Piano

SKU: FP.FMP05

Composed by Mungo Park. Published by Forsyths Publications (FP.FMP05).

ISBN 979-0-57050-221-9.

Twenty first duets for pupil and teacher. Suggested grade 0-1.

For Piano. Book; Method/Instruction; Piano Supplemental; Promotional Packet. Premier Piano Course. Published by Alfred Music

Piano (Piano)

SKU: HL.14017988

Composed by Barbara Kirkby-Mason. Music Sales America. 20th Century, Children. Book Only. Bosworth & Co. #BOE003626. Published by Bosworth & Co. (HL.14017988).

9.0x12.0x0.077 inches.

A selection of easy duets for beginning piano players. The Primo parts will give the beginner a good grasp of ensemble playing, while the Secundo parts expand into the bass clef for more challenging playing.

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

(Inspiring Creativity at he Piano). By Forrest Kinney. For Piano. This edition: 1st. Piano. Pattern Play. Book. Published by The Frederick Harris Music Company

For Piano. Classical (duet). Includes complete printed music score with both primo and secondo piano parts, and a compact disc featuring the duets in two formats: split-channel stereo with secondo part on the left channel, primo on the right, so you can play either part; and then again with just the secondo part in stereo so you can perform the primo part alongside. Published by Music Minus One.

By Deborah Brady. For Piano. Center Stage Solos and Duets. Early Elementary. Collection

Piano - Easy

SKU: FP.FFL22

Composed by Leslie Fly. Published by Forsyths Publications (FP.FFL22).

ISBN 979-0-57050-100-7.

A great resource of piano duets featuring twelve traditional airs for piano. Suggested grade 2.

Composed by Various. Arranged by Melody Bober, Carolyn Miller, Eric Baumgartner, and Glenda Austin. Willis. Classical, Duet. Softcover. Duration 180 seconds. Published by Willis Music

Arranged by Dan Coates. Piano Supplemental; Promotional Packet; Solo. Pop. Other. Alfred Music #00-106588. Published by Alfred Music

Book. Published by Music Sales. (YK21137) This is a richly varied assortment of materials for recital and study. It includes compositions suitable for a beginner's first recital, as well as solos and duets for the intermediate grades. There are long-neglected pieces plus jazz and contemporary pieces.

(New Definitive Edition) Composed by Bela Bartok (1881-1945). For piano. Format: instructional book. With standard notation, introductory text and instructional text. 20th Century, Hungarian and Instructional. Text language English, French, German, Hungarian. 56 pages. 9x12 inches. Published by Boosey and Hawkes.

(New Definitive Edition) Composed by Bela Bartok (1881-1945). For piano. Format: instructional book. With standard notation, introductory text and instructional text. 20th Century, Hungarian and Instructional. Text language English, Portuguese, Spanish, Japanese. 56 pages. 9x12 inches. Published by Boosey and Hawkes.

By Rossi/Mcarthur. For Piano. The FJH Piano Teaching Library. Includes instructional pages, review games, ear-training activities, scale reference charts, technical warm-ups, and more. Book. Published by The FJH Music Company, Inc.

(for All Voices). By Various. For Piano. Soft Cover. 116 pages. Published by Theodore Presser Company

By Wynn-Anne Rossi, Lucy Warren. For Piano. The FJH Piano Teaching Library. Instruction. Book. Published by The FJH Music Company Inc.

By Tom Gerou. For Piano. Piano Collection. Level: Early Elementary / Elementary (grade 1A/1B). Book. 16 pages. Published by Alfred Publishing.

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.

Piano Technique. By Ferdinand Beyer. Arranged by William Scharfenberg. Piano Method. Size 9x12 inches. 80 pages. Published by G. Schirmer, Inc.

Composed by Illustrated by Eilidh Muldoon, Music by Aaron Burrows, Penelope Roskell, and Words by Carl Heap. Method/Instruction; Piano Method; Technique Musicianship. Penelope Roskell's Complete Pianist Series. Form: Classical. Book. 48 pages. Edition Peters #98- EP73706. Published by Edition Peters

Composed by Illustrated by Eilidh Muldoon, Music by Aaron Burrows, Penelope Roskell, and Words by Carl Heap. Method/Instruction; Piano Method; Technique Musicianship. Penelope Roskell's Complete Pianist Series. Form: Classical. Book. 48 pages. Edition Peters #98- EP73705. Published by Edition Peters

Composed by Illustrated by Eilidh Muldoon, Music by Aaron Burrows, Penelope Roskell, and Words by Carl Heap. Method/Instruction; Piano Method; Technique Musicianship. Penelope Roskell's Complete Pianist Series. Form: Classical. Book. 64 pages. Edition Peters #98- EP73707. Published by Edition Peters

For Piano. Includes complete printed music score with both primo and secondo piano parts, and a compact disc featuring the duets in two formats: split-channel stereo with secondo part on the left channel, primo on the right, so you can play either part; and then again with just the secondo part in stereo so you can perform the primo part alongside. Published by Music Minus One.

For Piano. Includes complete printed music score with both primo and secondo piano parts, and a compact disc featuring the duets in two formats: split-channel stereo with secondo part on the left channel, primo on the right, so you can play either part; and then again with just the secondo part in stereo so you can perform the primo part alongside. Published by Music Minus One.