Piano

SKU: BT.VOLMB201

Composed by Ludovico Einaudi. Book Only. 52 pages. Volonte e Co #VOLMB201. Published by Volonte e Co (BT.VOLMB201).

ISBN 9788863881967. International.

Song s include: Fuori dalla notte, Due tramonti, Nefeli, Giorni dispari, Julia, Fuori dal mondo, Un mondo a parte, Password, Exit.

E’ una raccolta per pianoforte che contiene la maggior parte dei brani contenuti nel CD di Ludovico Einaudi Eden Roc.Alcuni brani sono leggermente diversi rispetto al CD, in particolare quelli che in origine erano con altri strumenti. Questi i titoli:Fuori dalla notteDue tramontiNefeliGiorni dispariJuliaFuori dal mondoUn mondo a partePasswordExit.

Level 3A-3B. Arranged by Nancy Faber and Randall Faber. Faber Piano Adventures. Chinese. Softcover. 32 pages. Faber Piano Adventures #FF3048. Published by Faber Piano Adventures

Piano

SKU: HL.14040983

Piano. Composed by Theodor Grigoriu. Music Sales America. Classical. Book [Softcover]. Editions Musicales Transatlantiques #ETR001822. Published by Editions Musicales Transatlantiques (HL.14040983).

French.

The Modal Column is a cycle of paired pieces for piano, starting from the classical structure- prelude-fugue - used by Bach in Das wohltemperierte Klavier. The modes that are being used have a relatively simple octavizing structure, hence an almost infinite variety of combinations that can generate a large number of pieces, impossible to exhaust by a composer. Therein lies the idea of a column, in the sense given by Brancusi, i.e. an endless succession of modules.

In the vision of the author, the mechanism of the mode is a secondary (ancillary) aspect, the primary goal is deciphering the ethos incorporated in it.

The prelude-fugue structure hypostatizesthe musical discourse at the two possible extremes. free-constructed. While Romanian music rules in free areas, like any old music with an (especially oral) tradition, the constructed pieces start from Dutch (Flemish) or Venetian polyphony, which precedes the idea of fugue, understood as a technology of the movement (dynamics) of sound, after the models of Giovanni Gabrieli or Ockeghem.

The Modal Column is first of all the presentation of a melodic world but, as the subtitle indicates, also an investigation into the ethos of Romanian music. The forms in which the pieces are thought are simple, non-ostentatious, the whole cycle being in fact a musical workshop, whose better parts may be worth including in ampler works. Before the succinct description of the six couples in Books I and II, a few observations, necessary from a musicological point of view:

• 1. The modes are rich in nostalgia, with even graver nuances in the livelier movements.
• 2. It is well-known, that all the columns - Egyptian obelisks, ancient ornamental columns - have scenarios engraved on them. Trajan's Column describes the wars against the Dacians and their defeat. George Calinescu says, 'Trajan's Column is beautiful, but let us not forget that the Dacians are in chains on it.' The Romanian melos is millennia-old and was but little influenced by historical.
  
  

Piano - Grade 4

SKU: BT.WMP2217

2015-2016 Grades 6-7. Composed by Josephine Koh. Teachers' Choice. Method. Book Only. 44 pages. Wells Music Publishers #WMP2217. Published by Wells Music Publishers (BT.WMP2217).

ISBN 9789810924102. English.

Teachers’ Choice, Selected Piano Repertory & Studies for grades 6-7 is compiled to provide teachers and students with good options for the 2015 & 2016 ABRSM Piano examinations.

- This collection ofinteresting and appealing Piano pieces contains editorial suggestions for pedagogical purposes. Most teachers will find the performance points helpful in developing stylistic awareness in the students.

-Examinat ionrequirements aside, details on articulation, dynamics, fingering, pedal marks and tempo serve to provide a directed approach for students to strive towards achieving musical excellence and perfection.

-Effect ivetechnicalstudies suited to each level have been carefully selected, forming in themselves, supplementary materials to enhance technical competence.

-Most important of all, enjoy the high standards of music typography suchclear, professionally laid scores supported by modern publishing technology and musical semiotics. The digital print on quality cream-coloured paper ensures comfort in the reading of musical scores.

Level 2A. Arranged by Nancy Faber and Randall Faber. Faber Piano Adventures. Chinese. Softcover. Faber Piano Adventures #FF3046. Published by Faber Piano Adventures

Primer Level. Arranged by Nancy Faber and Randall Faber. Faber Piano Adventures. Chinese. Softcover. 22 pages. Faber Piano Adventures #FF3056. Published by Faber Piano Adventures

Hardcover with DVD. Composed by Nancy Faber, Randall Faber. Faber Piano Adventures. Instruction, Method. Hardcover with DVD. 176 pages. Faber Piano Adventures #FF3007. Published by Faber Piano Adventures

Level 1. Arranged by Nancy Faber and Randall Faber. Faber Piano Adventures. Chinese. Softcover. Faber Piano Adventures #FF3045. Published by Faber Piano Adventures

Level 4. Arranged by Nancy Faber and Randall Faber. Faber Piano Adventures. Chinese. Softcover. 40 pages. Faber Piano Adventures #FF3049. Published by Faber Piano Adventures

By Nancy Faber, Randall Faber. Arranged by Edwin Mclean. For Piano. Level: Primer. CD. Published by The FJH Music Company, Inc.

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

Edited by Glew. Arranged by Dale Tucker. Classical piano (late-elementary piano). Level: late elementary, level 2. 28 pages. Published by Belwin.

Composed by Nancy Faber and Randall Faber. Faber Piano Adventures. Educational, Method. Softcover Audio Online. 40 pages. Faber Piano Adventures #FF1605. Published by Faber Piano Adventures

Piano - very easy to easy

SKU: M7.VOGG-934

Composed by Herbert Kraus. Sheet music with CD. 64 pages. Voggenreiter #VOGG 934. Published by Voggenreiter (M7.VOGG-934).

ISBN 9783802409349. German.

Spielerisch und leicht verständlich findest du mit diesem Buch den Einstieg in das Klavierspiel. Die didaktisch ausgereifte Schule ist das Ergebnis langjähriger Zusammenarbeit von Lehrern und Schülern. Zum Arbeiten mit Klavier Basics werden keinerlei musikalische Vorkenntnisse benötigt. Alle Übungen und Stücke sind zum direkten Mitspielen zur beigefügten CD konzipiert. Auch die theoretischen Grundlagen sind an den gegebenen Stellen erklärt und festigen den Lernerfolg. Die Stücke, bei denen beide Hände gleichzeitig spielen, sind so aufgenommen, dass die Hände getrennt auf dem rechten bzw. dem linken Stereo-Kanal zu hören sind. So kann durch Wegblenden eines Kanals die andere Stimme einzeln zur CD geübt werden. Zahlreiche Tipps und Tricks runden das Konzept dieses Buches und garantieren das problemlose Erlernen des Solospiels und der Songbegleitung.Klavier Basics ist die ideale Schule sowohl für Autodidakten als auch für den Unterricht an Musikschulen.

By Walter Noona. Piano. Level: Level 2. Piano method. Published by Heritage Music Press.

Piano

SKU: BT.ESZ-01494800

Composed by Sandor Veress. Score Only. Edizioni Suvini Zerboni #ESZ 01494800. Published by Edizioni Suvini Zerboni (BT.ESZ-01494800).

With his Venti pezzi per pianoforte (1938), the Hungarian composer Sándor Veress (1907-92) wanted to create a collection of piano miniatures on folk melodies destined for use in the concert hall as well as for teaching purposes. Each piece is based on one or more songs and dances from different Hungarian speaking areas, which are re-elaborated and presented in a carefully conceived alternation of character, musical writing and technical difficulty. The result is a multi-colored overview of Hungarian folk music: songs of a pathetic or even dramatic nature are contrasted with lighter and high-spirited pieces, interspersed with dances of varying types, among which a homogeneousblock stands out formed by the group of Csárdás, a typical tavern dance also used by Liszt. The Venti pezzi per pianoforte represent the culmination of the extensive ethnomusicological research made by Veress in the ’30s and ‘40s, while working as assistant to László Lajtha and to Béla Bartók, and at the same time carrying out field work in Hungary and neighboring countries. The composer intended that this collection should play a fundamental role of mediation between folklore and western “art” music, by revitalizing the language from within, without resorting to the abstractions of the experimentation being developed in Europe at the time. During his lifetime Veress never succeeded in publishing the complete version of the Venti pezzi per pianoforte, but issued various selections of the pieces, two of which remained totally unpublished. The present critical edition prepared by Giada Viviani reconstructs the complete text of the Venti pezzi per pianoforte on the basis of manuscript sources kept at the Paul Sacher Foundation in Basel: the musical scores, with fingering by Jakub Tchorzewski, are accompanied by an introductory essay on the context in which the collection was created, including a description of the state of the sources and a detailed apparatus criticus of the textual variants.

Con i suoi Venti pezzi per pianoforte (1938), il compositore ungherese Sándor Veress (1907-92) ha voluto creare una raccolta di miniature pianistiche su melodie popolari destinate sia a un uso concertistico, sia all’attivit didattica. In ogni branovengono rielaborati uno o più canti e danze provenienti da diverse aree geografiche di lingua ungherese, che si susseguono in base a una sapiente alternanza di carattere, scrittura musicale, difficolt esecutiva. Viene così offerta una variegatapanoramica della musica popolare di questa nazionalit : a canti di contenuto patetico o addirittura drammatico se ne affiancano di più leggeri e giocosi, avvicendandosi a danze di natura differente, tra cui spicca come un blocco omogeneo il gruppodelle Csárdás, tipica danza da locanda utilizzata anche da Liszt.I Venti pezzi per pianoforte rappresentano il coronamento della ricca attivit etnomusicologica condotta da Veress tra gli anni ’30 e ‘40, sia lavorando come assistente di László Lajtha e di Béla Bartók, sia svolgendo ricerca sul campo in Ungheria enei paesi limitrofi. Per il compositore, questa raccolta doveva svolgere un fondamentale ruolo di mediazione tra il folklore e la musica “colta” occidentale, in maniera da rivitalizzarne il linguaggio dall’interno, senza gli astrattismi dellesperimentazioni allora condotte in Europa.Nel corso della sua vita Veress non riuscì mai a pubblicare la versione integrale dei Venti pezzi per pianoforte, mentre ne fece uscire sul mercato alcune selezioni, lasciando del tutto inediti due brani. La presente edizione critica a cura di GiadaViviani ricostruisce il testo completo dei Venti pezzi per pianoforte in base alle fonti manoscritte conservate presso la Fondazione Paul Sacher di Basilea: gli spartiti musicali, corredati dalla diteggiatura di Jakub Tchorzewski, sono accompagnatida un saggio introduttivo sul contesto di creazione della raccolta, dalla descrizione dello stato delle fonti e da un dettagliato apparato critico delle varianti testuali.

By Walter Noona. For piano. Level: Level 2. Piano method. Published by Roger Dean.

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.

Piano

SKU: BT.MI0389

Volume 3. Composed by Federico Dattino. Tuition. Book and DVD. Composed 2020. Play Music Italy #MI0389. Published by Play Music Italy (BT.MI0389).

Italian.

Quando si suona il pianoforte, la mano sinistra non svolge lo stesso ruolo della mano destra. Bisogna quindi essere capaci di muovere entrambe le mani l’una indipendentemente dall’altra, ma in modo coordinato. Questo metodo, molto progressivo, affronta la questione in maniera sia tecnica che musicale. Ogni difficolt , messa in evidenza tramite un esercizio specifico, è immediatamente dopo applicata su un piccolo brano… in modo che la tecnica rimanga costantemente al servizio della musica e del piacere di suonare. Gli esercizi di questo terzo ed ultimo volume approfondiscono quindi le nozioni gi viste nei due volumi precedenti… ma non solo! In effetti farete anche pratica conil sistema ternario, le estensioni, gli intervalli tenuti e a specchio, le terzine distribuite tra le mani, gli arpeggi a 4 suoni, gli spostamenti ritmici, i 3 per 2 invertiti, le figure a base di sedicesimi, la clave, ecc. In breve, tanti elementi indispensabili per rinforzare l’indipendenza delle mani sul pianoforte. Sul disco dati allegato al metodo, troverete numerosi file audio e video. I video (mp4) presentano tramite l’immagine gli esercizi ed i brani così come devono essere suonati. Le registrazioni audio (mp3) invece propongono le basi musicali corrispondenti, a due velocit diverse, sulle quali potrete suonare i brani proposti.

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.

Piano

SKU: BT.MI0420

Composed by Paolo Deriva. Studies & Exercises. Book with Online Audio. Composed 2020. Play Music Italy #MI0420. Published by Play Music Italy (BT.MI0420).

Italian.

Con questo metodo, potrete finalmente imparare e soprattutto capire come utilizzare la scala maggiore al pianoforte, nonché scoprire tutto il suo potenziale melodico per sfruttarla al meglio. Dopo alcune pagine indispensabili dedicate alla teoria, affronterete quindi queste 12 scale maggiori, che ogni pianista deve saper padroneggiare, in maniera coerente ed efficace. Per ogni scala troverete sulla pagina di sinistra il nome e la collocazione delle note sulla tastiera del pianoforte (2 ottave), nonché gli accordi sui quali tale scala potr essere suonata in tutta sicurezza. Sulla pagina di destra, scoprirete, per illustrare quanto imparato, una lunga improvvisazione cheutilizza questa sola ed unica scala. Viene accompagnata da due registrazioni (da scaricare): la prima vi permette di ascoltare l’esempio, mentre la seconda propone la base musicale corrispondente. Potrete quindi suonare sulla base musicale non solo l’esempio proposto ma anche qualsiasi altra melodia o improvvisazione creata da voi stessi… ricavata dalla scala maggiore in questione, ovviamente! Tutte le registrazioni di questo metodo (esempi e basi musicali) possono essere scaricate gratuitamente e molto facilmente seguendo le indicazioni fornite nel libro.

Piano

SKU: BT.MUSMI0376

Composed by Federico Dattino. Tuition. Book and DVD. Composed 2017. Play Music Italy #MUSMI0376. Published by Play Music Italy (BT.MUSMI0376).

Italian.

Questâ €™opera ha lo scopo di farvi scoprire e suonare diversi tipi di accompagnamenti per il pianoforte a base di accordi e di arpeggi. Comincerete con le ritmiche costituite da accordi placcati e semi-arpeggiati in cui le due mani si completano in modo efficace, sia al livello ritmico che armonico. Proseguirete con gli accompagnamenti in arpeggio, suonati il più delle volte dalla mano destra e completati dalla sinistra che si occupa dei bassi. Infine una terza categoria di ritmiche vi dar l’occasione di utilizzare i rivolti (di 3 poi di 4 suoni) in modo da imparare ad ottimizzare gli spostamenti delle mani sulla tastiera. Ossia 56 accompagnamenti in tutto che costituisconoaltrettanti standard, da utilizzare a piacimento in numerosissimi contesti musicali, dalla canzone alla ballata pop passando per la musica di film. Accessibili all’inizio alla maggior parte dei pianisti, questi accompagnamenti diventano progressivamente più evoluti man mano che si va avanti nel testo in modo da soddisfare ognuno. Sul disco dati allegato al metodo, troverete tantissimi file audio e video. I video (mp4) presentano tramite l’immagine i numerosi accompagnamenti così come devono essere suonati, mentre le registrazioni audio (mp3) propongono tutte le basi musicali corrispondenti, con poi senza il pianoforte. Potrete in questo modo suonare le ritmiche proposte oppure sviluppare i vostri propri accompagnamenti ispirandovi agli esempi del metodo.

The Early Sonatas. Composed by Franz Schubert (1797-1828). Edited by Walburga Litschauer. This edition: urtext edition. Paperback. Performance score, anthology. Baerenreiter Verlag #BA09642. Published by Baerenreiter Verlag

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