Piano SKU: BT.VOLMB201 Composed by Ludovico Einaudi. Book Only. 52 pages....(+)
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 Adventure...(+)
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 ...(+)
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 ...(+)
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. ...(+)
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 Adventur...(+)
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 Adven...(+)
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. C...(+)
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. C...(+)
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
Piano seul [Partition + Accès audio] - Facile Faber Piano Adventures
Composed by Nancy Faber and Randall Faber. Faber Piano Adventures. Educational, ...(+)
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. She...(+)
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.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
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. Tuiti...(+)
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 ...(+)
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
“shockingâ€
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 ...(+)
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).
Piano SKU: BT.MUSMI0376 Composed by Federico Dattino. Tuition. Book and D...(+)
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 ...(+)
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. Diff...(+)
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