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.

Composed 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.

Arranged by Carol Matz. For Piano. Includes instructional pages, and exercises exploring the 12-bar blues, swing rhythm, and the blues scale; historical information; and an explanation of jazz and blues styles (64 pages). Contents include: After You've Gone; Alexander's Ragtime Band; Basses Loaded; Bill Bailey, Won't You Please Come Home?; Crazy Blues; Early Morning Blues; Fascination; Fat Cat Boogie; Frankie and Johnny; House of the Rising Sun; I Ain't Got Nobody; I Love a Piano; Quiet Waters; Royal Garden Blues; The St. James Infirmary; St. Louis Blues; Tishomingo Blues; When the Saints Go Marching In. Jazz & Blues. Level: Easy Piano. Book. Published by The FJH Music Company, Inc.

By David Hirschberg. Edited by Gail Lew. Piano method/supplement (late-elementary piano). Level: late elementary (preparatory), level 2. 52 pages. Published by Belwin.

Piano/Keyboard

SKU: AP.1-ADV14710

English/German Language Edition. Composed by Fred Lipsius. Improvisation; Keyboard/Piano; Method/Instruction; Play-Along; Technique Musicianship. Advance Music: Reading Key Jazz Rhythms. Jazz. Book and CD. Advance Music #01-ADV14710. Published by Advance Music (AP.1-ADV14710).

UPC: 805095147100. English.

With Reading Key Jazz Rhythms:Piano Book & CD set by Fred Lipsius, you will learn essential jazz rhythms first hand from world-class professionals! Reading Key Jazz Rhythms is a collection of 24 easy to medium level jazz etudes, and 24 simplified guide tone versions of the etudes. They are ideal for learning the basic language of jazz, swing phrasing, and articulation. A perfect tool for preparing for the jazz ensemble or for any other ensemble/orchestra which performs jazz related music (pops orchestras, musical, studio, movie scores, concert and marching bands, etc.). Each etude is based on a specific rhythm or a combination of rhythmic figures. Some etudes sound like very lyrical improvised jazz solos, while others are more like a melody to a standard. On the accompanying CD the soloist demonstrates the 24 melodious etudes together with a professional rhythm section. You can also improvise along with the play-along tracks using the chord symbols. The guide tones are the essential for defining notes for each given chord type. So if improvising is new to you and you find yourself getting lost, you can always return to a guide tone and play rhythmically around it. Any etude and its corresponding simplified guide tone version can be played together as a duet (with or without the CD accompaniment) with your teacher or a friend.

By Jane Smisor Bastien. Bastien Piano. Bastien Piano Library. Level: Level 3. Music Book. Published by Neil A. Kjos Music Company.

By Billy Joel. Arranged by Jay Dawson. Score & Parts. Arrangers' Publ Marching Band. Grade 3

By Margaret Goldston. For Piano. Piano Solo. Level: Elementary. Sheet. 4 pages. Published by Alfred Publishing.

By Elizabeth W. Greenleaf. For Piano. Composers In Focus. Book. Published by The FJH Music Company, Inc.
Level: Early Elementary.

By Bruce Pearson. Edited by Barrie Gott. Band Methods. Standard of Excellence. Level: Book A,1. Music Book. Published by Neil A. Kjos Music Company.

(22 Full Band Arrangements Correlated to Accent on Achievement (Piano)). Arranged by John O'Reilly and Mark Williams. Concert Band. For Piano. Band Supplement; Book. Accent on Performance. Chanukah; Christmas; Winter. 48 pages. Published by Alfred Music (

Piano

SKU: BT.EMBZ8252A

EMB New Listz Edition. March. Book Hardcover. Composed 1985. 180 pages. Editio Musica Budapest #EMBZ8252A. Published by Editio Musica Budapest (BT.EMBZ8252A).

English-German.

Hungaroton HCD 12769

Piano - easy

SKU: HL.49003742

Favorite Melodies by Franz Schubert. Composed by Franz Schubert. Edited by Richard Krentzlin. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 40 pages. Schott Music #ED2424. Published by Schott Music (HL.49003742).

ISBN 9790001037389. 9.0x12.0x0.158 inches.

Ein volkstumlicher Schubert-Band mit den 20 beliebtesten Melodien.

Piano

SKU: BT.EMBZ14506A

Suppl. 11 - First versions. EMB New Listz Edition. March. Book Hardcover. Composed 2008. 228 pages. Editio Musica Budapest #EMBZ14506A. Published by Editio Musica Budapest (BT.EMBZ14506A).

English-German-Hungarian.

Volume 11 of in the series of Supplements represents an important step towards completion of the series for solo piano included in the NLE, as a complete critical edition. By publishing all the early versions it makes the piano versions of these symphonies by Beethoven available for study by performers and those engaged in music research.Similarly to the other NLE volumes already published, this volume comes cloth-bound (Z. 14506a) or hard-paper-bound (Z. 14506), the former as part of the Complete Edition, the latter as part of the series containing solo piano works. The preface to the series, the prefaces to the works contained in this volume (in German, English and Hungarian)and the facsimiles with which it is illustrated are to be found in both versions, the critical notes in English are included only in the cloth-bound version.

Mit dem 11. Band der Supplementbände der Neuen Liszt Ausgabe (NLE) wird wieder ein grosser Schritt zur Vervollständigung der Soloklavier-Serien in der Gesamtausgabe unternommen: Durch ihn wird das Studium der Klavierversionen der Symphonien Beethovens (inkl. alle früheren Versionen) für die Musiker und deren Forschung für Musikwissenschaftler ermöglicht. Die Ausgabe ist ähnlich den bisherigen Bänden der Neuen Liszt Ausgabe, sie ist sowohl in einem Leineneinband (Z. 14506A) wie auch kartoniert (Z. 14506) erhältlich, erstere als Teil der Gesamtausgabe, letztere als Teil der Soloklawierwerke-Serie. Das Serien-Vorwort, die Vorworte der Stücke im Band (auf Deutsch, Englisch undUngarisch) und die den Band illustrierenden Facsimile-Seiten sind in beiden Ausgaben anzutreffen, die kritischen Bemerkungen in Englisch werden nur in der Leineneinband-Ausgabe veröffentlicht.

Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With fingerings. Baroque, classical period, romantic period and americana. 240 pages. 9x12 inches. Published by Music Sales.