By E. L. Lancaster. For Piano. Piano Solo. Late Elementary level piece for the Piano Solo event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Sheet. 4 pages. Published by Alfred Publishing.

Piano

SKU: BT.MUSM570367313

Composed by Robert Saxton. Classical. Book Only. 39 pages. University of York Music Press #MUSM570367313. Published by University of York Music Press (BT.MUSM570367313).

English.

Hortus Musicae - Book 2 by Robert Saxton for solo Piano. Composed and published in 2016. Duration: 35 minutes. 1: The Flowers appear on the Earth 2: Light on the Water Garden 3: The Garden of Changing Perspective 4: Beech Bank (a la recherché)… 5: Light in the hedge garden 6: The Garden at twilight 7: Hortus Animae Alis Fugacis [The Garden of the Swift-Winged Spirit] Hortus Musicae Book 2 was premiered by Clare Hammond at the 2016 Presteigne festival, with funds provided by the RVW Trust.

By John Robert Poe. Piano. Christmas. Level: Early Intermediate. Music Book. Published by Neil A. Kjos Music Company.

By Melody Bober. For Piano. Written For You Collections. This joyous piano solo will make a splendid addition to your winter recital program. The light, staccato motif of the winter bells combined with the scalar, legato motif of the winter snow make this piece a wonderful celebration of the sounds of the season. Really showcases the intermediate performer!. Original. Level: Intermediate. Solo Sheet. Published by The FJH Music Company Inc.

(Volume 2 (Collection)). Arranged by Leonard Slatkin. CONDUCTOR. Easy Music For Strings. Grade 2. 68 pages

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 Martha Mier. For Piano. Piano Solo. Level: Intermediate (grade 4/5). Sheet. 4 pages. Published by Alfred Publishing.

(For Piano). By Lowell Liebermann. Piano. For Piano. Contemporary. Performance score. Standard notation. Opus 112. Duration 6 minutes, 30 seconds. Published by Theodore Presser Company

Arranged by David R. Naylor. For Piano Solo. Level: Medium. Published by Jackman Music Corporation.

By Stephanie J. Wilburn. For Piano. Spotlight Solo Sheets. This frolicking piece features staccato and legato touches, light use of accidentals, and an extended keyboard range. Students will love the clever "forearm" glissandos that conclude this award-winning solo. Circus. Level: Early Intermediate. Solo Sheet. Published by The FJH Music Company Inc

Piano - Beginner

SKU: FP.FCG01

Composed by George Coulter. Published by Forsyths Publications (FP.FCG01).

ISBN 979-0-57050-016-1.

38 well known melodies suitable for both children and adult beginners, suggested grade 0-1. George Coulter's facility for simplifying well known tunes and making them accessible to the beginner is the essence of the tremendous popularity of his albums and tutor.

By Martha Mier. For Piano. Piano Solo. Late Intermediate level piece for the Piano Solo event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Sheet. Published by Alfred Publishing.

(22 Full Band Arrangements Correlated to Accent on Achievement (Piano)). By John O'Reilly and Mark Williams. Concert Band. For Piano. Band Supplement; Book. Accent on Performance. 48 pages. Published by Alfred Music

(10 Outstanding NFMC Selected Solos). By Various. For Piano/Keyboard. Educational Piano Library. Intermediate to Late Intermedi. Softcover. 48 pages. Published by Hal Leonard

10 Carol Arrangements for Solo Piano. Arranged by Beatrice Miller. For Piano. Piano Collection. Level: Early Intermediate. Book. 20 pages. Published by Alfred Publishing.

Olson. For Piano. Piano Collection. Book. 20 pages. Published by Alfred Publishing.

By Joyce Grill. For Piano. Piano Solo; Sheet; Solo. Signature Series. Intermediate. 4 pages. Published by Alfred Music

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

Piano - Advanced

SKU: PR.510077130

Pour Piano. Composed by Bertrand Dubedout. Premiered during the Festival Solistes aux serres d'Auteuil at Paris (France), by Finghin Collins. Contemporary. Full score. With Standard notation. Duration 11 minutes, 35 seconds. Gerard Billaudot Editeur #510-07713. Published by Gerard Billaudot Editeur (PR.510077130).

ISBN 9790043087250.

In Sanskrit, the word Vrishti means rain and in the Hindu context, the work evokes (divine) light falling on the world like rain, the influx of luminous thoughts. Vrishti is a manifestation of superior consciousness in our life, a spiritual fullness. This piece is based on a mantra to Siva I once heard in Jaisalmer (Rajasthan) in July 2008. M. Rupendra Gopa Ji allowed me to record his vocal performance. The in-depth study of this mantra revealed important factors (temporality, rhymicity, intonation, articulation, agogics) that influenced my own compositioin, showing through the surface as a far-off echo in filigree or as a faint trace like a thermal imprint or a fossil light. For the performer, the most tangible traces of this palimpsest-like process are found in the constant change between binary and ternary meters, and in the 27-strophe structure that follows the original design and proportions of the original mantra. --Bertrand Dubedout.

(1st series). By Claude Debussy (1862-1918). Edited by Douglas Woodfull-Harris. For piano. This edition: Stapled, Urtext edition. Score. Text Language: German/English/French. 27 pages. Published by Baerenreiter Verlag

(2e serie). By Claude Debussy (1862-1918). Edited by Douglas Woodfull-Harris. For piano. This edition: Stapled, Urtext edition. Score. Text Language: German/English/French. 28 pages. Published by Baerenreiter Verlag

By Pauline Hall. For piano. Piano. Piano Time. Piano Time. Easy. Collection. 32 pages. Published by Oxford University Press

Piano

SKU: FG.55011-753-2

Composed by Jyrki Linjama. Classical, contemporary. Book. Fennica Gehrman #55011-753-2. Published by Fennica Gehrman (FG.55011-753-2).

ISBN 9790550117532.

Jyrk i Linjama composed Sonata da chiesa I for piano as a commission from the Carinthischer Sommer festival in Austria and premiered by Juho Pohjonen at Ossiach Abbey in summer 2010. The title alludes to the sonata tradition of the Baroque at its weightiest and most solemn. The polyphonic church sonata with its strict adherence to form for a long time occupied an important role in the liturgy (as distinct from the sonata da camera). Linjama’s modern application of this tradition articulates features of the liturgy: breathing, bells, shades of darkness and light. The closed Miserere of the opening movement opens out in the middle movements to let in light, which the angelic song of the last movement once again encloses in translucent twilight. Each of the four movements uses a medieval melody as its material.

Have a look inside by clicking “sample.

Duration: c. 14’.

By Robert D. Vandall. For Piano. Piano Suite. Recital Suite Series. Level: Late Intermediate. Suite. 12 pages. Published by Alfred Publishing.

By Ralph Vaughan Williams (1872-1958). For piano. Piano and keyboard music. Published by Stainer and Bell Ltd.

Composed by Martha Mier. Graded Standard Repertoire; Piano Suite; Piano Supplemental; Solo. Recital Suite Series. Form: Suite. Recital. Sheet. 12 pages. Alfred Music #00-48032. Published by Alfred Music

Piano - Grade 5

SKU: ET.PNO47

Composed by Helena Winkelman. Contemporary. Composed 2004. Duration 4'. Editions BIM #PNO47. Published by Editions BIM (ET.PNO47).

ISBN 9790207024060.

Sami 's Piece was written for a jazz musician, and should be played with a jazz feel (and a nod to polyrhythmic Balkan folk music). It's an exuberant work, relatively short, but dizzying, full of surprises, musical humor, and changes of atmosphere.

It was premiered in 2003 at the Hirzenberg Festival in Zofingen, Switzerland, by the Swiss pianist Samuel Wettstein, to whom the work is dedicated.


Performing notes
- Attentive use of the pedals to control resonance and legato will prevent blurriness.
- When played on an upright piano that is slightly out of tune, the work gains an unexpected charm.
- As is customary, accidentals remain valid until the end of the measure in which they appear.

By Malcolm Arnold. For Piano. 20th Century, Scottish. Sheet Music. 20 pages. Published by Novello and Co Ltd.