Composed by Mary K. Sallee. For Piano. Piano Solo; Sheet; Solo. Signature Series. Late Elementary. 4 pages. Published by Alfred Music

By Bernadine Johnson. For Piano. Piano Solo. Level: Elementary. Sheet. 4 pages. Published by Alfred Publishing.

Composed by Joe Gargiulo. For piano solo. Center Stage Solos. Difficulty: Intermediate. Collection. 24 pages. Published by Neil A. Kjos Music Company

Composed by Guy Van Nueten. Keyboards - Piano. Metropolis Music Publishers #PN7320EM. Published by Metropolis Music Publishers

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.

Versions 1913 and 1931. Composed by Sergei Rachmaninoff (1873-1943). Edited by Dominik Rahmer. Arranged by Marc-Andre Hamelin. Sheet Music. Paperbound. Henle Music Folios. Classical. Softcover. 80 pages. G. Henle #HN1256. Published by G. Henle (HL.51481256).

Composed by Chilly Gonzales. Book Only. Composed 2018. Editions Bourges #EBR532. Published by Editions Bourges

Reprint, edited and newly commented by Wilhelm Ohmen.. Composed by Ignaz Moscheles (1794-1870). Edited by Wilhelm Ohmen. Arranged by Adolphe F. Wouters. This edition: Paperback/Soft Cover. Sheet music. Piano. Classical. Softcover. Op. 70. 88 pages. Schott Music #SF6717. Published by Schott Music

German Favorites for Easy Piano with Lyrics composed by Various. Arranged by Jonathon Robbins. For easy piano. This edition: Paperback. Collection. Ethnic. Book. Text Language: English. 32 pages. Published by Santorella Publications

Piano

SKU: SU.12800072

For Piano. Composed by Wolfgang Amadeus Mozart. Keyboard, Piano/Harpsichord. Music Theory. Score. Subito Music Corporation #12800072. Published by Subito Music Corporation (SU.12800072).

BachScholar Editions Vol. 72: MOZART: 24 Youthful Masterpieces (25 pages) presents 24 short pieces from Mozart’s early years, composed mostly from ages 6-8. This is a clear and easy-to-read performance edition organized in progressive order of difficulty, which includes expression, fingerings, written-out ornaments, and suggested metronome speeds. This book serves as an indispensable resource for the late beginner student through advanced and professional levels, and is especially ideal for teachers who seek first-rate Mozart pieces that are not too long. Piano Published by: BachScholar.

Piano (Solo Piano) - Elementary

SKU: FJ.W9454

Composed by Mary Leaf. Piano Solo; Piano Supplemental. Written For You. Score. The FJH Music Company Inc #98-W9454. Published by The FJH Music Company Inc (FJ.W9454).

UPC: 241444388884. English.

What could be cuter than a cat that likes to hide in the food pantry? This charming piece, which includes an optional duet part, is a good reinforcement for the key of F major. Hands are in almost Middle C position (L.H. thumb on Middle C, R.H. thumb on D). Mostly hands alone playing and R.H. has a crossover to Bass C. Darling lyrics tell the story of this real-life experience!

Solo piano - Grade 5

SKU: B7.B150

Composed by Marc Douyon. Edited by Howard J. Buss. RECUERDOS DE ESPANA Memories of Spain for solo piano was inspired by the very diverse music of Spain. 21st Century. Score. Duration 7'25. Brixton Publications #B150. Published by Brixton Publications (B7.B150).

8.5x11 inches.

RECUERDOS DE ESPANA Memories of Spain for solo piano by Marc Douyon was inspired by the very diverse music of Spain. This colorful and engaging work uses a triplet rhythm that prevails throughout much of the composition. The music starts with an ambiguity of keys between major and minor, and subsequently travels to different keys. The first two sections are military-like, and feature the melody mostly in the left hand. The middle section is relatively calm with melodic fragments played over an ostinato-like figure in a sequential fashion. The fourth section features idiomatic Spanish rhythms reminiscent of the Andalusian region of Spain. Here, melodic fragments are played over a relentless bass accompaniment.

By Martha Mier. For Piano. Piano Solo. Level: Intermediate. Sheet. 4 pages. Published by Alfred Publishing.

By Mary K. Sallee. For Piano. Piano Solo; Sheet; Solo. Signature Series. Early Intermediate. 4 pages. Published by Alfred Music Publishing

By Robert D. Vandall. For Piano. Piano Solo. Signature Series. Level: Late Elementary. Sheet. 4 pages. Published by Alfred Publishing.

By Dennis Alexander. For Piano. Piano Solo. Level: Late Elementary. Sheet. 4 pages. Published by Alfred Publishing.

By Kevin Olson. For Piano. Written For You. Solo Sheet. Published by The FJH Music Company Inc.
Level: Early Intermediate.