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You've selected:
Lydia J
Sheetmusic to print
37 sheet music found
<
1
26
The Waltz Before Dawn
The Waltz Before Dawn
#
Trumpet, Piano
#
INTERMEDIATE
#
Contemporary
#
Lydia J
#
The Waltz Before Dawn
#
Lydia J. Wede
#
SheetMusicPlus
Piano,Trumpet - Level 3 - SKU: A0.1028614 Composed by Lydia J. Wede. Contemporary. Score and part. 8 pages. Lydia J. Wede #3591731. Published by Lydia J...
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Piano,Trumpet - Level 3 - SKU: A0.1028614 Composed by Lydia J. Wede. Contemporary. Score and part. 8 pages. Lydia J. Wede #3591731. Published by Lydia J. Wede (A0.1028614). The Waltz Before Dawn features a trumpet and a pianist. It starts as a slow mournful waltz (in 3/4 of course!) then transitions to an upbeat staccato style as the sun rises. Trumpet range is from A#3 to B5 (in the trumpet's key). For any questions or assistance, please email me at lydiawede@gmail.com.
$8.99 ≈
8.39€
The Battle of Kresvia
The Battle of Kresvia
#
Choral SATB
#
INTERMEDIATE
#
Lydia J
#
The Battle of Kresvia
#
Lydia J. Wede
#
SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1028613 Composed by Lydia J. Wede. A Cappella. Octavo. 12 pages. Lydia J. Wede #3591703. Published by Lydia J. W...
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Choral Choir (SATB) - Level 3 - SKU: A0.1028613 Composed by Lydia J. Wede. A Cappella. Octavo. 12 pages. Lydia J. Wede #3591703. Published by Lydia J. Wede (A0.1028613). The Battle of Kresvia is an a capella choral piece that tells the story of several knights going to fight in a mythical battle. There are several phases throughout this song. It starts out with a recurring melody of the soldiers marching, then the knights pause to dream about what they will encounter. However, all of their dreams turn to nightmares when they realize the mortal terror they will encounter. The warriors drearily march until their commander riles the troops and raises their morale. We continue the journey with the troop until the battle begins. The knights fight on to victory! Sorry for the bad audio, email me at lydiawede@gmail.com for any questions or assistance.
$4.50 ≈
4.20€
Lydia's Balloon
Lydia's Balloon
#
Concert band
#
BEGINNER
#
Classical
#
Jordan R
#
Lydia's Balloon
#
J.R. Sawyer
#
SheetMusicPlus
Concert Band - Level 1 - SKU: A0.1240767 Composed by Jordan R. Sawyer. Classical. Score and Parts. 26 pages. J.R. Sawyer #836156. Published by J.R. Sawy...
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Concert Band - Level 1 - SKU: A0.1240767 Composed by Jordan R. Sawyer. Classical. Score and Parts. 26 pages. J.R. Sawyer #836156. Published by J.R. Sawyer (A0.1240767). The Lydian Mode is a playful and fun melodic device. Lydia’s Balloon uses the Lydian Mode to depict the playful spirit of a child with a brightly colored balloon. Written in arch form, this piece uses a limited range and simple rhythmic patterns, three-part voicing, and tutti playing. Engaging and cheerful, this piece can be played after completing the first 10-11 pages of most modern Beginning Band Method Books.
$15.00 ≈
13.99€
Prelude 21 in D Major Mixolydian
Prelude 21 in D Major Mixolydian
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Brian Golden
#
Brian Golden
#
Prelude 21 in D Major Mixolydi
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292437 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292437 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883010. Published by Brian Golden (A0.1292437). Prelude 21 in D Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Prelude 11 in Db Major Lydian
Prelude 11 in Db Major Lydian
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Brian Golden
#
Brian Golden
#
Prelude 11 in Db Major Lydian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden...
(+)
Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden #812807. Published by Brian Golden (A0.1216196). Prelude 11 in Db Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99 ≈
5.59€
Prelude 23 in G Major Lydian
Prelude 23 in G Major Lydian
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Brian Golden
#
Brian Golden
#
Prelude 23 in G Major Lydian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
(+)
Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883013. Published by Brian Golden (A0.1292495). Prelude 23 in G Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Prelude 17 in E Major Lydian
Prelude 17 in E Major Lydian
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Brian Golden
#
Brian Golden
#
Prelude 17 in E Major Lydian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
(+)
Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843071. Published by Brian Golden (A0.1248579). Prelude 17 in E Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Prelude 5 in Bb Major Lydian
Prelude 5 in Bb Major Lydian
#
Piano solo
#
ADVANCED
#
Contemporary
#
Brian Golden
#
Brian Golden
#
Prelude 5 in Bb Major Lydian
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
(+)
Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Prelude 15 in B Major Mixolydian
Prelude 15 in B Major Mixolydian
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Brian Golden
#
Brian Golden
#
Prelude 15 in B Major Mixolydi
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843064. Published by Brian Golden (A0.1248572). Prelude 15 in B Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Neapolitan Lydian
Neapolitan Lydian
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Piano solo
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Classical
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J
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Neapolitan Lydian
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J. Randolph Hall
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SheetMusicPlus
Piano and Keyboard - Interactive Download SKU: A0.482483 Composed by J. Randolph Hall. This edition: Interactive Download. Classical. Worksheet. 1 pages....
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Piano and Keyboard - Interactive Download SKU: A0.482483 Composed by J. Randolph Hall. This edition: Interactive Download. Classical. Worksheet. 1 pages. Duration 22. Published by J. Randolph Hall (A0.482483). The Neapolitan Lydian scale is a synthetic scale. It is based on the Lydian church mode but is also Neapolitan in that the second is lowered a half step. A) demonstrates the scale accompanied by the Shearer solfège. B) shows triad chords based on the scale. C) explores some chord play with the scale in question.
$3.00 ≈
2.80€
Canon a 2 in Three Modes, No. 3, Mixolydian, for Piano Solo, by J.W. Carter
Canon a 2 in Three Modes, No. 3, Mixolydian, for Piano Solo, by J.W. Carter
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Piano solo
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INTERMEDIATE/ADVANCED
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J
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Canon a 2 in Three Modes, No.
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J.W. Carter
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.973717 Composed by J.W. Carter. 20th Century,Instructional,Standards. Score. 1 pages. J.W. Carter #5311593. Published by ...
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Piano Solo - Level 4 - SKU: A0.973717 Composed by J.W. Carter. 20th Century,Instructional,Standards. Score. 1 pages. J.W. Carter #5311593. Published by J.W. Carter (A0.973717). Two-part canon for piano solo rendered in three different modes. Recommend a brilliant legato with no pedal.
$2.50 ≈
2.33€
Lydian Postlude
Lydian Postlude
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Organ
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INTERMEDIATE/ADVANCED
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Contemporary
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Jonathan Hellerman
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Lydian Postlude
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J. F. Hellerman
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SheetMusicPlus
Organ - Level 4 - SKU: A0.921797 Composed by Jonathan Hellerman. 20th Century,Concert,Contemporary. Score. 3 pages. J. F. Hellerman #3566361. Published ...
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Organ - Level 4 - SKU: A0.921797 Composed by Jonathan Hellerman. 20th Century,Concert,Contemporary. Score. 3 pages. J. F. Hellerman #3566361. Published by J. F. Hellerman (A0.921797). An exciting postlude for any festive occasion - feast day, wedding, etc. This piece works well on large or small organs, though ideally with two manuals or more. Approximately three minutes.For more information about the composer, visit hellermanmusic.com
$3.99 ≈
3.72€
Take the Name of Jesus With You (Precious Name) / Only Trust Him
Take the Name of Jesus With You (Precious Name) / Only Trust Him
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Piano solo
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Sacred music
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J
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Marcia Wells
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Take the Name of Jesus With Yo
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Piano Girl Publishing
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SheetMusicPlus
Composed by J. H. Stockton, Lydia Baxter, and William H. Doane. Arranged by Marcia Wells. Christian, Gospel, Sacred, Spiritual. Score. 4 pages. Piano ...
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Composed by J. H. Stockton, Lydia Baxter, and William H. Doane. Arranged by Marcia Wells. Christian, Gospel, Sacred, Spiritual. Score. 4 pages. Piano Girl Publishing #4766843. Published by Piano Girl Publishing
$4.99 ≈
4.65€
Prelude 12 in Bb Minor Dorian
Prelude 12 in Bb Minor Dorian
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Piano solo
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ADVANCED
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Contemporary
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Brian Golden
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Brian Golden
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Prelude 12 in Bb Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812808. Published by Brian Golden (A0.1216197). Prelude 12 in Bb Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99 ≈
5.59€
Prelude 6 in G Minor Dorian
Prelude 6 in G Minor Dorian
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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Brian Golden
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Brian Golden
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Prelude 6 in G Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #791038. Published by Brian Golden (A0.1191536). Prelude 6 in G Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Prelude 2 in A Minor Aolian
Prelude 2 in A Minor Aolian
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Piano solo
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ADVANCED
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Contemporary
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Brian Golden
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Brian Golden
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Prelude 2 in A Minor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden...
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Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Prelude 1 in C Major Ionian
Prelude 1 in C Major Ionian
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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Brian Golden
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Brian Golden
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Prelude 1 in C Major Ionian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #789177. Published by Brian Golden (A0.1189545). Prelude 1 in C Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden. The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Prelude 7 in Eb Ionian
Prelude 7 in Eb Ionian
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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Brian Golden
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Brian Golden
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Prelude 7 in Eb Ionian
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Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #812790. Published by Brian Golden (A0.1216178). Prelude 7 in Eb Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube.
$5.99 ≈
5.59€
Prelude 22 in B Minor Phrygian
Prelude 22 in B Minor Phrygian
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Piano solo
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INTERMEDIATE/ADVANCED
#
Contemporary
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Brian Golden
#
Brian Golden
#
Prelude 22 in B Minor Phrygian
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Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494). Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
Prelude 18 in C# Minor Dorian
Prelude 18 in C# Minor Dorian
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Piano solo
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INTERMEDIATE/ADVANCED
#
Contemporary
#
Brian Golden
#
Brian Golden
#
Prelude 18 in C# Minor Dorian
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Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #843078. Published by Brian Golden (A0.1248586). Prelude 18 in C# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano. Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths. In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression. Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes. While there are seven modal scales, I decided to leave out the locrian modes for the following reasons. First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor. Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes. In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian. This specific order of modal scales is the only order that would enable composing in all twelve key signatures. Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99 ≈
5.59€
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1
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Lydia J
