My first season with the Oregon Symphony was 1962-1963. I was so excited when I was told that I was accepted into the Portland Symphony (now Oregon Symphony), I danced and jumped up and down. I can still see myself. Its was like winning the Powerball. I was only 17 years old. What is equally amazing is that 45 years later I retired from a career that very few people can ever experience. I was bass trombonist my first year in the Oregon Symphony and was principal trombonist my third year. I also traveled with the New York Metropolitan Opera National company for 84 weeks as principal trombonist and was bass trombonist of the Portland Opera for 18 years. I played in the Peter Britt Orchestra for two seasons and also in the Anchorage, AK. music festival. I was a scholarship winner to Tanglewood in Lenox, Mass. and the National Music Camp in Interlochen, Michigan. I was privileged to perform with Leopold Stowkowski and Erik Leinsdorf. None of this would have been possible without my early training with the Portland, Youth Philharmonic under the leadership of maestro Jacob Avshalomov.

I have met many famous people and have played the world's greatest music. The Oregon Symphony music directors and conductors have been magnificent and have each brought many special talents to the orchestra. I remember special concerts featuring Jack Benny, Danny Kaye, Isaac Stern, Leonard Rose, and many others.

During my time in the Oregon Symphony I developed a hobby of making batons for some of the conductors who visited our orchestra. Most recently, I made batons for Itzhak Perlman, James DePreist, Carlos Kalmar, Riccardo Mutti, Murry Sidlin, Hannu Lintu, Karel Mark Chichon,

Andre Watts, and many others.

Since establishing the Alan Pierce Piano Service in 1976, I have tuned pianos for the Oregon Symphony, Andre Watts, Lawrence Leighton Smith, James DePreist, Murry Sidlin, Norman Leyden as well as for many churches, schools and prominent piano teachers. Most recently I tuned the piano in the home of world famous Janet Guggenheim. One of my most special memories was an all expense paid trip to Scottsdale, Arizona to tune the piano of a prominent surgeon. While in Arizona, I had the chance to spend time with the late James DePreist who had a home in the area. For two summers, I also served as piano technician for the Sunriver Music Festival I am currently the president of the Reno chapter of the Piano Technicians Guild.

Most recently I got to meet Geoge Curran, bass trombonist of the New York Philharmonic. My wife and I traveled two times to hear him perform my Romanza and Scherzo for bass trombone and piano. What a thrill to hear a world famous trombonist perform my music. I am very honored that George Curran recorded my music on his latest CD. (Vital Signs)

I owe an enormous debt of gratitude to the celebrated pianist Nicolas Horvath for enthusiastically
bringing my Debussy works to public attention in their solo piano formats, both through his recent
recitals across France and through this Naxos Grand Piano release (GP822). In some cases these are
true piano pieces (like Toomai des éléphants), in others they are piano reductions of orchestral scores
(like Fêtes galantes), while in others they are piano solos in their own right that also exist in orchestral
versions (as in the incidental music for Le Roi Lear). Needless to say, most of these tracks are world
première recordings, and this is certainly true of A Night in the House of Usher and its companion piece Un Jour affreux avec Le Diable dans le beffroi (?A Dreadful Day with the Devil in the Belfry?) which I arranged specially for Nicolas in November 2018 as a virtuosic, almost Lisztian paraphrase-fantasy. To remind us of the plot as the dramatic scenes unfold, Un Jour affreux avec le Diable dans le beffroi, like the start of No-ja-li) has a narrator (spoken in French by Florient Azoulay on the Grand Piano recording):

[After an overture rising from the underworld, with a polka and a citation of a chldren?s folksong Savez vous plantez les choux?, a carillon rings out]: Hearing it, the Dutch villagers start to count, with the bells of the belfry / 1, 2, 3, 4, 5, 6, 7, 10, 8, 9, 11, and 12 / Perfect! / 13!?!/ The bell rang 13 times / 13! / The Devil is here where the clock should be! / Damn! / The bells are cracked. / The Devil laughs fit to burst / He pulls from the pocket of his coat, a small dancing master?s violin / ?My God!? says the devil ? and he tunes his violin slowly / The Devil leads the villagers in a fantastic and relentless jig [making jokes at the expense of concertos by Beethoven, Brahms and Tchaikovsky] / The Devil directs the villagers towards the canal ? where he jumps to the other side, laughing all the time / The villagers try to imitate him, but they fall into the water. / [In Part 2] the villagers are transported to a hedonistic and lively Italian village. They are similarly transformed: the men have crooked hats ? the women have wide open bodices! They dance a mad Tarantella / 1, 2, 3, 4, 5, 6, 7 and 13 / shouting ?Hey there! (Hola?) / Jean, the young hero, makes a fervent prayer to God against the Devil / The prayer is answered and the bell again rings normally! / The expression of the Devil changes: he shudders! / Everything goes black / The devil disappears in a brief red glow ? / And the carillon and the bells chime as usual / 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 / Perfect! / But the Devil?s grinning face ap-
pears once again where the clock should be ? briefly

Year of the Trumpeter (El Año del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009.

Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.

Linares Rodriguez was a member of the La Armonica Band of Buñol. After he retired from playing, hebecame the manager for the society?s buildings. When I first lived in Buñol in 1996 we became goodfriends and sometimes took walking excursions together.

Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.

Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.

Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Buñol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.

Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.

He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.

He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Concertino for Tuba was written in 2016 as a piano transcription to both the versions for band and orchestra, composed in 2003 and 2005, respectively. The duration is 13 minutes. The band version is grade 4 with the solo tuba grade 5. The solo tuba and band orchestration was adapted from Concertino for Euphonium and Band commissioned by the United States Army Band ?Pershing?s Own? in 1995. In 2002 Gary Bird asked me to compose a piece for him with band that was to be premiered by the Volga Band of Saratov, Russia conducted by Mary Ann Craig in 2004. Gary knew several of my compositions and asked me to compose a piece similar my Concertino for Euphonium and Band that was composed for Bob Powers and the United States Army Band. In 2004 Gary told my that he would be playing a solo with the Johnstown Symphony Orchestra and asked me to do a version for symphony orchestra. It was premiered by the Johnstown Symphony Orchestra; Istvan Jaray, Conductor in 2006. The orchestral version was recorded by Gary Bird and the Oak Grove Symphony Orchestra; Jack Stamp, Conducting. It is on the CD Tuba Safari on Albany Records. The band version was recorded by Gary Bird and the IUP Wind Ensemble; Jack Stamp, Conducting. Concertino for Tuba and Orchestra was a Semi Finalist Winner in the American Prize Composition Competition ? Orchestra Division in 2017, the only concerto awarded a prize in the Orchestra Division that year.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.

Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.

He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.

He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

An American in Valencia was commissioned by the United States Army Band ?Pershing?s Own? in Washington, DC in 1999. The Premiere Performance was May 22, 1999 at the Casa de Cultura in L?Alcudia (Valencia), Spain by Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English, Principal Trumpet the U. S. Army Band "Pershing's Own" as was the soloist.

The piece is in three movements in a Spanish style suggesting the grand gesture of Bull fighting.The trumpet soloist portrays a toreador with the splendor of the corrida. The first movement represents theentrance of the toreador with all of the fanfare and showmanship as he bows to the audience. The second movement is a love song in a waltz tempo. The third movement starts with the raging bull coming out ofit?s corral, ready for the fight. The trumpet soloist is able to contain the bull with dashing melodic figures and a cadenza leading to the final bow in victory.

An American in Valencia was awarded Finalist in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. It is recorded on Mark Records with Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English is the soloist.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over fifty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in 1991 TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), several awards from The American Prize, Composition Awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world.

He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize.

He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l?acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ?L?Histoire de Tristan?

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Orginal scores from the Rainer Fabich`s CD PIANO PUR played by Michaela Puehn.
Piano solo, 80 pages.

About the music:
In Piano Scenes musical associations are reflected, strung together in a loose sequence of imaginary pictures, such as Water Visions, Waves, Fallen Angel. Images of abstract, musical style (Gradus Ad Parnassum and Homage To Satie) refer in an idealistic way to musical precursors of piano literature.
In the very emotional Four Nocturnes there are both exuberant and flirtatious moments, such as the night walk of a lady (Promenade D `une Dame) and Valse Pour ... Thoughtful and sometimes brooding moods sound in Songes De La Nuit (Night Thoughts ) and Une Illusion.
The sonic world of Latin America appears in the Imprésiones Latinas. Short snapshots characterize the typical, playful pride and charm of female sex in Cuba (Habañera) or they evoke the untamed vitality of Brazil (Impresión Brasiliana).
In addition to the new compositions for piano, the music edition also includes a commissioned composition for Bavarian Television, Piano Reflections and excerpts from a film score for the short film Queen of the Night (directed by Hans Lang, HFF 1996, actors and others by Juliane Köhler). In the dance of puppets, Mozart's famous aria sounds like something from the distant world, slightly alienated.
All pieces of the CD Rainer Fabich - Piano Pur, were recorded on a Steinway grand piano (D) in 2005 by the Munich concert pianist Prof. Michaela Puehn in the Great Concert Hall of the Academy of Music and Theater, Munich. Recording, editing and mastering: Prof. Ulrich Kraus. The notes for the film music of the CD, Memoirs of a Frustrated Hedonist (ISBN: 9783737578295) have been published in an extra volume.
The first live premiere and American premiere of the two pieces Bulgarian Dance / Bulgarian Dance and Homage to Satie took place in 2018 (The National Opera Center, New York) by Tania Stavreva (piano).
Szenen für Klavier / Scenes for piano

01 Opener 1:18 
02 Visionen im Wasser ? Water visions 2:33
03 Wellen ? Waves 2:43
04 Fallen Angel 2:36
05 Gradus ad parnassum 2:09
06 Wiegenlied ? Lullaby 2:41
07 Bulgarischer Tanz ? Bulgarian dance 2:02
08 Hommage an Satie ? Hommage to Satie 2:31
09 Just an affair 4:33

Vier Nocturnes / Four Nocturnes

10 Songes de la nuit ? Night muses 2:18
11 Valse pour ? ? Waltz for ? 2:37
12 Une illusion- An illusion 2:25
13 Promenade d?une dame ? Promenade of a lady 3:38

Impresiónes latinas

14 Habanera 2:04
15 Canción triste ? Melancholic song 1:28
16 Impresión brasiliana - Brasilian impression 2:23

Filmmusik ?König der Nacht? / Filmmusic ?Queen of the night?

17 Tanz der Marionetten ? Dance of the marionettes (Piano) 2:06
18 Tanz der Marionetten ? Dance of the marionettes (Celesta) 2:00

Piano Pur

19 Piano reflections 3:16

The two-volume collection 'Romantic Piano Music' draws from the vast repertoire of 19th-century music for piano duet. The 23 pieces include real 'gems' - unjustly forgotten or lesser known works which shall be brought to mind again with these two volumes. As a consequence, rarely played works of great composers such as Schubert, Mendelssohn, Dvorak, Schumann, Brahms, Faure, and Moszkowski are next to hitherto undiscovered compositions by Johann Ludwig Bohner, Heinrich Hofmann, Friedrich Gernsheim or Julius Rontgen, among others. A creative collection to add to the piano duet repertoire.

The two-volume collection .'Romantic Piano Music' draws from the vast repertoire of 19th-century music for piano duet. The 23 pieces include real 'gems' - unjustly forgotten or lesser known works which shall be brought to mind again with these two volumes. As a consequence, rarely played works of great composers such as Schubert, Mendelssohn, Dvorak, Schumann, Brahms, Faure, and Moszkowski are next to hitherto undiscovered compositions by Johann Ludwig Bohner, Heinrich Hofmann, Friedrich Gernsheim or Julius Rontgen, among others. A creative collection to add to the piano duet repertoire.

Songs and Dances of Atlantis for Piano Duet (Book 2)

Twenty elementary to intermediate piano duets - four hands on one piano.
The legend of Atlantis is one of the oldest and most enduring mysteries which remain in popular culture to this day. It has captivated the imaginations of people for centuries.
Songs and Dances of Atlantis (Book 2) follows on the first book and is a collection of ten fairly easy to intermediate level piano duets which celebrate this famous legend.
These duets would be ideal for any piano recital event especially in schools or colleges. They could be useful in the piano lesson for both sight-reading exercises and ensemble practice. Of course, ensemble playing is an essential element of musical development, though most piano students rarely get the opportunity to make music with others. Ensemble playing encourages the performers to listen to each other as well as themselves and it encourages them to ?keep together? rhythmically. Perhaps most importantly, it enables students to share musical decisions and work towards a common musical goal. Apart from that, playing duets can be great fun and can add an extra dimension to the piano lessons.
Most of the pieces contain short passages that offer opportunities for improvisation in the Primo part though rhythmic and harmonic guidelines are provided for those who require them. The Primo and Secondo parts are traditionally printed on separate sheets and the melodic material is shared between both parts. Book 2 contains the following titles: (1) Song from the Western Hills, (2) Twilight Dance, (3) Shepherd Song from Zanakh, (4) Circle Dance of the Elders, (5) Dance to the New Moon, (6) Midnight Dance from Khortakh, (7) Dance to the Air Spirits, (8) Zaronian Whirling Dance, (9) Slow Dance from the High Hills and (10)Village Dance from Kratah. The audio sample contains numbers 1, 2, 4, 5, 6,7 and 10.

Songs and Dances of Atlantis for Piano Duet (Book 1)
Twenty elementary to intermediate piano duets - four hands on one piano.

The legend of Atlantis is one of the oldest and most enduring mysteries which remain in popular culture to this day. It has captivated the imaginations of people for centuries. Songs and Dances of Atlantis (Book 1) is a collection of ten easy to moderate piano duets which celebrate this famous legend.
These duets would be ideal for any piano recital event especially in schools or colleges. They could be useful in the piano lesson for both sight-reading exercises and ensemble practice. Of course, ensemble playing is an essential element of musical development, though most piano students rarely get the opportunity to make music with others. Ensemble playing encourages the performers to listen to each other as well as themselves and it encourages them to ?keep together? rhythmically. Perhaps most importantly, it enables students to share musical decisions and work towards a common musical goal. Apart from that, playing duets can be great fun and can add an extra dimension to the piano lessons.
Most of the pieces contain short passages that offer opportunities for improvisation in the Primo part though rhythmic and harmonic guidelines are provided for those who require them. The Primo and Secondo parts are traditionally printed on separate sheets and the melodic material is shared between both parts. Book 2 contains a few easy pieces but pushes the boundaries a bit further and requires rather more advanced technical skills.
Book 1 contains the following pieces: (1) Song from the Northern Forest, (2) Ancient Song from Crane River, (3) Hymn to the Golden Sky, (4) Lullaby of the Sea Gypsies, (5) Song from Dragon Island, (6) Dance to the Temple Spirits, (7) Evening Song from the Cloud Lakes, (8) Round Dance from Ikrania (9) Slow Dance from the Eastern Hills and (10) Children?s Dance to the Sun. The audio demo features numbers 1, 2, 3, 5, 6, 8 and 10.

German - English - French.

Over the centuries, the music for piano duet, originally composed to the delight of 'connoisseurs and enthusiasts', has turned into a mature art form which is absolutely on par with the solo literature. This anthology offers piano four-hand pieces from the 18th to the 20th centuries and invites you to an exciting journey through time. The most beautiful and famous pieces of twenty different composers bring together a wonderful collection of piano duets - a treasure chest for playing in duet! In addition to classics by Mozart, Beethoven, Schubert, Brahms and Grieg, rarely performed compositions by Robert Volkmann, Moritz Moszkowski, Paul Hindemith, Emile Naoumoff and others have been included.

With this sheet music, you can play "As Time Goes By" on piano!

It's an accurate, carefully created piano arrangement of the famous song.

The entire melody is included in the piano part, so it makes for a perfect instrumental / piano solo cover.

Written by American songwriter Herman Hupfeld in 1931, the song became famous when it was performed by Dooley Wilson (in his role as Sam) in the legendary 1942 film "Casablanca".

In the film, the song is performed in D-flat major, however, this arrangement is in E-flat major, which is a bit easier to play, and also happens to be the key in which the song was originally published.

Over the years, "As Time Goes By" was covered by countless artists, including Frank Sinatra, Billie Holiday, Ella Fitzgerald, Dean Martin, and many others.

It also became the signature tune of Warner Bros., as well as the title song of the British comedy series "As Time Goes By".

"As Time Goes By" is one of the most famous songs of the 20th century, and it makes for a wonderful piano cover!

With this sheet music, you can play the famous jazz ballad "Blue Moon" on piano!

It's an accurate, playable piano arrangement of the beautiful song. The full melody is included in the piano part, so it makes for a wonderful instrumental (piano solo) cover.

"Blue Moon" was written in 1934 by the legendary songwriting duo Richard Rodgers (music) and Lorenz Hart (lyrics). In the same year, it was used as the title song for the film "Manhattan Melodrama".

The song became a popular standard and has been recorded by countless great artists - among the most famous are the versions of Billie Holiday, Elvis Presley, Billie Holiday, The Marcels, Rod Stewart & Eric Clapton, Dean Martin, Bob Dylan, and of course Frank Sinatra.

While some artists turned the song into a rather fast, some times even rock and roll like tune, others recorded it in a slow swing style.

In any case, "Blue Moon" makes for a fantastic piano ballad - time for you to play it!

Here are the lyrics to "Blue Moon":

Blue moon, you saw me standin' alone
Without a dream in my heart, without a love of my own
Blue moon, you knew just what I was there for
You heard me sayin' a prayer for
Someone I really could care for

And then there suddenly appeared before me
The only one my arms will hold
I heard somebody whisper "please adore me"
And when I looked, the moon had turned to gold

Blue moon, now I'm no longer alone
Without a dream in my heart
Without a love of my own

German.

Studies by Bertini, Burgmuller, Czerny, Duvernoy, Gretchaninoff, Gurlitt, Heller, Kirchner, Lemoine, Schumann, Schoenmehl and others, arranged in order of progressive difficulty. These studies are fun as well as musically interesting and valuable.
The volume could be introduced in combination with vol. 3 of the piano tutor Piano Kids and subsequently be used in conjuction with other teaching material [e.g. Piano Kids in Concert, ED 8440).

Twenty-one wedding preluldes, processionals, solos, and recessionals

An extensive collection with preludes, processionals, solos, and recessionals.Includes Bach's Jesu, Joy of Man's Desiring; Wagner's Bridal Chorus; Beethoven's Hymn to Joy, as well as The Gift of Love and many others.

Amazing Grace is beautifully arranged for Alto Saxophone solo and piano. The sax has the melody throughout with slight variations, playable by an intermediate level saxophonist. The captivating piano accompaniment creates a distinctive mood with unexpected harmonies that give new life to the beloved hymn. A wonderful addition to the sacred repertoire for solo instrument and piano, this piece will make a lasting impression on your congregation or concert audience. Anthony Giamanco is a member of ASCAP. His many piano, organ,choir, and chamber works are in the catalogs of numerous publishers includingGIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His piecesalso can be purchased through sheetmusicplus.com and JW Pepper. Anthony's musiccan be heard on his website, anthonygiamanco.com, and on YouTube. Contact info:tony@shalomlife.org.

With this sheet music, you can play "Santa Baby" on piano!

It's an accurate, playable arrangement of Eartha Kitt's famous 1953 recording, in the song's original key of Db major.

It comes with a few challenges, but sounds fantastic!

The full melody is included in the piano part, so it makes for a perfect instrumental (piano solo) cover.

Written by Joan Javits and Philip Springer, Eartha Kitt recorded the song with Henri René and his orchestra. After its release in October 1953, it became the best-selling Christmas song of that year!

The song's suggestive lyrics and sexual undertone were considered quite controversial (the song was even banned for some time in the American South), and "Santa Baby" has been named both one of the best and one of the worst Christmas songs ever written...

Still, the song has become a famous holiday hit, and has been recorded by many artists, including Madonna, Kylie Minogue, Michael Bublé, Robbie Williams, Ariana Grande, Gwen Stefani, Taylor Swift, and many others.

Many consider Eartha Kitt's original recording to be the greatest version of the song - it certainly makes for a fantastic piano cover!

Here are the song's full lyrics:

Santa baby, just slip a sable under the tree
For me
Been an awful good girl
Santa baby, so hurry down the chimney tonight

Santa baby, a 54 convertible too
Light blue
I'll wait up for you dear
Santa baby, so hurry down the chimney tonight

Think of all the fun I've missed
Think of all the fellas that I haven't kissed
Next year I could be just as good
If you'll check off my Christmas list

Santa baby, I wanna yacht
And really that's not a lot
Been an angel all year
Santa baby, so hurry down the chimney tonight

Santa honey, one little thing I really need
The deed
To a platinum mine
Santa baby, so hurry down the chimney tonight

Santa cutie, and fill my stocking with a duplex
And checks
Sign your 'X' on the line
Santa cutie, and hurry down the chimney tonight

Come and trim my Christmas tree
With some decorations bought at Tiffany's
I really do believe in you
Let's see if you believe in me

Santa baby, forgot to mention one little thing
A ring
I don't mean on the phone
Santa baby, so hurry down the chimney tonight
Hurry down the chimney tonight
Hurry, tonight

Here's how to play the famous jazz standard "Misty" on piano!

"Misty" was composed in 1954 by American jazz pianist Erroll Garner (1923-1977), Johnny Burke later added lyrics to the song.

With this piano sheet music, you can play "Misty" in an arrangement which is not too hard to play, and sounds beautiful!

The whole melody is included in the piano arrangement, so it makes for a beautiful instrumental (piano solo) version.

"Misty" has been recorded by countless famous artists, including Johnny Mathis, Ella Fitzgerald, Aretha Franklin, Frank Sinatra, Sarah Vaughan, Ray Stevens, Count Basie, Bing Crosby, and many others.

Time for you to play "Misty" as well!

Theselively arrangements are intended for the elementary pianists or keyboardplayers. While some duets are more challenging than others, the notation hasusually been kept as simple as possible and musical elements such as dynamics,articulations, phrasing and slurs have been omitted completely. To make thingseasier for the players, the piano parts are printed in large type with Primoand Secondo parts on separate pages. In the Secondo part, chordsare printed underneath the staff (rather than above) to create space for thefingering suggestions.

Elementarypianists rarely have the valuable opportunity of playing in an ensemble. Themain feature of the Really Easy Christmas Collection for piano duet isthat it?s fully compatible with the Optional Instrumental Pack, a set ofinstrumental parts for all 20 songs in this collection. The Instrumental Packcontains (a) full scores of each piece plus a set of parts in varioustranspositions. It is available here: https://www.sheetmusicplus.com/title/21394520 

Theduets include the following well-known Christmas carols and hymns: Angels fromthe Realms of Glory (Melody: Gloria); As with Gladness, Men of Old (Melody:Dix); Away in a Manger (Melody: Mueller); Deck the Halls (Melody: Nos Galan); Ding!Dong! Merrily on High (Melody: Bransle de l'Officiel); God Rest You Merry,Gentlemen (Melody: God Rest You Merry); Good Christians All Rejoice (Melody: InDulci Jubilo); Good King Wenceslas (Melody: Tempus Adest Floridum); Hark! TheHerald Angels Sing (Melody: Mendelssohn); I Saw Three Ships (Melody: I SawThree Ships); It Came Upon the Midnight Clear (Melody: Carol); Joy to the World(Melody: Antioch); Oh Christmas Tree (Melody: Tannenbaum); Oh Come all yeFaithful (Melody: Adeste Fidelis); Once in Royal David's City (Melody: Irby); SilentNight (Melody: Stille Nacht); The First Nowell; The Holly and the Ivy (Melody:Holly and the Ivy); We Three Kings and WeWish You a Merry Christmas.

Theaudio examples include several other instruments using parts from the OptionalInstrumental Pack.

This modern work for piano solo is made up of 8 short movements that express varying degrees of emotions and styles, from wistful to playful, and from minimalist to 12-tone, providing the advanced pianist bold and compelling 21st century concert repertoire. 28 pages. Performance time: approx.15:00. Anthony Giamanco is a member of ASCAP. His many piano, organ,choir, and chamber works are in the catalogs of numerous publishers includingGIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His piecesalso can be purchased through sheetmusicplus.com and JW Pepper. Anthony's musiccan be heard on his website, anthonygiamanco.com, and on YouTube. Contact info:tony@shalomlife.org.

10,000 REASONS (Bless the Lord, O My Soul), written by Jonas Myrin and Matt Redman, has been recorded by many of today's top Christian artists, and continues to be one of the most popular Praise and Worship songs of the 21st century. This arrangement, for pianists at an advanced intermediate level, wonderfully showcases the tune, capturing its beautiful simplicity. Judicious use of pedal, attention to dynamic markings, and, above all, sensitive and expressive interpretation,, will result in a memorable experience for both player and listener. Enjoy!

Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper.

This is a dramatic work for alto saxophone and orchestra featured on the CD, Concerto, released by Roven Records and available on iTunes. The concerto is in three movements that segue onto each other and is a reflection on Mary Oliver's poem, When Death Comes.

The first movement is dark, at times mysterious at others forceful, the second more contemplative while the last is a joyful romp.

Includes piano reduction and alto saxophone part.