(E-Z Play Today Volume 166). Composed by Ludwig van Beethoven (1770-1827). For Organ, Piano/Keyboard, Electronic Keyboard. E-Z Play Today. Softcover. 48 pages. Published by Hal Leonard

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

By Ludwig Van Beethoven ; Daniel Scott (Arranger). For Piano. Classical. Sheet Music. 48 pages. Published by Wise Publications.

Made Easy for Piano Solo. By Edvard Grieg, Camille Saint-Saens, Antonin Dvorak. Arranged by John Brimhall. Solo piano. For Piano Solo. Great Music Made Easy Masterwork Series. Solo part. 48 pages. Published by Carl Fischer.

By Ludwig van Beethoven. Arranged by David Pearl. Easy Piano Composer Collection. Size 9x12 inches. 48 pages. Published by Cherry Lane Music.

By Sarah Holcroft (Editor). For Piano. Popular, Classical. Sheet Music. 132 pages. Published by Wise Publications.

Orchestra (Full Score) - Grade 4

SKU: HL.14032192

Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192).

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

By Frank Ticheli. Concert band. Suitable for the most advanced high school bands, community, college, university, and professional bands. Level: Grade 6. Conductor Full Score. Duration 21:00. Published by Manhattan Beach Music.

By Denes Agay (Arranger / Editor). For Piano. Classical, Musicals, Folk. Sheet Music. 112 pages. Published by Music Sales.

By Various. Five Finger Piano Songbook. Size 9x12 inches. 32 pages. Published by Hal Leonard.

Big Note Mixed Folios (Easy arrangements with large, easy to read notation). Size 9x12 inches. 104 pages. Published by Hal Leonard. tophit

Arranged by Audrey Snyder. (SATB). Choral. Festival. Size 6.75x10.5 inches. 16 pages. Published by Hal Leonard.

(A Treasury of Favorite Songs to Play). By Various. Easy Piano Songbook. Softcover. 130 pages. Published by Hal Leonard

The World's Great Classical Music. By Various. World's Greatest Classical Music. Size 9x12 inches. 232 pages. Published by Hal Leonard.

Easy Piano Book. Composed by Various. In C Major. Arranged Classical Music. Book. Yamaha Music Media #GTP01101247. Published by Yamaha Music Media

(Score with CD). By Johan De Meij. Score. Amstel Music. Grade 5-6. Book with CD. Amstel Music #AM06. Published by Amstel Music

By Various. Arranged by Stephen Duro. For Piano Solo and Guitar, with chord symbols. Music Sales America. Classical. Softcover. 48 pages

By Various. For Piano/Keyboard. Music Sales America. Softcover. 72 pages. Music Sales #AM995511. Published by Music Sales . Softcover.

Piano - Easy

SKU: YM.GTP01096650

Piano Educational. Piano Literature. Sheet music. Yamaha Music Media #GTP01096650. Published by Yamaha Music Media (YM.GTP01096650).

ISBN 9784636966503.

15 famous melorides by Composers from the end of 19th to eary 20th century arranged for children. The purpuse of this book is NOT to study piano technique, but to touch the sound of each era through the historical masterpieces.
15Shou Lai Zi 19Shi Ji Mo 20Shi Ji Chu De Zhu Ming Xuan Lu . Ben Shu De Mu De Bing Fei Gang Qin Ji Qiao Jiao Xue . Er Shi Yong Er Duo Qu Qin Shen Gan Shou Mei Ge Shi Qi Yin Le De Te Dian .

Debussy: 1. La fille aux cheveux de lin; 2. Cortege from Petit Suite; 3. Arabesque No.1; 4. Reverie; Clair de lune from Suite bergamasque Rachmaninoff: Prelude Op.3/2; 6. Piano Concerto No.2 Op.11 - 1st movement; 7. Symphony NNo.2 Op.27 - 3rd movement; 9. Vocalise Op.34/14; 10. 18th variation from Rapsodie sur un theme de Paganini O.43 Ravel: 11. Pavane pour une infant defunte; 12. Jeux d'eau; 13. Alborada del gracioso from Miroirs; 14. La Valse; 15. Bolero.

E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Size 9x12 inches. 48 pages. Published by Hal Leonard.

Collection for guitar solo. With guitar tablature, guitar tab glossary and introductory text. Series: Basix. 143 pages. Published by Alfred Publishing.

Two Pianos

SKU: SU.92102085

For two Pianos. Composed by Jerome Moross. Keyboard, Piano 4-hands/2+ Pianos. Score & Parts. Subito Music Corporation #92102085. Published by Subito Music Corporation (SU.92102085).

Two Pianos Duration: 6' Transcribed by the composer Performing Materials: 2 scores Composed: 1941 Published by: Sorom Editions.