Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer

Revised Edition. This edition: Accompaniment Book; International. Method/Instruction; SmartMusic; String - Cello (Suzuki); Suzuki. Suzuki Cello School. Instructional and Technique. Piano accompaniment part (cello part available separately). 26 pages. Alfred Music #00-0482S. Published by Alfred Music

By Gail Smith. For Piano. Theory and harmony. Complete. All Styles. Level: Intermediate. Book. Size 8.75x11.75. 228 pages. Published by Mel Bay Publications, Inc.

A tutor for the older beginner. By Janet Bullard; Alan Bullard. For piano. Pianoworks. Level: very easy to easy. Book and CD. Published by Oxford University Press.

By ,. Edited by Judi Gowe. Arranged by Frances Clark, Louise Goss. Frances Clark piano method. Level: book 1. 28 pages. Published by Alfred Publishing.

By Various. For Piano Solo. Classical. Easy. Instrumental Album. Text language: English. 128 pages. Published by Ashley Mark Publishing Company

By Phil DeGreg. For piano, keyboard, organ. A practical and systematic method that teaches how to practice piano voicings. Level: intermediate, advanced. Book with CD. Published by Jamey Aebersold Jazz.

Composed by Per Danielsson. Squareback saddle stitch. You Can Teach Yourself. Book and online video. Published by Mel Bay Publications, Inc (MB.20437M).

Piano

SKU: CJ.A121900903

Secular. Instrumental parts. 28 pages. Published by Editions a Coeur Joie (CJ.A121900903).

For 2 treble voices choir and instrumental accompaniment
Lyrics and music : Eric NOYER

10 movements :
- Banlieue
- Kumbaya
- Melodie
- J'ai reve
- La samba du velo
- S'ecouter
- Doux, doux !
- Un vieil album
- Slow
- Final.

2 possible performances :
1. Choir, piano, bass and batterie
Choir part, 32 pages
Full score, 60 pages
Bass part, 20 pages
Piano part, 28 pages
Batterie part, 20 pages
2. Choir and big band
For choir (different from the other one), flute and piccolo, oboe and english horn, saxophone alto and baryton, horn, 3 trumpets, 2 trombones, tuba, piano, synthetizer, jazz guitar, bass, drums + vibraph. + xylo, batterie, tape (ad lib.)
Choir part, 44 pages
Miniscore (choir and piano), 70 pages
Full score and instruments for hire.

An Intimate Session with Mac Rebennack. By Dr. John Rebennack. Homespun Tapes (Instructional). DVD (Digital Video Disk). Size 5.5x7.5 inches. Published by Homespun.

Chamber Music Bass, Djembe, Piano

SKU: PR.141400980

Composed by Ellen Taaffe Zwilich. Stanley Moss, Ubuntu. Set of Score and Parts. With Standard notation. 12+4 pages. Duration 6 minutes. Theodore Presser Company #141-40098. Published by Theodore Presser Company (PR.141400980).

ISBN 9781491112953. UPC: 680160671229. 9 x 12 inches. Text: Stanley Moss. Stanley Moss, Ubuntu.

The opening of Stanley Moss’s poem unfurls the spirit captured in Zwilich’s musical setting for Bass Voice, Djembe (African drum), and Piano: “I salute a word, I stand up and give it my chair, because this one Zulu word, ubuntu, holds what English takes seven to say: ‘the essential dignity of every human being.’ I give my hand to ubuntu —” Zwilich’s six-minute work proudly declaims Moss’s message, using a djembe to add African-inspired color and punctuation to the musical whole.

Chamber Music Bass Clarinet, Bass Trombone, Double Bass, Narrator, Percussion, Piano

SKU: PR.114418030

For Narrator, Bass Clarinet, Bass Trombone, Double Bass, Percussion, And Piano. Composed by Amanda Harberg. Premiered at the Academy of Music Ballroom, Sound All Around Ensemble. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016. 15+4+4+4+4 pages. Duration 7 minutes. Theodore Presser Company #114-41803. Published by Theodore Presser Company (PR.114418030).

UPC: 680160639380.

A delightful musical story about a dog and her day-long celebration of life as told by various instruments, Sadie's Birthday Adventures offers a moment of audience participation and invites discussion about the individual voices (instruments) chosen to tell this tale. Children will enjoy the frog (bass trombone), butterfly (glockenspiel), and a romp in the forest with a chipmunk (full ensemble). Sadie's Birthday Adventures was commissioned by the Philadelphia Orchestra for its Sound All Around series of children's interactive concerts. For advanced performers.

Chamber Music Bass Clarinet, Bass Trombone, Double Bass, Narrator, Percussion, Piano

SKU: PR.11441803S

For Narrator, Bass Clarinet, Bass Trombone, Double Bass, Percussion, And Piano. Composed by Amanda Harberg. Premiered at the Academy of Music Ballroom, Sound All Around Ensemble. Contemporary. Score. With Standard notation. Composed 2016. 15 pages. Duration 7 minutes. Theodore Presser Company #114-41803S. Published by Theodore Presser Company (PR.11441803S).

UPC: 680160639403.

A delightful musical story about a dog and her day-long celebration of life as told by various instruments, Sadie's Birthday Adventures offers a moment of audience participation and invites discussion about the individual voices (instruments) chosen to tell this tale. Children will enjoy the frog (bass trombone), butterfly (glockenspiel), and a romp in the forest with a chipmunk (full ensemble). Sadie's Birthday Adventures was commissioned by the Philadelphia Orchestra for its Sound All Around series of children's interactive concerts. For advanced performers.

Continuo (Piano)

SKU: HL.267695

Continuo Part. Composed by Georg Frederick Handel. Music Sales America. Baroque, Classical. Softcover. 8 pages. Novello & Co Ltd. #NOV29692308. Published by Novello & Co Ltd. (HL.267695).

The magnificent interweaving of harmonies and dialogue-like Voices in Handel s For Unto Us A Child Is Born make it a perfect addition to the festive choral repertoire. German-born, British Baroque composer George Frideric Handel originally composed this piece in 1741, for the English-language oratorio Messiah, which eventually became one of the best-known and most frequently performed choral works in Western music. As the last song of Scene 3 of Part I of the oratorio, which addresses Isaiah's specific prophecy about the virgin birth of a Messiah, For Unto Us A Child Is Born tells the news of Christmas, the birth of a son, in Isaiah s words as found in the Scripture (Isaiah 9:6). The delicate, familiar theme is introduced by the Sopranos and taken up by their counter-voices, the Tenors, later the same dialog is given over to the Altos and Basses. The tutti culminates in Wonderful, Counselor, The Mighty God, The Everlasting Father and The Prince of Peace.

Composed by Johann Sebastian Bach (1685-1750), edited by Georg Von Dadelsen. For piano (or harpsichord). Urtext of the New Bach Edition. Format: piano solo book. With introductory text. Baroque. 47 pages. 9x12 inches. Published by Baerenreiter-Ausgaben (German Import).

(for All Voices). By Various. For Piano. Soft Cover. 116 pages. Published by Theodore Presser Company

Bass, Piano

SKU: PR.111402320

For Bass Voice and Piano. Composed by Lowell Liebermann. Poems by Hermann Melville. Contemporary. Score. With Standard notation. Composed 1980. Opus 6. 20 pages. Duration 15 minutes. Theodore Presser Company #111-40232. Published by Theodore Presser Company (PR.111402320).

UPC: 680160607969. Poems by Hermann Melville. Poems by Hermann Melville.

Piano

SKU: HL.14035219

Piano Solo. Composed by Bent Sorensen. Music Sales America. Classical. Book [Softcover]. 8 pages. Music Sales #KP01121. Published by Music Sales (HL.14035219).

ISBN 9788759877739. Danish.

Lullabies / Vuggeviser for Piano solo was composed by Bent Sorensen in 2000. Preface / Programme Note: Some melodies keep haunting me: they will stick in my mind, and I will walk about humming them, and they will find their way into my music. Two such melodies are the basis for the present piano piece, which I call LULLABIES. The first little tune began its life as a ballad in an operatic draft ofmine. Later on - with text by English poet Selima Hill - it became part of my songcycle ROSES ARE FALLING for mezzo soprano and piano. In the latter context it is a love song, but I have always had a lullaby-feeling about this tune, and, indeed, as a lullaby it appears in my opera UNDERTHE SKY, to text by Peter Asmussen: inthe opera, the loved one sings and hums to her beloved and make him come to rest. During LULLABIES the tune will appear a half tone lower with each entry, and make its way downwards through the musical texture, from upper voice to bassline. The other little melody is a true lullaby, which I hummed for my youngest daughter to try and make her go to sleep. Later on it became the backdrop for the last movement of my trombone concerto, BIRDS AND BELLS. The two melodies in their original form are reproduced at the beginning of LULLABIES. Bent Sorensen, 2000.

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.

Voice and Instrument Violin, Bassoon, Trombone, Percussion, Piano

SKU: PR.11140220S

Version B: for Narrator, Bassoon, Trombone, Percussion, violin, and Piano. Composed by Daniel Dorff. This edition: B. Performance score. With Standard notation. 8 pages. Duration 3:30. Theodore Presser Company #111-40220S. Published by Theodore Presser Company (PR.11140220S).

UPC: 680160655229. 9.5 x 13 inches.