| Jim Brickman : Sending You a Little Christmas Piano, Vocal and Guitar [Singles] Alfred Publishing
(Piano/Vocal/Guitar). By As Jim Brickman featuring special guest Johnny Mathis. ...(+)
(Piano/Vocal/Guitar). By As Jim Brickman featuring special guest Johnny Mathis. For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Artist/Personality; Piano/Vocal/Chords; Sheet; Solo. Original Sheet Music Edition. Christmas; Winter. 6 pages. Published by Alfred Music
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| The Definitive Christmas Collection - 3rd Edition
Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Christmas and holiday. 352 pages. 9x12 inches.
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| The Best Christmas Songs Ever - 3rd Edition Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Christmas and holiday. 192 pages. 9x12 inches.
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| The Real Vocal Book - Volume IV High voice, Piano [Fake Book] Hal Leonard
(High Voice). By Various. For Voice, Piano Accompaniment. Fake Book. Softcover. ...(+)
(High Voice). By Various. For Voice, Piano Accompaniment. Fake Book. Softcover. 472 pages. Published by Hal Leonard
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| The Best Christmas Songs Ever - Easy Piano (4th Edition)
Piano, Voice [Sheet music] - Easy Hal Leonard
For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melody...(+)
For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics and chord names. Christmas and holiday. 192 pages. 9x12 inches. Published by Hal Leonard
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| Miracle On Main Street Choral Unison Unison/2-part, Piano Word Music
(The Little Pageant That Wouldn't Give Up!). By Celeste Clydesdale. Arranged by ...(+)
(The Little Pageant That Wouldn't Give Up!). By Celeste Clydesdale. Arranged by David Clydesdale. For 2-part/Unison. Musical. Modern Christian: Christmas. Easy. Choral Book. Duration 40'00 . Published by Word Music
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| Best Christmas Music - Easy Piano
Piano, Voice [Sheet music] - Beginner Hal Leonard
For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melod...(+)
For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and big note notation. Christmas and holiday. 168 pages. 9x12 inches. Published by Hal Leonard
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| 5 Finger Christmas Hits Piano solo [Sheet music] - Beginner Alfred Publishing
10 Holiday Favorites Arranged for Piano with Optional Duet Accompaniments. Arran...(+)
10 Holiday Favorites Arranged for Piano with Optional Duet Accompaniments. Arranged by Tom Gerou. For Piano. Piano Collection. Book. 32 pages. Published by Alfred Publishing.
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| Irving Berlin: Anthology
Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
Composed by Irving Berlin. For voice, piano and guitar chords. Format: piano/voc...(+)
Composed by Irving Berlin. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names, guitar chord diagrams, introductory text and black and white photos. Standards and broadway. 280 pages. 9x12 inches. Published by Hal Leonard.
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| Variations on "America" Piano solo Theodore Presser Co.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
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. $24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Christmas Songs A to Z Easy Piano - Easy Alfred Publishing
(60 Fun and Familiar Holiday Favorites (Easy Piano)). Arranged by Dan Coates. Fo...(+)
(60 Fun and Familiar Holiday Favorites (Easy Piano)). Arranged by Dan Coates. For Piano. This edition: Easy Piano. Book; Piano - Easy Piano Collection; Piano Supplemental. A to Z. Sacred; Secular; Traditional. Easy Piano. 172 pages. Published by Alfred Music Publishing
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| The Joy Of First-Year Piano
Piano solo [Sheet music] - Beginner Music Sales
By Denes Agay. Book. Published by Music Sales. (YK21053) Designed for use as a...(+)
By Denes Agay. Book. Published by Music Sales. (YK21053)
Designed for use as a method book, this book allows the teacher to vary the approach according to the needs of the student. The book can also be used as a source of carefully graded pieces, for use with any first-year method.
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| WOW Christmas 2013 (Blue) Piano, Vocal and Guitar Hal Leonard
(30 Top Christian Artists and Holiday Songs). By Various. For Piano/Vocal/Guitar...(+)
(30 Top Christian Artists and Holiday Songs). By Various. For Piano/Vocal/Guitar. Sacred Folio. 224 pages. Word Music #080689555282. Published by Word Music
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| A Very Merry Christmas Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Christmas and holiday. 168 pages. 9x12 inches. Published by Hal Leonard.
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| Nutcracker Suite Selections - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5 SKU: CF.CAS110 Composed by Peter Ilyich Tchaikovsky. Arranged by Bud Caputo. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+7+24 pages. Duration 5:57. Carl Fischer Music #CAS110. Published by Carl Fischer Music (CF.CAS110). ISBN 9781491151297. UPC: 680160908790. 9 x 12 inches. Key: E minor. Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
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| Richard M. Sherman, Robert B. Sherman: Mary Poppins - Easy Piano
Piano, Voice [Sheet music] - Easy Hal Leonard
Composed by Richard M. Sherman, Robert B. Sherman. For easy piano and voice. For...(+)
Composed by Richard M. Sherman, Robert B. Sherman. For easy piano and voice. Format: easy piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics and chord names. Disney and movies. 40 pages. 9x12 inches. Published by Hal Leonard.
(3)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Carpenters: Christmas Portrait
Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
Performed by The Carpenters. For voice, piano and guitar chords. Format: piano/v...(+)
Performed by The Carpenters. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Soft rock, pop and christmas. 144 pages. 9x12 inches. Published by Hal Leonard.
(7)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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