Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard

Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer

(The Collaborative Artist Chamber Music Series). Arranged by Nancy Faber. Faber Piano Adventures®. 8 pages. Faber Piano Adventures #FF7007. Published by Faber Piano Adventures

Arranged by Nigel Hess. For Keyboard; Piano. Piano Collection; Piano Supplemental; Solo. Faber Edition. Christmas; Traditional; Winter. 6 ; Advanced; Early Advanced; Grade 5; Grade 5.5; Intermediate; Late Intermediate. Published by Faber Music

Holly Jolly Christmas, Silent Night, O Little Town Of Bethlehem composed by Various. Arranged by Craig Stevens. For easy piano solo. Solo. Best of Christmas series. Christmas. Easy. Sheet Music. Text Language: English. 8 pages. Published by Santorella Publications

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.

Most Wonderful Day Of The Year, Up On The Housetop, I Heard The Bells On Christmas Day composed by Various. Arranged by Craig Stevens. For easy piano solo. Solo. Best of Christmas series. Christmas. Easy. Sheet Music. Text Language: English. 8 pages. Published by Santorella Publications

Jingle Bells, Silver and Gold, Away In A Manger composed by Various. Arranged by Craig Stevens. For easy piano solo. Solo. Best of Christmas series. Christmas. Easy. Sheet Music. Text Language: English. 8 pages. Published by Santorella Publications

Best Of Christmas for Easy Piano with CD composed by Various. Arranged by Craig Stevens. For easy piano. This edition: Paperback. Collection. Christmas. Book and CD. Text Language: English. 128 pages. Published by Santorella Publications

Adult Piano Adventures. Arranged by Nancy Faber and Randall Faber. Adult Piano Adventures. Christmas, Educational. Softcover Audio Online. 80 pages. Faber Piano Adventures #FF1370. Published by Faber Piano Adventures

(20 Best Loved Carols to Play and Sing). Arranged by Fanny Waterman. For Piano. This edition: Easy Piano. Book; Piano Collection; Piano Supplemental. Faber Edition. Christmas; Secular; Winter. Early Intermediate; Elementary; Intermediate; Late Elementary. Published by Faber Music

By Various. Easy Piano Songbook. Softcover. 512 pages. Published by Hal Leonard

Best Of Christmas for Big-Note Piano composed by Various. Arranged by Jonathon Robbins. For easy piano. This edition: Paperback. Collection. Best of Christmas series. Christmas. Book. Text Language: English. 128 pages. Published by Santorella Publications

By Marilyn Reimer. For Piano. The FJH Sacred Piano Library. Contents include: Lord, Be Glorified (in the setting of Pachelbel's Canon in D); Be Thou My Vision (in the setting of Bach's Jesu, Joy of Man's Desiring); Silent Night! Holy Night! (in the setting of Bach's Prelude in C); O Worship the King (in the setting of Handel's Allegro Maestoso from Water Music); Savior, Like a Shepherd Lead Us (in the setting of Bach's Air on the G string); Hark! The Herald Angels Sing (in the setting of Mozart's Eine Kleine Nachtmusik); For the Beauty of the Earth (in the setting of Bach's Musette from English Suite No. 3); This is My Father's World (in the setting of Sinding's Rustle of Spring); Majesty (in the setting of Chopin's Polonaise Op. 40 No. 1). Sacred. L

(Really Easy Piano Solos with Optional Duet Accompaniments). Arranged by Fanny Waterman. For Piano. This edition: Easy Piano. Book; Piano Collection; Piano Supplemental. Faber Edition. Christmas; Secular; Winter. Elementary. 24 pages. Published by Faber Music

Piano Solos. By Dave Brubeck. Artist/Personality; Piano - Personality Book; Piano Supplemental. Christmas and Jazz. Collection. With standard notation and chord names (does not include words to the songs). 36 pages. Alfred Music #00-0157B. Published by Alfred Music

Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 best-loved Christian hymns that have inspired praise and worship for over four centuries. Series: Piano Treasury Series. 392 pages. Published by Music Sales.

Composed by Elaine Hagenberg. Elaine Hagenberg. Music Education. GIA Publications #EH1020. Published by GIA Publications

Adult Piano Adventures. Arranged by Nancy Faber and Randall Faber. Adult Piano Adventures. Christmas, Method, Supplementary. Softcover Audio Online. 80 pages. Faber Piano Adventures #FF1371. Published by Faber Piano Adventures

Organ; Piano (Piano)

SKU: HL.48016562

For Organ or Piano. Composed by Various. Edited by Oliver Janes. BH Piano. Baroque, Classical, Collection. Josef Weinberger #M570051373. Published by Josef Weinberger (HL.48016562).

UPC: 073999656831. 8.5x11.0x0.234 inches.

Contents: Andante from Symphony No. 104 (Haydn) * Larghetto from Concerto Grosso No. 12 (Handel) * Adagio from Symphony No. 3 (Mendelssohn) * Andante from Symphony No. 5 (Schubert) * Largo from New World Symphony (Dvorak) * Songs My Mother Taught Me (Dvorak) * Andante from Symphony No. 4 (Schubert) * Largo from Symphony No. 88 (Haydn) * Silent Woods (Dvorak) * Melody from Violoncello Concerto (Dvorak) * Andante from Violin Concerto (Mendelssohn) * Adagio from Symphony No. 97 (Haydn) * Finale from Symphony No. 5 (Dvorak) * Andante Cantabile from Symphony No. 5 (Tchaikovsky).

(Level 4 (Intermediate)). Arranged by Nancy Faber and Randall Faber. For Piano. Faber Piano Adventures®. Christmas. Softcover. 40 pages

(Christmas). Arranged by Nancy Faber and Randall Faber. For Piano. Faber Piano Adventures®. Includes traditional carols as well as seasonal favorites.. Christmas. SMP Level 2 (Late Elementary). Softcover. 24 pages

A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag. Contemporary. Level: Beginning-Intermediate. Book. Size 9x12. 144 pages. Published by AMA Verlag. ISBN 3899220102.

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

By Nancy Faber, Randall Faber. Arranged by Edwin Mclean. For Piano. Piano Adventures. Level: 2A - 2B. CD. Published by The FJH Music Company, Inc.

(20 Carols for the Beginning Pianist). Composed by Kimberly Meiste. For piano. Christmas. Easy. Published by Lillenas Publishing Company

(Skips on the Staff). By Nancy Faber and Randall Faber. Faber Piano Adventures®. Early Elementary. Softcover. Faber Music #FF3003. Published by Faber Music