Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - Digital Download

SKU: A0.956632

Composed by Frederic Chopin. Arranged by Catriona Melville-Mason. Concert,Instructional,Romantic Period,Standards. 8 pages. C Melville-Mason #6491181. Published by C Melville-Mason (A0.956632).

The Polish virtuoso pianist and composer Frédéric Chopin (1810 – 1849) wrote almost exclusively for piano.  His works exploit the full range of the instrument, combining extreme technical challenges with opportunities for subtle nuance and sensitivity – features which characterised his own performances.

This hymn-like chorale melody comes from the central section of Chopin’s Nocturne Op. 37, No. 1.  Some of the composer’s biographers have suggested that this element of the work reflects Chopin’s belief in the strength and consolation provided by religion.

The piece is fairly straightforward in terms of notes and rhythms, but requires sensitivity to dynamics, intonation and ensemble to perform effectively.  An excellent training item to have in your repertoire!

Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 3 - Digital Download

SKU: A0.1404023

By F.Chopin . By F.Chopin . Arranged by pfkaori. Classical. 11 pages. Pfkaorimusic #987194. Published by pfkaorimusic (A0.1404023).

Composer: F.Chopin 
Song: Valse (Waltz)/op.64-1 
Key: Esdur 
Orchestration: Piano trio/ flute & violin 
Level: Intermediate 
(There are individual differences in level) 
*with part score 
*This is an arrangement of the 2nd edition.

In this second version, the melody is passed to the piano midway through. In the final 24-tuplet, the piano becomes the main melody, and there are parts where the flute and violin harmonize. Only the last six notes of the 24th note are played by three instruments, each eighth note.

The first version is an arrangement in which the flute plays the melody. The end is not the end of the 24 tuplet, but the end that appears first (not a tuplet).

Please choose according to your preference.

I arranged Chopin's famous piece into a piano trio. Please take this opportunity to try it.

[Other keys] 
Desdur→.

Baritone Saxophone Duet Baritone Saxophone - Level 3 - Digital Download

SKU: A0.1403537

By F.Chopin . By F.Chopin . Arranged by pfkaori. Classical. 2 scores. 11 pages. Pfkaorimusic #986715. Published by pfkaorimusic (A0.1403537).

Composer: Chopin 
Song:Valse op.64-1 
Key: Gdur (Saxophone in E♭) 
Orchestration: Piano trio/baritone saxophone duo 
Level: Intermediate 
(There are individual differences in level) 
*Part score included 
*This is an arrangement of the 1st edition.

This first version is an arrangement in which the saxophone plays the melody. The end is not the end of the 24 tuplet, but the end that appears first (not a tuplet).

In the second version, the melody is passed from the saxophone to the piano in the middle. In the final 24-tuplet, the piano becomes the main melody, and there is a part where the saxophone harmonizes. Only the last six notes of the 24th note are played by three instruments, each eighth note.

Please choose according to your preference.

I arranged Chopin's famous piece into a piano trio. Please take this opportunity to try it.

Alto Saxophone Duet Alto Saxophone - Level 3 - Digital Download

SKU: A0.1404043

By Chopin . By Chopin . Arranged by pfkaori. Classical. 2 scores. 11 pages. Pfkaorimusic #987215. Published by pfkaorimusic (A0.1404043).

Composer: Chopin 
Song:Valse op.64-1 
Key: Gdur (sax in E♭) 
Orchestration: Piano trio/ alto sax duo 
Level: Intermediate 
(There are individual differences in level) 
*Part score included 
*This is an arrangement of the 2nd edition.

IIn this second version, the melody is passed to the piano midway through. In the final 24-tuplet, the piano becomes the main melody, and there is a part where the saxophone harmonizes. Only the last six notes of the 24th note are played by three instruments, each eighth note.

The first version is an arrangement in which the saxophone plays the melody. The end is not the end of the 24 tuplet, but the end that appears first (not a tuplet).

Please choose according to your preference.

I arranged Chopin's famous piece into a piano trio. Please take this opportunity to try it.

[Sales of other tones].

Instrumental Duet,Piano Bassoon,Piano - Level 3 - Digital Download

SKU: A0.540267

Composed by Frederic Chopin. Arranged by Diego Marani. Classical,Romantic Period,Wedding. Score and part. 5 pages. Diego Marani #150414. Published by Diego Marani (A0.540267).

Étude Op. 10, No. 3 is a study for solo piano composed by Frédéric Chopin in 1832. This is a slow cantabile study for polyphonic and expressive legato playing. In fact, Chopin himself believed the melody of the piece to be the most beautiful one he ever composed. It became famous through numerous popular arrangements. Although this étude is sometimes identified by the names Tristesse (Sadness) or Farewell (L'Adieu), neither is a name given by Chopin, but rather his critics. This arrangement for bassoon with piano accompaniment reflects faithfully the original and is suitable for classroom, repertoire and recital.

Piano Solo - Level 5 - Digital Download

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.

Instrumental Duet,Piano Alto Saxophone,Piano - Level 3 - Digital Download

SKU: A0.540342

Composed by Frederic Chopin. Arranged by Diego Marani. Classical,Romantic Period,Wedding. Score and part. 5 pages. Diego Marani #150489. Published by Diego Marani (A0.540342).

Étude Op. 10, No. 3 is a study for solo piano composed by Frédéric Chopin in 1832. This is a slow cantabile study for polyphonic and expressive legato playing. In fact, Chopin himself believed the melody of the piece to be the most beautiful one he ever composed. It became famous through numerous popular arrangements. Although this étude is sometimes identified by the names Tristesse (Sadness) or Farewell (L'Adieu), neither is a name given by Chopin, but rather his critics. This arrangement for alto saxophone with piano accompaniment reflects faithfully the original and is suitable for classroom, repertoire and recital.

Piano Solo - Level 5 - Digital Download

SKU: A0.1406550

By Hakan Ali Toker. By Hakan Ali Toker. 19th Century,Romantic Period. Score. 31 pages. Hakan Ali Toker #989315. Published by Hakan Ali Toker (A0.1406550).

No. 6 from a set of 12 etudes called Hybrid Studies, created by cross-breeding music by Chopin with other composers. This particular one is a set of variations on F. F. Chopin's Prelude in c minor Op. 28 no. 20, each variation being based on a different etude by Chopin himself.

This project has been created upon suggestions by Prof. Douglas Hofstadter.

Complete set also available for pruchase: 
https://www.sheetmusicplus.com/en/product/hybrid-studies-after-chopin-22577288.html.

Piano Solo - Level 5 - Digital Download

SKU: A0.1216191

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden #812802. Published by Brian Golden (A0.1216191).

Prelude 8 in C 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.YouTube Link https://youtu.be/xb4E0I-vJek.

Flute Duet Flute - Level 3 - Digital Download

SKU: A0.1399039

By F.Chopin . By F.Chopin . Arranged by pfkaori. Classical. Score. 11 pages. Pfkaorimusic #982318. Published by pfkaorimusic (A0.1399039).

Composer: F.Chopin 
Song: Valse (Waltz)/op.64-1 
Key: Desdur 
Orchestration: Piano trio/flute duo 
Level: Intermediate 
(There are individual differences in level) 
*with part score 
*This is an arrangement of the 1st edition.

This first version is an arrangement in which the melody is mostly played by the flute. The end is not the end of the 24 tuplet, but the end that appears first (not a tuplet).

In the second version, the melody is passed from the flute to the piano in the middle. In the final 24-tuplet, the piano becomes the main melody, and there is a part where the flute harmonizes. Only the last six notes of the 24th note are played by three instruments, each eighth note.

Please choose according to your preference.

I arranged Chopin's famous piece into a piano trio. Please take this opportunity to try it.

[Other key] 
Cdur.

Piano Solo - Level 4 - Digital Download

SKU: A0.742468

Composed by Franz Liszt. Arranged by Arte Nova Music Lab. Concert,Romantic Period,Standards. Score. 7 pages. Arte Nova Music Lab #4412089. Published by Arte Nova Music Lab (A0.742468).

The Consolations are a set of six solo piano works by Franz Liszt. The compositions take the musical

style of Nocturnes with each having its own distinctive style. Each Consolation is composed in either

the key of E major or D-flat major. E major is a key regularly used by Liszt for religious themes.

There exist two versions of the Consolations. The first (S.171a) was composed by Liszt between 1844

and 1849 and published in 1992 by G. Henle Verlag. The second (S.172) was composed between 1849

and 1850 and published in 1850 by Breitkopf & Härtel, containing the familiar Consolation No. 3,

Lento placido, in D-flat Major.

The third Consolation is in D-flat major and initially marked as Lento placido. It is the most popular of

the Consolations and also a favorite encore piece.

Its style is similar to the Chopin Nocturnes, in particular, it seems to have been inspired by Chopin’s

Nocturne Op. 27 No. 2. The similarity between the two works has been interpreted as a tribute to

Chopin who died in 1849, a year before the Consolations were published. This third Consolation is

however one of several of Liszt's works that take a style reminiscent of Chopin; some examples include

Liszt's Polonaises, Berceuse, Mazurka brillante, and his Ballades.

In 1883, years after composing the Consolation, Liszt received a Grand piano from the Steinway

Company with a design that included a sostenuto pedal. Liszt began transcribing this Consolation for

the new sostenuto pedal and in a letter to Steinway he wrote:

In relation to the use of your welcome tone-sustaining pedal I inclose two examples: Danse des

Sylphes, by Berlioz, and No. 3 of my Consolations. I have today noted down only the introductory bars

of both pieces, with this proviso, that, if you desire it, I shall gladly complete the whole transcription,

with exact adaptation of your tone-sustaining pedal.

Liszt recommended sparing usage of the sostenuto pedal in the interpretation of this Consolation and

opined on the positive effect it would have on the more tranquil passages.

Notes taken from https://en.wikipedia.org/wiki/Consolations_(Liszt)#cite_note-

Piano Solo - Level 5 - Digital Download

SKU: A0.1248571

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843062. Published by Brian Golden (A0.1248571).

Prelude 13 in F# 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.

Cello and piano - intermediate to advanced - Digital Download

SKU: S9.Q53290

Op. 40. Composed by Auguste Joseph Franchomme. Edited by Beverley Ellis and Rainer Mohrs. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. Op. 40. 16 pages. Schott Music - Digital #Q53290. Published by Schott Music - Digital (S9.Q53290).

English • German.

Auguste Joseph Franchomme was born in Lille on 10.4.1808; he died in Paris in 1884. One of his first cello teachers in Lille was Pierre Baumann, who also taught Edouard Lalo. Giving up the study of Law in favour of the cello, he studied with Jean-Henri Levasseur and Louis-Pierre Norblin from 1825 at the Paris Conservatoire. After that he played in various orchestras until he was eventually able to establish himself as a soloist and chamber musician in Paris. Together with violinist Jean-Delphin Alard he founded the Alard Quartet, one of the few string quartets of the time whose members were all professional musicians. Alongside his concert career, Franchomme was a popular and successful professor at the Conservatoire for almost forty years. His compositions include numerous pieces and studies for the cello, a cello concerto and many transcriptions. Franchomme was a close friend of Chopin: he also composed the cello part to Chopin’s Duo concertante and reworked the cello part for the Polonaise Brillante. Chopin dedicated his Cello Sonata op. 65 to Franchomme. Chopin’s influence is clearly recognisable in Franchomme’s work and particularly evident, for example, in his Étude in C# minor op. 35/11. In 1884 Franchomme was awarded the Légion d’honneur for his services to music. This Fantaisie based on themes from Mozart’s Magic Flute was published in 1873 (plate no. 20425).

Piano Solo - Level 4 - Digital Download

SKU: A0.1292440

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883014. Published by Brian Golden (A0.1292440).

Prelude 24 in E 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.

Piano,Tenor Saxophone - Level 3 - Digital Download

SKU: A0.1404961

By F.Chopin . By F.Chopin . Arranged by pfkaori. Classical. Score and part. 7 pages. Pfkaorimusic #987997. Published by pfkaorimusic (A0.1404961).

Composer: F.Chopin 
Song: Valse (Waltz)/op.64-1 
Key: Desdur (sax inB♭) 
Orchestration: tenor sax & piano 
Level: Intermediate 
(There are individual differences in level) 
*with part score 
*This is an arrangement of the 2nd edition.

*The first edition of tenor sax is not available for sale.

I arranged Chopin's famous piece into a piano trio. Please take this opportunity to try it.