Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Flute and Piano The World's Great Classical Music Series. By Various. (Flute). World's Greatest Classical Music. 120 pages. Published by Hal Leonard.

By Leo Portnoff. For Violin, Piano. Romantic, 20th Century. Sheet Music. 3 pages. Published by Bosworth.

Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. For piano. This edition: Urtext edition. Stapled. Level 5. Performance score. Language: German/English, Text Language: German/English. Opus 27, 1 2. Published by Baerenreiter Verlag

Best Of Classics for Intermediate Piano composed by Various. Arranged by Tony Santorella and Craig Stevens. For piano. This edition: Paperback. Collection. Classical. Intermediate to Advanced. Collection. Text Language: English. 204 pages. Published by Santorella Publications

(Revised Edition). By Ludwig van Beethoven (1770-1827). Edited by Murray Perahia and Norbert Gertsch. For Piano. Henle Music Folios. Softcover. 28 pages. G. Henle #HN1062. Published by G. Henle

Exceptional Classics for Piano * Level 2 composed by Various. Edited by Jonathon Robbins. For piano. This edition: Paperback. Collection. Classical. Advanced elementary and intermediate. Book. Text Language: English. 64 pages. Published by Santorella Publications

Piano; Piano/Keyboard

SKU: HL.50013560

Piano Solo. Composed by Wolfgang Amadeus Mozart. Edited by Alfredo Casella. Piano Collection. Classical, Sonata. 176 pages. Ricordi #ER2624. Published by Ricordi (HL.50013560).

UPC: 73999159400. 9.0x12.0x0.47 inches.

Contents: Fantasia con Fuga in C K.394 * Fantasia II * Fantasia III * Fantasia No 4 in C Minor * Sonatas Nos. 12 thru 19.

Sonata quasi una fantasia. By Ludwig van Beethoven. Edited by Stewart Gordon. For Piano. Piano Solo. Alfred Masterwork Edition. Masterwork. Level: Early Advanced. Book. 24 pages. Published by Alfred Publishing.

By Alexandra Shealy (Editor). For Piano. Classical. 192 pages. Published by Music Sales.

Edited by Guy/Mcarthur. For Piano. The second installment of this exceptional piano literature series continues to strengthen a student's ability to find and project melody. The music represents a variety of keys, tempi, meters, and style. Includes technical exercises for melodic expression, descriptive summaries for each piece, and composer biographies. Contents include: Fantasia in G major Wq. 117:8 (C.P.E. Bach); Concerto in D Minor BWV 974 2nd mvt (J.S. Bach); Gavotte from French Suite #5 (J.S. Bach); Buciumeana from Romanian Dances No. 4 (Bartok); Bagatelle in F Major Op. 33 No. 3 (Beethoven); Sonata in C# Major Op. 27 No. 2 1st mvt (Beethoven); Dream (Bloch); Waltz in G# Minor Op. 39 No. 3 (Brahms); Mazurka in G Minor Op. 67 No. 2 (Chopin); Prelude in C Minor Op. 28 No. 20 (Chopin

A New Critical Edition. By Ludwig van Beethoven. Edited by Barry Cooper. For piano. This edition: Urtext edition. Level: Grade 5-8. 3-volume collection (in a slipcase) with 3 CDs. Opp. 2, 7, 10, 13, 14, 49, WoO 47, 22, 26, 27, 28, 31, 53, 54, 57, 78, 79, 81a, 90, 101, 106, 109, 110, 111. Published by ABRSM (Associated Board of the Royal Schools of Music).

Composed by Ludwig van Beethoven (1770-1827), edited by Stewart Gordon. Collection for piano solo. With introductory text, fingerings and performance notes. Published by Alfred Publishing. ISBN 0739037625.

Composed by Johann Sebastian Bach (1685-1750). For Piano. Piano Collection. 648 pages. G. Schirmer #LB2102. Published by G. Schirmer

By Johann Sebastian Bach (1685-1750). For Keyboard. Piano Collection. Softcover. 240 pages. Published by G. Schirmer

Edited by Nancy Bachus. Collection for piano solo. With performance CDs and historical background information. Series: A History of Piano Masterworks. 128 pages. Published by Alfred Publishing.

For Piano. Classical (duet). Includes a high-quality printed music score with selected primo and secondo piano parts, and two compact discs featuring the duet accompaniments to either primo or secondo part, depending on the selection, so you can perform the other part alongside. Published by Music Minus One.

By Alexandra Shealy (Editor). For Piano. Classical. 192 pages. Published by Music Sales.

By Franz Liszt. Edited by Sauer. For 2 piano, 4 hands. With Orchestra Concerto No. 1 (E-flat Major) Concerto No. 2 (A Major) Totentanz (Danse Macabre) Hungarian Fantasy (Fantasie Hongroise) Schubert: Phantasie Opus 15 Weber: Polonaise Brillante Opus 72. Published by C.F. Peters.

Piano - Level 10

SKU: FH.C6R10

Celebration Series, Sixth Edition. Method book. The Frederick Harris Music Company #C6R10. Published by The Frederick Harris Music Company (FH.C6R10).

ISBN 9781554409426.

The Celebration Series, Sixth Edition will inspire students at every level with its comprehensive collection of graded repertoire and etudes. Carefully curated and edited to support teachers and students in artistic and technical development, this 22-book series provides an engaging compilation of music--from beloved classics to newly commissioned works. New to this series are never-before published works from popular Canadian and US composers that will enhance the musical journey. Each book includes high-quality recordings, easily accessible online, to inspire students and teachers.

The Repertoire books provide students with a wide selection of outstanding pieces. This series provides a representative collection of repertoire from the Baroque, Classical, Romantic, and Contemporary style periods. With composers from more than 20 countries, these volumes are the ultimate resource for examinations, recitals, festivals, competitions, auditions, and personal enjoyment.

About Celebration Series - Frederick Harris Music

Celebration Series is a comprehensive series of graded repertoire and etudes for piano. This outstanding collection of music from the Baroque era to the present day provides thoroughly engaging teaching and learning materials. Each book includes high-quality recordings, easily accessible online, to inspire students and teachers.

A New Critical Edition. By Ludwig van Beethoven. Edited by Barry Cooper. For piano. This edition: Urtext edition. Level: Grade 5-8. Collection (paper-bound) and CD. Opp. 22, 26, 27, 28, 31, 53, 54. Published by ABRSM (Associated Board of the Royal Schools of Music).

y Ludwig van Beethoven (1770-1827). Edited by Maurice Hinson. For Piano. Graded Standard Repertoire; Masterworks; Piano Collection. Alfred Masterwork Edition. Form: Sonata. Classical; Masterwork; Romantic. Early Advanced; Intermediate; Late Intermediate. Book. 76 pages. Published by Alfred Music Publishing

By George Frederick Pinto. Edited by John McCabe. For piano. Keyboard music. Published by Noten Roehr

Moonlight Sonata * Original Piano Solo composed by Ludwig van Beethoven (1770-1827). For piano solo. Solo. Signature Series. Classical. Sheet Music. Text Language: English. 4 pages. Published by Santorella Publications

Edited by Carole L. Bigler, Valery Lloyd-Watts. Book/CD set for piano solo. Series: Mastering the Piano. 63 pages. Published by Alfred Publishing.

(Sonata quasi una Fantasia) Composed by Ludwig van Beethoven (1770-1827), edited by Willard A. Palmer. For piano solo. Format: piano solo single. With standard notation, fingerings and introductory text. Classical period and romantic period. 23 pages. 9x12 inches. Published by Alfred Publishing.

Chamber Music String Quartet

SKU: PR.14440265S

Composed by Sydney F. Hodkinson. Large Score. With Standard notation. Duration 25 minutes. Merion Music #144-40265S. Published by Merion Music (PR.14440265S).

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response. ’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.