A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter Heumann. This edition: Saddle stitching. Sheet music. Piano. Classical. Edition with Online audio file. 40 pages. Schott Music #ED13824. Published by Schott Music

A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter Heumann. This edition: Saddle stitching. Sheet music. Piano. Method. Softcover Audio Online. 48 pages. Schott Music #ED13813. Published by Schott Music

A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter Heumann. This edition: Saddle stitching. Sheet music. Piano. Classical. Softcover with CD. 40 pages. Schott Music #ED13834. Published by Schott Music

A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter Heumann. This edition: Saddle stitching. Sheet music. Piano. Method. Softcover Audio Online. 40 pages. Schott Music #ED13833. Published by Schott Music

(Ten Original Pieces in the Romantic Style). By Joyce Grill. For Piano. Piano Collection. Belwin Studio Series. Level: Intermediate. Book. 28 pages. Published by Alfred Publishing.

Piano - Grade 5

SKU: FA.MFCD017B

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B).

8.27 x 11.69 inches.

Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Piano

SKU: SU.80102580

For Piano. Composed by Dane Rudhyar. Keyboard, Piano/Harpsichord. Solo piano. Score. Subito Music Corporation #80102580. Published by Subito Music Corporation (SU.80102580).

While the titles given to each of the movements within each Pentagram are most descriptive, the composer cautions that they were given in most cases after the work was completed, and imply no particular program. Rudhyar considers the pieces poems, using tone combinations, melodies, and chords as words. Each Pentagram contains five short movements with subititles such as The Call, Surging, Salutation to the Depths, Daughters of Men, and others. The Third Pentagram has been recorded on Orion 7285. 36 pages Published by: Columbia University Music Press First and Second Pentagrams -- available for sale separately in the Subito Store (#80102577).

Solo Piano

SKU: SU.80102577

For solo Piano. Composed by Dane Rudhyar. Keyboard, Piano/Harpsichord. Solo piano. Score. Subito Music Corporation #80102577. Published by Subito Music Corporation (SU.80102577).

While the titles given to each of the movements within each Pentagram are most descriptive, the composer cautions that they were given in most cases after the work was completed, and imply no particular program. Rudhyar considers the pieces poems, using tone combinations, melodies, and chords as words. Each Pentagram contains five short movements with subititles such as The Call, Surging, Salutation to the Depths, Daughters of Men, and others. 24 pages Published by: Columbia University Music Press Third and Fourth Pentagrams -- available for sale separately in the Subito Store (#80102580).

Edited by Carol Cuellar. Arranged by Robert Schultz. Piano arrangement mixed folio (Easy piano). Level: five finger. 32 pages. Published by Alfred Publishing.

Piano Solo

SKU: AP.36-M268391

Composed by Camille Saint-Saens. Performance Music Ensemble. Master Piano Series. Book. LudwigMasters Publications #36-M268391. Published by LudwigMasters Publications (AP.36-M268391).

ISBN 9781621563488. UPC: 660355137570. English.

Saint-Saen s' Opus 111 was first published in 1899, and each of the six etudes are dedicated to a different piano virtuoso. Etudes: 1. Tierces majeures et mineures 2. Traits chromatiques 3. Prelude et Fugue 4. Les Cloches de Las Palmas 5. Tierces majeures chromatiques 6. Toccata.

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.

Solo Piano

SKU: AP.36-W707091

Composed by Cecile Chaminade. Arranged by William Scharfenberg. Collections; Performance Music Ensemble; Solo Piano. Well Tempered Press. Book. The Well Tempered Press #36-W707091. Published by The Well Tempered Press (AP.36-W707091).

UPC: 660355043215. English.

This collection of important piano works by the turn-of-the-century French composer, Cécile Chaminade (1857-1944) has been edited and fingered by William Scharfenberg. Affiliating herself with nationalist composers such as Saint-Saëns and Gounod, her style was very much rooted in both Romantic and French tradition, her tuneful and highly accessible works were also tremendous favorites in the United States. Volume 2 of this collection includes the following: Pierrette, Op. 41; La Lisonjera, Op. 50; La Morena, Op. 67; Les Sylvains, Op. 60; Arabesque, Op. 61; Valse-Caprice, Op. 33; Danse pastorale, Op. 37; No. 5, Arlequine, Op. 53.

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.

Romantic Piano Anthology - Volume 2 by Various. Edited by Nils Franke. For Piano. Piano. Softcover with CD. 64 pages. Schott Music #ED12913. Published by Schott Music

30 Original Works. Composed by Various. Edited by Nils Franke. This edition: Saddle stitching. Sheet music. Piano. Romantic, Classical. Edition/Softcover with CD. 12912. 48 pages. Schott Music #ED12912. Published by Schott Music

Piano (Piano)

SKU: HL.14030047

In Mournful Mood. Composed by Jean Sibelius. Music Sales America. Classical. Book [Softcover]. 4 pages. Edition Wilhelm Hansen #WH18781. Published by Edition Wilhelm Hansen (HL.14030047).

ISBN 9788759852095. 8.25x11.75x0.048 inches.

The Piano music of Jean Sibelius ranks among the greatest of Finnish music, and his 1924 set Five Characteristic Impressions demonstrates his importance, particularly in the field of Tone Poems. The fifth piece of this set, In Mournful Mood is a slower piece than the others, but is moving nonetheless. It is an impressionist piece that expresses imagery of reality with fabulous tonality and colour.

Piano

SKU: BR.EB-8942

Urtext. Composed by Friedrich Schneider. Edited by Ulrich Urban. Solo instruments; Softbound. Edition Breitkopf. Sonata; Romantic. Score. 264 pages. Breitkopf and Haertel #EB 8942. Published by Breitkopf and Haertel (BR.EB-8942).

ISBN 9790004187036. 9 x 12 inches.

Friedrich Schneider's extensive work for piano has not to date attracted any research attention, although he enjoyed an excellent reputation as composer and conductor and was one of the most highly regarded piano virtuosos of his time. Extant of his are no less than 42 piano sonatas composed in the surprisingly brief period from 1802 to 1814, hence still before Beethoven had written any of his late sonatas. 24 piano sonatas appeared in print, many others remain simply in manuscript. In the coming years we are presenting all of Friedrich Schneider's piano sonatas for the first time in modern editions. The sonatas are ordered within 4 volumes chronologically by year of composition, starting now with volume II, which gives an overview of Schneider's more mature sonatas. The edition is being edited by Prof. Ulrich Urban, who has for years dealt intensively with this composer's piano work.

Schneider's piano sonatas complement the view of this genre between Haydn and Beethoven and are an important expansion to the repertoire for both specialists and students, with technical demands representing the whole range from moderate to very difficult.

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.

Piano

SKU: HL.49046828

40 Beliebte Weihnachtslieder for Piano. Piano Collection. Christmas, German. Softcover Audio Online. 64 pages. Schott Music #ED23375. Published by Schott Music (HL.49046828).

ISBN 9781705157312. UPC: 196288031673.

Piano Junior: Weihnachtsbuch is an ideal companion to the Piano Junior piano method, but also to any other method. The collection of40 popular Christmas carols, in very easy to easy settings, helps to develop and consolidate important technical and musical skills.Four-hand movements are also included. Audio examples of all the pieces complete the edition and are available for free download.

About Piano Junior

Pia no Junior is a creative and interactive piano course for children from the age of 6, which progresses in small, manageable steps. It is a fun and satisfying approach to playing and learning about music, encouraging quick and noticeable progress.

Piano Junior is home to PJ, a robot with great enthusiasm for the piano, who accompanies and motivates children throughout the piano course. On this website you will find a video introduction and demonstrations, audio tracks of all pieces played on an acoustic piano, and further fun practise resources.

This innovative course stimulates and encourages creativity through regular, integrated 'Corners', such as Composing, Improvising, Action, Playing, Technique, Ear Training, Memory, Sight Reading and Music Quizzes. In this way solid musical knowledge and technical ability is acquired. The experience of learning the piano is multifaceted: aural -- with regular ear-training exercises; visual -- with sight-reading; tactile -- with clear explanations of technical aspects of playing and, above all, creative -- with exercises in composing and improvising.

The choice of pieces includes attractive works from the classical period to the present day as well as interesting arrangements of folk tunes and children's songs, classical masterpieces, jazz and pop melodies.

In addition to the Lesson Book (which includes Exercises) at each level there is also: a Theory Book, in which valuable information from the method is worked through and consolidated in a playful, imaginative way.

There is also a Duet Book at each level, to provide motivation for playing the piano with others and a Performance Book with great repertoire, which is fun to play. The Flash Cards included can be used to provide further practice in note reading, or to help with learning musical symbols and terms or rhythm patterns. By collecting the cards from each volume you will acquire a wealth of reference material.

Music greatly enriches the life of a child and Piano Junior aims to provide a musical basis for this in the most creative and motivating way.

Die kreative Klavierschule fur Kinder German. Piano Method. German Edition, Classical. Softcover. 88 pages. Schott Music #ED22761. Published by Schott Music

Piano

SKU: AP.36-M191391

Composed by Charles Tomlinson Griffes. Method/Instruction; Reference Textbooks; Solo; Solo Small Ensembles. Master Piano Series. Book. LudwigMasters Publications #36-M191391. Published by LudwigMasters Publications (AP.36-M191391).

ISBN 9781628765588. UPC: 746241292575. English.

Charles Tomlinson Griffes (1884-1920) was an American composer whose later works made him the most famous American to contribute to musical Impressionism, the movement associated with French composers such as Debussy. His FANTASY PIECES, Op. 6 for piano includes three works, each preceded by a poem or text: Barcarolle, Notturno, and Scherzo. Reprinted from the original edition, this important music is made available once again.

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.

(As Heard on APM's Performance Today). By Various. Arranged by Bruce Adolphe. LKM Music. Softcover. 56 pages. Hal Leonard #S410025. Published by Hal Leonard

Keyboards - Piano Piano Solo

SKU: AY.FRD37

Composed by John La Montaine. Keyboards - Piano. Fredonia Press #FRD37. Published by Fredonia Press (AY.FRD37).

ISBN 9790302114659.

John La Montaine's Twelve Relationships for Piano Solo consists of twelve short canons: Bold and Plain, Teasing, Plaintive, Bittersweet, Wayward, Saucy, Entreating, Piquant, Brooding, Spirited and Jubilant. It was originally composed in 1965. A canon is the strictest form of composition, in which two or more parts take up in succession exactly the same musical subject. Each of the canons in Twelve Relationships is at a different interval. That is, the second entrance of the subject begins on a different note in each canon, and that note is always different from the first entrance. Twelve different intervals are utilized in the twelve canons. Each of these canons is strict in its succession of intervals from the first note to the last. The first canon is at the octave and therefore in one and the same key. All of the others at different intervals, since they are strict, are simultaneously in two different keys. There is no other known set of canons so composed. The title Twelve Relationships may be understood in two senses. One refers to the form, the intervallic relationships mentioned above. The other refers to the content, that is, to the psychological relationships that are implied by the titles of the individual canons and which form the musical substance of the pieces. Jocelyn Mackey (Pan Pipes, music critic): Twelve Relationships contains twelve two-part canons with titles like, Plaintive, Sprightly, Saucy, Brooding. The first, Bold and Plain, is composed with imitation at the fifth, while a different interval is used in each of the other eleven. Just as the Well-Tempered Clavier contains preludes in each possible key, each possible interval of imitation is used in this set of canons. Amazing contrapuntal skill..

Piano

SKU: HL.50606945

Composed by Wolfgang Amadeus Mozart. Piano Collection. Classical. Softcover. 32 pages. Ricordi #ER00309700. Published by Ricordi (HL.50606945).

ISBN 9798350125023. UPC: 196288207979.

A selection of 20 short pieces composed by Mozart. Some are widely recognized, while others are much less known. Together, they constitute a short but significant introduction to the art of the Salzburg genius. Each piece includes indications for pedalling and fingering.

20 Mysterious Easy Piano Pieces. Composed by Hans- Guenter Heumann. This edition: Saddle stitching. Sheet music with CD. Piano Collection. Classical. Edition with CD. Composed 2017. 64 pages. Schott Music #ED22833. Published by Schott Music

Piano

SKU: PA.H02031

Composed by Jan Hanus. Edited by Emma Dolezalova. Czech title: Vteriny v prirode op. 18 (snadne klavirni mali kosti). Teaching Manuals. Performance score. With Publication language: Czech/German/English. Opus 18. Editio Baerenreiter Praha #H02031_00. Published by Editio Baerenreiter Praha (PA.H02031).

ISBN 9790260100657. 31 x 23.5 cm inches.

This cycle of ten piano miniatures by Jan Hanus is intended for the youngest pianists; an age group for which it is usually very difficult to find adequate recital pieces that would respect not only the mentality of a small child but also its technical level. The titles of the individual pieces (March of the Industrious Ants, Sparrows' Party, Bug is swinging, Musician Cricket and others) already give a good picture of the inventive, humorous and, to certain extent, programme compositions in which one can easily feel the atmosphere incorporated in their titles. Individual compositions are supplemented with lovely illustrations by Daniela Zichova which surely makes the experience of playing the pieces even more enjoyable.

Piano

SKU: ST.0011

Composed by Maise Aldridge. Score. Stainer & Bell Ltd. #0011. Published by Stainer & Bell Ltd. (ST.0011).

ISBN 9790220200069.

Idea lly, a piano pupil should learn the treble and bass clefs simultaneously, absorbing both without difficulty. There is, however, an increasing number of children and adults, including students at training colleges, who begin piano lessons with a working knowledge of the treble clef but who are entirely ignorant of the bass.

Many have gained their knowledge of the treble, but not the bass clef, in good singing and aural training classes at school; others, and there are many of them, play the recorder, whilst violinists and players of various wind instruments are in the same position when they learn the piano for the first time.

It frequently happens, too, that piano pupils, and not only young children, are prompted by musical curiosity to read enthusiastically anything written in the treble clef fluently, but the bass clef lags far behind.

For all those people mentioned above, it is an urgent matter to learn the bass clef thoroughly and quickly, in as musical and interesting way as possible, and it is for them that this book is intended. A spell of concentrated work upon the bass clef alone can work wonders.

[Maisie Aldridge].