A special selection of the most poignant expressive and moving themes and melodies all arranged as sumptuous Piano solos. This anthology will bring a tear to your eye and a lump to your throat as you enjoy an absorbing andhugely rewarding selection. The Thirty-one pieces here range from Barber's celebrated Adagio For Strings through Elgar's spectacular Nimrod to popular favourites including Pie Jesu and the theme fromtelevision's Six Feet Under. You will recognise themes and movements as appearing in such films as Schindler's List The Pianist Death In Venice and Elizabeth. These memorable movements havebeen compiled from the album of the same name and lovingly arranged for the solo Piano.

Chopin's Nocturne In C Sharp Minor Opus posthumous is an expressive and moving piece for solo Piano. With haunting melodies and rich sonorous harmonies this piece cannot fail to move the listener. This edition has beenedited by Leon Erdstein.

For Piano And Keyboards-The Blues Play-A-Long and Solos Collection For Piano/Keyboards by Andrew D. Gordon consists of 30 12 bar blues play-a-long backing tracks created in various Blues styles keys and tempos such as: Funky Blues Boogie Blues Jazz Blues Minor Blues Country Blues Latin Blues Old Time Jazz Blues Jazz Swing Blues Classic Blues Rock Soulful Blues Slow Blues and many more. Each of the 30 play-a-long tracks has been recorded with 12 choruses of the 12 bar blues progression giving you ample time to practice soloing techniques totaling over 3 hours of music. The inside front cover of the book gives a link to download the free audio files for thebookThe 30 Blues styles contains 3 solo improvisational melody lines each of which are 12 measures in length ranging from a basic solo and increasing in skill level designed for musicians/music students of all levels totaling 90 solos. Also there is a rhythm keyboard chart so that you can play a rhythm keyboard part for each Blues style. Using this book will help you on your way to becoming a great sounding blues pianist/keyboard player.Blues is the basis of many forms of music and these tracks have been specifically arranged to include styles such as: Jazz Funk Folk Country Latin Rock Gospel Pop Boogie giving you a well-rounded selection of musical styles based on the Blues.

17 pieces for solo piano-Ludovico Einaudi's beautifully evocative music lends itself so perfectly to use in films that for many years directors have been using it to complement their images. 17 of the best examples of his music for film over thepast two decades are included here in this Film Music collection arranged for solo Piano. Perhaps the most well-suited of all Einaudi's film collaborations have been withdirectors Olivier Nakache and Eric Toledano on their hugely successful films 'Intouchables' and 'Samba'. From these two films come nine of Einaudi's most wonderful works including Time Lapse and theheartbreaking Una Mattina. The collaboration that brought Einaudi the most success in the UK was his music for Shane Meadows' 'This Is England'. The songs Dietro Casa Oltremare andRitornare are included in Film Music their stark minimalism fitting for such a fantastically atmospheric film. Many more of Einaudi's works are included inFilm Music including selections from 'Comes A Bright Day' (Berlin Song) 'Insidious' (the astonishing Nuvole Bianche) and most recently his compositions for Russell Crowe's 2015 film 'TheWater Diviner' for which he wrote The Water Diviner and Newton's Cradle. Also included is a fascinating introduction to each film letting you find out about how the song was used as well as learning how to playit. This luxurious collection of cinematic sheet music is perfect for fans of Ludovico Einaudi as well as film lovers who appreciate the power of a marriage of music and image. Be sure towatch our exclusive interview with Einaudi below in which he discusses the relationship between music and film:

Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders. Piano Solo and Orchestral Reduction.Dedicated Becky Starobin. Written for Vassily Primakov. Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal. Programme Note In this day and age when faced with the challenge of writing a 'Piano Concerto' e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part one has two options: either: DO or do NOT go for it wholesale exploiting and enjoying the conrnucopia of sonoroustreasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing for one of our great young international Piano stars it would be absurd and a waste to do anything less and only 'nibble at the goodies'.However the piece is not a big clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements lastign approximately 25 minutes.The piece begins with a moderately paced opening in which the Piano gradually gathers momentum and strength beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree and the vigilant listener will observe the disparity between the two. Following a swift up-beat coda the movement stops almost in mid-breath on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is after having been joined by the Vibraphone Harp and solo Violin suddenly violated with unprecedented brutality by the rest of the orchestra which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts.

Wunderkind-Sonatas Volume III K. 26-31 Editor: Wolf-Dieter Seiffert Fingering: Ariane Haering The Six Sonatas for Piano K. 26-31 that can also have a violin accompaniment were composed in The Hague. They were published in 1766 and were dedicated to Princess Caroline von Nassau-Weilburg. These jewels by the Wunderkind Mozart have only been known in the form of violin sonatas up to now (also see Henle Urtext edition HN 1079). Our edition for solo piano, the first time it has ever been printed in this form, is now available for piano teachers to make use of in their lessons, as well as for all lovers of Mozart. Piano Sonata (Wunderkind) E flat major KV 26 Piano Sonata (Wunderkind) G major KV 27 Piano Sonata (Wunderkind) C major KV 28 Piano Sonata (Wunderkind) D major KV 29 Piano Sonata (Wunderkind) F major KV 30 Piano Sonata (Wunderkind) B flat major KV 31

Piano Works Volume II-To mark the 150th anniversary of Debussy?s birth in 2012 Henle are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus ison piano music it was important for Henle to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s they have steadily been publishing single editions of all of Debussy?simportant works for the piano. Henle's editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy?s elaborate music in high quality Urtext editions. Beginning with the'Danse bohémienne' from 1880 all of the single works from Henle's catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little 'encore' Henle have included thePrélude to the cantata 'La Damoiselle élue' in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from adifferent angle. In addition each volume contains a helpful glossary with all of Debussy?s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy!

Nicknamed the ?Black Key Étude? Frédéric Chopin?s Etude In G Flat Major Op. 10 No. 5 is one of his most popular. It has been a common repertoire piece for pianists since Chopin?s time and hasinspired numerous exercises arrangements and paraphrases.The etude was composed in 1830 and published for the first time in 1833 in France Germany and England as the fifth piece of Chopin?s Études Op. 10. Despiteits enduring popularity Chopin himself did not believe the study to be one of his most interesting. In a letter to his pianist friend and musical executor Julian Fontana he commented on Clara Wieck?sperformance:'Did Wieck play my Etude well? How could she have chosen precisely this Etude the least interesting for those who do not know that it is intended for the black keys instead of something better! It wouldhave been better to remain silent.'This Henle Urtext Edition for solo Piano has been edited by Ewald Zimmermann and includes fingering by Hermann Keller.

Solo Version (Printed Edition)-I have finally decided to re-create the already-daunting Rach 3 into an even more horrifying but also emotionally satisfying project which was to make such a large-scale arrangement for solo piano requesting the pianist to combine both the piano and the orchestral accompaniment of Rachmaninoff's original crowning achievement thus merging an 80-people orchestral sonority onto one person. The process of this project was one of the most artistically educational experiences for me as I couldn't just take the original score and copy and paste it onto the same instrument which would've been meaningless and would simply sound like a mess. One has to really work as a sensitivecomposer to know the differences between the timbres and colors of the piano and that of the orchestra which requires me to re-arrange registers minor shifts of structural obstacles avoidance of over-toned harmonies and attempt to make it sound like as if it was conceived originally as a grand solo piano sonata instead of just some crazy transcription for showing off. I hope this new version of the Rach 3 can achieve a different kind of in-depth virtuosity and emotional scope and that it may attract interest from my contemporary and future pianists or musicians.

John Luther Adams' Among Red Mountains for solo Piano. 'I've always been intimidated by the Piano. As a performer I never played it very well. And as a composer I've never felt as if Icould make the instrument my won.On a recent trip to New York I heard the premiere performance of a lovely chamber work by Kyle Gann that embraces multiple tempos without sustaining them all at the same time.On the way home to Alaska I passed through Seattle. In the Seattle airport there's a large painting by Frank Stella It's one of his protractor works in which arcs of bright colours weave in and out of one another in a dizzyingcounterpoint of imaginary planes. Studying this painting (after hearing Gann's music) it occurred to me that I might be able to do something similar with the Piano. Virtually all my recent music has been composedof four five or six simultaneous tempo layers. If those ensemble and orchestral pieces are multi-dimensional sculptures then Among Red Mountains is more like a drawing. In this piece the challenge I set for myself was tosuggest five independent tempo planes within the limitations of two hands and what Vicki Ray calls 'the Big Black Box'. For three decades I've admired the Piano music of Peter Garland. At last I have a piece thatI hope is worthy of this dedication. The title Among Red Mountains is the translation of the Gwitch'in Athabascan name for a place in the Brooks Range north of Arctic Village.' - John LutherAdams

For Piano and Orchestra-This new edition of one of the most famous of piano concertos is based on an in-depth revision of the existing (and tried and trusted) Edition Peters version (EP2164). The piano part of the orchestra reduction has been revised optimized (including page turns) had instrument references added and collated with the score of the Grieg Complete Edition. The solo part has been reviewed and corrected with reference to the two main sources.

This new, completely revised and reset centenary edition of Satie?s complete piano music in three volumes has returned to Satie?s manuscripts and first editions to give pianists completely accurate and reliable texts to play from. As well as presenting every piece for piano solo or piano reduction that Satie published, this edition also includes some previously unknown pieces, like the Petite Sonate that he wrote for Vincent d?Indy at the Schola Cantorum, as well as some interesting first versions of well-known pieces, like San Bernardo, a trial version of Españaña (1913) and the markedly different first version of Les Pantins dansent (1914). In addition, there areexamples of the different types of exercises that Satie completed at the Schola between 1905 and 1912, some extra trial Enfantines, and some earlier drafts of his famous Sports et divertissements. To help pianists, suggested metronome marks have been added throughout, and there are also some performance suggestions for the Rose Croix pieces of the 1890s, which otherwise appear to be all quiet and slow. The notation has been made as user-friendly as possible, without detracting from Satie?s concerns about the ?extériorisation? of his musical thought in print.

a collection of 30 pieces. Par . Relax at the piano with this exceptional collection of satisfying and profoundly beautiful pieces to play. Some pieces have been transposed and simplified for ease of playing. 30 songs have been arranged for solo piano, in a relaxing style, including: 'All of Me', 'Despacito', 'Perfect', 'Someone Like You', 'Yesterday' and 'Your Song'. / Date parution : 2024-02-16/ Recueil / Piano