By Various. Easy Piano Songbook. Softcover. 512 pages. Published by Hal Leonard

For Piano. Composed by Vincent Persichetti (1915- 1987). Contemporary. Solo Part. With Standard Notation. Composed 1926. 8 pages. Duration 2 minutes, 30 seconds. Theodore Presser Company #160-00224. Published by Theodore Presser Company

Piano - Advanced; Early Advanced; Intermediate; Late Intermediate

SKU: AP.6-486087

1. Composed by Domenico Scarlatti. Edited by and ann. Dr. Eiji Hashimoto. Masterworks; Piano Collection; Piano Supplemental. Dover Edition. Classical; Masterwork. Book. Dover Publications #06-486087. Published by Dover Publications (AP.6-486087).

ISBN 9780486486086. English.

Volume I of this critically acclaimed three-part collection features introductory text and performance notes to 30 Scarlatti sonatas, from Sonata I to Sonata XXX. The works appear in chronological order and with Kirkpatrick numbers. This Urtext edition preserves the sonatas' original presentation, save for the addition of accidentals and the inversion of treble and bass clefs, in accordance with modern practices and ease of playing.

By Mike Carubia, Jeff Jarvis. Jazz Improvisation Method. Published by Kendor Music Inc.

Composed by Claude Debussy (1862-1918). Edited by Stewart Gordon. For Piano. Book; Masterworks; Piano Collection; Technique Musicianship. Alfred Masterwork Edition. Form: Etude. Impressionistic; Masterwork. Advanced. 104 pages. Published by Alfred Music

By Music Sales. For Piano Solo. Great Piano Solos. Popular. Level: Intermediate. Sheet Music. 160 pages. Published by Wise Publications.

Composed by Chen Yi (1953-). Sws. Duration 6 minutes. Theodore Presser Company #110-41828. Published by Theodore Presser Company

For piano, undervisning.
Spill etter besifring.
Alle som spiller piano eller keyboard bor laere seg a spille etterbesifring. Det gir forstaelse for hvordan melodier er bygget opp, ogkan vaere til stor hjelp na man har problemer med den tradisjonellenotelesninge n. Tema Akkord passer for elever som har kommet et stykkepa vei. Boken inneholder kjente melodier og forslag til hvordan manakkompagnerer i ulike stiler ved hjelp av besifring. Det er ogsaforslag til hvordan man kan spille melodi og akkompagnement samtidig.Melodiene er presentert i tonearter som er velegnet for sang ellerpasser bra for samspill med andre instrumenter. Det er gitt enkleanvisninger til transponering

INNHOLD:< /p>
He's got the whole world
Ovelser i akkordspill
Frankie and Johnny
Scarboroug fair
Amazing grace
She'll be coming
House of the rising sun
Tack for allt
I don't know how to love him
Greensleeves
Fjariln vingad
Malselvhalling
Jeg lagde meg
Blues
Tango Tangora
Bruremarsj fra Osterdalen
The final countdown
Akkorder og komp.
Eternal flame
Tears in heaven
Can you feel
Vem kan segla
La Cucaracha
El Cumbanchero
Saeterjen tens sondag
Here there and everywhere
Gymnopedie
Akkordoversikt
T angenter

Piano - Level 3

SKU: LM.VV039

Composed by Farid Ouali. Piano a portee de mains. Classical. Score. Editions Van de Velde #VV039. Published by Editions Van de Velde (LM.VV039).

ISBN 9790560050393.

PACH ELBEL J. : Sarabande - BACH J.S. : Petit prelude - MOZART W.A. : Contredanse - BEETHOVEN L.V. : Sonatine - SCHUBERT F. : Valses - CHOPIN F. : Valse en Ut min. - SCHUMANN R. : Premier chagrin - TCHAIKOVSKI P.I. : Douce reverie - LIADOV A. : Prelude - CHOSTAKOVITCH : La poupee mecanique - BRION D. : Teddy's saloon - DESORMIERES B. : Ballade pour Maxime - Java Jazz - GAGNEUX R. : Signal continu - LAURICELLA M. : En blanc et noir.

Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Giuseppe Buonamici. For piano. Schirmer Library, volume 964. Format: piano solo book. With fingerings. Classical period. 68 pages. 9x12 inches. Published by Schirmer.

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.

17 sonatiner for piano.

Innhold:

Beethoven, Sonate Op. 49 II
Mozart, Sonate C Dur
Bach, Praludium C moll
Muller, Scherzo
Haydn, Sonate C Dur
Handel, Menuett
Handel, Menuett
Handel, Sarabande mit Variationen
Beethoven , Sonate Op. 49 I
Muller, Scherzo G Dur
Phil. Em. Bach, Solfeggio
Kuhlau, Sonatine Op. 55 I
Beethoven, & Variationen G Dur
Dussek, Sonatine G Dur Op. 20 I
Kuhlau, Rondo A Dur Op. 40 II
Beethoven, 6 kleine Variationen
Clementi, Rondo F Dur

For Piano and Orchestra. By Frederic Nicolas Duvernoy, Henry Lemoine. (Piano). Dowani Book/CD. BOOK W/CD. Size 9x12 inches. 56 pages. Published by Dowani.

By Carl Czerny. (Piano). Dowani Book/CD. Play Along. Softcover with CD. 72 pages. Published by Dowani.

By Johann Sebastian Bach. (Piano). Dowani Book/CD. Play Along. Softcover with CD. 30 pages. Published by Dowani.

For Piano and Orchestra. By Frederic Nicolas Duvernoy, Frederic Burgmuller. (Piano). Dowani Book/CD. BOOK W/CD. Size 9x12 inches. 76 pages. Published by Dowani.

Composed by Leopold Godowsky (1870-1938). Collection for piano. With fingerings, pedal markings and introductory text. 400 pages. Published by Carl Fischer.

Composed by Various. Classical. Textbook. Trinity College London #TCL020567. Published by Trinity College London

Piano

SKU: AP.6-299783

Composed by Nikolai Medtner. Piano Collection. Dover Edition. Form: Sonata. 20th Century; Masterwork. Book. Dover Publications #06-299783. Published by Dover Publications (AP.6-299783).

ISBN 9780486299785. English.

A younger contemporary of Rachmaninoff and Scriabin, Nikolai Medtner remains a long neglected 20th-century master. This original Dover compilation brings together his first seven sonatas, rare pieces which range from intermediate to the very difficult: Sonata in F Minor, Op. 5; three sonatas of Sonatentriade, Op. 11; and more. Includes a Preface plus Editorial and Performance Notes.