| Premier Piano Course: Masterworks, Books 5-6 Value Pack Piano solo - Intermediate Alfred Publishing
(Correlated Standard Repertoire). Edited by Gayle Kowalchyk and E. L. Lancaster....(+)
(Correlated Standard Repertoire). Edited by Gayle Kowalchyk and E. L. Lancaster. For Piano. Masterworks; Method/Instruction; Other; Promotional Packet; Solo. Premier Piano Course. Masterwork. 6 ; Grade 5; Intermediate; Late Intermediate. Published by Alfr
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| Music For Little Mozarts - Mozart Mouse Pin Piano solo - Beginner Alfred Publishing | | |
| Special Occasions Piano solo [PianoSoft Software] Hal Leonard
Pianosoft (Yamaha software for the Disklavier pianos - this is NOT sheet music)....(+)
Pianosoft (Yamaha software for the Disklavier pianos - this is NOT sheet music). Floppy disk. Published by Hal Leonard.
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| Johann Pachelbel: Canon In D - Easy Piano
Piano solo [Singles] - Easy Alfred Publishing
Composed by Johann Pachelbel (1653-1706), arranged by Dan Coates. Single piece f...(+)
Composed by Johann Pachelbel (1653-1706), arranged by Dan Coates. Single piece for easy solo piano. D Major. 5 pages. Published by Alfred Publishing.
(38)$5.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Johann Pachelbel : Canon in D
Piano solo [Singles] - Intermediate/advanced Alfred Publishing
By Johann Pachelbel. Arranged by Willard A. Palmer. For Piano. Piano Solo. Maste...(+)
By Johann Pachelbel. Arranged by Willard A. Palmer. For Piano. Piano Solo. Masterwork. Level: Intermediate (grade 4/5). Sheet. 8 pages. Published by Alfred Publishing.
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| Johann Pachelbel: Canon In D
Piano solo [Singles] - Intermediate Alfred Publishing
Composed by Johann Pachelbel (1653-1706), arranged by Robert Schultz. Single pie...(+)
Composed by Johann Pachelbel (1653-1706), arranged by Robert Schultz. Single piece for solo piano. D Major. 10 pages. Published by Alfred Publishing.
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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 | | |
| Onze Retrats Piano solo Editorial de Musica Boileau
Piano SKU: BO.EI0314 Composed by jordi Vilaprinyo. Published by Editorial...(+)
Piano SKU: BO.EI0314 Composed by jordi Vilaprinyo. Published by Editorial de Musica Boileau (BO.EI0314). Within musical activities there exists a great diversity of different aspects that often go far beyond any particular specialization. Of all cultural activities clearly music is one that manifests numerous multidisciplinary features which not only enriches music itself but also all who are involved in it. This is certainly the case of Jordi Vilaprinyo, an excellent pianist, brilliant composer and a dedicated pedagogue with a remarkable career as a professor at the Conservatorio Municipal de Musica de Barcelona and in other educational institutions. All of this is all in addition to his role as a tireless advocate of everything relating to the piano, which reveals his exceptional personality completely dedicated to his greatest passion-music.
The academic year 2011-12 marked the celebration of the 125th anniversary of the Conservatorio Municipal de Musica de Barcelona. In honor of the occasion, Jordi Vilaprinyo composed a series of eleven short pieces which present a pianistic-musical portrait of each professor of the Piano Department in our Conservatory. This piece, written in the form of a suite, brings together eleven imaginative musical sketches which reflect the personal qualities and musical personalities of his colleagues as seen through the eyes of Mr. Vilaprinyo. These eleven portraits reveal the respect which Jordi feels for his colleagues and at the same time they are ideal teaching pieces.
The various portraits are written in a free and diverse musical language which is always effective. Certain moments are quite evocative while others are more descriptive and, at times, more energetic. The varied textures and sonic balance are always highly controlled and affecting. However, I would like to emphasize, that although the work could be considered as program music due to its personal nature, the pieces stand apart for their musical quality.
Published by Editorial Boileau, the work was premiered in a student concert which Professor Maria Rosa Ribas organizes each year. Professor Ribas is one of the members of the Piano Department depicted in the musical portraits. The premiere, performed by students of the Conservatory, took place in the Auditorio Eduard Toldra on May 30, 2011.
The Onze retrats [Eleven Portraits] are dedicated respectively to the following professors: Carolina Saldana, Merce Molero, Maria Drets, Montserrat Cabero, Maria Jesus Crespo, Carles Marques, Maria Rosa Ribas, Albada Olaya, Montse Padros, Carme Poch and Mireia Planas. $20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Jacques Offenbach: Les Roses du Bengale Piano solo Boosey and Hawkes
For Piano. Composed by Jacques Offenbach (1819- 1880). Edited by Jean- Chris...(+)
For Piano. Composed by
Jacques Offenbach (1819-
1880). Edited by Jean-
Christophe Keck. BH Piano.
Softcover. 20 pages. Boosey
& Hawkes #M202534731.
Published by Boosey & Hawkes
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