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. 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. Composed by Antonio Vivaldi. Edited by Vilmos Lesko. This edition: R131738. Woodwind Solo. Classical, Concerto. 28 pages. Ricordi #R131738. Published by Ricordi (HL.50488963).

UPC: 884088013943. 8.25x11.75x0.123 inches.

For Oboe, Strings and cembalo (piano reduction).

(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 Amy Marcy Beach. Arranged by Adrienne Fried Block. For Piano, Strings. Published by Hildegard.

By Erwin, Horvath, McCashin, Mitchell. For piano. New Directions! For Strings. Educational materials. Method book. Composed 2008

Arranged by Leonard Slatkin. (Piano). Easy Music For Strings. 28 pages. Published by Hal Leonard.

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 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 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.

(Volume 2 (Collection)). Arranged by Leonard Slatkin. CONDUCTOR. Easy Music For Strings. Grade 2. 68 pages

Ensemble Concepts, Fundamental Level - Piano Accompaniment. By Various. Essential Musicianship Strings. 24 pages. Published by Hal Leonard.

Solo Piano; 2fl(picc), 2ob, 2cl, 2bn; 2tpt, 2tbn, 2hn, tba; perc; stgs (piano; 2 flutes (piccolo), 2 oboes, 2 clarinets, 2 bassoons; 2 trumpets, 2 trombones, 2 horn, tuba; percussion; strings)

SKU: SU.90810080

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 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.

Piano / Vocal Score. Composed by Elaine Hagenberg. Hagenberg. Music Education. 54 pages. GIA Publications #EH1011. Published by GIA Publications

(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

Edited by Ann Farmer. For solo piano. Popular. Level: Intermediate. Instrumental solo book. 96 pages. Published by Chester Music.

(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). Chamber Music (Strings & Piano). For strings and basso continuo. Violin 1 part

(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). Chamber Music (Strings & Piano). For strings and basso continuo. Cello/contrabass part

(For Piano and Orchestra). By Johann Wenzel Anton Stamitz. Concerto. For strings ([(2).2.0.0-2 ad lib.0.0.0], Strings). Viola part

(Sieben Concerti a quattro, Erstdruck). By Baldassare Galuppi (1706-1785). Chamber Music (Strings & Piano). For strings and basso continuo. Viola part

Composed by Arja Suorsa-Rannanmaki. For piano. Method book. Published by Fennica Gehrman

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 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 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. 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 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.