Alfred's Basic Adult Piano Course Lesson Book, Book 1 by Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Method/Instruction; Piano - Alfred's Basic Adult Piano Course. Alfred's Basic Adult Piano Course. Book and CD. 112 pages. Published by Alfred Music Publishing

The new, easy and fun way to teach yourself to play. Willard A. Palmer and Morton Manus. For Piano. Piano Method. Book and CD. 192 pages. Published by Alfred Publishing.

Piano - Grade 4-5

SKU: ET.PNO68

Composed by Richard Lane. Contemporary. Composed 1972, 1977, 1986. Duration 7 minutes, 15 seconds. Editions BIM #PNO68. Published by Editions BIM (ET.PNO68).

ISBN 9790207009289.

The 3 Impromptus by Richard Lane are excellent examples of a composer in full possession of his craft, an accomplished musician capable of writing beautiful music at any level of difficulty.
Lane composed Impromptu I (no specified dedicatee but most likely written for one of his students) in December 1972 at the age of 39.
The Impromptu II is dated June 1977 and was written for Eric Neumann who writes: [...] This Impromptu II written for me was a graduation present. I had studied with Richard Lane for three years, starting with composition. After my piano teacher retired, “Dick agreed to teach me piano to prepare for college auditions. With his support, I was accepted at the Eastman School of Music, his alma mater. The work was written as his impression of my finger dexterity in the fast sections and my contemplative spirit in the slower section.
The Impromptu III was written 9 years later (Oct. 1986) and is dedicated to Dahwei Kuo, most certainly also a Richard Lane student. A light, elegant piece with an impish sense of humor and some technical challenges thrown in for good measure.
The numerous unpublished piano works (including those for 2 pianos or 4 hands) by Richard Lane, composer and pianist, are all marvelous gems to be discovered as we proceed with the exclusive Editions Bim publications planned for the coming years.
Pianists interested in these publications can sign up for email information regarding new releases or periodically checking our website: www.editions-bim.com.

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 John Cage (1912-1992). For Piano. Modern. Sheet Music. Composed 1942. 5 pages. Duration circa 2 minutes. Published by Edition Peters

By E. L. Lancaster and Kelsey Lancaster. For Piano. Piano Solo. Level: Late Elementary (grade 2). Sheet. 4 pages. Published by Alfred Publishing.

Piano

SKU: BT.9780008306144

Composed by David Blackwell and Karen Marshall. Get Set! Piano. Book Only. Composed 2018. 40 pages. Collins Music Publishing #9780008306144. Published by Collins Music Publishing (BT.9780008306144).

ISBN 9780008306144.

G et Set! Piano Christmas Crackers contains over 30 carols for the beginner pianist, featuring a range of techniques and quizzes to support musical development from the very first lessons to Grade 2.

Full of festivefavourites such as Jingle bells, Silent night and Deck the halls, with a few lesser known carols included for good measure, many of the pieces have simple but effective teacher duet parts to encourage ensemble playing from thestart. The book is illustrated throughout in the charming Get Set! style, and students are encouraged to decorate and colour in the drawings to reflect their progress.

Packed with fantastic, tried-and-tested arrangementsanda variety of fun activities to reinforce learning, this is the ultimate beginner piano Christmas book!

By Diane Hidy. For piano. Piano Town. Method book. Published by Neil A. Kjos Music Company

By Diane Hidy. For piano. Piano Town. Method book. Published by Neil A. Kjos Music Company

Hal Leonard Student Piano Library. Educational Piano Library. Instruction, Method. Softcover Audio Online. 32 pages. Published by Hal Leonard

Hal Leonard Student Piano Library. By Barbara Kreader, Fred Kern, Phillip Keveren, and Mona Rejino. The Hal Leonard Student Piano Library. Book only. Size 11.8x9 inches. 32 pages. Published by Hal Leonard.