Duets, Yellow (Book II) - Pace Duet Piano Education (Two French Songs and I Saw Three Ships). Arranged by David Ferguson. For Piano/Keyboard. Pace Duet Piano Education. Lee Roberts Music #2246. Published by Lee Roberts Music

Part 1 of Hanon's The Virtuoso Pianist with Original Duet Accompaniments by Melody Bober. Book; Duet or Duo; Masterworks; Piano Duet (1 Piano, 4 Hands); Technique Musicianship. Masterwork Arrangement; Romantic. 44 pages. Published by Alfred Music

(A Graded Collection of Teacher-Student Piano Duets by Master Composers). Edited by Gayle Kowalchyk, E. L. Lancaster, and Jane Magrath. For Piano. Book; Duet or Duo; Graded Standard Repertoire; Masterworks; Piano Duet (1 Piano, 4 Hands). Alfred Masterwork Edition: Masterwork Classics Duets. Masterwork. Early Intermediate; Late Elementary. 48 pages. Published by Alfred Music Publishing

Oboe and piano

SKU: ST.C461

Composed by Various. Wind & brass music. Clifton Edition #C461. Published by Clifton Edition (ST.C461).

ISBN 9790570814619.

This edition replaces the old Nova Edition NM394 and the subsequent but also now defunct EMA142. Both previous editions are now out of print. This is a freshly edited, updated and greatly improved edition.

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Gioacchino Rossini: Variations for Oboe and Piano
Rossini was still a student at the Liceo Filarmonico in Bologna when he wrote these Variations at the age of 18. Originally thought to have been written for Clarinet in C and Orchestra, recent scholarship, culminating in Heinz Holliger’s brilliant recording (Philips 9500 564), has provided many good reasons why the oboe is clearly the solo instrument. Not only does it ‘look like’ oboe music but the writing (within the oboe’s exact range at that time) ignores more than an octave of the clarinet’s potential range. Also, it is most unusual to find the solo wind instrument duplicated in the accompanying orchestral parts, thus providing unnecessary competition in timbre.

Frédéric Chopin: Variations on a Theme by Rossini
No such ambiguity surrounds the origin of Chopin’s Variations on a Theme from Rossini’s opera La Cenerentola — orginally for flute. It is not definitely known for whom they were written, but they may have been either for his father (who played the flute), or for his close friend Matuszynski. They date from 1826-30 and here transposed from the original E major into D major for the oboe, provide a valuable addition to the oboist’s nineteenth century repertoire.

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Arranged by Mark Goddard
Grades 7–8
Former Spartan Press Cat. No.: EMA142.

16 Selections Featuring Student Parts in 5-Finger Position. Edited by Gayle Kowalchyk and E. L. Lancaster. Book; Duet or Duo; Graded Standard Repertoire; Masterworks; Piano Duet (1 Piano, 4 Hands). Masterwork. 56 pages. Published by Alfred Music

(A Graded Collection of Teacher-Student Piano Duets by Master Composers). Edited by Gayle Kowalchyk, E. L. Lancaster, and Jane Magrath. For Piano. Book; Duet or Duo; Graded Standard Repertoire; Masterworks; Piano Duet (1 Piano, 4 Hands). Alfred Masterwork Edition: Masterwork Classics Duets. Masterwork. Elementary; Late Elementary. 48 pages. Published by Alfred Music Publishing

Edited by Maurice Hinson. For Piano. Piano Collection. Masterwork. Level: Intermediate / Early Advanced (grade 4/5/6/6 ). Book. 248 pages. Published by Alfred Publishing.

By Claude Debussy (1862-1918). Arranged by David Marlatt. For 2 Trumpets and Keyboard. Brass - Cornet (Trumpet) Duet; Duet or Duo; Masterworks. Eighth Note Publications. Romantic. Part(s). Duration 00:02:00. Published by Eighth Note Publications

Piano Duet. By Irene Rodgers. Piano Duet. Size 11x8.5 inches. 48 pages. Published by G. Schirmer, Inc.

By Anton Diabelli. For Piano. Piano Duet (One Piano, Four Hands). Masterwork. Level: Intermediate / Advanced. Book. 40 pages. Published by Alfred Publishing.

By Franz Schubert (1797-1828). Edited by Maurice Hinson and Allison Nelson. For Piano. Book; CD; Duet or Duo; Masterworks; Piano Duet (1 Piano, 4 Hands). Alfred Masterwork Edition. Form: Fantasia; Sonata. Classical; Masterwork; Recital; Romantic. Advanced. 44 pages. Published by Alfred Music Publishing

Oboe - Piano Accompaniment. By Various. Solo Collection (Rubank). Size 9x12 inches. 64 pages. Published by Rubank Publications.

(17 Classical Masterpieces). Composed by Various. Edited by Mark Phillips. For Guitar, Guitar Duet. Guitar Collection. Softcover. Guitar tablature. 64 pages. Published by Hal Leonard

(24 Contemporary and Inspirational Songs). By Thomas Fettke. For high voice solo, medium voice solo and piano (guitar). Sacred Vocal. Published by Lillenas Publishing Company

(including the Minuetto) By Ludwig van Beethoven (1770-1827), edited by Stein Haas. Set of performance parts for viola and cello. Eb Major. Composed 1795-98. 14 pages. Published by C.F. Peters.

By George Frideric Handel ; Donald Burrows (Editor). For Soprano, Tenor, Bass, SATB Choir, Piano Accompaniment. Baroque. Sheet Music. 168 pages. Published by Novello and Co Ltd.

By George Frideric Handel (1685-1759). Arranged by David Marlatt. For 2 Trumpets and Keyboard. Brass - Cornet (Trumpet) Duet; Duet or Duo; Masterworks. Baroque; Masterwork. Part(s). 16 pages

Edited by Poldi Zeitlin And David Goldberger. For Piano Duet. Classical. Sheet Music. 160 pages. Published by Wise Publications.

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.

By Stephen Duro (Arranger). For Piano Solo (with Chord Symbols). Romantic, Classical. Sheet Music. 48 pages. Published by Wise Publications.

By Thomas Pasatieri. Vocal duet. For 2 Voices, Piano. Orlando Gibbons. Contemporary. Performance score. Standard notation. Duration 21 minutes. Published by Theodore Presser Company

Piano Duet. By Various. Arranged by Angela Diller, Elizabeth Quaile. Piano Duet. Size 9x12 inches. 72 pages. Published by G. Schirmer, Inc.

By Various. Easy Piano Songbook. Softcover. 122 pages. Published by Cherry Lane Music

By Ludwig van Beethoven. Edited by Willard A. Palmer. For Piano. Piano Collection. Alfred Masterwork Edition. Masterwork. Level: Late Intermediate / Early Advanced (grade 6/6 ). Book. 64 pages. Published by Alfred Publishing.

Edited by Gail Lew. Arranged by Sid Richardson. Piano method/supplement (1 piano, 4 hands). Level: intermediate, level 4. 64 pages. Published by Belwin.