By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 2000 pages. Published by Subito Music.

31 Arrangements of Christmas Praise Songs. Arranged by Victor Labenske. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Christmas; Contemporary Christian; Sacred; Winter. 128 pages. Published by Alfred Music

Simple Sheet Music Audio Play-Along. By The Beatles. Instant Piano. Pop, Rock. Softcover Audio Online. 90 pages. Published by Hal Leonard

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

Piano

SKU: M7.DUX-638

Arranged by Susi Weiss. This edition: Ring/Spiral binding. Sheet music. Performance book. 118 pages. Edition Dux Verlag #DUX 638. Published by Edition Dux Verlag (M7.DUX-638).

ISBN 9783868493238.

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.

Composed by Stephen Sondheim (1930-). P/V/G Composer Collection. Softcover. 344 pages. Published by Rilting Music, Inc.

Simple Sheet Music Audio Play-Along. Composed by Various. Instant Piano. Movies. Softcover Audio Online. 96 pages. Published by Hal Leonard

By Moira Hayward. Songbooks and Methods. Tune a Day. Book and CD (97 tracks), Instrumental Tutor. Text language: English. 64 pages. Published by Boston Music

Piano Pop and Vocal. Animation Songs. Sheet music. Yamaha Music Media #GTP01093497. Published by Yamaha Music Media

For Piano Acc. Instrumental Series. Rolling Stone Magazine's 500 Greatest Songs of All Time. Play Along. Level: Level 2-3. Book and CD. 60 pages. Published by Alfred Publishing.

Collection for solo piano(all C instruments), . 159 pages. Published by Santorella Publications.

By Moira Hayward. Songbooks and Methods. Tune a Day. Book/CD/DVD, Instrumental Tutor. Text language: English. 64 pages. Published by Boston Music

Piano

SKU: HL.14030676

Ten Short Pieces for Piano. Composed by Rued Langgaard. Music Sales America. Classical. Score. Composed 2020. Duration 1200 seconds. Edition Wilhelm Hansen #KP00666. Published by Edition Wilhelm Hansen (HL.14030676).

ISBN 9788759863879. Danish.

The 'Ten short piano pieces' with the title Sommerferie i Blekinge (Summer Holiday in Blekinge) (1916) have not been preserved in their complete form. The only existing source is a manuscript in Rued Langgaard's hand that lacks the first and last pages with sections of the music. This means that the entire first piano piece with the title Paa rejse (Travelling) is missing as well as most of Piece II, Mode (Meeting) (only the conclusion of this piece has been preserved). A large fragment exists of Piece X, Aften med Dans (Evening with Dancing), but the conclusion is missing. The manuscript is to be found at the Royal Danish Library in Copenhagen (RLS 83,2). On the first page,Langgaard has merely written 'Piano Pieces 1916': the real title and titles of the movements in the first two pieces derives from other sources. In 2008, the Rued Langgaard Society asked the Danish composer Niels Marthinsen (b. 1963) to add to the work, the aim being to create a 'performance version'. Marthinsen composed a complete new first piece - Paa rejse (Travelling) - and allowed it to merge with the preserved concluding fragment of Langgaard's second piece, Mode (Meeting). Niels Marthinsen further composed a conclusion to the incomplete Piece X, Aften med Dans (Evening with Dancing), and in it incorporated a reference to the first piece, so that his additions came to form a frame round what hasbeen preserved of Langgaard's work. This supplemented version was given its first performance by Berit Johansen Tange in 2008. The overall title and titles of the individual pieces refer to a summer stay in 1913, i.e. three years before the work was composed, when the then 20-year-old composed was on holiday in Kyrkhult in Blekinge (Sweden).

Promises Weding Classics for Piano with CD composed by Various. Arranged by Jonathon Robbins. For piano. This edition: Paperback. Collection. Wedding. Book and CD. Text Language: English. 112 pages. Published by Santorella Publications

Composed by Misha V. Stefanuk. Saddle-stitched. Young Beginner. Book and online audio. Published by Mel Bay Publications, Inc

(50 Short Late Elementary Piano Solos with Optional Duet Accompaniments (Five Finger Piano)). Arranged by Tom Gerou. For Piano. This edition: Five Finger Piano. Book; Piano Collection; Piano Supplemental. A to Z. Sacred; Secular; Traditional. Five Finger; Late Elementary. 104 pages. Published by Alfred Music Publishing

(Piano Play-Along Volume 71). By George Gershwin (1898-1937). For Piano/Keyboard. Piano Play-Along. Softcover with CD. 88 pages. Published by Hal Leonard

(Piano Solo). By Robert Schumann. For solo piano. This edition: LB1993. Piano Collection. Classical Period. SMP Level 6 (Late Intermediate). Collection. Introductory text (does not include words to the songs). 75 pages. Published by G. Schirmer

(Beginning Piano Solo Play-Along Volume 3). By Oscar Hammerstein and Richard Rodgers. Beginning Piano Solo Play-Along. Softcover with CD. 24 pages. Published by Hal Leonard

(Piano Play-Along Volume 79). By Various. Hal Leonard Piano Play-Along. Softcover with CD. 32 pages. Published by Hal Leonard

The Easiest Easy Piano Songs. Composed by Various. Easy Piano Songbook. Carol, Christmas. Softcover. 98 pages. Published by Hal Leonard