By Nancy Faber, Randall Faber. For Piano. Accelerated Piano Adventures. Level: Primer/Level 1. Book. Published by The FJH Music Company, Inc.

(Lesson Book 1 2-CD Set). By Nancy Faber and Randall Faber. For Piano. Faber Piano Adventures®. Primer/Level 1. CD only. Faber Music #CD1016. Published by Faber Music

Educational Piano Library. Blues Instruction, Jazz Instruction. Softcover. 48 pages. Published by Hal Leonard

Piano - Early Advanced; Late Intermediate

SKU: FJ.E1143

Composed by Kevin Olson. Duet or Duo; Piano Duet; Piano Supplemental. The FJH Piano Ensemble Series. Score. The FJH Music Company Inc #98-E1143. Published by The FJH Music Company Inc (FJ.E1143).

English.

Premier ed at MTNA 2023, this new work by Kevin Olson has a driving rhythm and jazz feel. For one piano, four hands at the Late Intermediate/Early Advanced level.

About FJH Piano Ensemble Series

Cre ative material especially written to explore aspects of artistic ensemble performance.

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.

By Gayle Kowalchyk. For Piano. Piano Solo; Sheet; Solo. Signature Series. Form: Waltz. Fall; Halloween. Early Elementary. 4 pages. Published by Alfred Music Publishing

By Robert D. Vandall. For Piano. Piano Solo. Level: Intermediate. Sheet. 6 pages. Published by Alfred Publishing.

Piano - Late Elementary

SKU: FJ.W9477

Composed by Kevin Costley. Piano Solo; Piano Supplemental. Written For You. Animals and Nature. Score. The FJH Music Company Inc #98-W9477. Published by The FJH Music Company Inc (FJ.W9477).

UPC: 241444414132. English.

Quick and decisive, this solo in E minor creates excitement with a left-hand staccato ostinato. Right hand is in bass clef throughout but stays in E minor position. The driving rhythm and forte dynamic is easy to learn and to play; a good introduction to D.S. al coda.

About FJH Written For You Piano Solos

Spar kling and lyrical pieces which promote musical expression.

Piano - Early Intermediate

SKU: FJ.W9472

Composed by Edwin Mclean. Piano Solo; Piano Supplemental. Written For You. Score. The FJH Music Company Inc #98-W9472. Published by The FJH Music Company Inc (FJ.W9472).

UPC: 241444410622. English.

Imagine roaming free, under the Big Sky! This exciting, rhythmic adventure for your renegade student pianists is a perfectly compact piece with a driving beat and melody that has a western-feel. Students explore easy syncopations in left hand, pedaling, and brief hand crossings that end in a fun, pianistic finish.

About FJH Written For You Piano Solos

Spar kling and lyrical pieces which promote musical expression.

By Ludwig van Beethoven (1770-1827). Edited by Johannes Fischer. For Piano. This edition: Urtext. Sheet Music. Published by Edition Peters

By David Karp. For Piano. Piano Solo. Level: Intermediate. Sheet. 4 pages. Published by Alfred Publishing.

Piano - Grade 4½; Late Intermediate

SKU: FJ.YA9017

Arranged by Kevin Olson. Piano Solo; Piano Supplemental; Solo. Arranged for You. Christmas; Funk; Recital; Winter. Score. 8 pages. The FJH Music Company Inc #98-YA9017. Published by The FJH Music Company Inc (FJ.YA9017).

UPC: 241444432266. English.

A funk-inspired interpretation of this Christmas classic. Syncopated rhythms, technical passages and a driving beat make this a showstopper to add to any holiday gathering or concert.

By Christopher Goldston. For piano. Sheet Music. The FJH Piano Ensemble Series. Intermediate. Sheets. Published by The FJH Music Company Inc

Piano - Grade 1, 2, 3

SKU: A3.9781860960161

Composed by Johann Sebastian Bach. ABRSM Exam Pieces. ABRSM Exam Pieces. Aural tests. 48 pages. ABRSM (Associated Board of the Royal Schools of Music) #9781860960161. Published by ABRSM (Associated Board of the Royal Schools of Music) (A3.9781860960161).

ISBN 9781860960161. 9 x 12 inches.

These two books provide practice material for the aural tests Grades 1-3 and Grades 4-5, which form part of the Associated Boards jazz piano exams. Develop aural and musicianship skills which are a fundamental part of jazz performance and improvisation. Cover a wide range of jazz styles from a calypso and a gentle jazz waltz, to boogie-woogie and driving funk rock. A concise introduction sets out what the examiner will be looking for and explains each component within the aural tests.

By Robert D. Vandall. For Piano. Piano Solo; Sheet; Solo. Signature Series. Fall; Halloween. Late Elementary. 4 pages. Published by Alfred Music Publishing

Piano

SKU: LH.LMP-P0302

Composed by Jeff Smallman. Piano Score. Composed 2003. 12 pages. Duration 3:55. Lighthouse Music Publications #LMP P0302. Published by Lighthouse Music Publications (LH.LMP-P0302).

8.5 x 11 inches.

Driving and insistent from the beginning, Arabesque is filled with the sounds of Impressionist music. Virtuosic in nature, this work demands advanced technique from the performer.

Piano - Intermediate

SKU: LO.70-2304L

Sacred, Christmas. Lorenz Publishing Company #70/2304L. Published by Lorenz Publishing Company (LO.70-2304L).

ISBN 9780787772840.

This collection features 10 Christmas worship songs arranged for solo piano. Each arrangement was originally exclusively featured in the magazine, Keyboard Worship & Praise, but are now available in this standalone collection. These arrangements vary in style from the reverent and meditative titles such as Adore Him and Prince of Heaven to the soulful and driving Glory and Emmanuel..

Appassionata Sonata * Complete Original * with Performance CD composed by Ludwig van Beethoven (1770-1827). For piano solo. This edition: Paperback. Solo. Classical. Book and CD. Text Language: English. 64 pages. Published by Santorella Publications

A Suite for Piano Solo. Composed by Samuel Adler. Solo part. With Standard notation. 16 pages. Duration 9 minutes. Theodore Presser Company #110-41819. Published by Theodore Presser Company (PR.110418190).

Boosey Big Note Series No. 9. By Mary Perrin. (Piano). Boosey and Hawkes Piano. 23 pages. Published by Boosey & Hawkes.

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

By Robert D. Vandall. For Piano. Piano Solo. Jazz. Level: Intermediate (grade IV). 12 pages. Published by Alfred Publishing.

By Catherine Rollin. For Piano. Piano Solo. Level: Early Intermediate. Sheet. 4 pages. Published by Alfred Publishing.

By Mary K. Sallee. For Piano. Piano Solo. Level: Elementary. Sheet. 4 pages. Published by Alfred Publishing.

Piano - Intermediate

SKU: AP.48672

Composed by Wynn-Anne Rossi. Duet or Duo; Piano Duet (1 Piano, 4 Hands); Solo Small Ensembles. Duet Recital Suite Series. Form: Suite. Score. 8 pages. Alfred Music #00-48672. Published by Alfred Music (AP.48672).

ISBN 9781470643768. UPC: 038081559469. English.

This three-movement suite for one piano, four hands was inspired by one of the largest lakes in North America, bordering Vermont, New York, and Quebec. The first movement, Wind on the Water, is a flowing piece in 5/4 meter that uses broken chords, broken intervals, and an expansive melody to capture the play of waves on the lake. The second movement, Mystery of the Deep, uses two contrasting sections, one mysterious and one cheerfully swinging, to musically portray a folkloric monster who lurks in the depths of Lake Champlain but also delights locals with occasional sightings. The final movement, Tides of Revolution, draws upon the lake's history as a pivotal battleground during the American Revolutionary War. Driving rhythms, biting dissonances, changing meters, and dramatic exchanges between the players bring the suite to an exciting close. Optional parts for percussion and violin/flute are available for download for two of the movements.

Piano - Grade 3

SKU: HL.14029018

Composed by Ole Schmidt. Music Sales America. 20th Century. Book [Softcover]. Composed 2002. 12 pages. Edition Wilhelm Hansen #WH27389. Published by Edition Wilhelm Hansen (HL.14029018).

ISBN 9788759868898. English.

Ole Schmidt is best known throughtout the world as a conductor, but he is also a highly talented and productive composer who has worked in nearly every idiom and genre. This piece is typical of his expressive qualities and demonstrates that while his music is often eclectic, sometimes experimental, he forms a basis in the Neoclassical tradition. It is his leaning toward driving rhythm and jazz-inspired harmony that makes his music compelling and attractive to listen to.

By Robert D. Vandall. For Piano. Piano Solo. Level: Early Intermediate. Sheet. 8 pages. Published by Alfred Publishing.