By Nancy Faber, Randall Faber. For Piano. Accelerated Piano Adventures. Level: Primer/Level 1. Book. Published by The FJH Music Company, Inc.

Educational Piano Library. Blues Instruction, Jazz Instruction. Softcover. 48 pages. Published by Hal Leonard

Appassionata Sonata * Complete Original * with Performance CD composed by Ludwig van Beethoven (1770-1827). For piano solo. This edition: Paperback. Solo. Classical. Book and CD. Text Language: English. 64 pages. Published by Santorella Publications

Piano - Late Elementary

SKU: FJ.W9477

Composed by Kevin Costley. Piano Solo; Piano Supplemental. Written For You. Animals and Nature. Score. The FJH Music Company Inc #98-W9477. Published by The FJH Music Company Inc (FJ.W9477).

UPC: 241444414132. English.

Quick and decisive, this solo in E minor creates excitement with a left-hand staccato ostinato. Right hand is in bass clef throughout but stays in E minor position. The driving rhythm and forte dynamic is easy to learn and to play; a good introduction to D.S. al coda.

About FJH Written For You Piano Solos

Sparkling and lyrical pieces which promote musical expression.

By Gayle Kowalchyk. For Piano. Piano Solo; Sheet; Solo. Signature Series. Form: Waltz. Fall; Halloween. Early Elementary. 4 pages. Published by Alfred Music Publishing

By David Karp. For Piano. Piano Solo. Level: Intermediate. Sheet. 4 pages. Published by Alfred Publishing.

A Suite for Piano Solo. Composed by Samuel Adler. Solo part. With Standard notation. 16 pages. Duration 9 minutes. Theodore Presser Company #110-41819. Published by Theodore Presser Company (PR.110418190).

By Mary K. Sallee. For Piano. Piano Solo. Level: Elementary. Sheet. 4 pages. Published by Alfred Publishing.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

Piano - Early Intermediate

SKU: FJ.W9472

Composed by Edwin Mclean. Piano Solo; Piano Supplemental. Written For You. Score. The FJH Music Company Inc #98-W9472. Published by The FJH Music Company Inc (FJ.W9472).

UPC: 241444410622. English.

Imagine roaming free, under the Big Sky! This exciting, rhythmic adventure for your renegade student pianists is a perfectly compact piece with a driving beat and melody that has a western-feel. Students explore easy syncopations in left hand, pedaling, and brief hand crossings that end in a fun, pianistic finish.

About FJH Written For You Piano Solos

Sparkling and lyrical pieces which promote musical expression.

Solo piano - Grade 4-5

SKU: B7.B153

Composed by Marc Douyon. Edited by Howard J. Buss. PRELUDE AND TOCCATA FOR PIANOis based on the Haitian folk tune Linglinsou. The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part. 21st Century. Score. Duration 7'. Brixton Publications #B153. Published by Brixton Publications (B7.B153).

8.5x11 inches.

PRELUDE AND TOCCATA FOR PIANO by Marc Douyon is based on the Haitian folk tune Linglinsou. The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part of the colorful musical tapestry as well. The composition opens with a lyrical melody that suggests an atmosphere of complaint, anguish, and despair. But soon, the lyrical main theme, which makes use of hemiola figures, takes the shape of a gracious tribal dance in compound meter. Shortly thereafter, however, the character of the piece changes into an agitated toccata characterized by driving staccato notes, accents, and a close hand position at the piano. The final moments of the piece are heroic-like in nature, but also convey a sense of calm after the storm.

Piano - Intermediate

SKU: LO.70-2304L

Sacred, Christmas. Lorenz Publishing Company #70/2304L. Published by Lorenz Publishing Company (LO.70-2304L).

ISBN 9780787772840.

This collection features 10 Christmas worship songs arranged for solo piano. Each arrangement was originally exclusively featured in the magazine, Keyboard Worship & Praise, but are now available in this standalone collection. These arrangements vary in style from the reverent and meditative titles such as Adore Him and Prince of Heaven to the soulful and driving Glory and Emmanuel..

Piano - Early Advanced; Late Intermediate

SKU: FJ.E1143

Composed by Kevin Olson. Duet or Duo; Piano Duet; Piano Supplemental. The FJH Piano Ensemble Series. Score. The FJH Music Company Inc #98-E1143. Published by The FJH Music Company Inc (FJ.E1143).

English.

Premiered at MTNA 2023, this new work by Kevin Olson has a driving rhythm and jazz feel. For one piano, four hands at the Late Intermediate/Early Advanced level.

About FJH Piano Ensemble Series

Creative material especially written to explore aspects of artistic ensemble performance.

By Christopher Goldston. For piano. Sheet Music. The FJH Piano Ensemble Series. Intermediate. Sheets. Published by The FJH Music Company Inc