| The Complete Book of Scales, Cadences and Arpeggios Piano solo [Book] Santorella Publications
Composed by John Brimhall and Raquel Abril. For Piano. Paperback. Reference, Met...(+)
Composed by John Brimhall and Raquel Abril. For Piano. Paperback. Reference, Method. Book. 88 pages. Published by Santorella Publications
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| Alfred's Easy Best-Loved Children's Songs Piano, Vocal and Guitar Alfred Publishing
Composed by various arrangers. This edition: Easy Hits Piano (Hardcover Edition)...(+)
Composed by various arrangers. This edition: Easy Hits Piano (Hardcover Edition). P/V/C Mixed Folio; Piano/Vocal/Chords. Alfred's Easy. Children. Book. 240 pages. Alfred Music #00-46035. Published by Alfred Music (AP.46035).
$34.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Joy Of Children's Favorites Piano, Vocal and Guitar [Sheet music] - Easy Music Sales
With activities by Joy Yelin. Book. Published by Music Sales. (YK21392) Sevent...(+)
With activities by Joy Yelin. Book. Published by Music Sales. (YK21392)
Seventy best loved songs, nursery rhymes, play tunes, and singing games with activities. Easy piano arrangements with words and chord names.
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| PDQ Bach
: The Short-Tempered Clavier
Piano solo [Solo Part] - Intermediate Theodore Presser Co.
Preludes and Fugues in All the Major and Minor Keys Except for the Really Hard O...(+)
Preludes and Fugues in All the Major and Minor Keys Except for the Really Hard Ones (S. 3.14159, Easy As). By PDQ Bach. Edited by Peter Schickele. Arranged by Peter Schickele. Solo piano. For piano. Solo part. S. 3.14159, easy as. 46 pages. Duration 36:00. Published by Theodore Presser Company.
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| Easy Concert Pieces Band 1 Alto Saxophone and Piano [Sheet music + CD] - Easy Schott
23 Pieces from 5 Centuries. Composed by Various. Edited by Ulrich Junk. This e...(+)
23 Pieces from 5 Centuries.
Composed by Various. Edited
by Ulrich Junk. This edition:
Saddle stitching. Sheet music
with CD. Woodwind Solo.
Baroque, Modern, Romantic,
Classical. Edition with CD.
52 pages. Schott Music
#ED22553. Published by Schott
Music
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Joining the Dots: Book 2 Piano solo ABRSM Publishing
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano. I...(+)
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano. Instructional, Sight Reading. 34 pages
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| First 50 TV Themes You Should Play on Piano Piano solo - Easy Hal Leonard
Composed by Various. Easy Piano Songbook. TV. Softcover. Published by Hal Leo...(+)
Composed by Various. Easy
Piano Songbook. TV.
Softcover. Published by Hal
Leonard
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| Joining the Dots: Book 5 Piano solo - Intermediate ABRSM Publishing
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano So...(+)
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano Solo. Studies. Education. Grade 5. Sheet Music. 50 pages. Published by ABRSM (Associated Board of the Royal Schools of Music)
$13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Joining the Dots: Book 1 Piano solo - Beginner ABRSM Publishing
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano So...(+)
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano Solo. Studies. Education. Grade 1. Sheet Music. 34 pages. Published by ABRSM (Associated Board of the Royal Schools of Music)
$11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Joining the Dots: Book 4 Piano solo - Intermediate ABRSM Publishing
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano So...(+)
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano Solo. Studies. Education. Grade 4. Sheet Music. 50 pages. Published by ABRSM (Associated Board of the Royal Schools of Music)
$13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Easy to Play Favourite Spirituals for Piano Easy Piano Kevin Mayhew
Fifteen popular spirituals arranged for easy piano solo. These short, one-page a...(+)
Fifteen popular spirituals arranged for easy piano solo. These short, one-page arrangements are perfect for young or beginning pianists who want to play these traditional melodies and learn to play swing rhythms. The arrangements are limited to the simplest keys with no more than one accidental in the key signature, ensuring ease in reading. Try these pieces as an interesting contrast to the standard classical repertoire and hymns
$9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Yoshiko Kurokawa: Piano Scales on All Keys Complete Book Piano solo - Intermediate Yamaha
Piano - Intermediate SKU: YM.GTP01100873 Composed by Various. Piano Educa...(+)
Piano - Intermediate SKU: YM.GTP01100873 Composed by Various. Piano Educational. Yoshiko Kurokawa. Studies, Exercises. Method Book. Yamaha Music Media #GTP01100873. Published by Yamaha Music Media (YM.GTP01100873). ISBN 9784636106282. The scale training exercise complete book, supervised by Yoshiko Kurokawa. This is a revolutionary collection of all-key scale exercises designed to help both aspiring and practicing pianists practice essential scales efficiently. The major and minor (harmonic and melodic minor) scales in the 12 keys are an important part of the practice for learning tonality and training the muscles and joints of the hand. The human hand is flexible, and the thumb and other fingers bend in different directions, making it easy to turn and play a wide range of notes. However, it is important to learn scales from an early age because the correct playing style is required, such as knowing how to turn the fingers when playing speed is faster, the position of the black keys and white keys, and how to use the wrist. To play scales smoothly with all five fingers (one hand), the turn of the first finger is significant. It is advisable to practice scales from an early age to improve the turns. The fingering of the scale changes depending on the key. It takes a lot of time to learn them because fingering is different for the right hand and the left hand as well. Also, although the scale is written in two-fourths time, if you are not used to it, you may end up playing one octave at a time. Various exercises are described in this book to help you solve these problems. It takes a lot of time to play scales well by nature, but that is why it is important to practice efficiently. $12.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The PianoTrainer Scales Workbook Piano solo - Easy Faber Music Limited
Composed by Karen Marshall. Method/Instruction; Textbook - Piano. Faber Editio...(+)
Composed by Karen Marshall.
Method/Instruction; Textbook -
Piano. Faber Edition: Piano
Trainer Series. Book. Faber
Music #12-0571541895.
Published by Faber Music
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Play It Again: Piano Book 1 Piano solo Schott
The Perfect Way to Rediscover the Piano. Piano. Softcover. Schott Music #E...(+)
The Perfect Way to
Rediscover the Piano. Piano.
Softcover. Schott Music
#ED13935. Published by
Schott Music
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Play it again: Piano Book 3 Piano solo - Intermediate/advanced Schott
The perfect way to rediscover the piano. Composed by Melanie Spanswick. This...(+)
The perfect way to rediscover
the piano. Composed by
Melanie Spanswick. This
edition: Paperback/Soft
Cover. Sheet music. Piano
Method. Educational,
Classical. Softcover. 156
pages. Schott Music #ED
14017. Published by Schott
Music
$31.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Play It Again: Piano Book 2 Piano solo Schott
The Perfect Way to Rediscover the Piano. Composed by Melanie Spanswick. Sc...(+)
The Perfect Way to
Rediscover the Piano.
Composed by Melanie
Spanswick. Schott.
Softcover. 120 pages. Schott
Music #ED13945. Published by
Schott Music
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Switch 2 - Piano Love Collection Piano solo [Score] Yamaha
Piano - Beginner, Intermediate, Intermediate-Advanced SKU: YM.GTP01097982 ...(+)
Piano - Beginner, Intermediate, Intermediate-Advanced SKU: YM.GTP01097982 Composed by Yukie Nishimura. Piano Pop and Vocal. Score. Yamaha Music Media #GTP01097982. Published by Yamaha Music Media (YM.GTP01097982). ISBN 9784636979824. This is the matched scorebook of the same name of Yukie Nishimura's CD album, and all works are newly composed for the album. I want as many people as possible to turn on their musical switch to enjoy the piano sound, she created the album with this wish in mind. She speaks gently to the piano and plays melodies that touch the heart, making the listeners' hearts flutter. This scorebook will bring you even more love towards piano as well as a connection to the wonderful musical world. There are two bonus arrangements included in the scorebook. The Quartet on the Keys is arranged for beginners. She has made the Merry-Go-Round - Dedicated to Piazzolla into a slightly gentler arrangement, yet still perfect for performing at recitals and competitions. $17.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Best 20 Vocalo and Anison Piano Collection in C Major Piano solo Yamaha
Piano SKU: YM.GTP01101268 Entry Piano Book. In C Major. Anime Song...(+)
Piano SKU: YM.GTP01101268 Entry Piano Book. In C Major. Anime Songs, Vocalo Music. Book. Yamaha Music Media #GTP01101268. Published by Yamaha Music Media (YM.GTP01101268). ISBN 9784636108996. 9.5 x 12 inches. The In C Major series, designed for beginners who have recently started playing the piano, allows you to choose and expand your repertoire with the songs you want to play, making it easy for new piano players to enjoy. This collection features 20 popular songs from the golden era of Vocaloid music and beloved anime theme songs. It includes nostalgic and renowned Vocaloid tracks, as well as iconic anime songs that have been covered by music games and various artists. All the songs are arranged in keys without key signatures (either in C major or A minor), making it an enjoyable book to dive into. Give your favorite song a try and enjoy playing! $15.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Scales and Pieces in All Keys, Book 1 Piano solo [Sheet music] Alfred Publishing
By John W. Schaum. For Piano. Piano - Schaum Method Supplement. Level: Elementar...(+)
By John W. Schaum. For Piano. Piano - Schaum Method Supplement. Level: Elementary. Book. 32 pages. Published by Alfred Publishing.
(3)$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovering Rock Piano - Volume 2 Piano solo [Sheet music + CD] Schott
(Develop Styles, Solo Lines and Creative Playing). Piano. Softcover with CD. 136...(+)
(Develop Styles, Solo Lines and Creative Playing). Piano. Softcover with CD. 136 pages
$29.99 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Beatles ? Songs in Easy Keys Easy Piano - Easy Hal Leonard
By The Beatles. Easy Piano Personality. Pop. Softcover. Published by Hal Leona...(+)
By The Beatles. Easy Piano
Personality. Pop. Softcover.
Published by Hal Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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