Piano - Intermediate,Late Intermediate

SKU: KJ.WP1207

Composed by Jyoti Hench. Piano/Repertoire. Center Stage Solos. Neil A. Kjos Music Company #WP1207. Published by Neil A. Kjos Music Company (KJ.WP1207).

ISBN 9780849799044.

This collection of six piano duets celebrates the joy of duet playing at the elementary level. Both the primo and secondo parts are equal in level of difficulty and expressive melodic content. Students will enjoy playing primo on some duets, and secondo on others. Making music next to another musician playing at the same piano is an unmatchable experience.

10 Jazz Inspired Solos and Duets for Piano. Composed by Sam Wedgwood. Piano. Jazz. Softcover Audio Online. 36 pages. Hal Leonard #EVC027. Published by Hal Leonard

Piano

SKU: HL.14022796

Composed by Carol Barratt. Music Sales America. Tuition. Book [Softcover]. 40 pages. Chester Music #CH61265. Published by Chester Music (HL.14022796).

ISBN 9780711961982. UPC: 884088435530. 9.0x12.0x0.214 inches. English.

The Next Step is for anyone who has been learning the keyboard for about a year and wants to improve. Learn about dynamics and arpeggios. Pieces include 'Rig A Jig Jig' and 'Fidgety Digits'.

Piano

SKU: HL.14022795

Composed by Carol Barratt. Music Sales America. Classical. Book [Softcover]. Composed 2002. 48 pages. Chester Music #CH61270. Published by Chester Music (HL.14022795).

ISBN 9780711962040. 9.0x12.0x0.173 inches. English.

A collection of pieces, ideal as supplementary material for the Next Step series. Pieces include 'Minuet' (Mozart), 'Mazurka' (Chopin) and 'Gavotte' (Chopin).

Piano

SKU: HL.14022797

Composed by Carol Barratt. Music Sales America. Tuition. Book [Softcover]. Composed 2002. 40 pages. Chester Music #CH61266. Published by Chester Music (HL.14022797).

ISBN 9780711962002. 9.0x12.0x0.169 inches. English.

The Next Step is for anyone who has been learning the keyboard for about a year and wants to improve. Learn about pedals, ornaments and rhythms. Pieces include 'Amaryllis' and 'Houdini'.

By Carol Barratt. For Piano Solo. Next Step. Blues, Ragtime, Jazz. Sheet Music. 32 pages. Published by Chester Music.

(23 of Today's Hottest Show Tunes (Easy Piano)). Arranged by Dan Coates. For Piano. Book; Piano - Easy Piano Collection; Piano Supplemental. Top-Requested Sheet Music. Broadway. Easy Piano. 116 pages. Published by Alfred Music Publishing

(Vol.1). By Various. For piano. Full score - study. Text language: French/Spanish. 64 pages. Published by Wiener Urtext/Vienna Urtext

(The Method for a New Generation). For Piano/Keyboard. Rock House. Softcover with CD. 68 pages. Published by Hal Leonard

Piano - Late Intermediate, Advanced

SKU: OT.21124

Composed by Maayan Tal. 7 etudes for piano. Classical. Score. OR-TAV Music Publications #21124. Published by OR-TAV Music Publications (OT.21124).

ISBN 9789655050981. 8.27 x 11.69 inches.

Perpetuum Mobile, meaning perpetual motioni, is a Latin term that describes an impossible situation in which a substance has infinite energy. This situation is impossible because it violates the first and second laws of Newton.
But it is possible in music. Imagine a musical piece that is a continuous stream of notes. These are exactly the etudes in this album. They do not stop, they are always in motion and they can be played continuously.
Etudes are solo pieces, purposed to help the musician practice his technique. In this album, each etude is designed to practice another technique.
In addition, the etudes in this album are arranged according to the circle of fifths - each etude ends in a key which is dominant to the beginning of the next etude, even the last etude to the first one, and so on and so forth. This further emphasizes the infinite mobility of the music in this piece.
Once you enter the loop, you can't get out of it. All the etudes start in a minor key, as a symbol of the sadness of the matter, and end in a major key, to represent the hope, a false hope, that perhaps the next etude will take you out of the loop.
This album is a three-year-long project, in which I gathered ideas from the environment in which I live, from the people in it and from their thoughts, from life that continues all the time, and the music that will never stop.
Maayan Tal, 17, is a young Israeli musician, pianist and composer.

For Piano. Music Sales America. CD-ROM. Music Sales #TE80741. Published by Music Sales

40 Pieces without Octaves. Composed by Barbara Arens. Barbara Arens is playing Small Hand Piano on YouTube. Book. Breitkopf and Haertel #EB-8987. Published by Breitkopf and Haertel

Piano - Easy-Intermediate

SKU: YM.GTP01098166

Keyboard. Arranged Classic. Score. Yamaha Music Media #GTP01098166. Published by Yamaha Music Media (YM.GTP01098166).

ISBN 9784636981667.

Ther e are many music sheet books available for children, but not many for adults who have just started playing the piano. The Otona Piano series is designed for those adults who are beginner piano players.
Here is a great piano collection for those who want to take their piano playing to the next level! It is also a great selection for live performances!

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.

Alfred's Basic Piano Course Graduation Book, Book 2 by Dennis Alexander and Martha Mier. For Piano. Method/Instruction; Piano - Alfred's Basic Piano Course. Alfred's Basic Piano Library. Children. Book. 16 pages. Published by Alfred Music Publishing

Composed by Andrew D. Gordon. Arranged by Andrew D. Gordon. 100 Ultimate Blues Riffs. Blues. Book/digital audio. ADG Productions #ADG175. Published by ADG Productions

Solo Piano

SKU: SU.28110060

For Solo Piano. Composed by Steven R. Lebetkin. Keyboard, Piano/Harpsichord. Piano solo. Score. Subito Music Corporation #28110060. Published by Subito Music Corporation (SU.28110060).

Inspired by Olivier Messiaen's Modes of Limited Transposition.Extends Shostakovich's work to the next levelSolo Piano Duration: 45' Composed: 2018 Published by: Distributed Composer.

Piano

SKU: BR.EB-8033

Piano Lessons by Jean-Philippe Rameau. Composed by Jean-Philippe Rameau. Edited by Heinz Walter. Solo instruments; stapled. Edition Breitkopf. Suite; Dances/marches; Baroque. Score. 20 pages. Breitkopf and Haertel #EB 8033. Published by Breitkopf and Haertel (BR.EB-8033).

ISBN 9790004174364. 9 x 12 inches.

This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extant, since it is more stimulating for children to change the teaching material frequently. Jean-Philippe Rameau (1683-1764) is the second great keyboard master of the Baroque Age next to Couperin. His works are as unknown to pianists, with few exceptions, as they are famous among harpsichord players. The virtuosity and imaginativeness of his works lend themselves especially well to the sound of harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the harpsichord and clavichord, and no one would dare question their interpretation on the pianoforte. In order to introduce these Impressionists of the Baroque Era to piano instructions, the editor has added to this series a folio of both Couperin's (EB 8029) and Rameau's music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. Baroque dance forms and graceful character pieces (LaJoyeuse, L'Indifferente) are typical ofRameau's work. Simplifications to a small extent of the harpsichord setting and also of the omamentation in the original version were required, based on the teaching experience of the editor. The indications for phrasing and articulation are those of the editor. The Minuet on page 6 has been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series: what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the espective footnotes; these directions, however, are not obligatory. Indications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case by used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realisation of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.

For piano. Format: piano solo book. With introductory text. Tv and movies. Series: Hal Leonard Piano Solo Vocal Selections (Intermediate to advanced piano arrangements with no lyrics), . 80 pages. 9x12 inches. Published by Hal Leonard.

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

Piano

SKU: SU.28150020

For Piano. Composed by Nathan L. Lam. Keyboard, Piano/Harpsichord. Score. Subito Music Corporation #28150020. Published by Subito Music Corporation (SU.28150020).

A 21st century homage to the canonic arts and Mozart's famous piano variations. This suite takes the genre of canonic variations to the next level in terms of the number of variations, the variety of transformations, and the addition of rare and non-traditional canon types, such as table canons and interscalar canons by intervallic augmentation. For sample scores and media, visit Piano Duration: 40' Composed: 2020 Published by: Nathan L. Lam Music.

By Johann Sebastian Bach. Edited by Glew. Arranged by Dale Tucker (compiled And Edited By). Classical piano (Intermediate piano). Level: intermediate, level 5. 36 pages. Published by Alfred Publishing.

Composed by Edna-Mae Burnam. A Dozen a Day. Book with CD. Willis Music #MUSWMR100991. Published by Willis Music

(Grades 0-1). By Pam Wedgwood. For Piano. Book; Piano Collection; Piano Supplemental. Faber Edition: Up-Grade! Series. Elementary. Published by Faber Music

By Pam Wedgwood. For Piano. This edition: Revised Edition. Book; CD; Piano Collection; Piano Supplemental. Faber Edition: Jazzin' About. Jazz. Intermediate. Published by Faber Music

Arranged by Matt Hyzer. Celine Dion. For Piano. Piano - Easy Piano Collection. Pop. Level: Easy Piano. Book. 60 pages. Published by Alfred Publishing.

(Grades 4-5). By Pam Wedgwood. For Piano. Book; Piano Collection; Piano Supplemental. Faber Edition: Up-Grade! Series. Intermediate; Late Intermediate. 24 pages. Published by Faber Music

(Grades 0-1). By Pam Wedgwood. For Piano. Book; Piano Collection; Piano Supplemental. Faber Edition: Up-Grade! Series. Elementary. 24 pages. Published by Faber Music

Piano - Intermediate

SKU: FJ.W9462

Composed by David Karp. Piano Solo; Piano Supplemental. Written For You. Score. The FJH Music Company Inc #98-W9462. Published by The FJH Music Company Inc (FJ.W9462).

UPC: 024144440102. English.

Add a touch of modernism to your next student recital with this easy-to-play march in a neoclassical style. Featuring alternating staccato 3rds in the L.H., polytonal chords, and a cheerful melody.

About FJH Written For You Piano Solos

Spar kling and lyrical pieces which promote musical expression.