SKU: HL.49046838
UPC: 196288032427.
This exciting new teaching method, by the renowned piano pedagogue Hans-Günter Heumann is ideal for adults and young people looking to learn the piano from scratch, or for those returning to the piano after a break from playing. Using classical music as a basis for learning, this method introduces interesting, varied and well-known pieces right from the outset. The two method books have been carefully designed to progress in small manageable steps, beginning with simple fingering patterns and exercises, onto some of the most beautiful melodies and pieces from the baroque, classical and romantic eras, such as the Ode to Joy, Für Elise and the Blue Danube Waltz. Leading the student through a range of exercises, repertoire pieces, theory checks, tips on practicing, playing and technique, and composer biographies, the process of learning is made interesting, informed and fun. The four supplementary volumes present further material to help learning at each stage of the students development, as well as offering up a wider range of beautiful pieces, for the solo pianist, or piano duet. The method books and duet collections are accompanied by recordings of all pieces performed on a grand piano by a professional concert pianist, as well as some additional accompanying parts, which can be used as play-along tracks.
SKU: CZ.9798854439596
Are you ready to embark on a musical journey through the timeless classics? Thirty Classical Piano Solos is the perfect companion for pianists of all ages and skill levels. This delightful collection features simply arranged pieces of easy to intermediate classical music, offering a delightful challenge for beginners and a refreshing repertoire for more seasoned players. Experience the Joy of Playing: From the elegant simplicity of Minuet in G to the grandeur of Symphony No. 9, these thirty masterpieces will captivate your heart and invigorate your fingers. This book is not just a musical treasure trove; it's an invitation to explore the rich tapestry of classical music that has stood the test of time. Versatile and Dynamic: Thirty Classical Piano Solos is more than just a collection of sheet music – it's a versatile resource for a multitude of occasions. Whether you're preparing for a recital, competition, graduation, wedding, talent show, church service, celebration, family gathering, or simply looking for beautiful pieces to play, this book has you covered. A Range of Emotions: Let the expressive melodies of Ave Maria stir your soul or revel in the triumphant spirit of Pomp and Circumstance. Play the charming Barcarolle or immerse yourself in the enchanting Swan Lake. Each piece tells its unique story, allowing you to explore a vast spectrum of emotions through your playing. Ideal for Beginning and Intermediate Players: Designed with simplicity in mind, Thirty Classical Piano Solos includes accessible arrangements that retain the essence of the original compositions while providing an approachable challenge for those still honing their skills. With practice and dedication, you'll soon be performing these cherished classics with confidence and grace. A Beautiful Gift: Looking for the perfect gift for a piano enthusiast? Look no further! Thirty Classical Piano Solos is a thoughtful and cherished gift for children, adult beginners, or anyone who appreciates the beauty of classical music. Begin your musical odyssey today with this exceptional collection of classical piano solos. Let the melodies of the great composers resonate through your fingertips and transport you to a world of timeless beauty.
SKU: HL.49047116
UPC: 196288124887.
About this book - Duet Collection 1: Duet Collection 1 provides 26 fun duets explicitly linked to the levels of progression (starting with beginners) found in Method Book 1. It comes with recordings on which you can listen to all the pieces performed on a grand piano by professional concert pianists. The audio material also contains the accompaniments alone, so that you can play your part along as a duet with the recordings! This book is a great supplement to Method Book 1, giving you further enjoyable pieces which will help your learning at each stage ofyour development. In line with The Classical Piano Method, these duets are drawn mainly from the classical repertoire, and also include a number of modern pieces in interesting and varied arrangements, with straightforward accompaniments ideal for a teacher or friend. This book is, of course, also a very useful standalone collection of progressively-graded duet repertoire in its own right, providing relevant repertoire as the pianists playing develops. Suitable for pianists in the early stages of learning to play. About The Classical Piano Method: This is ideal for adults and young people looking to learn the piano from scratch, or for those returning to the piano after a substantial break from playing. As the learner, you will gain a traditional, classic technique, and will be introduced to interesting, varied and well-known classical pieces right from the outset. The method is friendly and is carefully designed to progress in small manageable steps, beginning with simple fingering patterns andexercises, moving onto some of the most beautiful melodies and pieces from the baroque, classical and romantic eras: such as the Ode to Joy, Fur Elise and the Blue Danube Waltz. The Method Books lead you through a range of exercises, repertoire pieces to learn, theory checks, clear instruction & diagrams on playing and technique, tips on practising, and composer biographies. They also enclose recordings on which you can listen to all the pieces performed on a grand piano by a concert pianist, as well as some additional accompanying parts which you can use as play-along tracks. Learning is made interesting, informed and fun. Method Book 1 includes lessons on posture, hand positions, staves, clefs, chords... Method Book 2 includes lessons on intervals, changing hand positions, cadences, inversions, triplets, syncopation, 6/8 time...
SKU: SB.SBMP-1694
UPC: 000308159660.
“Every door you enter you find a piece of something inside you never knew.” Choirs will love this inspiring text that brings comfort to those in times of struggle. Character building texts of self-discovery, self-acceptance, and self-worth are set beautifully to music that is accessible for choirs of any level. It features unison melodies that are excellent opportunities to build your choir’s legato tone, along with part writing that is quick to learn and satisfying to sing. This piece speaks to the heart of what it means to be human, and it is sure to be an all-time favorite of singers and audience alike!
SKU: HL.278397
ISBN 9781540029737. UPC: 888680753306. 9.0x12.0x0.137 inches.
23 beautiful melodies are featured in this updated second edition of simplified E-Z Play(r) Today arrangements of timeless classical compositions. Includes: Barcarolle (Offenbach) * Clair De Lune (Debussy) * Dance of the Hours (Ponchielli) * Hungarian Dance No. 5 (Brahms) * Intermezzo (Mascagni) * The Merry Widow Waltz (Lehar) (includes lyrics) * Polovetsian Dances (Borodin) * Ride of the Valkyries (Wagner) * Toccata and Fugue in D Minor (Bach) * Waltz in A Minor (Chopin) * and more.
About Hal Leonard E-Z Play Today
For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
SKU: KJ.WB285
UPC: 8402700366.
This delightful contest/festival piece is full of beautiful melodies and warm textures!
About Standard of Excellence in Concert
The Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.
SKU: CF.YAS178F
ISBN 9781491151808. UPC: 680160909308. 9 x 12 inches.
The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences.The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!.The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.The title Le Printemps is French for “the springtime.” This piece is meant to bring images of springtime to the listener’s mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!
SKU: CF.YAS178
ISBN 9781491151433. UPC: 680160908936. 9 x 12 inches. Key: D major.
SKU: CF.WF230
ISBN 9781491153741. UPC: 680160911240.
Ever since he was honored 50 years ago as a top prize-winning graduate of New England Conservatory and a Fulbright scholar at the Paris Conservatoire, flutist Robert Stallman has drawn accolades around the world as a performer and recording artist who “dazzles because of his penetrating artistry” (Sunday Times/London). Also known internationally for superior flute editions, including numerous transcriptions that have greatly expanded the repertoire, Stallman now offers flutists an appealing collection of original melodic warm-ups. With The Flutist’s Handbook, he shares his fresh approach to staying in shape and maintaining his reputation for “consummate virtuosity” (Repertoire/France).PrefaceOne morning many years ago I opened my flute case and suddenly found myself questioning the wisdom of having scales and long tones come first in my practice session. Of course, these are essential to daily practice, but I wondered if there might be a better way to begin the day—with something more melodic and engaging, something to really inspire me.The Flutist’s Handbook emerged from a stream of musical ideas I began to jot down during practice sessions after that “aha” moment. As I worked with them, I noticed a more spontaneous interest in practicing. In fact I even looked forward to starting my day this way. As a result, my work on scales, arpeggios and long tones followed with more enjoyment and focused attention.In creating many of the détaché warm-ups found in Part I, I was drawn to the musical sequences of J. S. Bach, particularly those developed in his keyboard works. Bach had discovered the most satisfying musical patterns on which to build his music, so here was a treasure trove of invigorating melodic material. I also borrowed apt détaché passages from C.P.E. Bach, Schubert, Dvořák and others.Part II includes more musical quodlibets and echos in a collection of fifteen short melodies designed to open and center the tone, while encouraging full breath support. These melodies also concentrate on developing our sostenuto, or true legato playing—the foundation of a beautiful sonority and natural vocal expression. Except for final cadence notes, these warm-ups should be practiced without vibrato, to create an even and seamless instrument, bottom to top.All of these warm-ups are to be played forte and piano in every major key, proceeding chromatically by rising half-steps. Tempo indications are given in the headings, as are optional rhythmic and articulation variants. Suggested breath marks are in parentheses.The Handbook opens with détaché warm-ups for a good reason. It is vital to begin our practice with tonguing, as a clean attack is essential to producing a beautiful tone. Also, in working on tonguing (single, double, triple and tremolando) we stimulate and strengthen the jaw muscles that support the embouchure (which must remain supple and flexible). As we fine-tune these muscles, we gain tonal center and clarity, qualities that may elude us at the beginning of our practice. Of course, we also need to wake up the air stream and deepen our breath support. Once the tongue is alive and the tone is centered, we are ready to work further on our sonority with the melodic warm-ups in Part II.This book is meant for professionals, students and amateur flutists alike. I offer it to all as a companion that invites more pleasure and vitality into our daily practice. It is my firm belief that by aligning ourselves with our love of music and its energizing patterns each day—from the very first moment we pick up the instrument—we will bring more ease and focus into our lifelong task of staying in shape. This in turn will support the heightened inspiration we want to take into rehearsals and performances. Enjoy!—Robert StallmanMarblehead, MassachusettsApril 20, 2018.
SKU: CF.BAS74
ISBN 9781491146385. UPC: 680160903887. 9 x 12 inches. Key: G major.
Graceful flower dances are a beautiful part of many cultures, illustrated here with a flowing theme in first position. Very playable by beginning ensembles with simple rhythms and melodies based on the D-major and G-major scales. Delicate pentatonic harmonies and gentle pizzicato accompaniment float like the lotus blossom in an ancient garden.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.YPS262
ISBN 9781491163627. UPC: 680160922413.
Scarborough Fantasy is a hauntingly beautiful composition for band, featuring exquisitely original and traditional melodies with lush harmonic construction. Composers Christina Huss and R. Alan Carter have created a multi-layered setting based on the traditional English folk song, Scarborough Fair.Beginning in the very playable key of G minor, this piece flows beautifully into C minor for a stirring and emotional key change. Filled with multiple musical opportunities and teachable moments, this inspiring work features a variety of sections in a modern take on a timeless classic.
SKU: CF.YPS262F
ISBN 9781491164020. UPC: 680160922819.
