By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 4000 pages. Published by Subito Music.

By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 2000 pages. Published by Subito Music.

By Franz Liszt. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 3700 pages. Published by Subito Music.

By Mendelssohn Grieg. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1600 pages. Published by Subito Music.

For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1000 pages. Published by Subito Music.

By Robert Schumann. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 800 pages. Published by Subito Music.

By Ludwig van Beethoven. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1500 pages. Published by Subito Music.

(A Polyrhythmic Journey in 6/8 Time). By Alan Dworsky. For Keyboard (Piano). Methods. Dancing Hand. World Music. Intermediate-Advanced. Book/CD Set. 96 pages. Published by Dancing Hands

Piano

SKU: SU.12800032

For Piano. Composed by Cory Hall. Keyboard, Piano/Harpsichord. Music Theory. Score. Subito Music Corporation #12800032. Published by Subito Music Corporation (SU.12800032).

BachScholar Edition Vol. 32 – Better than Hanon, 2nd Edition (10 pages) consists of four- and five-finger broken chords and arpeggios (major, minor, dominant and diminished 7ths) in all the keys, which also includes an introduction and practice guide. Practicing these patterns regularly in a broken and blocked fashion improves flexibility, strength, economy of motion and instills a solid understanding of musical harmony. Indispensable for all pianists and teachers from the intermediate through concert level. Piano Composed: 2018 Published by: BachScholar.

Piano (Piano Solo)

SKU: HL.48025032

Six Humoresques for Piano. Composed by Ursula Mamlok. BH Piano. Classical. Softcover. 12 pages. Bote & Bock #M202536049. Published by Bote & Bock (HL.48025032).

ISBN 9783793143017. UPC: 196288019961. 9.0x12.0x0.064 inches.

Grasshopper s was written in 1956 during Mamlok’s studies at the Manhattan School. She balances a variety of moods, textures and tempi in six brief movemenm of a divertimento-like character that are thematically unified by the use of melodic fourths and scurrying chromatic figures. The second movement, Night Serenade, is a poignant siciliano, the fourth movement a bitonal Minuet, while the fifth movement, In the Army, is a humorous march. The third movement, In the Rain, is the most virtuosic of the set. Grasshoppers concludes with Hurrying Home, a rapid, often bitonal waltz. Marnlok orchestrared Grasshoppers in 1957. lts 1958 orchestral premiere, by Carl Bamberger and the Süddeutsches Rundfunkorchester, was one of the first important performances of her music. (Barry Wiener).

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.

A Guide to the Jazz Pentatonic Scales. Jazz, Jazz Instruction. Softcover Book. 219 pages. Sher Music Company #9781883217846. Published by Sher Music Company

Piano

SKU: SU.12800086

For Piano. Composed by Johann Sebastian Bach. Keyboard, Piano/Harpsichord. Music Theory. Score. Subito Music Corporation #12800086. Published by Subito Music Corporation (SU.12800086).

BachScholar Editions Vol. 86: BACH MEETS RAGTIME: 10 Four-Part Chorales Arranged (Volume 2) (41 pages) was born out of classic ragtime and related style improvisations on selected four-part chorales by J.S. Bach. These arrangements transform Bach’s short chorales into exciting and idiomatic concert pieces for piano while fully retaining the chorales’ original melodies and harmonies. Styles encountered in this collection include two-step rags, cake walk, waltz, etude, cool swing, march macabre, and hoedown. The ten pieces have been assembled in a strategic order so that they may be played in succession as an effective concert cycle. In addition, they may be played singly or in pairs and groups as the performer sees fit. A complete performance lasts approximately 36 minutes. This collection is ideal for piano students, teachers, and concert artists who seek fresh, new, and creative material for study and performance. Keyboard/Theory Published by: BachScholar.

Piano

SKU: SU.27050010

For Piano. Composed by Joel Feigin. Keyboard, Piano/Harpsichord. Score. Subito Music Corporation #27050010. Published by Subito Music Corporation (SU.27050010).

Four short pieces in loving memory of the composer's ear training teacher at Juilliard, Renée Longy. Though the composer himself thought of the pieces as atonal, Leonard Bernstein once said that these are in D minor, and you're a hopeless romantic. Composed in 1979, these pieces are still poignant today.Piano Duration: 10' Composed: 1980 Published by: Distributed Composer.

Solo piano piano solo - Grade 5

SKU: B7.B770

Composed by Allen Molineux. Edited by Howard J. Buss. 21st Century. Score. Brixton Publications #B770. Published by Brixton Publications (B7.B770).

8.5x11 inches.

Scherzi for Piano by Allen Molineux - These miniatures are 6 different ways of looking at the scherzo genre. The first deals with allowing the performer to freely play the material. The second, at times, hints at a jazz-like swing style. The third is a special kind of quodlibet in that it uses snippets of well-known scherzi for piano and also for orchestra with numerous appearances of the Chopin Scherzo No. 2 holding it all together, while some actually interact with each other. For example, Brahms, Clara and Robert Schumann do get in a bit of a tangle and Bruckner seems to be at odds with the early Romantics of Beethoven and Schubert. The fourth is a conversational contrast between herky-jerky and groove motion. The fifth, which is the briefest, is a contest between a short staccato figure and an ever-expanding legato one. The final scherzo is a distorted ragtime piece where the left hand avoids the typical march-like accompaniment pattern. (9'50) Grade V.

(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book Play-Along. USB Flash Drive. 462 pages. Published by Hal Leonard

Composed by Howard Shore. For Keyboard; Piano; Voice. This edition: Piano Solo & Piano/Vocal/Chords. Artist/Personality; Book; Piano - Personality Book; Piano Supplemental; Piano/Vocal/Chords. Movie. 112 pages. Published by Alfred Music

Piano/Keyboard

SKU: SU.12800094

For Piano/Keyboard. Composed by Robert Schumann. Keyboard, Piano/Harpsichord. Music Theory. Score. Subito Music Corporation #12800094. Published by Subito Music Corporation (SU.12800094).

BachScholar Editions Vol. 94: SCHUMANN: Kinderszenen, Op. 15 (18 pages) offers a fine performance edition of Schumann’s popular work, consisting of 13 short and imaginative character pieces (subtitled Easy Pieces for the Piano according the first edition). In addition to presenting a beautiful and robust musical manuscript with optimized page turns, this edition also includes a four-page essay that explains and elucidates the composer’s controversial metronome indications. Also, this edition is replete with useful fingerings and pedalings as well as practical hand redistributions which students and teachers will find innovative and refreshing. This quality edition of Schumann’s masterwork should be in the library of all piano students, teachers, and performers. Published by: BachScholar.