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• Henley, Don
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You've selected:
Don Carl Philipp Emanuel Bach
Sheetmusic to print
4 sheet music found
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1
Concerto per Bombardone
Concerto per Bombardone
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Amilcare Ponchielli
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Henry Howey
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Concerto per Bombardone
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Tuba-Euphonium Press
#
SheetMusicPlus
Tuba solo with piano SKU: TE.TEP11065 Composed by Amilcare Ponchielli. Arranged by Henry Howey. Score. Published by Tuba-Euphonium Press (TE.TEP11065).
(+)
Tuba solo with piano SKU: TE.TEP11065 Composed by Amilcare Ponchielli. Arranged by Henry Howey. Score. Published by Tuba-Euphonium Press (TE.TEP11065).
$20.00 ≈
18.67€
Sonata in A minor for Bass Trombone Unaccompanied
Sonata in A minor for Bass Trombone Unaccompanied
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Trombone
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ADVANCED
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Classical
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Carl Philipp Emanuel Bach
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Barrett, Dan
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Sonata in A minor for Bass Tro
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Gordon Cherry
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SheetMusicPlus
Trombone Solo - Level 5 - SKU: A0.810961 Composed by Carl Philipp Emanuel Bach. Arranged by Barrett, Dan. Baroque,Classical. Individual part. 7 pages. G...
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Trombone Solo - Level 5 - SKU: A0.810961 Composed by Carl Philipp Emanuel Bach. Arranged by Barrett, Dan. Baroque,Classical. Individual part. 7 pages. Gordon Cherry #4278193. Published by Gordon Cherry (A0.810961). The Sonata for Solo Flute (Wq. 132) was composed in 1747, although it was not published until 1763. This transcription is in the original key of A minor, where it lies perfectly in the bass trombone range while also playable on the tenor trombone with F attachment. The first two movements can be reversed to create a traditional fast-slow-fast pattern, or played as originally published. The length of the three-movement work is about 10 minutes and is appropriate for advanced performers.
$20.00 ≈
18.67€
Sonata for Unaccompanied Trombone
Sonata for Unaccompanied Trombone
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Trombone
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ADVANCED
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Classical
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Carl Philipp Emanuel Bach
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Ralph Sauer
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Sonata for Unaccompanied Tromb
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Gordon Cherry
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SheetMusicPlus
Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Ralph Sauer. Baroque, Classical, Renaissance. Individual part. 8 pages. Gordon Cherry ...
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Composed by Carl Philipp Emanuel Bach (1714-1788). Arranged by Ralph Sauer. Baroque, Classical, Renaissance. Individual part. 8 pages. Gordon Cherry #5033995. Published by Gordon Cherry
$17.50 ≈
16.33€
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
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Easy Piano
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BEGINNER
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Classical
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Various
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20 Classical Piano Pieces for
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Scott Camp
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SheetMusicPlus
Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by S...
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Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by Scott Camp
This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music.
In my experience, every elementary piano student should be given the opportunity to successfully play:
Spinning Song (even if you leave out the middle section at first)
Minuet in G (page one)
Fur Elise (page one)
Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection.
All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions.
"Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.
Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening.
So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior.
If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly.
"Practice Makes... "
If you said "Perfect" then you've fallen into a sinister trap.
"Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career.
Here's the process in general:
Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?
That's something for us professionals to consider.
Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!
Contents
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G minor from the Notebook for Anna Magdalena Bach
Musette in D from the Notebook for Anna Magdalena Bach
Minuet in F Wolfgang Amadeus Mozart
Ecossaise in G Ludwig van Beethoven
Sonatina in G Ludwig van Beethoven
I Allegretto
II Romanze
Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler
I Allegro
The Wild Horseman, Op. 68, No. 8 Robert Schumann
Fur Elise (Famous Page 1) Ludwig van Beethoven
Spinning Song, Op. 14, No. 4 Albert Elmenreich
Arabesque, Op. 100, No. 2 Friedrich Burgmüller
Ballade, Op. 100, No. 15 Friedrich Burgmüller
Solfeggietto Carl Philipp Emanuel Bach
Toccatina, Op. 27, No. 12 Dmitri Kabalevsky
Fur Elise (Complete) Ludwig van Beethoven
Sonatina, Op. 55, No. 1 Friedrich Kuhlau
I Allegro
Sonatina, Op. 36, No. 3 Muzio Clementi
I Spiritoso
La Vélocité, Op. 109, No. 10 Friedrich Burgmüller
These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering.
The hand position notation is used to better communicate what exactly is being demanded of the student. Students? repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores ?playing music on the piano? to primacy and supports ?helping a student play music on the piano? as the central activity of the piano lesson.
Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.
Good luck!
Scott Camp
scottcampislandpiano@gmail.com
$3.99 ≈
3.72€
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Don Carl Philipp Emanuel Bach
