Piano - Intermediate SKU: CZ.9798396293144 Composed by Various. Edited by...(+)
Piano - Intermediate
SKU:
CZ.9798396293144
Composed by Various.
Edited by Larry Newman.
Arranged by Larry Newman.
Book. Children's Music
Workshop #9798396293144.
Published by Children's
Music Workshop
(CZ.9798396293144).
ISBN
9798396293144.
Disc
over the spirit of
America with Thirty
Famous Patriotic Songs
for Piano Accompaniment
(Strings), a remarkable
collection of melodies
that celebrates the land
of the brave and the home
of the free. This
comprehensive book brings
together some of the most
beloved patriotic tunes
that honor the USA,
making it the perfect
companion for occasions
like July Fourth or any
time of the year when you
want to express your love
for your country. With
Thirty Famous Patriotic
Songs for Piano
Accompaniment (Strings),
you can immerse yourself
in the rich musical
heritage that has
resonated with Americans
throughout history while
providing accompaniment
for a number of different
woodwinds and brass. The
book features timeless
classics like Amazing
Grace, My Country Tis of
Thee, America the
Beautiful, and The
Star-Spangled Banner,
which will evoke a deep
sense of national pride
with every note. To
enhance your musical
experience, mp3
accompaniment tracks are
available online,
allowing you to perform
these iconic songs with
full instrumental
support. This
accompaniment book
ensures that pianists
have the sheet music they
need to master these
patriotic melodies and
provide musical
background for
instrumental
solos. From the
stirring Battle Cry of
Freedom to the
soul-stirring Eternal
Father, Strong to Save,
Thirty Famous Patriotic
Songs for Piano
Accompaniment (Strings)
encompasses a diverse
array of compositions
that capture the essence
of the American spirit.
Whether you're
commemorating the
sacrifices of the armed
forces with The Marine's
Hymn or embracing the
lively spirit of American
folk with Oh! Susanna and
Yankee Doodle, this
collection has it
all. Experience the
pride and joy of being an
American with Thirty
Famous Patriotic Songs
for Piano Accompaniment
(Strings). Immerse
yourself in the rich
tapestry of American
history, as reflected in
the music that has
accompanied the nation
through triumph and
adversity. Let the
melodies of liberty,
unity, and patriotism
resonate within your
heart as you sing or play
these beloved songs.
Celebrate the legacy of a
nation with Thirty Famous
Patriotic Songs for Piano
Accompaniment (Strings)
and let the music of
America inspire you.
Piano Solo SKU: HL.14007572 Piano Solo 1. Composed by Various. Mus...(+)
Piano Solo
SKU:
HL.14007572
Piano
Solo 1. Composed by
Various. Music Sales
America. Classical. Book
[Softcover]. Composed
1990. 32 pages. Chester
Music #CH61181. Published
by Chester Music
(HL.14007572).
ISBN
9780711961227. UPC:
884088485245. 9x12
inches.
Masterpiece
s of the 20th century
arranged for piano solo,
including Barber's Adagio
for Strings and Holst's
Venus' from The
Planets.
Oboe; Orchestra; Piano SKU: HL.50488963 Oboe and Piano Reduction. ...(+)
Oboe; Orchestra; Piano
SKU: HL.50488963
Oboe and Piano
Reduction. Composed
by Antonio Vivaldi.
Edited by Vilmos Lesko.
This edition: R131738.
Woodwind Solo. Classical,
Concerto. 28 pages.
Ricordi #R131738.
Published by Ricordi
(HL.50488963).
(A Comprehensive String Method) Written by Brenda Mitchell, Joanne Erwin, Kathle...(+)
(A Comprehensive String
Method) Written by Brenda
Mitchell, Joanne Erwin,
Kathleen Horvath, Robert
D McCashin. Accompaniment
book for piano
accompaniment. Series:
New Directions for
Strings. 132 pages.
Published by The FJH
Music Company Inc.
By Robert Frost. Edited by Gerald Fischbach, Wendy Barden. For Piano. Orchestra ...(+)
By Robert Frost. Edited
by Gerald Fischbach,
Wendy Barden. For Piano.
Orchestra Method/Study.
Artistry in Strings.
Level: Book A,1. Music
Book. Published by Neil
A. Kjos Music Company.
By Robert Frost. For Piano. Orchestral Collection/Ensemble. Especially for Strin...(+)
By Robert Frost. For
Piano. Orchestral
Collection/Ensemble.
Especially for Strings.
Level: Grade 2. Music
Book. Published by Neil
A. Kjos Music Company.
By David Karp. For Piano. Composers In Focus. From the chugging along of Mysteri...(+)
By David Karp. For Piano.
Composers In Focus. From
the chugging along of
Mysterious Train Ride and
the energetic pulse of El
Burro to the expressive
and gentle melodies of
Butterflies, Lupines and
Dusk, teachers will find
a wide range of moods and
sounds to keep students
motivated and challenged.
Contents include:
Mysterious Train Ride; El
Burro; Butterflies;
Horns, Timpani, and
Strings; Harp Etude;
Dusk; Juggling; Lupines;
The Chase. Level: Early
Intermediate. Book.
Published by The FJH
Music Company Inc.
Composed
by Nancy Galbraith. Study
Score. Composed 1993.
Duration 33'. Subito
Music Corporation
#90810080. Published by
Subito Music Corporation
(SU.90810080).
Instrumentation
: piano; 2fl(picc), 2ob,
2cl, 2bn; 2tpt, 2tbn,
2hn, tba; perc; strings
Duration: 33' Full Score
& Parts: available on
rental Composed: 1993
Published by: Subito
Music Publishing A
formidable work for piano
in three movements, this
is an equally virtuoso
piece for orchestra, and
a welcome addition to the
concerto literature of
this century.
--Cincinnati Inquirer A
wonderful work --American
Record Guide.
Piano SKU: BR.BV-486 New Playing Techniques for Piano. Composed by...(+)
Piano
SKU:
BR.BV-486
New
Playing Techniques for
Piano. Composed by
Klaus Steffes-Hollander.
Solo instruments;
Softbound. Buchverlag
Breitkopf & Hartel (Music
Books). Music pedagogy.
Book. 136 pages.
Breitkopf and Haertel #BV
486. Published by
Breitkopf and Haertel
(BR.BV-486).
ISBN
9783765104862. 6.5 x 9.5
inches. German.
The
piano, the concert grand
piano as a percussion
instrument, as a string
instrument, as a plucked
instrument? Why not? -
here are resonant
surfaces and there are
strings. In fact, it
seems obvious to pluck
the strings, to produce
harmonics, to play in the
interior space with
mallets, to use bow
hairs, e-bow and
bottleneck.But how do I
find my way in this style
of playing beyond the
keys? Is that even
allowed? What if I break
something in the process?
And where is this or that
spot, and what do you
call it? What works
convincingly, and where
are the difficulties?
Klaus Steffes-Hollander
answers these and other
questions in this
book.
Unison choir, strings and piano or voice(s) and piano SKU: HL.49002486 (+)
Unison choir, strings and
piano or voice(s) and
piano
SKU:
HL.49002486
Score. Composed by
Sir Michael Tippett.
Sheet music. Edition
Schott. Classical. Score.
Composed 1960. 8 pages.
Duration 4'. Schott Music
#ED 10717. Published by
Schott Music
(HL.49002486).
ISBN
9790220104428. UPC:
073999691948.
8.25x11.75x0.025 inches.
English.
Choir for
One Part, Strings and
Piano or for Voice and
Piano.
Simply Orchestra Piano seul [Partition] - Facile Alfred Publishing
(28 Well Known Masterpieces). Arranged by Robert Schultz. For Piano. Piano Coll...(+)
(28 Well Known
Masterpieces). Arranged
by Robert Schultz. For
Piano. Piano Collection.
Simply Series.
Masterwork. Easy Piano.
Book. 80 pages. Published
by Alfred Music
Publishing
(Sieben Concerti a quattro, Erstdruck). By Baldassare Galuppi (1706-1785). Chamb...(+)
(Sieben Concerti a
quattro, Erstdruck). By
Baldassare Galuppi
(1706-1785). Chamber
Music (Strings & Piano).
For strings and basso
continuo. Violin 2 part
(Sieben Concerti a quattro, Erstdruck). By Baldassare Galuppi (1706-1785). Chamb...(+)
(Sieben Concerti a
quattro, Erstdruck). By
Baldassare Galuppi
(1706-1785). Chamber
Music (Strings & Piano).
For strings and basso
continuo. Violin 1 part
(Sieben Concerti a quattro, Erstdruck). By Baldassare Galuppi (1706-1785). Chamb...(+)
(Sieben Concerti a
quattro, Erstdruck). By
Baldassare Galuppi
(1706-1785). Chamber
Music (Strings & Piano).
For strings and basso
continuo. Score. 12 pages
(Sieben Concerti a quattro, Erstdruck). By Baldassare Galuppi (1706-1785). Chamb...(+)
(Sieben Concerti a
quattro, Erstdruck). By
Baldassare Galuppi
(1706-1785). Chamber
Music (Strings & Piano).
For strings and basso
continuo.
Cello/contrabass part
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 great
masterpieces from the
baroque, classical,
romantic and modern eras.
Series: Piano Treasury
Series. 399 pages.
Published by Music Sales.
Piano SKU: FG.55011-642-9 Composed by Kalevi Aho. Solo part. Fennica Gehr...(+)
Piano
SKU:
FG.55011-642-9
Composed by Kalevi Aho.
Solo part. Fennica
Gehrman #55011-642-9.
Published by Fennica
Gehrman (FG.55011-642-9).
ISBN
9790550116429.
Kale
vi Aho's Piano Concerto
No. 2 is scored for a
string orchestra
comprising just twenty
players. The first
performance took place at
the concluding concert of
the 2003 Mantta Music
Festival, in Vilppula
Church on 29th June. The
soloist was Antti Siirala
and the strings of the
Lahti Symphony Orchestra
were conducted by Osmo
Vanska. The demanding
piano writing is
primarily a consequence
of Siirala's remarkable
command of the
'Beethovenian-Lisztian-Br
ahmsian' pianistic
tradition. At times the
piano part is lean and
linear, but the work also
contains multi-layered,
full-toned piano textures
and massive rolling
octaves. The concerto
requires great artistry
on the part of the
performer. The Second
Piano Concerto lasts
roughly half an hour and
comprises three untitled
movements played without
a break. The first
movement and the finale
are extremely fast; these
outer movements contain
plenty of playful music.
The slow second movement
is more serious in tone,
and its piano texture is
very ample. The difficult
cadenza at the end of the
finale brings more
serious emotions to the
coda as well.
Piano - Intermediate SKU: AP.12-0571542026 Composed by Various. Collectio...(+)
Piano - Intermediate
SKU:
AP.12-0571542026
Composed by Various.
Collections; Piano -
Intermediate / Advanced
Collection; Piano
Supplemental. The Piano
Player Series. Classical;
Masterwork Arrangement.
Book. 48 pages. Faber
Music #12-0571542026.
Published by Faber Music
(AP.12-0571542026).
ISBN 9780571542024.
English.
The Piano
Player: Classical
Tear-Jerkers presents 20
emotive pieces of
classical music, designed
to tug at the
heart-strings, specially
arranged for intermediate
solo piano. Contents
include Un bel di vedremo
from Madama Butterfly by
Puccini and Dido's Lament
by Purcell. The striking
cover features Edward
Bawden's colour linocut
Aesop's Fables: The Ant
and the Grasshopper,
1970, and a 4-page
pullout provides the full
artwork as a beautiful
collectible.
The
Piano Player series
includes six wonderful
collections of some of
the greatest classical
music ever written,
specially arranged for
the intermediate pianist,
each with its own
collectible pull-out
poster of the stunning
Edward Bawden cover
artwork.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.