Following in the tradition of Bach, Chopin, and other composers, Melody Bober has written the In All Keys series, which includes original piano solos in all major and minor keys. Each book in the series contains 16 pieces and follows the circle of fifths, with pieces in major keys followed by pieces in relative minor keys. Book 1 features one piece in C major, one piece in A minor, and the seven major 'sharp' keys (G, D, A, E, B, F-sharp, and C-sharp major) and their relative minors (E, B, F-sharp, C-sharp, G-sharp, D-sharp, and A-sharp minor). Book 2 includes one piece in C major, one piece in A minor, and the seven major 'flat' keys (F, B-flat, E-flat, A-flat, D-flat, G-flat, and C-flat major) and their relative minors (D, G, C, F, B-flat, E-flat, and A-flat minor). The C major and A minor pieces of Book 1 are different than the C major and A minor pieces of Book 2. The pieces with five, six, and seven sharps in Book 1 have been transposed to their enharmonic flat keys for Book 2. These pieces help develop reading skills, and they reinforce the study of scales, arpeggios, and chords. / Piano

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

The Phillip Keveren Series-A dozen Yuletide character pieces arranged by Phillip Keveren each one presented in a different major and related minor key. The Twelve Keys Of Christmas includes: Joy to the World (C major/A minor) • O Come O Come Immanuel (G major/E minor) • Good Christian Men Rejoice (D major/B minor) • What Child Is This? (A major/F# minor) • Angels We Have Heard on High (E major/C# minor) • Coventry Carol (B major/G# minor) • Still Still Still (G-flat major/E-flat minor) • We Three Kings of Orient Are (D-flat major/B-flat minor) • Angels from the Realms of Glory (A-flat major/F minor) • Ukrainian Bell Carol (E-flat major/C minor) • SilentNight (B-flat major/G minor) • O Come All Ye Faithful (F major/D minor).

Nicknamed the ?Black Key Étude? Frédéric Chopin?s Etude In G Flat Major Op. 10 No. 5 is one of his most popular. It has been a common repertoire piece for pianists since Chopin?s time and hasinspired numerous exercises arrangements and paraphrases.The etude was composed in 1830 and published for the first time in 1833 in France Germany and England as the fifth piece of Chopin?s Études Op. 10. Despiteits enduring popularity Chopin himself did not believe the study to be one of his most interesting. In a letter to his pianist friend and musical executor Julian Fontana he commented on Clara Wieck?sperformance:'Did Wieck play my Etude well? How could she have chosen precisely this Etude the least interesting for those who do not know that it is intended for the black keys instead of something better! It wouldhave been better to remain silent.'This Henle Urtext Edition for solo Piano has been edited by Ewald Zimmermann and includes fingering by Hermann Keller.

G Major Op. 78 D 894-Schubert?s tuneful and buoyant Sonata in G major was published in April 1827 as a ?Fantasy or Sonata? to quote the heading of its first movement. His first reviewer noted that ?the beloved and talented Lieder composer has presented the music world with a fantasy in which he lets his inventiveness loose. He presents the pianist with a harmonic indulgence without however amassing too many difficulties to complicate the execution?.Our scholarly-critical Urtext edition based on the definitive New Schubert Edition presents the sonata in a spacious new engraving with practical page turns. The work is introduced by an updated Foreword (Ger/Eng) and detailednotes on key questions of performance practice e.g. pedalling and Schubert?s characteristic way of writing accents. Rounding off the edition is a Critical Commentary (Eng) containing alternative readings of relevance to the performer. Schubert?s rejected initial version of the second movement can be accessed via the Barenreiter website.- Scholarly-critical Urtext editions based on the New Schubert Edition- Spacious new engravings with practical page turns- Detailed notes on historical performance practice (Ger/Eng)- Updated Forewords (Ger/Eng) and Critical Commentaries (Eng)- Schubert?s rejected versions of individual movements accessible online

Of the three sonatinas written by Beethoven the Sonatina in G is the most accessible appealing and successful. It is a light-hearted two-movement sonatina which remains almost entirely in the key of G. The B section of the second movement opens in the dominant key of D providing harmonic motion coupled with beautiful melodic motion in the right hand. Beethoven's craftsmanship is evident in the coda to this movement. Here the opening motif is used to settle expressively on the E-minor chord recalling the E-minor harmony of the third measure. This provides structural balance and harmonic interest. The Pianist can accentuate this moment by playing the first section of thecoda softly and unhurriedly.

Dedicated to the Guild of Piano Teachers in Hawaii this nocturne is reminiscent of gentle sea breezes and a slower paced lifestyle. Rolled chords and major 7th chords accentuate the gorgeous swaying melody. Key: G Major.

Par FINE ELAINE. The etudes in this book offer students a musically and intellectually satisfying means of practicing scales in all major and minor keys, even while remaining in first position. Although presented in the traditional order of the circle of fifths, this is where similarities to other violin scale-oriented books end.Of course, the etudes can be played using a mixture of positions by more advanced students. The studies also resonate very well on the viola if played at pitch. These are instructive etudes and can be played as appealing solo pieces. The stepwise motion in the etudes makes intervals between pitches easy to hear, even in keys with many flats or sharps.Both the book and etude titles refer to names of animals that have scales, so you will see natural and harmonic minor scales named after various moths, and major scales named for unusual reptiles, birds, and mammals throughout. The author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing animals or even write scale studies of their own. / Date parution : 2022-07-20/ Etude / Violon

Par FINE ELAINE. Although the practice of scales is essential to building and maintaining strength, technique, tone, and agility?it is very easy to slip into the habit of playing them automatically, without paying attention to how they sound or even being aware of what scale we are playing. The 29 single-page studies in this book are designed to combat that tendency as they are musically, intellectually, and rhythmically challenging.The first 24 studies proceeded through the circle of fifths and address all minor and relative major keys; the last 5 pieces were individually conceived, i.e., apart from the circle of fifths. Occasional fingerings or position guides are suggested but these are largely left to the student or their teachers. No metronome indications are given so that the etudes can be played at individually comfortable tempos?with or without a metronome, or freely as concert etudes. It is the stepwise motion and octave leaps of the etudes that makes the intervals between pitches easy to hear, even in keys with numerous flats or sharps.Just as in Elaine Fine?s more basic scale etude book, Violin Scale Tales, the names of the etudes herein refer to various animals that have scales, including insects, fish, birds, reptiles, a few species of squirrels with scales on their tails, and the solitary pangolin, the only known mammal whose entire body is covered with scales. Again, the author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing creatures, or even write scale studies of their own. / Date parution : 2022-07-20/ Etude / Violon

The E-Flat Major String Quartet Op. 127 is a key work not only in Beethoven’s oeuvre but in the entire history of the genre. The first of the late quartets it 'transfers the formal and symbolicaspects of his two major works for Chorus and Orchestra [the Missa solemnis and the Ninth Symphony] to the more intimate domain of chamber music' (William Kinderman). For years music lovers have been waiting for a new editionbased on the scholarly text from the new Beethoven Gesamtausgabe. The wait has paid off! The highly complex source situation was examined for the first time and thus Beethoven’s 'final intentions' are nowavailable in an urtext edition. The set of parts (HN 740) and the score (HN 9740) both come with a detailed preface and editorial notes.

Frederick John Easthope Martin (1882-1925) was a British composer and organist. He studied Piano Organ Harmony and Composition at Trinity College of Music in London. Best known for Evensong which has beenarranged for Piano Organ and even Orchestra the vast majority of his works were actually for Voice. Come To The Fair is probably his best known song; it was first published in 1917 as the first inthe volume Three More Songs Of The Fair. The text was written by Helen Taylor. It has been transposed to the key of G making it suitable for Medium Voices. Ideal for any school group this song of greatgusto and celebration will enliven any choral programme!