Piano (KL) - easy

SKU: HL.49033004

11 light arrangements. Composed by Wierzyk. Arranged by Wolfgang Wierzyk. This edition: Saddle stitching. Sheet music. Edition Schott. 36 pages. Schott Music #ED 9318. Published by Schott Music (HL.49033004).

ISBN 9783795753955. 9.0x12.0x0.158 inches. German - English.

Leichte und gut klingende Klavier-Arrangements von Top-Pianisten und -Arrangeuren. Nimm's Piano light!

Composed by Kevin and Julia Olson. For piano. Piano Made Fun for the Young. Method book and CD. Published by The FJH Music Company Inc

By Melody Bober. For Piano. Composers In Focus. Level: Elementary. Book. Published by The FJH Music Company Inc.

Piano

SKU: BT.9780008353247

Beginner Pieces, Puzzles & Activities. By Em Wilson. By Karen Marshall. Get Set! Piano. Tuition. Book Only. Composed 2020. 32 pages. Collins Music Publishing #9780008353247. Published by Collins Music Publishing (BT.9780008353247).

ISBN 9780008353247. English.

My First Piano Pieces, Puzzles & Activities follows and supplements the tried-and-tested progression of Get Set! Piano My First Piano Book. It includes favourites like ‘Ring-a-Ring-a-Rose s’, ‘Peter Taps with One Hammer’ and ‘TheWheels on the Bus’, as well as playful new pieces, featuring dinosaurs, superheroes, aliens, scooters and more!

Some pieces have straightforward teacher duet parts to encourage ensemble playing from the start, and thereare lots of music theory puzzles and activities to consolidate learning and offer an extra layer of fun and exploration. The book is illustrated throughout in the charming Get Set! style, and students are encouraged to decorateand colour in the drawings to reflect their progress. Suitable for children aged 5+.

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.

For piano solo. Keyboard. Level: Intermediate (4/5). Published by Alfred Publishing. Students love ragtime, and when you add delightful lyrics (provided by Christine's daughter, Allison) to this style, you get a solo that is irresistibly fun! The left hand is a good study in intervals, and the right hand melody expands to the octave. Chromatics are found throughout in both hands. The swing rhythm will have audiences tapping their feet to this recital winner!

By David Hirschberg. Edited by Gail Lew. Piano method/supplement (late-elementary piano). Level: late elementary, level 2. 52 pages. Published by Belwin.

By Lynn Freeman Olson. For Piano. Piano Collection. Book. 16 pages. Published by Alfred Publishing.
SMP Level 1 (Elementary); NFMC Level: Primary Class 1 Level B.

10 Fresh and Fun Piano Duets. Composed by Various. Arranged by Kevin Olson. Educational Piano Library. Piano Duet, Pop. Softcover. 72 pages. Duration 195 seconds. Published by Hal Leonard

Arranged by Stephen Covello and Dan Fox. For Piano. Piano Collection. Level: Intermediate (grade 4/5). Book. 32 pages. Published by Alfred Publishing.

By Melody Bober. For Piano. Composers In Focus. Book. Published by The FJH Music Company Inc.
Level: Late Elementary/Early Intermediate.

11 Delightful Melodies Arranged for Piano with Optional Duet Accompaniments. Arranged by Tom Gerou. For Piano. Piano Collection. 5 Finger. Secular. Level: Elementary. Book. 32 pages. Published by Alfred Publishing.

Arranged by Nancy and Randall Faber. For Piano. PreTime to BigTime Piano Supplementary Library. Classics. Level: 3A-3B. Book. Published by The FJH Music Company Inc.

By Randall Faber, Nancy Faber. Arranged by Edwin Mclean. For Piano. PreTime! to BigTime! Piano Supplementary Library. Classics. CD. Published by The FJH Music Company, Inc.
Level: Grade 3A-3B.

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

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

Let's Play Jazz and More * Book 2 composed by Jay Latulippe and Sonny Doss. For easy piano. This edition: Paperback. Instructional. Jazz Method. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications

(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

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.

Collection for solo piano(all C instruments), . 159 pages. Published by Santorella Publications.

Composed by Phil Hamm. For piano solo. Center Stage Solos. Difficulty: Elementary. 23 pages. Published by Neil A. Kjos Music Company