SKU: YM.GTP01097599

ISBN 9784636975994.

From easy to advanced level, piano solo to duet. Please enjoy one melody in 12 various styles.
CONTENTS
1. Ito: Piano Solo - Entry; 2. Ito: Piano Solo - Easy; 3. Ito: Piano Solo - Intermediate(arr. by Murakami); 4. Ito: Piano Solo - Intermediate(arr. by Anzai); 6. Ito: Piano Solo - Advanced; 7. Ito: Piano Solo in Jazz Style - Advanced; 8. Ito: Voice with Piano accompaniment - Intermediate; 9. Ito: Duet(1P4H) - Intermediate; 10. Ito: 2-part Chorus with Piano accompaniment; 11. Ito: Voice with Piano accompaniment - Advanced: 12. Ito: Melody.

SKU: YM.GTP01097060

ISBN 9784636970609.

From easy to advanced level, piano solo to duet. Please enjoy one melody in various styles.
Cong Chu Ji Dao Gao Ji ,Cong Gang Qin Du Zou Dao He Zou ,Xiang Shou Tong Yi Xuan Lu De Bu Tong Feng Ge .

1. Paprica: Melody; 2. Paprica: Piano Solo - Entry; 3. Paprica: Piano Solo - Easy; 4. Paprica: Piano Solo - Intermediate; 5. Paprica in C Major: Piano Solo - Intermediate; 6. Paprica: Piano Solo - Advanced; 7. Paprica: Voice & Piano; 8. Paprica: Piano Duet.

SKU: YM.GTP01097921

ISBN 9784636907414.

From easy to advanced level, piano solo to duet. Please enjoy one melody in various styles.

SKU: 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.

SKU: B7.B151

8.5x11 inches.

CAFE for solo piano by Marc Douyon is based on the Haitian folk tune Manmam voyem peze cafe. The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part of the colorful musical tapestry as well. Cafe is divided into two main parts, the Prelude and the Dance. This work begins with lyrical melodic fragments over a light chordal accompaniment. A recitative follows with a theme, which is also lyrical in nature. But, soon after, that same theme from the recitative takes on a happier character in a waltz accompanied by a walking bass. There, syncopated rhythm, sequences, chromatic harmony, and refrain-like passages take the dance to new heights until the end.

SKU: BT.EMBZ12001

Vocalise, for soprano (or tenor) voice with piano accompaniment, came into being in 1910 as the final piece in Rachmaninov's Op. 34 song series. Most of the songs were tailored to suit the personalities of various outstanding Russian singers (including Chaliapin), and dedicated to them. An interesting feature of Vocalise, which was written for the soprano Antonina Nezhdanova, is that, as its title indicates, the vocal solo has no text: the performer can sing it through on any one vowel of her choice. This song became one of the composer's most popular pieces, and countless arrangements have been made of it (for orchestra, for various chamber ensembles, for violin, for cello,for almost every kind of brass instrument, for clarinet, for guitar, for harmonica, even for cello orchestra!). One of the most successful transcriptions for solo piano, first published in 1981, is the work of the world-famous Hungarian concert pianist, conductor and composer, Zoltán Kocsis.

SKU: AP.48701

ISBN 9781470643942. UPC: 038081559780. English.

The three movements of Adventures in Yellowstone present iconic scenes from the park. The first movement, Waiting for Old Faithful, begins with a tremolo, representing the rumbling before the famous geyser erupts, followed by figures that move up and down the keyboard depicting the shooting water. Grand Prismatic Spring is the second movement, a mysterious piece filled with scale-like figures and short motives based on various intervals. The last movement, Wildlife in the Valleys, creates various moods associated with animals found in the region, including wolves, bears, and buffalo. The exciting ending concludes with a glissando and fortissimo chords.

SKU: JK.00420

Psalm 82:6, Mosiah 4:15, Doctrine and Covenants 14:7.

Elementary piano arrangements of songs included in the LDS 2018 outline 'Sharing Time for Primary,' arranged by Kristen Allred. Written in big-note format, each song includes words and suggested fingering, with an optional teacher duet. Footnotes add insight into each composer.
* Easy violin parts available separately #09020.
Songs included in this volume:
A Child's Prayer
Children All Over the World
Families Can Be Together Forever
For Health and Strength
I Am a Child of God
I Think the World is Glorious
If the Savior Stood Beside Me
My Heavenly Father Loves Me
Thanks to Our Father
When I Am Baptized
Composer: various
Arranger: Kristen Allred
Lyricist: various
Difficulty: Elementary (Primer)
Reference: Psalm 82:6, Mosiah 4:15, Doctrine and Covenants 14:7