Piano SKU: HU.HN601 Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Piano Solo, Piano and Keyboard, Repertoire, Solos. Piano Sonata G major K. 283 (189h). Classical. Softcover Book. 19 pages. G. Henle #HN601. Published by G. Henle (HU.HN601).

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

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

Composed by Harrison Birtwistle (1934-). BH Piano. Classical. Softcover. 20 pages. Boosey & Hawkes #M060131073. Published by Boosey & Hawkes

Piano. Composed by Christopher Norton. BH Piano. Brazilian, Cuban, Latin. Softcover Audio Online. 56 pages. Boosey & Hawkes #M060139291. Published by Boosey & Hawkes

14 original pieces based on Latin-American styles Piano. Composed by Christopher Norton. BH Piano. Latin, Classical, Brazilian. Softcover with CD. 56 pages. Boosey & Hawkes #M060135385. Published by Boosey & Hawkes

Piano

SKU: HL.14036601

Composed by Giles Swayne. Music Sales America. Classical. Book [Softcover]. 18 pages. Novello & Co Ltd. #NOV100335. Published by Novello & Co Ltd. (HL.14036601).

8.25x11.75x0.116 inches.

Giles Swayne's Zebra Music comprises twelve pieces written to be suitable for the junior contemporary Piano student, offering new music ideas to younger players. As the title suggests, the music is written in 'layers' of black and white keys: one hand may be playing the black keys while the other hand plays the white; or both may be on white, or both on black - only the final piece mixes the colours. By combining these simple modes with exciting and unusual rhythms, Swayne produces a sense of global style within acessible pieces.

Composed by Erik Satie (1866-1925). Music Sales America. Classical. Book Only. 20 pages. Novello and Co Ltd. #MUSNOV100216. Published by Novello and Co Ltd.

By Walter Noona. Piano. Level: Level 2. Piano method. Published by Heritage Music Press.

By ABRSM. For piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

Violin & Orchestra Reduction (Piano). Composed by Claude Debussy (1862-1918) and Robert Orledge. Arranged by Robert Orledge. String. Softcover. 34 pages. Schott Music #VLB214. Published by Schott Music

By Jean Baptiste Loeillet. Arranged by David Marlatt. For Clarinet and Keyboard. Masterworks; Solo; Woodwind - B-Flat Clarinet Solo. Eighth Note Publications. Baroque. Part(s). Duration 00:02:00. Published by Eighth Note Publications

By Jean Baptiste Loeillet. Arranged by David Marlatt. For Trumpet and Keyboard. Brass - B-Flat Cornet (Trumpet) Solo; Masterworks; Solo. Eighth Note Publications. Baroque. Part(s). Duration 00:02:00. Published by Eighth Note Publications

By Jean-Baptiste Loeillet (1680 - 1730). Arranged by David Marlatt. For Trombone and Keyboard. Brass - Trombone Solo. Baroque. Level: Easy-Medium. Duration 00:02:00. Published by Eighth Note Publications.

Piano - Intermediate

SKU: MB.31086

Saddle-stitched. Gospel. Book. Mel Bay Publications, Inc #31086. Published by Mel Bay Publications, Inc (MB.31086).

ISBN 9781513477763. 8.75X11.75 inches.

We all have experienced devotion at varying levels of intensity within our lives. Sometimes it is temporary, but in other cases it is lasting and perhaps even permanent.Devotion can be directed toward an idea, a purpose, plan, pet or person, a concept, a sport or hobby, a philosophy, or a feeling or relationship, but we all have known it in some measure.It can be so pathetically shallow as devotion to an object or possession, but its highest expression is found in devotion to the most noble of lasting and eternal values and in pursuit of knowing the awesome Creator of the universe- - - God himself. Hopefully, these piano pieces will inspire a greater measure of devotion from each of us.

With Fingering Piano (Piano Solo) BWV 830 Piano Solo with fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 31 pages. G. Henle #HN1656. Published by G. Henle

Without Fingering Piano (Piano Solo) BWV 830 Piano solo without fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 31 pages. G. Henle #HN1696. Published by G. Henle

13 Well-Known Original Pieces in Progressive Order. Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Sylvia Hewig- Tröscher. At the Piano. Softcover. 54 pages. G. Henle #HN1813. Published by G. Henle

By Trevor Wye. For Piano. Sheet Music. 64 pages. Published by Novello and Co Ltd.

Performed by Pat Martino. Stylistic Method. Book and CD Package. Size 9x12 inches. 16 pages. Published by Hal Leonard.

Piano

SKU: BR.EB-9410

33 Original Pieces for Piano. Composed by Martina Schneider. Solo instruments; stapled. Edition Breitkopf. The editors of the Keyboard Crocodile have delved into music history's treasure chest of piano literature and come up with some gems in the minor mode that offer major enjoyment.MP3 audiofiles, performed by Aki Sakae, are to be found on YouTube. Music pedagogy. Score. 68 pages. Breitkopf and Haertel #EB 9410. Published by Breitkopf and Haertel (BR.EB-9410).

ISBN 9790004188842. 9 x 12 inches.

The new Finer in Minor With beautiful, easy to moderately difficult, familiar and above all not so familiar pieces, our bestseller Finer in Minor has now been a companion for many generations on their way to the wonderful works of major piano literature. In the meantime, the sister edition Greater in Major (EB 8936) expands the sound palette, showing that playing the piano in a major key is, of course, just as beautiful as playing in a minor key! In the course of preparing it, the desire for freshness and renewal of the well-established minor-key edition developed. Editors and publishing house finally gave in and decided on a revised and expanded new edition. The outer appearance has been adapted to its major-key twin, and inside the edition, things look new and different, too. New composers and even more pieces expand the range of minor-key music to include new worlds of sound and feeling. Thus, playing the piano is simply great - with Greater in Major and Finer in Minor ! Voices to the 1st edition: It is a good collection of easy pieces and well edited. (Music Teacher) The publisher began with a novel idea and invested their faith in its success by producing a bright, colorful album that will easily catch the eye of the potential buyer. (Trevor Barnard, Music Teacher)

The editors of the Keyboard Crocodile have delved into music history's treasure chest of piano literature and come up with some gems in the minor mode that offer major enjoyment.MP3 audiofiles, performed by Aki Sakae, are to be found in the download section or on YouTube. Here you can find the sister edition Greater in Major.

By Martino Bohuslav. Czech title: Loutky III (nove, revidovane vyd.). Published by Praha.

Piano

SKU: BT.EMBZ20083

Urtext (1932-1939). Composed by Bela Bartok. Arranged by Yusuke Nakahara. EMB Music of Bela Bartok. Educational Tool. Book Only. Composed 2021. 72 pages. Editio Musica Budapest #EMBZ20083. Published by Editio Musica Budapest (BT.EMBZ20083).

English-Hungarian.

Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a classical piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from Imitation and Inversion, Ostinato, and Free Variations, concerning compositional technique, to mood pieces and pieces with programmatic ideas such as Notturno, Boating, From the Diary of a Fly, or the famous Six Dances in Bulgarian Rhythm. Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.

By Various. Easy Piano Songbook. Latin. Softcover. 208 pages. Published by Hal Leonard

Choral SATB choir, piano

SKU: CF.CM9608

Composed by Jamey Ray. Fold. Performance. 12 pages. Duration 3 minutes, 33 seconds. Carl Fischer Music #CM9608. Published by Carl Fischer Music (CF.CM9608).

ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).

The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.  19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep” in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark” in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,” which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.”Lastly , be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.

15 Well-Known Original Pieces in Progressive Order. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Sylvia Hewig-Tr�¶scher. At the Piano. Softcover. 64 pages. G. Henle #HN1812. Published by G. Henle (HL.51481812).

15 Well-Known Original Pieces in Progressive Order. Composed by Johannes Brahms (1833-1897). Edited by Sylvia Hewig-Trösch er. At the Piano. Softcover. 56 pages. G. Henle #HN1814. Published by G. Henle

Without Fingering Piano (Piano Solo) BWV 829 Piano Solo without fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 27 pages. G. Henle #HN1695. Published by G. Henle

Without Fingering Piano (Piano Solo) BWV 828 Piano Solo without fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 31 pages. G. Henle #HN1694. Published by G. Henle