(Vier Marsche, Op. 76). By Robert Schumann. Edited by Ernst Herttrich. For piano solo. This edition: Urtext edition. Henle Music Folios. Solo book, paperbound. 34 pages

By ,. Edited by Judi Gowe. Arranged by Frances Clark, Louise Goss. Frances Clark piano method. Level: book 1. 28 pages. Published by Alfred Publishing.

(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book Play-Along. USB Flash Drive. 462 pages. Published by Hal Leonard

Edited by Denes Agay. For piano. Format: piano solo book. With fingerings, introductory text, biographical sketches of composers and glossary of musical terms. Romantic period. 244 pages. 9x12 inches. Published by Yorktown Music Press.

Piano

SKU: HL.14048249

For Piano Solo. Composed by Joby Talbot. Music Sales America. Classical. Softcover. Composed 2016. 8 pages. Chester Music #CH85426. Published by Chester Music (HL.14048249).

9.0x12.0 inches. English.

Released in 2005, the album Once Around The Sun is the outcome of Joby Talbot's residency with Classic FM. During his year in residence, Talbot composed a new piece of music each month, scored for up to five instruments. The resulting twelve compositions were then premiered on Classic FM and were recorded on CD. April - The First Day Of Summer was the fourth piece to be composed and is scored here for solo piano.

A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag. Contemporary. Level: Beginning-Intermediate. Book. Size 9x12. 144 pages. Published by AMA Verlag. ISBN 3899220102.

Piano (Piano)

SKU: HL.14003425

Composed by Carol Barratt. Music Sales America. Traditional, Children. Book [Softcover]. 32 pages. Chester Music #CH58735. Published by Chester Music (HL.14003425).

ISBN 9780711922778. 12.0x9.0x0.125 inches.

Arrangement s of 26 favourite nursery rhymes with full colour illustrations and fascinating information on the pieces' origins. Specially designed for young children to be able to play themselves rather than just be played to. Suitable for pre-Grade 1 to Grade 1 pianists. Contents: Baa, Baa, Black Sheep * Girls and Boys Come Out to Play * Hey Diddle Diddle * Hot Cross Buns * I Love Little Pussy * Jack and Jill * Little Bo-Peep * London Bridge * London's Burning * One, Two, Three, Four, Five * Pop Goes the Weasel * Rock-a-Bye, Baby * Sing a Song of Sixpence * This Old Man * Three Blind Mice * Twinkle, Twinkle, Little Star * Yankee Doodle * Lavenders Blue * Little Jack Horner * Pat a Cake * Polly Put the Kettle On * Pussy-Cat, Pussy-Cat * Hickory, Dickory Dock * Here We Go Round the Mulberry Bush * Ring-a-Ring o Roses * Humpty Dumpty.

The companion MP3 CD to book 5 of the bestselling series Piano Gefällt Mir! by Hans-Günter Heumann features demonstration tracks with recorded Piano, Bass and Drums, as well as backing with the Piano part taken out, allowing you to play along. **Please note: The CD included with this title can only be played through an MP3 compatible program.**

Piano

SKU: BT.EMBZ20084

Urtext (1932-1939). Composed by Bela Bartok. Arranged by Yusuke Nakahara. EMB Music of Bela Bartok. Educational Tool. Book Only. Composed 2021. 112 pages. Editio Musica Budapest #EMBZ20084. Published by Editio Musica Budapest (BT.EMBZ20084).

English-Hungarian.

Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a classical piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from Imitation and Inversion, Ostinato, and Free Variations, concerning compositional technique, to mood pieces and pieces with programmatic ideas such as Notturno, Boating, From the Diary of a Fly, or the famous Six Dances in Bulgarian Rhythm. Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.

By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 2000 pages. Published by Subito Music.

(A Piano Course to Bring Out the Music in Every Young Child) Written by Christine H. Barden, E. L. Lancaster, Gayle Kowalchyk. For piano. Format: instructional book. Children's and Instructional. 9x12 inches. Published by Alfred Publishing.

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.

Compo sed 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.

By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 4000 pages. Published by Subito Music.

By Robert Schumann. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 800 pages. Published by Subito Music.

For piano. Music For Millions: Volume 37. Format: piano solo book. With fingerings. Baroque, classical period, romantic period and 20th century. 160 pages. 9x12 inches. Published by Music Sales

Keyboard Kids * Complete Piano Method composed by Carolyn Carson. For easy piano. This edition: Paperback. Instructional. Keyboard Kids series. Method. 2 method books. Text Language: English. 192 pages. Published by Santorella Publications

(The Grown-Up Approach to Playing Piano). By Karl Mueller. For Piano. Book; CD; Method/Instruction; Piano Method. For Adults. Beginner. 96 pages. Published by Alfred Music Publishing

Piano Solos. By Dave Brubeck. Artist/Personality; Piano - Personality Book; Piano Supplemental. Jazz. Songbook. With standard notation and lyrics (does not include words to the songs). 56 pages. Alfred Music #00-AF9747. Published by Alfred Music

Chamber Music Piano

SKU: PR.140401310

Composed by Nora Holt. Edited by Lara Downes. Sws. Score. 8 pages. Duration 2 minutes. Theodore Presser Company #140-40131. Published by Theodore Presser Company (PR.140401310).

ISBN 9781491134153. UPC: 680160684250. 9 x 12 inches. Key: G major.

NORA’ S DANCE is a jazz-influenced rag from 1921, and among the only surviving compositions by Nora Douglas Holt. A charming and exciting work rejuvenated by Lara Downes’ 2021 recording for the Rising Sun label, the rag is both a fun 2 minutes for pianists and audiences, and also a fascinating time capsule. Composed several years after Scott Joplin’s death, and several years before the Charleston pervaded popular music, NORA’S DANCE blossoms with the energy and jazz harmony starting to emerge as The Roaring 20’s, using ragtime and stride as the seed for pianistic style.
My own life in music has been driven by a quest to find strong female role models, trails to follow, shoulders to stand on. In Nora Douglas Holt, I find an inspiring example of creativity, independence, and resilience – with a dash of troublemaking. She was a free spirit, a force of nature, and she lived a fascinating and eventful life on her own terms. She reinvented herself through five marriages and at least as many careers. From her beginnings at the piano at age four, she explored many avenues of musical expression – performing, composing, music journalism, broadcasting, teaching – all with inventiveness, style, and zeal.She made the most of the Roaring ’20s, as an artist, socialite, jetsetter, muse, and patroness of the Harlem Renaissance. In 1921 she started an independent arts journal called “Music and Poetry,” where the charming piano solo Nora’s Dance was first published. I think the piece captures beautifully, in a little under 2 minutes, the energy and excitement of those heady years.In 1926, Nora left New York to travel the world, performing in nightclubs throughout Europe and Asia. She put her belongings in storage before she left, and when she came back she discovered that many of her things had been stolen, including more than 200 of her musical compositions. She never composed again.When the Depression hit, she moved out to Los Angeles, where she studied music education at USC, taught music in the LA public schools, and opened her own beauty salon. She returned to New York in the ’40s and worked as a music critic for several major newspapers, then launched yet another career, this time in broadcasting. Her popular radio concert series “Nora Holt’s Concert Showcase” broadcast to New York’s classical music audience, with a focus on Black composers and performers.Ahead of her time, larger than life, full of ideas…. I am so pleased to introduce you to the feisty and free spirited Nora Douglas Holt!