With a Critical Commentary. By Johann Sebastian Bach. Edited by G.V. Dadelsen, K. Ronnau. Piano (Harpsichord), 2-hands. Pages: 143. Urtext edition-cloth bound. Published by G. Henle.

Composed by Fr�©d�©ric Chopin. Edited by Maurice Hinson and Allison Nelson. For Piano. Book; Masterworks; Piano Duo (2 Pianos, 4 Hands). Alfred Masterwork Edition. Form: Rondo. Masterwork; Romantic. Advanced. 44 pages. Published by Alfred Music

Composed by Johann Sebastian Bach (1685-1750), edited by Klaus Ronnau. Collection for Piano (Harpsichord), 2-hands. With Critical Commentary. Urtext edition-paper bound. 143 pages. Published by G. Henle.

Piano - Easy

SKU: YM.GPP01096234

Piano Pop & Vocal. Arranged Classics. Sheet music. Yamaha Music Media #GPP01096234. Published by Yamaha Music Media (YM.GPP01096234).

ISBN 9784636962345.

Plea se enjoy 25 arrangements based on famous classical pieces on only white keys.
Jin Yong Bai Jian Dan Zou 25Shou Zhu Ming Gu Dian Zai Bian Pei Le Qu .

1. Pachelbel: Canon in D; 2. J. S. Bach: Jesu, Joy of Man's Desiring; 3. Mozart: Turkish March; 4. Beethoven: Fur Elise; 5. Beethoven: Piano Sonata Moonlight; 6. Beethoven: Piano Sonata Pathetique; 7. Chopin: Nocturne No.2 Op.9/2; 8. Chopin: Etude No.3 Tristesse; 9. Chopin; Grand Waltz Brillant; 10. Chopin: Prelude No.15 Raindrop; 11. Schumann: Traumerei; 12. Liszt: La campanella; 13. Liszt: Liebestraum; 14. Verdi: Triumphal March from Aida; 15. Smetana: The Moldau; 16. J. S. Bach-Gounod: Ave Maria; 17. J. Strauss, Jr.: The Blue Danube; 18. Tchaikovsky: Waltz of the Flowers from The Nutcracker; 19. Tchaikovsky: Scene from Swan Lake; 20. Elgar: Salut d'Amour; 21. Elgar: Pomp and Circumstance; 22. Debussy: The Girl with the Flaxen Hair; 23. satie: Gymnopedie No.1; 24. Satie: Je te veux; 25. Holst: Jupiter from The Planets Op.32
1. Pa He Bei Er : DDa Diao Qia Nong ; 2. Ba He : Ye Su , Shi Ren Qi Dai De Xi Yue ; 3. Mo Zha Te : Tu Er Qi Jin Xing Qu ; 4. Bei Duo Fen : Zhi Ai Li Si ; 5. Bei Duo Fen : Gang Qin Zou Ming Qu Yue Guang ; 6. Bei Duo Fen : Gang Qin Zou Ming Qu Bei Chuang ; 7. Xiao Bang : Ye Qu No.2 Op.9/2; 8. Xiao Bang : Lian Xi Qu No.3 Chi Bie Qu ; 9. Xiao Bang : Hua Li Da Yuan Wu Qu ; 10. Xiao Bang :Qian Zou Qu No.15 Yu Di ; 11. Shu Man : Meng Huan Qu i; 12. Li Si Te : Zhong ; 13. Li Si Te : Ai Zhi Meng ; 14. Wei Er Di : Kai Xuan Jin Xing Qu Xuan Zi Ge Ju A Yi Da ; 15. Si Mei Ta Na :Wo Er Ta Wa He ; 16. Ba He : Sheng Mu Song ; 17. Si Te Lao Si : Lan Se Duo Nao He ; 18. Chai Ke Fu Si Ji : Hua Zhi Yuan Wu Qu Xuan Zi Hu Tao Jia Zi ; 19. Chai Ke Fu Si Ji : Chang Jing Chu Zi Tian E Hu ; 20. Ai Er Jia : Ai De Li Zan ; 21. Ai Er Jia : Wei Feng Tang Tang ; 22. De Biao Xi : Ya Ma Se Tou Fa De Shao Nu ; 23. Sa Di : Luo Ti Zhi Wu No.1; 24. Sa Di : Wo Xu Yao Ni ; 25. Huo Er Si Te : Mu Xing Xuan Zi Xing Xing Zu Qu Op.32.

Piano - Advanced

SKU: AP.K03657

Composed by Gustav Mahler. Duet or Duo; Masterworks; Piano Duet (1 Piano, 4 Hands); Solo Small Ensembles. Kalmus Edition. Masterwork; Romantic. Book. 84 pages. Kalmus Classic Edition #00-K03657. Published by Kalmus Classic Edition (AP.K03657).

ISBN 9780769241470. UPC: 029156182125. English.

A Piano Duet for 1 Piano, 4 Hands, composed by Gustav Mahler.

Piano - Late Intermediate

SKU: AP.48670

Arranged by Melody Bober. Duet or Duo; Piano Duet (1 Piano, 4 Hands); Solo Small Ensembles. The Alfred Duet Series. Folk; Recital; Traditional. Score. 8 pages. Alfred Music #00-48670. Published by Alfred Music (AP.48670).

ISBN 9781470643744. UPC: 038081559445. English. Irish Folk Song.

This setting of the popular Irish folk song Londonderry Air begins in the key of B-flat major and modulates to the key of D major. The flowing melody is supported by lush harmonies that span the range of the keyboard. The melody begins in the secondo and moves back and forth between the parts throughout this evenly leveled duet. The piece builds to a dramatic conclusion with rich chords in a slower tempo that is broad and grand.

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.