(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Melody, Lyrics & Simplified Chords in the Key of C. By Various. Fake Book (Includes melody line and chords). Softcover. Size 9x12 inches. 200 pages. Published by Hal Leonard.

Mixed Trios. By Various. Arranged by Daniel Kelley. For Keyboard or Guitar. Trios. Music for Three. Opera. Level: Intermediate/Advanced. Part. Published by Last Resort Music Publishing.

(Mixed Trios). By Various. Arranged by Daniel Kelley. For Clarinet in Bb. Trios. Music for Three. Opera. Intermediate/Advanced. Part 2

Performed by Bill Frisell. For piano (or guitar). Format: piano solo book. Jazz. 127 pages. 9x12 inches. Published by Cherry Lane Music.

Collection for solo piano. Easy to intermediate. Series: The World's Great Classical Music. 232 pages. Published by Hal Leonard.

Featuring Transcriptions of Bill Evans (Piano), Scott LaFaro (Bass) and Paul Motian (Drums). Performed by Bill Evans. Artist Transcriptions (Authentic note-for-note transcriptions). Size 9x12 inches. 170 pages. Published by Hal Leonard.

Piano Duet

SKU: HL.14023265

Composed by Hanne Mulvad. Music Sales America. Tuition. Choral Score. Composed 2005. 32 pages. Edition Wilhelm Hansen #WH30488. Published by Edition Wilhelm Hansen (HL.14023265).

ISBN 9788759810866. Danish.

From the preface:

The aim of the publication of these four-handed piano compositions is to fill a void within the sphere of sight-reading
(and almost sight-reading) at the beginner and intermediate level. These three volumes together contain 36 Nordic folk songs from Denmark, Norway, Sweden, Finland and the
Faroe Islands. The selection is based first and foremost on their being well suited to the instrumental expressive
possibilities of the piano, and being good representatives of the rich and atmospheric Nordic musical heritage.
When one practises sight-reading on one’s own it is tempting to stop as onegoes along, because the desire to play
the correct notes is often given priority at the expense of the rhythm and expression.
Music without an organic pulse will leave the player with an unsatisfactory feeling of stress and failure, and the
stream of thought will not form part of a natural flow. Good sight-reading training is therefore ensemble playing,
where the teacher supports the pulse and rhythm.
In many other publications of four-handed duets the secundo part is written in two bass clefs, and the primo part in two
treble clefs. Reading this untrained combination of clefs, along with the stressful fact that the music has never been
seen nor heard before, can confuse the pupil.
In volumes 1 and 2 the secundo part, which is intended for the pupil, is therefore notated in a treble clef and bass
clef, as piano music for two hands is usually notated. In volume 3 the degree of difficulty is more varied, but in most
of the pieces improvisation is an interposed element in the primo part, being therefore a good challenge for the pupil.
In the improvisatory sections a chord or a scale is notated. These can form the tonal starting point, but here too the
pupil is encouraged to experiment with, for example, the shift between major and minor thirds, and between the high and
low sixth and seventh.