5,346 Royalty-Free Audio Tracks for "Compositions By Erik Satie"

One of the most famous opera of Eric Satie (1866-1925), French composer and pianist. It was published in Paris in 1888. Italiano: Una delle opere piu celebri di Eric Satie (1866-1925), pianista e compositore francese. Fu pubblicata a Parigi nel 1888. Une des œuvres les plus célèbres d'Eric Satie (1866-1925), compositeur et pianiste français. Il a été publié à Paris en 1888.

One of the most famous opera of Eric Satie (1866-1925), French composer and pianist. It was published in Paris in 1888. Italiano: Una delle opere piu celebri di Eric Satie (1866-1925), pianista e compositore francese. Fu pubblicata a Parigi nel 1888. Une des œuvres les plus célèbres d'Eric Satie (1866-1925), compositeur et pianiste français. Il a été publié à Paris en 1888.

Gymnopédies - la 1ére. lent et douloureux

Satie Gymnopedie No. 3 for piano solo

Originally written for the piano, the Gymnopedies are extremely well-suited to the natural idiomatic expression of the guitar. This arrangement of the Three Gymnopedies comprises ALL the notes of the original piano versions: a complex process since all the piano sounds must fit comfortably, or uncomfortably, onto the six strings of the guitar.

Originally written for the piano, the Gymnopedies are extremely well-suited to the natural idiomatic expression of the guitar. This arrangement of the Three Gymnopedies comprises ALL the notes of the original piano versions: a complex process since all the piano sounds must fit comfortably, or uncomfortably, onto the six strings of the guitar.

Originally written for the piano, the Gymnopedies are extremely well-suited to the natural idiomatic expression of the guitar. This arrangement of the Three Gymnopedies comprises ALL the notes of the original piano versions: a complex process since all the piano sounds must fit comfortably, or uncomfortably, onto the six strings of the guitar.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the first piece in a set of three composed before the three works explicitly titled Gnossienne, but not published until after the composer's death, and not originally titled Gnossienne or numbered as such, and the fourth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the second piece in a set of three published in 1893, and the second piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the second piece in a set of three composed before the three works explicitly titled Gnossienne, but not published until after the composer's death, and not originally titled Gnossienne or numbered as such, and the fifth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the first piece in a set of three published in 1893, and the first piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the third piece in a set of three published in 1893, and the third piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the third piece in a set of three composed before the three works explicitly titled Gnossienne, but not published until after the composer's death, and not originally titled Gnossienne or numbered as such, and the sixth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the seventh piece of what ultimately became seven works that shared the name Gnossienne. It was recently discovered, was not dated, and was not explicitly named Gnossienne or numbered as such. This rendition was performed by the La Pianista.

The Più vivo section in Six Moments Musicaux, No. 4. The piece, composed by Sergei Rachmaninoff in 1896 was published before 1923, and thus is in the public domain. See also Image:Moments Musicaux 4.png.

Oh, My Corn Field! (Op. 4, No. 5), composed by Sergei Rachmaninoff. Also see Corn song

Chromatic mediant, A♭ (♭VI), in Brahms Op.90, II, mm.128-134.

Wann?, puzzle canon by Johannes Brahms.

Piano Concerto No. 2, Op. 18 in C minor for piano and orchestra (13 minutes, then Scriabin Nocturne Op. 9, No. 2)

Subtonic as secondary dominant to the mediant in minor from Brahms Op.76.7, Eight Pieces, for piano (1878).

Ausschnitt aus dem zweiten Satz von Griegs Klaviersonate

Janacek Sinfonietta 2nd movement, opening bars

A section in Six Moments Musicaux, No. 1. The piece, composed by Sergei Rachmaninoff in 1896 was published before 1923, and thus is in the public domain. See also Image:Moments Musicaux 1.png.

Example 12 from Stockhausen's article "… wie die Zeit vergeht …", illustrating with a version of the series from Gruppen fur drei Orchester that, "if you start from the intervals of a proportion series, then with every step forward the register of each duration is also already chosen" (Stockhausen 1963b, 117). There are "a number of basic durations, indicated in metronome marks and corresponding with the pitch proportions within the series, reaching far as the octave positions (basic duration units)" (Leeuw 2005, 174), or "a duration scale which changes its 'time register' … corresponds to a twelve-tone scale that extends over more than one octave" (Misch 1998, 157–58).

Tone row from Stockhausen's Klavierstück IX.

Prime form of five note tone row from Igor Stravinsky's In memoriam Dylan Thomas.

Tone mixtures for Group I of Studie II. First five pitches (Group I: 1). G♯=100 Hz.

Tone proportions of Studie I. I took F♮ as the starting point.

Prime row form from Stravinsky's Requiem Canticles.

Tone row with Schoenberg's initials preceded by remaining four notes.

Rudiments of the 12-note series from Stockhausen's Klavierstück III (Leeuw 2005, 176–77). Created by Hyacinth (talk) 01:36, 20 October 2010 using Sibelius 5.

the famous chords symbolizing the church bells in Debussy's prelude La cathédrale engloutie

The fourteen-tone series on which the melody "Libra" from Karlheinz Stockhausen's Tierkreis is based. (From p. 151 of Jerome Kohl, "The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music", Perspectives of New Music 22, nos. 1 & 2 (Fall-Winter 1983/Spring-Summer 1984): 147–85.)

Study in Canon for Organ (1896) by Charles Harford Lloyd, J.B. Millet Company

Romance, composed by Sergei Rachmaninoff in 1887. See Romance - Rachmaninoff.png.

Two hand piano reduction of the "Lacrimosa" from Mozart's Requiem, arranged by Franz Liszt.

Piano concerto no. 2 in c minor, op. 18 - i. moderato

A recording of the Berceuse & Finalé from The Firebird (Stravinski, Igor) arranged by Merle Isaac, performed by the New Mexico All-State Concert Orchestra of 2015.

Mazurka no. 4 in a minor, op. 17

Nokturn e-moll op. posth. 72 nr 1Nocturne in E minor, Op. posth. 72 no. 1

Waltz in A minor, B. 150, KK IVb/11, P. 2/11, often designated as No. 19, is a waltz for solo piano

Nokturn f-moll op. 55 nr 1Nocturne in F minor, Op. 55 no. 1

John Philip Sousa's march "Sound Off", played by the U.S. Marine Band for the album Sound Off!.

John Philip Sousa's march "The Man Behind the Gun", played by the U.S. Marine Band for the album Uncommon Valor.

The second movement of the suite Looking Upward by John Philip Sousa, "Beneath the Southern Cross", played by the U.S. Marine Band for the album Semper Fidelis: Music of John Philip Sousa

The march "On the Campus" by John Philip Sousa, played by the United States Marine Band

John Philip Sousa's Jack Tar March, performed by the U. S. Navy Band's Ceremonial Band

John Philip Sousa's march "Bullets and Bayonets", played by the United States Marine Band

The third and final movement of the suite Looking Upward by John Philip Sousa, "Mars and Venus", played by the U.S. Marine Band for the album Semper Fidelis: Music of John Philip Sousa

The march "New York Hippodrome" by John Philip Sousa, played by the United States Marine Band. Performed October 30, 2007 in Newport, Rhode Island during the 2007 National Concert Tour. Col. Michael J. Colburn, conducting.