Arranged by Denes Agay. Book. Published by Music Sales. (YK21103) These familiar melodies in easy arrangements include Fascination, Moscow Nights, waltzes by Strauss, and over 65 more favorite pieces; themes; and folk, popular, and standard songs. The variety is both appealing and educational.

Arranged by Carol Matz. For Piano. Includes instructional pages, and exercises exploring the 12-bar blues, swing rhythm, and the blues scale; historical information; and an explanation of jazz and blues styles (64 pages). Contents include: After You've Gone; Alexander's Ragtime Band; Basses Loaded; Bill Bailey, Won't You Please Come Home?; Crazy Blues; Early Morning Blues; Fascination; Fat Cat Boogie; Frankie and Johnny; House of the Rising Sun; I Ain't Got Nobody; I Love a Piano; Quiet Waters; Royal Garden Blues; The St. James Infirmary; St. Louis Blues; Tishomingo Blues; When the Saints Go Marching In. Jazz & Blues. Level: Easy Piano. Book. Published by The FJH Music Company, Inc.

Piano - Level 2

SKU: LM.27430

Composed by Michel Le Coz. Original piano. Pop, jazz. Score. Editions Henry Lemoine #27430. Published by Editions Henry Lemoine (LM.27430).

ISBN 9790230974301.

Stra uss, Dis-moi tu, dis-moi toi... - Auric, Moulin Rouge - Barcelata, Maria Elena - Greensleeves - Gainsbourg, La Javanaise - Marchetti, Fascination - Chabrier, Espana - Offenbach, Valse de la Gaite Parisienne.

Piano

SKU: BT.MUSAM91544

Arranged by Steve Hill. Jazz. Book Only. Music Sales #MUSAM91544. Published by Music Sales (BT.MUSAM91544).

ISBN 9780711937666.

Fift een great standards arranged for piano in jazz style by Steve Hill. Newly engraved, with chord symbols. Includes Fascinating Rhythm, Come Fly With Me, So Nice and That Ole Devil Called Love.

Piano Solo - Easy-Intermediate

SKU: FP.FBS03

Composed by Sarah Baker. Sheet Music and Books. Nine pieces on a day time theme for solo piano, by Sarah Baker. Suggested grade 4-5. Classical. Collection. Forsyths Publications #FBS03. Published by Forsyths Publications (FP.FBS03).

ISBN 9790570500192.

Sara h Baker is Vocal Composer in Residence at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events.

All this experience has come together in the creation of this album of piano pieces, inspired by growing up in the Chiltern Hills. Suitable for players of around grade 4-5 standard, her evocative sound pieces describe a crash-landing hot air balloon, garden invading cows and a even a snake in a pond!

Air Balloon!: One vivid memory I have as a child is of the day that a hot air balloon passed over our house and made an emergency landing on the road in front! The sound of the gas being blown into the balloon to try to keep it high enough to pass the house sounded so loud and intimidating, and then there was the bustle of the neighbours as we all went out into the street to watch. It was both terrifying and exhilarating to watch the balloon float past and then land so near by.

Buzzards Circling: There is something so calming and restful about watching birds of prey circling in the thermal currents of a summer sky. Growing up in the Chilterns gave me plenty of opportunity to watch buzzards and red kites. This piano solo captures the beauty of their flight as they glide so effortlessly through the air.

There’ s A Cow In The Garden Eating The Flowers: Inspired by the memory of seeing an unexpected cow in the garden! This surreal image is captured in a quirky waltz, as I portray both the absurdity of the moment and the sense of wonder I felt as a child, looking out of the window and seeing the cow walking round and eating the flowers. The final phrase articulates my longing: ‘I wish it would come again’.

Wat ching The World Go By: A short, reflective piece, remembering what it was like to have time to just sit and watch the world go by from my bedroom window.

Autumn Skies: A miniature about the beauty of Autumn skies and the poignant sense of loss for a summer gone. Friends I was fortunate to have several children of my own age living close by. We seemed to be forever making dens, playing out in the street and generally enjoying each other’s company. This piece reflects that sense of well-being.

Snake In The Pond: One hot summer I was astonished and scared to see a grass snake cooling off in our garden pond! I watched, both horrified and fascinated, as it rose up from the depths and then disappeared again. Here I portray the sense of the hazy summer afternoon as I peacefully watched the tiny movements of fish in the pond, contrasted with the fear and excitement of seeing the snake appear.

Morning Commute: I recollect many mornings stuck in traffic as my Dad took me to school on his way to work. There is one main road out of the village where I grew up, and that got more and more congested the closer we got to the town. We may not have chatted a lot, but it was always good to be together with my Dad, lost in our own thoughts.

The Witch’s Cottage: My siblings and I had a fascination with a small cottage nearby. It was set back from the road in a dark part of the woods and we called it 'the witch's cottage’. Every time we passed, I imagined I heard the distant cackle of the witch and wished I could catch a glimpse of her.

These pieces are written to complement my other collection, Night Time Impressions, which also draw on childhood recollections, particularly of the woods behind the house where I grew up. - Sarah Baker 2023.

(15 Jazz Variations in the Style of the Masters (incl. free mp3-download)). By Michael Publig. For piano. Level 3 to 4. 60 pages. Published by Doblinger Music Publishers

Piano (Piano)

SKU: HL.48182061

Composed by Olivier Messiaen. Leduc. Post-1900. Softcover. 24 pages. Alphonse Leduc #AL22937. Published by Alphonse Leduc (HL.48182061).

UPC: 888680850685. 9.0x12.0x0.237 inches.

“Oliv ier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms, harmony, melodies and his passion for ornithology, his Catalogue of Birds for Piano is no exception to the composer's popular, distinctive style. Messiaen became fascinated by birdsong from an early age, however, it wasn't until the 1950s that he took his passion to a new level, incorporating birdsong in to all of his compositions. Catalogue of Birds, composed in 1958, comprises thirteen movements, each depicting a specific bird. The first volume contains the first three movements; 1) The Alpine Chough, 2) The Oriole, and 3) The Blue Merle. Catalogue of Birds is essential to all advanced pianists seeking to expand and vary their repertoire.”.

Piano

SKU: HL.48182064

Composed by Olivier Messiaen. Leduc. Classical. Softcover. 8 pages. Alphonse Leduc #AL22941. Published by Alphonse Leduc (HL.48182064).

UPC: 888680850715. 9.0x12.0x0.136 inches.

â??Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms, harmony, melodies and his passion for ornithology, his Catalogue of Birds for Piano is no exception to the composer's popular, distinctive style. Messiaen became fascinated by birdsong from an early age, however, it wasn't until the 1950s that he took his passion to a new level, incorporating birdsong into all of his compositions. Catalogue of Birds, composed in 1958, comprises thirteen movements, each depicting a specific bird. The third volume contains movements five and six; Tawny Owl and Woodlark. Catalogue of Birds is essential to all advanced pianists seeking to expand and vary their repertoire.â?.

Piano

SKU: HL.48182063

Composed by Olivier Messiaen. Leduc. Classical. Softcover. 36 pages. Alphonse Leduc #AL22940. Published by Alphonse Leduc (HL.48182063).

UPC: 888680850708. 9.0x12.0x0.13 inches.

“Oliv ier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms, harmony, melodies and his passion for ornithology, his Catalogue of Birds for Piano is no exception to the composer's popular, distinctive style. Messiaen became fascinated by birdsong from an early age, however, it wasn't until the 1950s that he took his passion to a new level, incorporating birdsong into all of his compositions. Catalogue of Birds, composed in 1958, comprises thirteen movements, each depicting a specific bird. The second volume contains movement four; The Black-eared Wheatear. Catalogue of Birds is essential to all advanced pianists seeking to expand and vary their repertoire.”.

Piano

SKU: HL.48182067

Composed by Olivier Messiaen. Leduc. Classical. Softcover. 30 pages. Alphonse Leduc #AL22946. Published by Alphonse Leduc (HL.48182067).

UPC: 888680853631. 9.0x12.0x0.153 inches.

Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms, harmony, melodies and his passion for ornithology, his Catalogue of Birds for Piano is no exception to the composer's popular, distinctive style. Messiaen became fascinated by birdsong from an early age, however, it wasn't until the 1950s that he took his passion to a new level, incorporating birdsong into all of his compositions. Catalogue of Birds, composed in 1958, comprises thirteen movements, each depicting a specific bird. The sixth volume contains movement ten; The Rock Thrush. Catalogue of Birds is essential to all advanced pianists seeking to expand and vary their repertoire..

Piano - Grade 4

SKU: FA.MFCD011PN

Composed by Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD011PN. Published by Musik Fabrik (FA.MFCD011PN).

8.27 x 11.69 inches.

In January 1913, Debussy struggled to complete Toomai des elephants as the 11th prelude in Book2, finally replacing it by a rather Stravinskian study Les Tierces alternees. However, his daughter Chouchou was fascinated by elephants and in the summer of 1913, Debussy wrote her a 'Toybox Ballet' (La Boite a joujoux) which contains a 'Pas de l'elephant' and an 'old Hindu chant which is still used to train elephants [in India]. It is constructed on the scale of 5 o'clock in the morning,which means it must be in 5/4 time.' My reconstruction of this lost prelude is based around this material and it evokes a day in the life of Toomai, the young mahout, and his faithful elephant Kala Nag from one dawn to the next, incorporating the legendary 'Elephants' Dance' from Rudyard Kip ling's First Jungle Book (1894) which only Toomai was ever privileged to witness. The version presented here is the revised second version of this prelude which contains an effect of piano harmonics as the dawn returns towards the end.

By Claude Debussy. Edited by Maurice Hinson. For Piano. Piano Solo. Masterwork. Level: Early Advanced (grade 6 ). Sheet. 8 pages. Published by Alfred Publishing.

By Alexander Scriabin (1872-1915). Edited by Valentina Rubcova. Henle Music Folios. Softcover. 24 pages. G. Henle Verlag #HN855. Published by G. Henle Verlag

(40 Original Piano Pieces). Composed by Various. Edited by Monika Twelsiek. For Piano. Piano Collection. Softcover. 96 pages. Schott Music #ED9043. Published by Schott Music

Piano

SKU: BR.EB-8990

After R (A Portrait for Piano and Orchestra). Composed by Nicola Campogrande. Solo instruments; stapled. Edition Breitkopf.

He re you will find the concerto R (A Portrait for Piano and Orchestra).

Solo concerto; Music post-1945; New music (post-2000). Score. Composed 2015. 36 pages. Duration 15'. Breitkopf and Haertel #EB 8990. Published by Breitkopf and Haertel (BR.EB-8990).

ISBN 9790004187197. 9 x 12 inches.

A Musical Portrait In 2012 Nicola Campogrande received a rather singular commission when a total stranger asked him to compose a musical portrait of his fiancee. The man knew exactly what he wanted: a concerto for piano and orchestra. After some reflection, Campogrande realised that he would be able to paint with music. It would never be possible, of course, to recognise the shape of the woman's face or the colour of her hair, but the score could evoke the way in which she occupied space and time, and the different movements of the composition would be like the faces on a rotating prism. Campogrande thus accepted the commission and the stranger sent him a few photos of his fiancee, spoke to him about her and, finally, introduced him to her. This is how R (A portrait for piano and orchestra) was born, first performed in April 2013 by Lilya Zilberstein with the Orchestra Verdi in Milan. Subsequently, following other performances and a TV documentary, a number of different pianists asked Campogrande to write a version for solo piano. Hence Nudo emerged, a piece that would be very similar to R , were it not for the fact that, as the title suggests, the pianist is naked, without orchestral clothing. Information on Nudo on the composer's website Audio recording of Nudo (YouTube) Un portrait musical En 2012, Nicola Campogrande s'est vu proposer une commission fort singuliere ; un parfait etranger lui demandait de composer le portrait musical de sa compagne. L'homme savait exactement ce qu'il voulait : un concert pour piano et orchestre. Apres quelques hesitations, Campogrande s'est rendu compte qu'il pouvait se servir de la musique comme d'un pinceau. Bien entendu, il ne serait jamais possible de reconnaitre la forme du visage de la femme ou la couleur de ses cheveux, mais la partition pourrait evoquer la facon dont elle se deplacait dans l'espace et dans le temps, et les differents mouvements de la piece seraient comme les figures d'un prisme en rotation. Campogrande a donc accepte la commission ; l'etranger lui a envoye des photos de sa compagne, il lui a parle d'elle, avant de les faire se rencontrer personnellement. Ainsi est ne R (Un portrait pour piano et orchestre) , interprete pour la premiere fois en avril 2013 par Lilya Zilberstein et l'orchestre Verdi de Milan. D'autres executions ont suivi, ainsi qu'un documentaire televise, apres quoi plusieurs pianistes ont prie Campogrande d'ecrire une version pour piano seul. C'est ainsi que Nudo a vu le jour : un << nu >> tres semblable au premier portrait, si ce n'est que le piano s'y trouve, comme le suggere le titre, depouille de son vetement orchestral. Ritrarre con la musica Nel 2012 Nicola Campogrande ha ricevuto la piu singolare delle commissioni, quando un perfetto sconosciuto gli ha chiesto di comporre il ritratto musicale della sUrauffuhrung fidanzata. L'uomo sapeva esattemente cio che voleva: un concerto per pianoforte e orchestra. Dopo qualche esitazione, Campogrande si e reso conto di poter dipingere con la musica; certo, non sarebbe stato possibile riconoscere la forma del viso della donna o il colore dei suoi capelli, ma la partitura avrebbe evocato il modo nel quale lei si muoveva nello spazio e nel tempo, e i vari movimenti del brano sarebbero stati come le facce di un prisma in rotazione. Campogrande ha dunque accettato la commissione e lo sconosciuto gli ha mandato alcune foto della sUrauffuhrung fidanzata, gli ha parlato di lei e, alla fine, gliela ha presentata personalmente. E cosi nato cosi R (Un ritratto per pianoforte e orchestra ), eseguito per la prima volta nell'aprile 2013 da Lilya Zilberstein insieme all'Orchestra Verdi di Milano.In seguito, dopo altre esecuzioni e un documentario tv, diversi pianisti hanno chiesto a Campogrande di preparare una versione per pianoforte solo. E stato cosi che ha preso forma Nudo , un brano del tutto simile a R tranne per il fatto che, come suggerisce il titolo, il pianista e nudo, senza un abito orchestrale. 'Nudo' is a scintillating work that paints a vivid and fascinating sequence of musical portraits of its subject. And the Breitkopf score is simply superb. (www.pianodao.com).

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!

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.

The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales

Level 3A-3B. Arranged by Nancy Faber and Randall Faber. Faber Piano Adventures. Chinese. Softcover. 32 pages. Faber Piano Adventures #FF3048. Published by Faber Piano Adventures

A Progressive Collection Celebrating 29 Female Composers. Composed by compiled, edited by Karen Marshall, and Written. Graded Standard Repertoire; Masterworks; Piano Collection; Piano Resources. Classical; Masterwork. Book. Faber Music #12-0571542379. Published by Faber Music

Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With fingerings. Baroque, classical period, romantic period and americana. 240 pages. 9x12 inches. Published by Music Sales.

Arranged by Dan Coates. For Piano. Book; Piano Collection; Piano Supplemental. Dan Coates Popular Piano Library. Pop. Advanced. 208 pages. Published by Alfred Music

Piano - Intermediate

SKU: PE.EP11707

Composed by Edvard Grieg. Masterworks; Piano Collection; Piano Resources; Piano Supplemental. Classical; Masterwork; Masterwork Arrangement; Romantic. Book. Edition Peters #98-EP11707. Published by Edition Peters (PE.EP11707).

ISBN 9790577023939.

Grie g: A Piano Treasury is the perfect introduction to Edvard Grieg's piano repertoire. This beautiful collection features easy to intermediate level original piano pieces as well as arrangements of some of Grieg's best-known melodies. The preface contains detailed commentary on all the works and is accompanied by photographs, providing a fascinating overview of Grieg's life and musical work. This collector's edition was produced in association with Kode, an association of four art museums and three composers' homes in and around Bergen, including Grieg's home, Troldhaugen. The book includes an introduction by Christian Grøvlen, Director of Music and of the Grieg House, Kode.

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.

13 Well-Known Original Pieces in Progressive Order. Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Sylvia Hewig- Tröscher. At the Piano. Softcover. 54 pages. G. Henle #HN1813. Published by G. Henle

Piano

SKU: YM.GTP01101464

Intermediate. Composed by Various. Classical. Piano Classical. Book. Yamaha Music Media #GTP01101464. Published by Yamaha Music Media (YM.GTP01101464).

ISBN 9784636880472. 8.75 x 12 inches.

The Yamaha Piano Library, which began in the 1980s, is a series designed to provide students with new teaching materials and repertoire essential to music education. Today, pianists all over the world are required to play pieces from different eras with technique and sensitivity that reflect the characteristics of the music of that period. To meet these demands, this series offers a wide range of piano compositions from different periods, regions, and styles. Many of these pieces are not included in other collections and are selected as required pieces for competitions each year.
This fascinating collection includes compositions from Germany, one of the leading countries of the Romantic period, as well as from all over Europe, Russia, the United States and other regions, ranging from the less frequently played to the standard pieces in a well-balanced manner. Arranged in order of difficulty so that they can be played according to the student's skill level, the 31 pieces composed for the piano by Romantic composers are selected for students studying at Bayer's later levels.

By Amy Appleby. For Piano. Classical. Sheet Music. 192 pages. Published by Music Sales.