Billy Cobham. For Piano. Piano Collection. Ultimate Play-Along. Play along. Book & 2 CDs. Published by Alfred Publishing.

(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

(We Make Playing Piano a No-Brainer!). For Keyboard; Piano. Keyboard/Piano; Method/Instruction; Play-Along. No-Brainer. Book and DVD. 224 pages

Lessons, Solos, Technique, and Theory. Educational Piano Library. Instruction, Method. Softcover Audio Online. 116 pages. Published by Hal Leonard

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

Lesson Book Book 1. Arranged by Cheryl Finn & Eamonn Morris. Willis. Size 9x12 inches. 51 pages. Published by Willis Music.

A Comprehensive Ear-Training Program for Musicians Volume 2. Educational Piano Library. Hal Leonard Student Piano Library. Instruction. Softcover Audio Online. 48 pages. Published by Hal Leonard

By Jeanine Yeager. For piano. Piano. Music Book. Published by Neil A. Kjos Music Company.
Level: Intermediate.

For Piano. Includes complete printed music score with both primo and secondo piano parts, and a compact disc featuring the duets in two formats: split-channel stereo with secondo part on the left channel, primo on the right, so you can play either part; and then again with just the secondo part in stereo so you can perform the primo part alongside. Published by Music Minus One.

Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by Lara Downes. Collection. Theodore Presser Company #440-40028. Published by Theodore Presser Company

Everything You Need to Know to Start Playing Now!. Composed by Morton Manus, Willard A. Palmer, and Thomas Palmer. Book; DVD; Digital Download; Keyboard/Piano; Method/Instruction; Software. Teach Yourself Series. 96 pages. Published by Alfred Music (AP.45045).

With a Critical Commentary. By Frederic Chopin. Edited by E. Herttrich. Piano (Harpsichord), 2-hands. Pages: 120. Urtext edition-cloth bound. Published by G. Henle.

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.

Music for Little Mozarts - Music Discovery (Book 1) Gayle Kowalchyk, Christine H. Barden, E. L. Lancaster See larger cover Your price $7.95 Usually ships in 24 hours 1 2 Ready to buy? Quantity: (you can remove it later) Save 10% when you buy 2 or more copies of this title. Average customer rating: see ratings What recent customers say about this title: A Great Addition to Mozart Books Anonymous writes... "This is great to go along with all the other Music for Little Mozarts books. My daughter, who is four, loves to sing along and do the motions for the songs. I only... more" Awesome! Anonymous writes... "I LOVE all the activities which include moving, clapping, playing instruments, singing, and solfege. My preschool-age piano students love their piano lessons... more" See all reviews...or add your own! About Music for Little Mozarts - Music Discovery (Book 1) (Singing, Listening, Music Appreciation, Movement and Rhythm Activities to Bring Out the Music in Every Young Child) Written by Christine H. Barden, E. L. Lancaster, Gayle Kowalchyk. Instructional book (big note notation) for piano. 48 pages. Published by Alfred Publishing.

By Amy Appleby. For Piano. Sheet Music and Audio CD. 84 pages. Published by Music Sales. An introduction to piano that is all you need to start playing like a pro. Includes 8 professional backup tracks on the cd.

Piano

SKU: HL.48025368

7 Pieces for Piano. Composed by Simon Laks. BH Piano. Classical. Softcover. Bote & Bock #M202538654. Published by Bote & Bock (HL.48025368).

UPC: 196288194293.

Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the “École de Paris”. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the “Association of Young Polish Musicians”, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de l’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak's enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year.

The companion CD for book two of the Piano Gefällt Mir! series, featuring songs compiled and arranged by Hans-Günter Heumann . This CD includes a professionally-recorded demonstration of the full song, as well as a version with the Piano removed for you to play along with. Please note that this is the CD Only. You can purchase the , book here , or the , book and CD here . **Please note: The CD included with this title can only be played through an MP3 compatible program.**

Composed by Betty Lea Martocchio. Piano Suite; Piano Supplemental; Solo. Recital Suite Series. Form: Suite. Recital. Sheet. 12 pages. Alfred Music #00- 47928. Published by Alfred Music

By Noah Baerman. For Electronic Keyboard. Electronic Keyboard. 0. Jazz. Book. 96 pages. Published by Alfred Publishing.

Piano - Late Elementary

SKU: FJ.E1116

Composed by Kevin Olson. Duet or Duo; Piano Duo; Piano Supplemental; Solo Small Ensembles. The FJH Piano Ensemble Series. Score. The FJH Music Company Inc #98-E1116. Published by The FJH Music Company Inc (FJ.E1116).

UPC: 241444396568. English.

One of the hippest pieces to come along in years, this two-piano concerto features a student part and a teacher (or somewhat more advanced student) part. The rocking first and third movements are contrasted by a slow and beautifully lyrical second movement.

About FJH Piano Ensemble Series

Cre ative material especially written to explore aspects of artistic ensemble performance.

By Peter Ilyich Tchaikovsky. For Piano. Piano Collection. Masterwork. Level: Advanced. Book. Published by Dover Publications.

Op. 2 No. 3. Composed by Ludwig van Beethoven (1770- 1827). Edited by Murray Perahia and Norbert Gertsch. Arranged by Murray Perahia. This edition: Paperback/Soft Cover. Sheet music. Henle Music Folios. Classical. Softcover. Op. 2/3. G. Henle #HN1222. Published by G. Henle

French Favorites for Easy Piano with Lyrics arranged by Jay Latulippe. For easy piano. This edition: Paperback. Collection. Ethnic. Book. Text Language: English. 32 pages. Published by Santorella Publications

Composed by Bob Chilcott. Piano score. Duration 3.5'. Oxford University Press #9780193544598. Published by Oxford University Press

Solo Piano

SKU: AP.36-M291191

Composed by Clara Wieck-Schumann. Performance Music Ensemble; Solo; Solo Piano. Master Piano Series. Score. LudwigMasters Publications #36-M291191. Published by LudwigMasters Publications (AP.36-M291191).

UPC: 660355183751. English.

Clara Schumann (1819-1896), then Clara Wieck, wrote this collection of Four Characteristic Pieces (Qautre Pièces Caractéristiques), Op. 5 in 1835-1836, when she 16 or 17 years old. Op. 5 was performed frequently by the young Clara in concert, along with Op. 6 and Op. 7. Frederic Chopin particularly was enchanted and enthusiastic about Op. 5, prompting him to leave with a score after hearing it. Movements: 1. Impromptu: Le Sabbat, 2. Caprice à la Boléro, 3. Romance, 4. Scene Fantastique: Le Ballet des Revenants.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Composed by Henri Dutilleux (1916-). Leduc. Classical. Softcover. 18 pages. Alphonse Leduc #AL20446. Published by Alphonse Leduc

Composed by Wynn-Anne Rossi. Piano Suite; Piano Supplemental. Recital Suite Series. Form: Suite. Recital. Sheet. 12 pages. Alfred Music #00-47927. Published by Alfred Music

Chamber Music Piano

SKU: PR.140401330

Composed by R. Nathaniel Dett. Edited by Lara Downes. 32 pages. Duration 18 minutes. Theodore Presser Company #140-40133. Published by Theodore Presser Company (PR.140401330).

ISBN 9781491134412. UPC: 680160684939.

Natha niel Dett was among America’s leading composers in the early 20th century, and MAGNOLIA SUITE is a beautiful example of his rich, hybrid style. Deeply inspired by the music and mission of Samuel Coleridge-Taylor, Dett’s piano music springs from the late Romantic traditions of florid texture and embellishment, along with programmatic titles and raw emotion. It is notable for melody writing inspired by and paraphrasing African-American song. The 18-minute MAGNOLIA SUITE contains five movements, any of which may also be performed separately. This edition by Lara Downes provides a clean, new engraving that corrects the many errors and unclear indications appearing in the historical printing.
Robert Nathaniel Dett was born in a place that was built on freedom. The little village of Drummondville, Ontario was founded by enslaved Africans – Dett’s ancestors among them – who traveled the Underground Railroad out of the American South into Canada. Their journey brought them to a safe haven, a place where fortunes and futures could be transformed in the span of one generation, to lives full of new possibilities. You could call it “the place where the rainbow ends,” which is the title of the last movement of Dett’s Magnolia Suite.When Dett wrote these pieces, he was a young teacher at Lane College in Tennessee, a historically Black college that had been founded in 1882, the year of his birth. A place built on freedom, with the purpose of educating newly-emancipated slaves – a place designed to nurture the blossoming of ideas, the vibrant flowering of minds set free. This music is inspired by the gorgeous splendor of the magnolia blooms on that college campus, and also by the shared histories, experiences, and aspirations of the community that Dett found there.These five pieces pay affectionate tribute to lineage and legacy. They express gratitude for the bittersweet beauties of the present; nostalgia for the past (a bit romanticized, as the past always is); and an effervescent optimism for the future that awaits us in the place where the rainbow ends.