The Music of David Shaffer. Walking Frog Records CD. Play Along. Level: Grade 3.5. Audio CD. Composed 1997. Published by C.L. Barnhouse.

S.A.T.B and Piano. By Norman Dello Joio. Text: Edgar Allan Poe. For SATB, Piano. Ithica College Choral Series. Classical. Choral Part(s). 20 pages. Published by Theodore Presser Company.

(A Complete Guide to the Sounds, Styles & Sonic Spectrum). Keyboard Instruction. Softcover with CD. 104 pages. Published by Hal Leonard

(Low Voice). Composed by Various. For Voice. Fake Book. Softcover. 472 pages. Published by Hal Leonard

(High Voice). By Various. For Voice, Piano Accompaniment. Fake Book. Softcover. 472 pages. Published by Hal Leonard

Complete Lyrics for 200 Songs. By Various Composers. Lyric Library. Size 6x9 inches. 246 pages. Published by Hal Leonard.

2016 edition. Composed by The Royal Conservatory. Theory. Book. 96 pages. Published by The Frederick Harris Music Company

Piano - easy

SKU: BT.DHP-1053813-401

All Time Piano Hits. Arranged by Andy Newland. Pop & Rock. Book Only. Composed 2005. 28 pages. De Haske Publications #DHP 1053813-401. Published by De Haske Publications (BT.DHP-1053813-401).

ISBN 9789043122276. 9x12 inches. English-German-French-Dut ch.

The following situation may be familiar to you: You’re at a party, visiting friends or hosting relatives and someone asks you to play something on the piano. It’s best to choose a song that people know, but it is often difficult to choose one that is suitable. You are expected to perform on the spot and impress your audience. This book contains thirteen pieces written especially for such occasions. From Lambada to Beethoven, from The Muppet Show to Sting, you’re sure to find familiar songs for your impromptu performances. And best of all, these pieces can be played by anyone who has taken piano lessons for just a few years.

Een stuk spelen op verzoek - van klassiek tot populair? In dit boek staan dertien bekende stukken waarmee de pianist voor de dag kan komen bij diverse gelegenheden. Van de Lambada tot Beethoven en van The Muppet Showtot Sting: By Request is geschikt voor iedereen die een paar jaar les heeft gehad.

Die folgende Situation ist sicherlich vielen vertraut: Bei einer Party oder einem Familienfest wird man gebeten, etwas Nettes auf dem Klavier vorzuspielen. Da ist es oft schwer, das Passende zu finden. Dieses Buch enthält dreizehn leichte Stücke, mit welchen auch Spieler mit wenig Erfahrung bei solchen Gelegenheiten groß herauskommen können. Ob vorgetragen oder zu Hause zum eigenen Vergnügen gespielt: Es ist für jeden Anlass und jede Stimmung etwas dabei!

Lors d’une soirée entre amis ou en famille, on vous demande de vous mettre au piano et de jouer une petite musique sympathique. By Request contient treize moreaux adaptés spécialement ce genre de situation : de la Lambada Ludwig van Beethoven, du Muppet Show Sting, toutes les pièces présentées dans ce recueil sont célèbres et sont accessibles aux pianistes ayant quelques années de pratique instrumentale.

Quando alla sera fra amici o in famiglia, vi viene domandato di mettervi al pianoforte e di suonare una piccola e simpatica musica, la difficolt risiede nella scelta del brano. By Request contiene 13 brani adatti a questo genere di situazione: dalla Lambada a Ludwig van Beethoven, da Muppet Show a Sting, tutti i brani presenti in questa raccolta sono celebri e accessibili a tutti i pianisti con qualche anno di pratica strumentale.

By Julie McIntosh Johnson. Theory Book and CD. Published by Julie Johnson Music Publications

Concert Band - Grade 2.5

SKU: AP.50862

Fantasy on We Three Kings. Composed by Brian Beck. Concert Band; Performance Music Ensemble; Single Titles. Sound Innovations for Concert Band. Christmas. Score and Part(s). Duration 2:45. Alfred Music #00-50862. Published by Alfred Music (AP.50862).

ISBN 9781470666743. UPC: 038081585352. English.

The Quest of the Magi was one of the working titles for John Henry Hopkins Jr.'s famous carol, We Three Kings. Written in 1857 for a Christmas pageant in New York City, We Three Kings tells the tale of the Magis' journey to find a newly born king in a faraway land and the precious gifts they brought with them. This piece focuses more on the journey of following yonder star. Traveling across many countries in the first century was a perilous task, full of danger, thievery, and possible death, not to mention these men were traveling with some of the most precious and expensive cargo one could possess. This piece chronicles the magi acquiring myrrh, frankincense, and gold for their journey. Each treasure is represented by its own motif and woven into Hopkins' original carol. (2:45).

Concert Band - Grade 2.5

SKU: AP.50862S

Fantasy on We Three Kings. Composed by Brian Beck. Concert Band; Performance Music Ensemble; Single Titles. Sound Innovations Series for Band (SIB). Christmas. Score. Duration 2:45. Alfred Music #00-50862S. Published by Alfred Music (AP.50862S).

ISBN 9781470666750. UPC: 038081585369. English.

The Quest of the Magi was one of the working titles for John Henry Hopkins Jr.'s famous carol, We Three Kings. Written in 1857 for a Christmas pageant in New York City, We Three Kings tells the tale of the Magis' journey to find a newly born king in a faraway land and the precious gifts they brought with them. This piece focuses more on the journey of following yonder star. Traveling across many countries in the first century was a perilous task, full of danger, thievery, and possible death, not to mention these men were traveling with some of the most precious and expensive cargo one could possess. This piece chronicles the magi acquiring myrrh, frankincense, and gold for their journey. Each treasure is represented by its own motif and woven into Hopkins' original carol. (2:45).

Commissioned by American Composers Forum. Composed by Dana Wilson. Score and full set of parts. BandQuest. Concert. Published by American Composers Forum

Chamber Music Piano

SKU: PR.110418400

And the Young at Heart. Composed by Samuel Adler. Performance Score. 16 pages. Duration 13 minutes. Theodore Presser Company #110-41840. Published by Theodore Presser Company (PR.110418400).

UPC: 680160685783.

Choral SATB choir, piano

SKU: PR.312419280

From Terra Nostra. Composed by Stacy Garrop. Performance Score. 12 pages. Duration 5:30. Theodore Presser Company #312-41928. Published by Theodore Presser Company (PR.312419280).

ISBN 9781491137925. UPC: 680160692613.

Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Chamber Music Piccolo

SKU: PR.114422450

Composed by Johann Sebastian Bach. Arranged by Nicola Mazzanti. Sws. Full score. 20 pages. Duration 17 minutes. Theodore Presser Company #114-42245. Published by Theodore Presser Company (PR.114422450).

ISBN 9781491134986. UPC: 680160685974. 9 x 12 inches.

Bach’s colossal Partita No. 2 for Solo Violin has been crowned by many masters as one of music’s greatest achievements, and even its famous Chaconne movement alone is a mountain many performers dare not scale. While the literature of several other instruments has been enriched by transcriptions of the Chaconne, Mazzanti’s heroic adaptation of the complete Partita is the culmination of many years’ work, and the only transcription specifically for the piccolo’s unique range.
THE INSPIRATIONEver since my childhood, Johann Sebastian Bach’s solo violin music (like his works for solo cello) has always held a charm and mystery for me. There’s something about this repertoire that sparks an inextinguishable questioning in my musical and human soul.It is music without spatial limits or temporal cages, a music as essential as it is masterfully complex, in which the solitary voice of man meets the all-encompassing voice of God. It is a music whose vertical and horizontal dimensions, already admirably fused, are faceted into new and mysterious realities. For every violinist, the study of these compositions is at the apex of tenacious technical study and interpretative effort.Violinist Joshua Bell has said the Ciaccona (Bach did write the Partita’s movement titles in Italian) is “not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It’s a spiritually powerful piece, emotionally powerful, structurally perfect.”Transcribin g and performing Bach’s PARTITA NO. 2, BWV 1004 on piccolo was a feat that took years of work. The famous Ciaccona movement is, of course, the piece that alone occupied most of this time. How does one honor and elevate such high music with such a “small” instrument, devoid of the enormous expressive potential of the violin, devoid of its chords and its polyphony? How might I transform the piccolo into an instrument with, like the violin, full-bodied low notes and subtle high notes? Above all, why undertake such a demanding and extraordinary journey?The first reason is obvious: by transcribing, studying, and performing such an admirable piece, we assimilate it, it becomes part of us, it enormously enriches our musical interior.In addition, it forces us technically to expand the colors, agility, and flexibility of the instrument; it makes us think in a polyphonic way.Finally, the daily study, especially of the Ciaccona, is an extraordinary gymnasium in which to consolidate and strengthen our general technique.THE TRANSCRIPTIONThe whole Partita was transcribed in the key of A minor, a fifth above the original in D minor. This was necessary for the lowest note of the violin (G) to correspond to the lowest note of the piccolo (D). This version exploits the full range of the piccolo, from the D of the first octave to the B of the third octave. However some octave adjustments were needed.The chords, particularly in the Sarabanda and the Ciaccona, have been left with the same notational system used by Bach in his version for violin. I chose to respect Bach’s presentation and did not transcribe these into grace notes breaking the chords. I advocate that we must at least try to think of this music in its vertical dimension, trying to make the notes resonate as if they were being played together, deciding the speed of the arpeggio based on musical needs.While some woodwind editions of Bach’s string solos do indicate broken chords as grace notes, this implies that the most important note is necessarily the highest one, while sometimes it is precisely in the lower pitches that the theme is voiced.In this piccolo adaptation, many of Bach’s original articulations have been respected. Some have been changed, when needing to adapt them to the specific needs of flute playing.The two passages in the Ciaccona where Bach indicates “arpeggio” were rendered trying to respect the most consolidated and virtuous violin traditions, and at the same time the possibilities that the piccolo offers us. For this purpose, in some cases, different revoicings of the chords have been used.I thank all those who patiently listened to me and were close to me during this period, for their observations and advice. In particular, I thank my daughter Sara for her assistance and skill in entering this edition into music writing software.

(Mexican Fantasy For Two Flutes And Orchestra). By Samuel Zyman. For 2 flutes, piano. Contemporary. Soli parts with piano reduction. 20 pages. Published by Theodore Presser Company

Composed by Stephen Paulus. For Choral (SA(T)B). ChoralQuest. 12 pages. Published by American Composers Forum

(Easy Piano). Arranged by Dan Coates. For Piano. Book; Piano - Easy Piano Collection; Piano Supplemental. Top-Requested Sheet Music. Movie; TV. Easy Piano. 88 pages. Published by Alfred Music

Edited by Richard Walters. Vocal Collection. Softcover. 192 pages. Published by Hal Leonard (HL.260627).

(Harper's Monologue from 'Angels in America'). By Ricky Ian Gordon. For soprano voice, piano. Contemporary. Piano reduction/vocal score. Standard notation. 12 pages. Duration 10 minutes. Published by Theodore Presser Company

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 256 pages. Published by Hal Leonard.

By Dan Welcher. Arranged by Virginia Horner. Text by Virginia Horner. For Flute, Voice. Duration 6:. Published by Theodore Presser Company.