(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

ISBN 9781705143254. 9.0x12.0x0.322 inches. You'll love playing from the Hal Leonard "In Easy Keys" series! Each collection in this series includes over 20 songs written in an "easy" key - never more than one sharp or flat in the key signature. Melody, harmony, simple rhythms, and fingering are included. Playing your favorite songs has never been easier! The Piano Ballads collection includes 25 songs: All of Me (John Legend) * Bridge over Troubled Water (Simon and Garfunkel) * Candle in the Wind (Elton John) * Hero (Mariah Carey) * Imagine (John Lennon) * Piano Man (Billy Joel) * Ribbon in the Sky (Stevie Wonder) * and more.

Upper Intermediate Level. By Various Composers. Piano Solo Songbook (Intermediate to advanced piano arrangements with no lyrics). Softcover. Size 9x12 inches. 104 pages. Published by Hal Leonard.

The Complete Resource for All Pianists. Composed by Various. Piano Solo Songbook. Softcover. 208 pages. Published by Hal Leonard

(Wedding Essentials Series). By Various. Piano Solo Songbook. Softcover with CD. 40 pages. Published by Hal Leonard

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.

(75 Short Late Elementary Piano Solos with Optional Duet Accompaniments). Arranged by Tom Gerou. For Piano. This edition: Five Finger Piano. Book; Piano Collection; Piano Supplemental. 5 Finger. Children; Movie; Pop. Five Finger; Late Elementary. 152 pages. Published by Alfred Music Publishing

Piano Technique. By Various. Piano Collection. 216 pages. Published by G. Schirmer, Inc.

By Amy Appleby. For Piano. Classical, Folk, Children's. Sheet Music. 146 pages. Published by Wise Publications.

By Various. For Piano/Keyboard. Piano Solo Songbook. Softcover. 464 pages. Published by Hal Leonard

50 Advanced Arrangements. Arranged by Dan Coates. Book; Piano Collection; Piano Supplemental. The Professional Pianist. Christmas; Holiday Pops; Sacred; Secular; Winter. 136 pages. Published by Alfred Music

50 Selections from the Best Musicals. For Piano. This edition: Easy Piano. Piano - Easy Piano Collection. Broadway's Best. Broadway. Level: Easy Piano. Book. 208 pages. Published by Alfred Publishing.

By Various. For Piano/Keyboard. Piano Solo Songbook. Softcover. 320 pages. Published by Hal Leonard

Arranged by Jason Lyle Black. Piano Solo Songbook. Christmas. Softcover. 64 pages. Published by Hal Leonard

Essential Keyboard Repertoire, Volume 2 (75 Intermediate Selections in their Original form - Baroque to Modern). By perf. Kim O'Reilly. Edited by Lynn Freeman Olson. For Piano. Graded Standard Repertoire; Masterworks; Piano Collection. Alfred Masterwork Edition: Essential Keyboard Repertoire. Masterwork. Early Intermediate; Intermediate; Late Intermediate. Book and CD. 144 pages. Published by Alfred Music Publishing

Piano - Grade 4

SKU: FA.MFCD007PN

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD007PN. Published by Musik Fabrik (FA.MFCD007PN).

8.27 x 11.69 inches.

Debussy's friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bedier's adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner's Tristan und Isolde are that none of the action takes place in Cornwall and that Isolde of the White Hands is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.

The idea of a Tristan that restored its 'legendary character' and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan's death. Even if he thought that Mourey's poetry was 'not very lyrical and many passages do not exactly invite music', he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, 'one of the 363 themes for the Roman de Tristan' in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong Le Faucon. After a short atmospheric introduction, Debussy's dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy's opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.

Unfortunat ely, Mourey's actual libretto has been lost and the project eventually foundered because Bedier's cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey's version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!

(Everything You Need to Know to Start Playing Now!). Composed by Morton Manus, Willard A. Palmer, and Thomas Palmer. For Keyboard; Piano. Book; Keyboard/Piano; Method/Instruction; Other. Teach Yourself Series. Beginner. 96 pages. Published by Alfred Music

Piano (Piano Solo)

SKU: HL.51481581

Piano Solo. Composed by Sergei Prokofiev. Edited by Fabian Czolbe. Henle Music Folios. Classical. Softcover. 22 pages. G. Henle #HN1581. Published by G. Henle (HL.51481581).

UPC: 196288206972. 9.25x12.0x0.097 inches.

The toccata genre has undergone great change since Bach’s time. Originally denoting works of recitative or improvisatory character, since the 19th century the emphasis has been on a continuous pulsating rhythm. In Prokofiev’s masterpiece, composed in 1912, this rhythm grows into a hammering motoric drive that dispenses with developed themes or motifs. That which seems fascinating and enthralling to us today came as a shock to the critics of that time. But there were also proponents such as Prokofiev's friend Nikolai Myaskovsky, who wrote of the Toccata: “It is a fiendishly clever thing, edgy, energetic and full of personality”. Besides the printed editions that appeared during Prokofiev's lifetime we also had the autograph at our disposal for this Urtext edition. Yulianna Avdeeva, a master of virtuoso piano music, has been responsible for the fingerings.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

Piano

SKU: M7.VOGG-808

Composed by Tom Peters. Sheet music with CD. 64 pages. Voggenreiter #VOGG 808. Published by Voggenreiter (M7.VOGG-808).

ISBN 9783802408083. English.

From the basics of music notation, the correct playing position and simple pieces covering a fifth, to mastery of the complete octave and a refined playing technique: This book covers everything the beginning pianist should know. To prevent piano playing from ever becoming boring, it covers a wide range of musical styles from Classical music to Jazz.Other topics include music theory and the acoustic basics of piano tone, thus laying a solid foundation for future studies in piano playing.The included CD makes practicing easy and fun!

By Morton Manus, Thomas Palmer, Willard A. Palmer. For Electronic Keyboard. Electronic Keyboard. Teach Yourself Series Deluxe Edition. CD-ROM. Published by Alfred Publishing.

Arranged by Richard Bradley. For Piano. Piano - Big Note Collection. Level: Big Note. Book. 128 pages. Published by Alfred Publishing.

(Gospel Stylings for Solo Piano). Composed by Roger Bennett. For piano. General. Moderately advanced. Published by Lillenas Publishing Company

By Various. Easy Piano Songbook. Softcover. 178 pages. Published by Hal Leonard (HL.150166).