by Gail Smith. For Piano. method. All Styles. Level: Beginning. Book. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc.

For Piano. Schaum Publications - Method Book. Book. Published by John Schaum (Milwaukee).

Piano Technique. By Carl Czerny. Arranged by Adolf Ruthardt. Piano Method. Size 9x12 inches. 52 pages. Published by G. Schirmer, Inc.

Composed by Blake Neely. For piano. Format: instructional book. With standard notation and instructional text. Instructional. 88 pages. 9x12 inches. Published by Hal Leonard.

Piano

SKU: BT.MUSTH978206

Composed by Arnold Bax. Classical. Book Only. 40 pages. Thames Publishing #MUSTH978206. Published by Thames Publishing (BT.MUSTH978206).

English.

A selection of solo Piano works by Arnold Bax. Edited by Connie Mayfield.

By Lisa Bastien. Edited by Lori Bastien, Jane Bastien. (Bastien Piano For Adults). Bastien Piano. Method. Level: Book A,1. Music Book. Size 232. Published by Neil A. Kjos Music Company.

By Lisa Bastien. Edited by Lori Bastien, Jane Bastien. (Bastien Piano for Adults). Bastien Piano. Method. Level: Book A,1. Music Book. Size 232. Published by Neil A. Kjos Music Company.

By Giacomo Puccini. Arranged by Jonathon Robbins. For Piano. Published by Santorella Publications.

Piano

SKU: BT.9780008353230

By Em Wilson. By Karen Marshall. Get Set! Piano. Tuition. Book Only. Composed 2020. 64 pages. Collins Music Publishing #9780008353230. Published by Collins Music Publishing (BT.9780008353230).

ISBN 9780008353230. English.

My First Piano Book introduces young children to the piano and music-making through fun activities, rhymes, songs and pieces. The author’s tried-and-tested progression covers note learning, theory, aural and composing through acreative and holistic approach. Many pieces have simple teacher duet parts to encourage ensemble playing from the start, and the book is illustrated throughout in the charming Get Set! style. This carefully designed tutor willinspire, entertain and, most importantly, nurture a love of music that can last a lifetime. Suitable for children aged 5+.

(75 Early / Late Intermediate Selections to Develop Technique and Musicianship). Edited by Maurice Hinson. For Piano. Piano Collection. Essential Keyboard Repertoire. Masterwork. Early Intermediate / Late Intermediate. Book. 144 pages. Published by Alfred Music Publishing

Performed by Count Basie. Artist Transcriptions (Authentic note-for-note transcriptions). Size 9x12 inches. 103 pages. Published by Hal Leonard.

By James Bastien. Bastien Piano. Bastien Piano Library. Level: Level 1. Music Book. Published by Neil A. Kjos Music Company.

(60 Easily Prepared Piano Arrangements for Services Throughout the Year). Arranged by Cindy Berry. For Piano. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Sacred. Late Intermediate. 232 pages. Published by Alfred Music

By James Bastien. For Piano. Bastien Piano. Bastiens' Older Beginner Piano Library. Solo Collection. Published by Neil A. Kjos Music Company.

By James Power. For Piano. Classical, Folk, Jazz. Sheet Music. 32 pages. Published by Chester Music.

Composed by Various. For Piano/Keyboard. Piano Solo Songbook. Softcover. 456 pages. Published by Hal Leonard

Piano

SKU: BT.9781408192771

Composed by Karen Marshall. Get Set! Piano. Studies & Exercises. Book Only. 24 pages. Collins Music Publishing #9781408192771. Published by Collins Music Publishing (BT.9781408192771).

ISBN 9781408192771.

< strong>Get Set! Piano Pieces Book 1 is an exciting new collection of pieces by Heather Hammond and Karen Marshall, arranged and written specially for the twenty-first century child.

G et Set! PianoPieces Book 1 follows and supplements the tried and tested progression of Get Set! Piano Tutor Book 1. It includes favourites like Alice the camel, Little bird, Hot cross buns, We wish you a Merry Christmas andengaging new pieces from jigs to jazz featuring wriggly caterpillars and scary pirates. Many of the pieces have straightforward teacher duet parts to encourage ensemble playing from the start.

The book isattractivelylaid out and fully illustrated, with quizzes and crosswords to reinforce learning.

By Alexander Scriabin (1872-1915). Edited by Valentina Rubcova. For Piano (Piano). Henle Music Folios. Softcover. 40 pages. G. Henle #HN1109. Published by G. Henle

Developing Artist Original Keyboard Classics Original Keyboard Classics with opt. Teacher Duets. Edited by Jeanne Hansen, Nancy Faber, and Randall Faber. Faber Piano Adventures. Classical, Supplementary. Softcover Audio Online. 24 pages. Faber Piano Adventures #FF1027. Published by Faber Piano Adventures

(Intermediate to Early Advanced Works by 31 Composers). Edited by Maurice Hinson. For Piano. Piano Collection. Alfred Masterwork Edition. Masterwork. Intermediate / Early Advanced. Book. 212 pages. Published by Alfred Music Publishing

(8 Ragtime Pieces for Piano). By Larry Porter. For Piano. Piano. Softcover. 38 pages. Schott Music #ED21465. Published by Schott Music

The Phillip Keveren Series Piano Solo. Arranged by Phillip Keveren. Piano Solo Songbook. Country. Softcover. Published by Hal Leonard

By Jane Smisor Bastien. For piano. (Bastien Supplementary Books). Bastien Piano. Pop/Rock/Country. Level: Level 1. Music Book. Published by Neil A. Kjos Music Company.

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.

By Walter Noona. Piano. Level: Level 1. Piano method. Published by Heritage Music Press.