By Wynn-Anne Rossi. For Piano. Piano Solo; Sheet; Solo. Signature Series. Elementary. 4 pages. Published by Alfred Music Publishing

(75 Short Late Elementary Piano Solos with Optional Duet Accompaniments). Arranged by Tom Gerou. For Piano. This edition: Five Finger Piano. Book; Piano Collection; Piano Supplemental. 5 Finger. Children; Movie; Pop. Five Finger; Late Elementary. 152 pages. Published by Alfred Music Publishing

Piano

SKU: BT.9780008353230

By Em Wilson. By Karen Marshall. Get Set! Piano. Tuition. Book Only. Composed 2020. 64 pages. Collins Music Publishing #9780008353230. Published by Collins Music Publishing (BT.9780008353230).

ISBN 9780008353230. English.

My First Piano Book introduces young children to the piano and music-making through fun activities, rhymes, songs and pieces. The author’s tried-and-tested progression covers note learning, theory, aural and composing through acreative and holistic approach. Many pieces have simple teacher duet parts to encourage ensemble playing from the start, and the book is illustrated throughout in the charming Get Set! style. This carefully designed tutor willinspire, entertain and, most importantly, nurture a love of music that can last a lifetime. Suitable for children aged 5+.

(15 Timeless Selections Arranged for Elementary Piano with Optional Duet Accompaniments). Arranged by Tom Gerou. For Piano. This edition: Five Finger. Piano - Five Finger Collection; Piano Supplemental. Essential Pop Hits. Pop. Elementary; Five Finger. Book. 56 pages

(26 Pieces from Famous and Fun: Pop, Classics, Favorites, Rock, Duets). Arranged by Carol Matz. For Piano. Book; Piano Collection; Piano Supplemental. Famous and Fun. Early Elementary. 56 pages. Published by Alfred Music Publishing

Piano

SKU: BT.9781408192771

Composed by Karen Marshall. Get Set! Piano. Studies & Exercises. Book Only. 24 pages. Collins Music Publishing #9781408192771. Published by Collins Music Publishing (BT.9781408192771).

ISBN 9781408192771.

< strong>Get Set! Piano Pieces Book 1 is an exciting new collection of pieces by Heather Hammond and Karen Marshall, arranged and written specially for the twenty-first century child.

G et Set! PianoPieces Book 1 follows and supplements the tried and tested progression of Get Set! Piano Tutor Book 1. It includes favourites like Alice the camel, Little bird, Hot cross buns, We wish you a Merry Christmas andengaging new pieces from jigs to jazz featuring wriggly caterpillars and scary pirates. Many of the pieces have straightforward teacher duet parts to encourage ensemble playing from the start.

The book isattractivelylaid out and fully illustrated, with quizzes and crosswords to reinforce learning.

(23 Pieces from Famous and Fun: Pop, Classics, Favorites, Rock, Duets). Arranged by Carol Matz. For Piano. Book; Piano Collection; Piano Supplemental. Famous and Fun. Early Intermediate. 64 pages. Published by Alfred Music

Book/Online Audio and Video Piano The Best Step-by-Step Guide to Start Playing. Do It Yourself. Instruction, Method. Softcover Media Online. 128 pages. Published by Hal Leonard

Arranged by Tom Roed. Collection for solo piano and solo piano duet (optional). Includes a bonus section of Christmas piano duets. 160 pages. Published by Alfred Publishing.

(21 Pieces from Famous and Fun: Pop, Classics, Favorites, Rock, Duets). Arranged by Carol Matz. For Piano. Book; Piano Collection; Piano Supplemental. Famous and Fun. Intermediate. 64 pages. Published by Alfred Music

Let's Play Jazz and More * Book 2 composed by Jay Latulippe and Sonny Doss. For easy piano. This edition: Paperback. Instructional. Jazz Method. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications

6 Solos and 1 Duet for Student and Teacher. Arranged by Louise Goss, Sam Holland, And Steve Betts. For Piano. Piano - F. Clark Music Tree. Book. 16 pages. Published by Alfred Publishing.
Level: Early Intermediate / Intermediate.

By Dennis Alexander, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Martha Mier. For Piano. Book; Method/Instruction; Piano - Alfred's Premier Piano Course. Premier Piano Course. Children; Movie; Pop. 24 pages. Published by Alfred Music Publishing

Vocal and Piano (Piano)

SKU: HL.14034353

Composed by David Turnbull. Music Sales America. Tuition. Book [Softcover]. 48 pages. Music Sales #BOE005030. Published by Music Sales (HL.14034353).

ISBN 9780711991712. 9.0x12.0x0.146 inches.

Step by step instructions for ABRSM and other singing exams. This book contains everything you need to progress to Grade 3 and includes over 30 songs which can be used in your exam. Includes sections on warming-up, sight singing and an introduction to singing with other people.

By Alan Haughton. For Piano solo. Level: P. 16 pages. Published by ABRSM (Associated Board of the Royal Schools of Music).

By Mary Leaf. For piano solo with optional duet. Composers in Focus series. Late elementary. Collection. 28 pages. Published by The FJH Music Company Inc

10 Holiday Favorites Arranged for Piano with Optional Duet Accompaniments. Arranged by Tom Gerou. For Piano. Piano Collection. Book. 32 pages. Published by Alfred Publishing.

Over 40 favourite pieces from the popular series. Composed by Pam Wedgwood. Piano - Teaching Supplement; Piano Supplemental. Faber Edition: Jazzin' About. Jazz. Book. 72 pages. Faber Music #12- 0571542891. Published by Faber Music

Level 1. By Christopher Norton. (Piano). Boosey and Hawkes Piano. Size 9x12 inches. 20 pages. Published by Boosey and Hawkes.

Piano

SKU: BR.EB-9253

Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf.

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253).

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

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.