By Sylvia Rabinof. For Piano. This edition: 2 copies required. Piano Duo (2 Pianos, 4 Hands). Alfred's Classic Musical Editions. Masterwork. Level: Intermediate / Early Advanced. Book. 88 pages. Published by Alfred Publishing.

(Music from the Motion Pictures Arranged for Solo Piano). By Howard Shore. For Piano. This edition: Piano Solos. Piano Collection. Movie. Intermediate to Advanced. Book. 104 pages. Published by Alfred Music Publishing

For Piano and Orchestra (Solo Piano and Piano Reduction). By Ellen Taaffe Zwilich. For Piano Solo, Piano Reduction. Junior Class I-B piece for the One Hand Piano Music for the Concerto Event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Solo part with piano reduction. Composed 1996. 31 pages. Duration 13:00. Published by Theodore Presser Company

By Henri Vieuxtemps (1820-1881). Arranged by Patrick Geren. For Euphonium and Piano. Chamber music, 20th century. Published by Potenza Music

Songbook for voice, piano and guitar chords. From the animated motion picture "The Nightmare Before Christmas". 80 pages. Published by Hal Leonard.

Composed by Willis Barnett. For SATB choir, mixed solo, keyboard accompaniment. African American Church Music Series. Sacred. Easy. Octavo. Text language: English. 8 pages. Published by GIA Publications

Piano Solo. By Elizabeth Quaile, Angela Diller. Piano Collection. Size 9x12 inches. 48 pages. Published by G. Schirmer, Inc.

Composed by Norman Dello Joio (1913-). For voice, piano. 56 pages. Published by Carl Fischer

Edited by Denes Agay. For piano. Format: piano solo book. With fingerings, introductory text, biographical sketches of composers and glossary of musical terms. 20th century. 238 pages. 9x12 inches. Published by Yorktown Music Press.

(174 Favorite Piano Pieces by 44 Composers). Composed by Various. For Piano Solo. Misc. 326 pages. Published by Hal Leonard

Piano/Vocal/Chords. Composed by Howard Shore and Enya. This edition: Piano/Vocal/Chords. Piano/Vocal/Chords; Shows and Movies. Movies. Songbook. With vocal melody, piano accompaniment, lyrics, chord names and color illustrations. 28 pages. Alfred Music #00-0659B. Published by Alfred Music

Choral SSA Choir and Piano

SKU: CF.CM9718

Composed by Meredith Tompkins. 8 pages. Duration 2 minutes, 23 seconds. Carl Fischer Music #CM9718. Published by Carl Fischer Music (CF.CM9718).

ISBN 9781491160978. UPC: 680160919574. Key: D major. English. Manmohan Ghose.

Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. A Lament is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father's death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: I like to think of this piece as a metaphorical hall of mirrors. The original 'image' of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement. As a nod to the poet's birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.
Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. “A Lament” is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father’s death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: “I like to think of this piece as a metaphorical hall of mirrors. The original ‘image’ of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement.” As a nod to the poet’s birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.

Piano - very easy to intermediate

SKU: HL.49014962

For Piano. Composed by Cornelius Gurlitt. Edited by Willy Rehberg. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 32 pages. Schott Music #ED1583. Published by Schott Music (HL.49014962).

ISBN 9790001033855. UPC: 073999345735. 9.0x12.0x0.136 inches.

Easy Piano. By Danny Elfman. Easy Piano Songbook (Easy arrangements for piano). Softcover. Size 9x12 inches. 80 pages. Published by Hal Leonard.

(Big-Note Piano). By Danny Elfman. For Piano/Keyboard. Big Note Songbook. Softcover. 72 pages. Published by Hal Leonard

(Visions of Jazz Series). By Tanya Maria. For Piano. DVD. DVD. Hal Leonard #72034. Published by Hal Leonard

Composed by Bela Bartok (1881-1945). Edited by Hywel Davies. BH Piano. Classical. Softcover with CD. 52 pages. Boosey and Hawkes #M060131998. Published by Boosey and Hawkes (HL.48023789).

(Book with Online Audio Access Intermediate Level). By Various. Edited by Richard Walters. For Piano. Schirmer Performance Editions. Softcover Audio Online. 66 pages. Published by G. Schirmer

By ABRSM. For clarinet, piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.