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That Italian Rag
Not classified 12

Piano & keyboards
Piano solo 3

Guitars
Mandolin 1

Voice
Choral SATB 1

Woodwind
Saxophone Quartet: 4 saxophones 4
Clarinet Quartet: 4 clarinets 2
Flute, Oboe, Clarinet, Bassoon 2
Baritone Saxophone, Piano 1
Tenor Saxophone and Piano 1

Oboe, Piano (duet) 1
Bass Clarinet, Piano 1
Flute and Piano 1
Alto Saxophone and Piano 1
Soprano Saxophone and Piano 1
Clarinet 1
Flute Quartet: 4 flutes 1
English horn, Piano 1

+ 8 instrumentations

- Retract

Woodbrass
Trumpet 1
Brass Quintet: 2 trumpets, horn, trombone, tuba 1
Trombone and Piano 1
French Horn and Piano 1
Brass Quartet: 2 trumpets, horn, trombone 1

Brass quartet : 2 trumpets, trombone, tuba 1
Euphonium, Piano (duet) 1
English horn, Piano 1
Brass Quartet: 4 trombones 1

+ 4 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 3
4 Cellos 2
Violin and Piano 2
Cello, Piano 1
String Quartet : 4 violas 1

String quartet: 4 violins 1
Viola, Piano 1

+ 2 instrumentations

- Retract

Percussion & orchestra
Concert band 2

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That Italian Rag

intermediate

Piano solo

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3 sheet music found

Seven Pieces in Twentieth-Century Styles

Seven Pieces in Twentieth-Century Styles #Piano solo #INTERMEDIATE #James Siddons #Seven Pieces in Twentieth-Cent #James Siddons Music and Writings #SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Sid...(+)

Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. PrÃ©lude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prÃ¨lude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial PrÃ¨lude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial PrÃ¨lude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussyâ€™s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harrisâ€™ youth in Oklahoma, and how the solidity of American rural life shaped Harrisâ€™ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You donâ€™t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and BartÃ³k should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com

$5.00 ≈ 4.65€

Beauty and the Beast

Beauty and the Beast #Piano solo #INTERMEDIATE #Walt Disney #Gabriele Filippi #Beauty and the Beast #Gabriele Filippi #SheetMusicPlus

Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Gabriele Filippi. Arranged by Gabriele Filippi. Piano Reduction, Score. 6 pages. ...(+)

Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Gabriele Filippi. Arranged by Gabriele Filippi. Piano Reduction, Score. 6 pages. Published by Gabriele Filippi
BEAUTY AND THE BEAST
Piano Solo Cover Theme, from Walt Disney’s Pictures “Beauty and the Beast”

Music by Alan Menken
Piano arrangement by Gabriele Filippi

Taken from the 1991 American animated musical film produced by Walt Disney Feature Animation and released by Walt Disney Pictures, this piano solo arrangement penned by Italian musician Gabriele Filippi is conceived to grasp the most romantic fold of the renowned fantasy film Beauty and the Beast.

Followed by various and successful theatrical and musical adaptations, this theme is iconographically recognized as the most representative of that film. Recognized by many as a love ballad par excellence, the original version, also subtitled Tale As Old as Time, has seen several covers over time, even by well-known artists.

Here in this cover theme, Filippi aims to capture the most permeating ink offered with the wise musicality of the original authors: Alan Menken for the music and Howard Ashman for the lyrics. As for all his musical scores, Filippi offers a detailed arrangement, complete with grace notes, dynamics, ligatures, pedal lines, and tempo variations. All elements designed to direct even the most inexperienced performer towards a pragmatic expressiveness, but which will certainly also offer further inspiration for even the most experienced pianist. The score is completed by the vocal line and chords so that it can also be useful in the accompaniment of a singer.

$4.99 ≈ 4.64€

Can You Feel The Love Tonight

Can You Feel The Love Tonight #Piano solo #INTERMEDIATE #Walt Disney #Elton John #Gabriele Filippi #Can You Feel The Love Tonight #Gabriele Filippi #SheetMusicPlus

Piano Solo - Intermediate - Digital Download By Elton John. Arranged by Gabriele Filippi. Score. 6 pages. Published by Gabriele Filippi...(+)

Piano Solo - Intermediate - Digital Download By Elton John. Arranged by Gabriele Filippi. Score. 6 pages. Published by Gabriele Filippi
CAN YOU FEEL THE LOVE TONIGHT
Piano Solo Cover Theme, from Walt Disney’s Pictures “The Lion King”

Music by Elton John
Piano arrangement by Gabriele Filippi

Taken from the 1994 animated musical drama film produced by Walt Disney Feature Animation and released by Walt Disney Pictures, this piano solo arrangement penned by Italian musician Gabriele Filippi is conceived to grasp the most gentle and epic folds of the renowned film The Lion King.

Followed by various and successful theatrical and musical adaptations, this theme is iconographically recognized as the most representative of that film. Recognized by many as a love song par excellence, the original version was meant to follow Dinsey's tradition of great love songs.

Here, in this cover theme, Filippi aims to capture the most permeating tusche, offered with the wise musicality of the original idea. As for all his musical scores, Filippi offers a detailed arrangement, complete with dynamics, ligatures, pedal lines, and tempo variations. All these elements are designed to direct even the most inexperienced performer towards a pragmatic expressiveness, but which will certainly also offer further inspiration for even the most experienced pianist.

$4.99 ≈ 4.64€