephen Flaherty, Lynn Ahrens
Complete Advanced Piano Solos (Music for All Occasions). Arranged by Dan Coates. For solo piano. Piano - Intermediate / Advanced Collection; Piano Supplemental. The Professional Touch Series. Contemporary Instrumental and Pop. SMP Level 9 (Advanced). Collection. Standard notation (does not include words to the songs). 304 pages. Published by Alfred Music Publishing
(80)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concert Transcriptions of Favorite Hymns Piano solo [Sheet music] Theodore Presser Co.
For Piano. By Adoniram J. Gordon; Anonymous; Arthur Seymour Sullivan; Charles C....(+)
For Piano. By Adoniram J. Gordon; Anonymous; Arthur Seymour Sullivan; Charles C. Converse; George J. Webb; H.Cutler Fall; John Baptiste Calkin; Oliver Holden; Robert Lowry; Samuel Sebastian Wesley; Samuel Webbe; William B. Bradbury; William H. Doane; Wm. R. Fischer. Edited by Clarence Kohlmann. Arranged by Clarence Kohlmann. Solo piano. For Piano Solo. Collection. 51 pages. Published by Theodore Presser Company
(3)$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for the Piano Volume IV Piano solo [Sheet music] Schott
Hymns from a Great Temple and Other Selected Works. By Georges Ivanovich Gurdjie...(+)
Hymns from a Great Temple and Other Selected Works. By Georges Ivanovich Gurdjieff, Thomas de Hartmann. Arranged by Charles Ketcham, Laurence Rosenthal, Linda Daniel-Spitz. Schott. Book only. Size 9x12 inches. 116 pages. Published by Schott.
$38.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Marian McPartland: Portraits Piano solo [Sheet music] - Intermediate Alfred Publishing
Composed by Marian McPartland. Artist/Personality; Piano - Personality Book; Pia...(+)
Composed by Marian McPartland. Artist/Personality; Piano - Personality Book; Piano Supplemental. Piano Solo Personality. Jazz. Collection (softcover). With introductory text (does not include words to the songs). 96 pages. Alfred Music #PFM0005. Published by Alfred Music
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music For Solemn Moments Piano solo [Sheet music] - Intermediate/advanced Alfred Publishing
Ave Maria Piano Solo, Composed by Johann Sebastian Bach, Charles Francois Gounod...(+)
Ave Maria Piano Solo, Composed by Johann Sebastian Bach, Charles Francois Gounod
Abide With Me Vocal And Piano
Be Still, My Soul Vocal And Piano
Day By Day Vocal And Piano
God Will Take Care Of You Vocal And Piano
He Leadeth Me Vocal And Piano
His Eyes Is On The Sparrow Vocal And Piano
I Must Tell Jesus Vocal And Piano
I Need Thee Every Hour Vocal And Piano
In The Garden Vocal And Piano
A Mighty Fortress Is Our God Vocal And Piano
Moment By Moment Vocal And Piano
Savior, Like A Shepherd Lead Us Vocal And Piano
Thou Will Keep, Him In Perfect Peace Vocal And Piano
'tis So Sweet To Trust In Jesus Vocal And Piano
What A Friend We Have In Jesus Vocal And Piano
Music for Solemn Moments arranged by Jerry Ray. For voice and piano. Piano Collection; Piano Supplemental. Sacred. Late Intermediate. Songbook. Vocal melody, lyrics, piano accompaniment and chord names. 44 pages. Published by Alfred Music Publishing
(2)$8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ada Richter : My Own Hymn Book Piano solo [Solo Part] Theodore Presser Co. | | |
| Accompagnamenti and assoli rock 'n' roll Piano solo [Sheet music + CD] Play Music Publishing
Piano SKU: BT.MI0302 Al pianoforte. Composed by Federico Dattino. ...(+)
Piano SKU: BT.MI0302 Al pianoforte. Composed by Federico Dattino. Pop & Rock. Book with CD. Composed 2019. Play Music Italy #MI0302. Published by Play Music Italy (BT.MI0302). Italian. Quest'opera presenta una serie di accompagnamenti ed assoli di pianoforte nello stile Rock ’n’ Roll. Scoprirete quindi delle ritmiche nel più puro stile Rock ‘n’ Roll dell’epoca. Si tratta di veri standards, decisamente intramontabili, in cui sono esposti i diversi procedimenti armonici e ritmici propri di questo stile. Suonerete poi degli assoli indiavolati, con tutte le caratteri-stiche proprie del Rock ‘n’ Roll: timing, velocit , energia, punti di tensione e di stasi, intervalli ripetuti, acciaccature… Il tutto nello spirito di Jerry Lee Lewis o Little Richard passando per Ray Charles… e tanti altri ancora! Per ogni accompagnamento ed assolo, troverete 5registrazioni diverse sul CD MP3 allegato, distribuite nel modo seguente: il pianoforte da solo, a velocit normale poi ridotta, la stessa parte di pianoforte suonata però sulla sua base musicale ed infine la sola base musicale, prima a velocit normale, poi ridotta... per permettere ad ognuno di suonare secondo il proprio ritmo, il proprio livello e le proprie capacit . Ossia più di 4 ore di musica in tutto! $14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Fast Forward: Rock 'N' Roll Piano Piano solo [Sheet music + CD] - Easy Music Sales
Grooves, Patterns and Tricks You Can Learn Today!. Music Sales America. Rock Ins...(+)
Grooves, Patterns and Tricks You Can Learn Today!. Music Sales America. Rock Instruction. Softcover with CD. 66 pages. Music Sales #AM963700. Published by Music Sales
(1)$15.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Blues Piano Book 2 Piano solo [Sheet music + CD] - Intermediate Schott
Piano - intermediate SKU: HL.49045168 The Basic Principles of Blues Pi...(+)
Piano - intermediate SKU: HL.49045168 The Basic Principles of Blues Piano - Method. Composed by Tim Richards. This edition: Paperback/Soft Cover. Sheet music. Piano. Tim Richards zeigt im lange erwarteten Band 2 seines Lehrwerks alle wichtigen Aspekte des Blues. Die zahlreichen Arrangements von Klassikern von Pine Top Smith, Leroy Carr oder Ray Charles runden jeweils ein Thema ab und sind fur Pianisten der Mittelstufe. French Edition, Jazz. Softcover with CD. 132 pages. Schott Music #ED22451. Published by Schott Music (HL.49045168). ISBN 9783795709334. 9.0x12.0x0.405 inches. French. Author: Tim Richards. Tim Richards introduces the harmonic, rhythmic and melodic aspects of the Blues - now for the first time in French! The book features over 30 pieces, including well -known favourites such as “Blueberry Hillâ€, “C-Jam Bluesâ€, “Back in the Alley†and “See See Riderâ€. Each chapter is arranged in progressive order of difficulty, with a few more demanding pieces towards the end. Improvisation plays an important part throughout the book, with exercises and guidance. The accompanying CD was recorded by Tim Richards and contains all the pieces and play-along tracks for both volumes. $29.99 - See more - Buy online | | |
| Piano Styles of 23 Pop Masters Piano solo [Sheet music + Audio access] Hal Leonard
Secrets of the Great Contemporary Players. By Various. Keyboard Instruction. Pop...(+)
Secrets of the Great Contemporary Players. By Various. Keyboard Instruction. Pop, Pop Instruction. Softcover Audio Online. 168 pages. Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gospel Riffs God Would Love To Hear for Piano/Keyboards Piano solo [Sheet music + Audio access] - Intermediate ADG productions
Composed by Andrew D. Gordon. Arranged by Andrew D. Gordon. Gospel Riffs God...(+)
Composed by Andrew D.
Gordon. Arranged by Andrew
D. Gordon. Gospel Riffs God
Would Love To Hear. Gospel.
Book/digital audio. ADG
Productions #ADG202.
Published by ADG Productions
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gospel Riffs God Would Love To Hear Piano solo [Sheet music + Audio access] - Intermediate/advanced ADG productions
Composed by Andrew D. Gordon. Spiral bound. Gospel/Piano Instruction. Book and D...(+)
Composed by Andrew D. Gordon. Spiral bound. Gospel/Piano Instruction. Book and Downloadable audio. Duration 70 minutes. Published by ADG Productions
(3)$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chuck Leavell - Piano Instruction, Vol. 1 - DVD Piano solo [DVD] - Intermediate Evergreen Arts
Performed by Chuck Leavell. DVD. DVD (Digital Video Disk). Size 5.5x7.5 inches. ...(+)
Performed by Chuck Leavell. DVD. DVD (Digital Video Disk). Size 5.5x7.5 inches. Published by Evergreen Arts.
(1)$39.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Blues Riffs For Piano - Book/CD Pack Piano solo [Sheet music + Audio access] - Intermediate Cherry Lane
Educational Piano. Blues and Instructional. Softcover Audio Online. With chord n...(+)
Educational Piano. Blues and Instructional. Softcover Audio Online. With chord names, fingerings, instructional text and introductory text. 32 pages. Published by Cherry Lane Music
(3)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for the Piano Volume III Piano solo Schott
Hymns, Prayers and Rituals. By Thomas De Hartmann, Georges Ivanovich Gurdjieff. ...(+)
Hymns, Prayers and Rituals. By Thomas De Hartmann, Georges Ivanovich Gurdjieff. Arranged by Linda Daniel-Spitz, Laurence Rosenthal, Charles Ketcham. (Piano). This edition: ED7843. Schott. Book only. 152 pages. Published by Schott.
$38.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hymns Re-Harmonized - Keepsake Edition
Piano solo Word Music
Piano Solo. Arranged by Carol Tornquist. Sacred Folio. Size 9.25x12 inches. 248 ...(+)
Piano Solo. Arranged by Carol Tornquist. Sacred Folio. Size 9.25x12 inches. 248 pages. Published by Word Music.
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| Ultimate Minus 1 Charles
R. (CHARLES RAY) Piano solo [Sheet music + CD] Carisch
Par CHARLES RAY. 8 classiques de Ray Charles. Transcriptions complètes pour pia...(+)
Par CHARLES RAY. 8 classiques de Ray Charles. Transcriptions complètes pour piano paroles. Le Cd accompagnant ce recueil de partitions contient de version de chaque titre : une démonstration complète et une version sans piano pour vous permettre de jouer accompagné. / Learn and play using top quality backing tracks! E / Recueil / Piano
25.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Jay Charles - Les
Plaisirs Du Piano Piano solo Schott
Plaisirs du Piano 15 little polyphonic Pieces for the Youth piano composer: Jay...(+)
Plaisirs du Piano 15 little polyphonic Pieces for the Youth piano composer: Jay, Charles Éditeur: Schott Music ISMN: 979-0-54350-214-7 Contenu - Once upon a time - Hide-and-seek - Rocking my doll - Breton dance - Little story - Little Alsacian girl - My first contest - Improvisations 1,2,3 - Cantilena - Shepherd-lass - Echo - Pink cloud - Chords - Hurray for the holidays
13.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Rockschool Piano - Grade
7 (2015): Piano:
Instrumental Tutor Piano solo Rock School Limited (RSL)
Rockschool Piano is the essential syllabus for any aspiring contemporary pianist...(+)
Rockschool Piano is the essential syllabus for any aspiring contemporary pianists. Building on Rockschool's long standing tradition of industry relevant musically rigorous syllabi the Grade 7 book has been designed to provide both teacher and student with a diverse range of repertoire a truly innovative range of supporting tests and a vast array of backing tracks and audio examples. The six pieces of repertoire include songs by Black Crowes Ray Charles and John Williams. Other features include: Professionally recordedbacking tracks for pieces and supporting tests Fact files for each track Examples of the Ear Test Technical Exercises Sight Reading and Improvisation & Interpretation sections of the exam Downloadable audio Find out more about Rockschool Piano grades at: https://www.rslawards.com/piano Rockschool 2015 Piano is fully accredited by all four UK regulators and offers UCAS points at Grades 6 7 & 8. Discover more about Rockschool's accreditation status: https://www.rslawards.com/about-us
9.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Rockschool Piano - Grade
4 (2015): Piano:
Instrumental Tutor Piano solo Rock School Limited (RSL)
Rockschool Piano is the essential syllabus for any aspiring contemporary pianist...(+)
Rockschool Piano is the essential syllabus for any aspiring contemporary pianists. Building on Rockschool's long standing tradition of industry relevant musically rigorous syllabi the Grade 4 book has been designed to provide both teacher and student with a diverse range of repertoire a truly innovative range of supporting tests and a vast array of backing tracks and audio examples. The six pieces of repertoire include songs by Ray Charles Ed Sheeran Ellie Goulding. Other features include: Professionally recordedbacking tracks for pieces and supporting tests Fact files for each track Examples of the Ear Test Technical Exercises Sight Reading and Improvisation & Interpretation sections of the exam Downloadable audio Find out more about Rockschool Piano grades at: https://www.rslawards.com/piano Rockschool 2015 Piano is fully accredited by all four UK regulators and offers UCAS points at Grades 6 7 & 8. Discover more about Rockschool's accreditation status: https://www.rslawards.com/about-us
9.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Rockschool Piano - Grade
7 2015 - 2019 Piano solo Rock School Limited (RSL)
Rockschool Piano is the essential syllabus for any aspiring contemporary pianist...(+)
Rockschool Piano is the essential syllabus for any aspiring contemporary pianists. Building on Rockschool's long standing tradition of industry relevant, musically rigorous syllabi, the Grade 7 book has been designed to provide both teacher and student with a diverse range of repertoire, a truly innovative range of supporting tests and a vast array of backing tracks and audio examples.The six pieces of repertoire include songs by Black Crowes, Ray Charles and John Williams.Other features include:Professionally recorded backing tracks for pieces and supporting testsFact files for each trackExamples of the Ear Test, Technical Exercises, Sight Reading and Improvisation and Interpretation sections of the examDownloadable audio / Piano
12.81 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Rockschool Piano - Grade
4 2015 - 2019 Piano solo Rock School Limited (RSL)
Rockschool Piano is the essential syllabus for any aspiring contemporary pianist...(+)
Rockschool Piano is the essential syllabus for any aspiring contemporary pianists. Building on Rockschool's long standing tradition of industry relevant, musically rigorous syllabi, the Grade 4 book has been designed to provide both teacher and student with a diverse range of repertoire, a truly innovative range of supporting tests and a vast array of backing tracks and audio examples.The six pieces of repertoire include songs by Ray Charles, Ed Sheeran, Ellie Goulding.Other features include:Professionally recorded backing tracks for pieces and supporting testsFact files for each trackExamples of the Ear Test, Technical Exercises, Sight Reading and Improvisation and Interpretation sections of the examDownloadable audio / Piano
12.81 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Waldteufel, Charles
Émile : The Skater's
Waltz Piano solo [Sheet music] Fentone Music 6.10 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Divers : The Complete
Piano Player: Soul Piano solo [Sheet music] Amsco Wise Publications
Retrouvez 15 classiques soul pour Piano dans ce superbe recueil. Chaque morceau ...(+)
Retrouvez 15 classiques soul pour Piano dans ce superbe recueil. Chaque morceau est arrangé de manière experte par Paul Honey, d'après le travail effectué par Kenneth Baker, l'auteur de la série best-seller The Complete Piano Player. Tous les morceaux comportent le doigté et les accords.
18.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Really Easy Piano : 50
Fabulous Songs
Piano solo [Sheet music] - Easy Amsco Wise Publications
Compilation de 50 chansons, de la pop en passant par le Classique. Partitions po...(+)
Compilation de 50 chansons, de la pop en passant par le Classique. Partitions pour piano facile avec symboles d'accords et des conseils de jeu. / Variétés / Partition /
23.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Accompagnements And Solos
Blues Français Piano solo [Sheet music + CD] Play Music Publishing
Comment jouer des accompagnements et des solos de piano dans le style Blues ? Av...(+)
Comment jouer des accompagnements et des solos de piano dans le style Blues ? Avec cet ouvrage bien sûr... Tout d'abord les rythmiques, majeures et mineures, utilisant des sons de piano, de Rhodes ou d'orgue, allant du Shuffle au Rhythm 'n' Blues, en passant par le Slow-Blues ou encore le Blues-Rock... à jouer sans modération ! Puis les solos, avec toutes les caractéristiques propres au style (placement, respiration, question/réponse, gimmicks?) et à ses différents rythmes (shuffle, binaire, 12/8...). Si la main droite tient ici le rôle principal, la gauche la soutient et la complète, tant au niveau du rythme que de l'harmonie. Le tout dans l'esprit de Memphis Slim ou Ray Charles, en passant par Roy Hawkins, Nat King Cole, Joe Turner... et bien d'autres adeptes du style ! Pour chaque accompagnement et solo, sont disponibles cinq enregistrements différents sur le CD?MP3 joint, répartis de la façon suivante : le piano seul, au tempo normal puis ralenti, la même partie de piano jouée cette fois sur son playback, et enfin le playback seul, là encore au tempo normal puis ralenti... pour permettre à chacun d'apprendre et de jouer à son rythme, selon son niveau et ses capacités. Soit plus de 4 heures de musique en tout ! / Piano
15.83 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Accompagnements And Solos
Rock 'N' Roll Français Piano solo [Sheet music + CD] Play Music Publishing
Comment jouer des accompagnements et des solos de piano dans le style Rock 'n' R...(+)
Comment jouer des accompagnements et des solos de piano dans le style Rock 'n' Roll ? Avec cet ouvrage bien sûr... Des rythmiques dans le plus pur style de l'époque. De vrais standards du genre, totalement indémodables, dans lesquels sont exposés les principaux procédés, à la fois harmoniques et rythmiques, spécifiques au style. Et des solos endiablés, avec toutes les caractéristiques propres au Rock 'n' Roll : placement rythmique, vélocité, énergie, tension/détente, intervalles répétés, appoggiatures... Le tout dans l'esprit de Jerry Lee Lewis ou Little Richard, en passant par Ray Charles... et bien d'autres adeptes du style ! Pour chaque accompagnement et solo, sont disponibles cinq enregistrements différents sur le CD?MP3 joint, répartis de la façon suivante : le piano seul, au tempo normal puis ralenti, la même partie de piano jouée cette fois sur son playback, et enfin le playback seul, là encore au tempo normal puis ralenti... pour permettre à chacun d'apprendre et de jouer à son rythme, selon son niveau et ses capacités. Soit plus de 4 heures de musique en tout ! / Piano
15.83 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Accompagnements & Solos
Blues Au Piano: Piano:
Instrumental Tutor Français Piano solo [Sheet music + CD] Play Music Publishing
With this method book you will learn how to play accompaniments and Piano solos...(+)
With this method book you will learn how to play accompaniments and Piano solos in the Blues style with rhythms major scales minor scales shuffles slow blues and more. Solos with all style features like placements rests question and answer and other tricks and techniques. Everything is in the spirit of the great pianists from Memphis Slim Ray Charles Nat King Cole and more. On the accompanying CD mp3s of the solo Piano at normal tempo and slowed down will let you learn at your own pace according to your ability.
13.25 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Transcribed Solos Of The
Master Piano solo Mallet Works
Le plus important livre de maillet de jazz jamais sorti - 16 solos fantastiques ...(+)
Le plus important livre de maillet de jazz jamais sorti - 16 solos fantastiques par le maître Milt Jackson 'Sacs'! Son association de 50 ans avec The Modern Jazz Quartet, sa carrière solo, ses rencontres avec Oscar Peterson, Ray Charles et des centaines d'autres ... regarder à l'intérieur des notes de l'homme responsable de millions de gens tombent en amour avec les vibes. Une joie à déchiffrer et à analyser. Un must pour tous les amateurs de percussions et jazz! / Piano
53.99 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Fast Forward
Rock'N' Roll
(WORRALL BILL) Piano solo [Sheet music + CD] Amsco Wise Publications
Par WORRALL BILL. Now you can learn Rock 'n' Roll piano! This great book and CD ...(+)
Par WORRALL BILL. Now you can learn Rock 'n' Roll piano! This great book and CD will add a new and exciting dimension to your piano playing, introducing you to the foot-tapping, infectious style that is Rock 'n' Roll! First learn the rhythmic patterns that top pianists use, and experiment with improvising your own patterns and riffs. Tricks such as arpeggiated triplets, accented chords and repeated chord patterns are explained, as are crushed notes, syncopation, glissandos and rolls. Then play in the style of Fats Domino, Little Richard, Ray Charles, and Floyd Cramer. Useful practice tips are given throughout. The accompanying CD enables you to hear how rock 'n' roll riffs and patterns should sound. Each track is recorded twice, first with the piano, then with backing tracks so you can play the piano part. Suitable for intermediate standard pianists. / Niveau : Elémentaire / Méthode en anglais / Méthode / Piano
19.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Piano Styles of 23 Pop
Masters: Piano:
Instrumental Tutor Piano solo [Sheet music + Audio access] Hal Leonard
Secrets of the Great Contemporary Players-Learn to play the Piano styles of toda...(+)
Secrets of the Great Contemporary Players-Learn to play the Piano styles of today's top rock pop and jazz artists with Piano Styles Of 23 Pop Masters: Secrets Of The Great Contemporary Players. Great for beginner to intermediate Piano players and including the melodic and harmonic techniques of 23 iconic performers including Ray Charles Herbie Hancock Norah Jones Alicia Keys Elton John and Stevie Wonder to name just a few. The accompanying audio tracks are designed to allow maximum flexibility when practicing: you can highlight the Piano part the rhythm section or both ? according to your needs. A must for players who really want to getinside the styles of their favorite artists.
23.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Andrew D. Gordon: Gospel
Riffs God Would Love To
Hear - Piano: Piano: Piano solo ADG productions
Gospel Riffs God Would Love To Hear - Piano. Gospel Riffs God Would Love To Hear...(+)
Gospel Riffs God Would Love To Hear - Piano. Gospel Riffs God Would Love To Hear for Piano/Keyboards by Andrew Gordon is a compendium of 33 Contemporary Gospel riffs for piano and keyboard players to learn the art of Gospel stylings. There are also arrangements of some traditional Gospel songs including Amazing Grace and When The Saints Go Marching In showing how to incorporate the riffs in the book into these well known Gospel songs. Play in the styles of Ray Charles, Dr. John, Billy Preston, Leon Russell, and Andre Crouch and see how Blues, Jazz and other contemporary styles are associated with the Gospel sound. Customer Comment About This Book: Gospel Riffs God Would Love To Hear I love Gospel music, and so far with Andrew Gordon's books I haven't been disappointed. This book was no exception.
15.95 GBP - Sold by Musicroom UK | |
| Frederick Dixon: 25
Ballads For Piano: Piano:
Instrumental Tutor Piano solo [Sheet music + CD + DVD] Play Music Publishing
With its 25 ballads for piano this tutorial will keep you pleasantly busy for q...(+)
With its 25 ballads for piano this tutorial will keep you pleasantly busy for quite a while. But there?s more to it than that! Besides affording pleasure these musical pieces give you appropriate training in all the playing techniques necessary for a good ballad accompaniment. Guidelines for the proper handling of these 25 ballads are given to you in the preliminary chapter ? guidelines regarding the rhythm and harmony but also the movements of your left and right hand. The 25 ballads inspired by the biggest hits of the greatest artists of all time (The Beatles Keane Ray Charles Coldplay David Bowie Phil Collins Alicia Keys Louis Armstrong The Rolling Stones and many more) offer you an encyclopedic tour through the world of ballad ? be it Pop Soul Blues Light Music highly melancholic or a little bit more Rock?n?Roll. The DVD attached to the tutorial presents you with the 25 ballads in their full length and at two different tempos: the intended tempo (for demonstration purposes) and the rehearsal tempo (for surpassing difficulties). For its part the mp3 CD allows you to play the ballads along to backing tracks of an appropriate length each in turn played at two different speeds ? at a slower speed for training and at the actual playing speed for practicing ?under real conditions?.
21.90 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Great Jazz Piano Solos 2:
Piano: Instrumental Album Piano solo [Sheet music] - Intermediate/advanced Amsco Wise Publications
21 more Jazz classics by Thelonious Monk Ray Charles Duke Ellington Norah Jon...(+)
21 more Jazz classics by Thelonious Monk Ray Charles Duke Ellington Norah Jones Jools Holland and many others!
19.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| William T. Eveleth: Blues
Jazz & Rock Riffs for
Keyboard: Piano:
Instrumental Piano solo Hal Leonard
Described as the 'practical approach to improvising through a system of traditio...(+)
Described as the 'practical approach to improvising through a system of traditional blues patterns'. Everything you could want to know about scales modes voicings and rhythm. The material used is drawn from the playing artistssuch as Ray Charles 'Fats' Domino and Oscar Peterson.
18.50 GBP - Sold by Musicroom UK | |
| Great Piano Solos
(COFFRET) Piano solo - Intermediate Amsco Wise Publications
ensemble magnifique en quatre volumes de plus de 180 morceaux de spectacles, de ...(+)
ensemble magnifique en quatre volumes de plus de 180 morceaux de spectacles, de jazz, de blues ainsi que des classiques de la pop, des thèmes de films, de grands standards et des morceaux classiques, arrangés pour le pianiste solo.
108.00 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 2 left in stock, order soon ! | |
| Relaxing Piano Jazz Piano solo Schott 11.05 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Sounds Good On Piano 2:
Piano: Mixed Songbook Piano solo Bosworth
50 Songs Created For The Piano-Following the success of Sounds Good On Piano 1 ...(+)
50 Songs Created For The Piano-Following the success of Sounds Good On Piano 1 we now bring you the next instalment of this greatly received new series. Sounds Good on Piano 2 contains a cross-genre mix of 50 songs that are perfect for the piano thanks to their flowing melodies and not too complex rhythms. All songs have been selected for their playability are set in easy to medium arrangements and contain a wide range of classical music evergreens and chart hits. The book is also spiralbound which is very user-friendly. Selection of titles include: Air (Johann Sebastian Bach) Comfortably Numb (Pink Floyd) Game of Thrones Main Theme (Ramin Djawadi) Georgia On My Mind (RayCharles) Karma Police (Radiohead) Nie vergessen (Alina) One More Light (Linkin Park) Selfish Love (Jessie Ware) Sign Of The Times (Harry Styles) and Whatever It Takes (Imagine Dragons).
22.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Georg Friedrich Händel:
Highlights from Messiah:
Piano: Instrumental Album Piano solo Kevin Mayhew
Some of the most popular choruses and arias from Handel’s masterpiece we...(+)
Some of the most popular choruses and arias from Handel’s masterpiece well arranged for Piano and of moderate difficulty. Contents: And the glory of the Lord For unto us a child is born Gloryto God He shall feed his flock Hallelujah I know that my redeemer liveth.Messiah is an English-language oratorio composed in 1741 by George Frideric Handel witha scriptural text compiled by Charles Jennens from the King James Bible and from the version of the Psalms included with the Book of Common Prayer. After an initially modest public reception the oratorio gained in popularity eventually becoming one of the best-known and most frequently performed choral works in Western music.
6.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Blues Piano Collection Piano solo [Sheet music] Amsco Wise Publications
Retrouvez dans ce recueil plus de trente morceaux arrangés pour Piano Solo. Cet...(+)
Retrouvez dans ce recueil plus de trente morceaux arrangés pour Piano Solo. Cette magnifique collection de blues rassemble les standards, les airs connus, et les oeuvres contemporaines où vous pourrez appréhender des accords riches, des mélodies tranquilles et des sons et des ryhtmes funky. A vos claviers!
26.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Library of Ragtime
and Early Blues Piano Piano solo [Sheet music] - Intermediate Amsco Wise Publications 32.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Really Easy Piano Great
Film Songs 22 Hits Piano solo [Sheet music] - Easy Amsco Wise Publications
22 superbes musiques de film arrangées pour pianistes débutants et intermédi...(+)
22 superbes musiques de film arrangées pour pianistes débutants et intermédiaires.
16.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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