SKU: HL.1315782

ISBN 9798350110272. UPC: 196288179023. 9.0x12.0 inches.

No matter your age or if you're at the very start of your piano journey, you can play the 49 favorites in this collection! Each song is presented in arrangements with no page turns, simple right-hand melody parts, letter names written inside each note head, and basic left-hand chord diagrams. Songs include: Chasing Cars �?� Dancing Queen �?� Don't Stop Believin' �?� Drivers License �?� Every Breath You Take �?� Free Fallin' �?� Golden Hour �?� He's a Pirate �?� Heart and Soul �?� Imagine �?� La Bamba �?� Lean on Me �?� The Lion Sleeps Tonight �?� One Call Away �?� 100 Years �?� Peaches �?� Piano Man �?� Stand by Me �?� Star Wars (Main Theme) �?� Sweet Caroline �?� Take Me Home, Country Roads �?� We Don't Talk About Bruno �?� and more.

SKU: HL.14077110

SKU: SP.TS236

ISBN 9781585609871. UPC: 649571002367.

Creative Jazz Piano Arranging for Real Fake Book Tunes is a method and songbook written by Michael Tarro. This new title for Jazz Piano is a culmination of more than thirty years of experience in teaching piano. It contains musical concepts and explains many techniques for any jazz pianist to develop their own interpretive style. This instructional collection teaches how to create variations of simple melodies of many well-known standards as written in every Fake-Book which includes: A phenomenal collection of the most popular jazz standards ever written. Complete original jazz piano arrangements clearly notated with precision. Improvised solos are transcribed in their entirety with strict adherence to detail offering incredibly valuable jazz piano techniques for developing interpretive skills. A recording of every arrangement performed by the author, Michael Tarro with A bonus track of Tarro's award winning Big Band single, Traveling Theme. Creative Jazz Piano Arranging provides a logical approach towards creating arrangements of simple well-known melodies. This powerful tool in developing performance excellence is one of the first steps toward becoming an incredible jazz pianist. Gentle Rain by Louis Bonfa, Don t Blame Me by Jimmy McHugh, Sharp Nine Blues and Traveling Theme by Mike Tarro, My Romance and Hello Young Lovers by Rodgers and Hammerstein, When Sunny Gets Blue by Marvin Fischer, Days Of Wine and Roses by Mancini and Johnny Mercer, Nearness Of You and Georgia On My Mind by Hoagy Carmichael, Sweet Georgia Brown written by Ben Bernie, Maceo Pinkard and Kenneth Casey, When I Fall In Love by Victor Young, and Don't Get Around Much Anymore and I Got It Bad and That Ain't Good by Sir Duke Ellington.

SKU: PR.110418370

ISBN 9781491135075. UPC: 680160686247.

Composed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.