This is a new edition of Béla Bartók?s popular Romanian Folk Dances in its original scoring for Solo Piano. With fascinating background notes and unique imagery this publication is essential for pianistsinterested in the work of the Hungarian composer.When Bartók?was just 23 years old he visited the Transylvanian town of?Gerlicepuszta. Overhearing a lullaby sung by a teenage servant girl named LidiDósa he quizzed her about it and noted it down. This was the beginning of a passion for folk music that would go on to change the course of the composer's life and work. Romanian FolkDances?remains one of Bartók's most popular and enduring works evoking the folk melodies combined with his own idiosyncratic harmonies and textures. Each of the six short pieces here is based on atraditional melody which Bartók?penned during his travels.? Including newly engraved masterpieces?Stick Dance Waistband Dance In One Spot Dance From Butschum Romanian Polkaand Fast Dance this sheet music collection features editorial revisions guided by recordings of Bartók's own performance. The notation also includes fingering guidancethroughout. Romanian Folk Dances also?features a specially-written introduction as well as some fantastic photographs that both tell the story of the young composer and the intriguingbackstory of this work.? One of the most important 20th century composers and along with Liszt one of Hungary's finest musical minds Bartók?held a strong fascination for folkmusic. Through his studies recordings and arrangements he composed some incredible music like these?Romanian Folk Dances ?while simultaneously initiating the field of

88 Grieg arranged four pieces from his incidental music for Ibsenâ??s verse drama Peer Gynt to form an orchestral suite (Op. 46). This was followed in 1891 by a second orchestral suite (Op. 55) again comprising 4 pieces. Both suites quickly became established in the concert repertoire and contributed significantly to Griegâ??s international fame. He made piano arrangements of both suites and published them simultaneously with the orchestral suites in 1888 and 1893. Grieg subsequently made further adjustments in the piano pieces: shortening some, for example â??Morningâ??, and expanding others like â??The Death of Ã?seâ??. Overall, Grieg reduces the dramatic orchestral conception in favour of a more intimate expression and more restrained effects.

14 famous themes from music history, from Bach to Offenbach, each with its own jazzy interpretation - just as in Vol. 1. This edition shows that 'classical music' and jazz are not that distant from one another after all. Just imagine Grieg's Piano Concerto played on a bandoneon - and you have got the perfect tango! Brahms' Hungarian Dance No. 1 is also ideal as a salsa ('Hungarian Salsa No.1'). Schubert's trout suffers a terrible fate, here it may continue to live in a lively ragtime ('Fish Rag'). With Mozart, the night is merry and friendly. but 'A Black Night Music' shows its dark side. The accompanying CD provides examples and suggestions as to how all of these pieces can be interpreted.

Jazz Piano Solos Series Volume 57. 24 songs from this legendary guitarist and composer beautifully arranged for jazz piano solos! Includes: Always and Forever ? Antonia ? Are You Going with Me' ? Better Days Ahead ? First Circle ? Have You Heard ? In Her Family ? (It's Just) Talk ? James ? Last Train Home ? Letter from Home ? The Longest Summer ? Make Peace ? A Map of the World ? Mas Alla ? Minuano (Six-Eight) ? New Year ? Phase Dance ? Question and Answer ? The Road to You ? Sirabhorn ? So May It Secretly Begin ? Sometimes I See ? Unity Village. Includes chord names.

We've updated this outstanding collection of country songs to include even more of your favorites - 79 in all! Featuring: Always On My Mind * Behind Closed Doors * Could I Have This Dance * Crazy * Daddy Sang Bass * D-I-V-O-R-C-E * Forever And Ever, Amen * God Bless The U.S.A. * Grandpa (Tell Me 'Bout The Good Old Days) * Help Me Make It Through The Night * I Fall To Pieces * If We Make It Through December * Jambalaya (On The Bayou) * Love Without End, Amen * Mammas Don't Let Your Babies Grow Up To Be Cowboys * Stand By Your Man * Through The Years * and more. / Piano

Music from the Motion Picture Soundtrack. Eight songs from the soundtrack to the 2018 Disney film adaptation of the story depicted in the popular holiday dance production. Our collection features arrangements for piano solo of Tchaikovsky's The Nutcracker, plus music by James Newton Howard: The Nutcracker and the Four Realms - Mouserinks - Just a Few Questions - Sugar Plum and Clara - Clara Finds the Key - The Machine Room Fight - and Fall on Me.

GREATER IN MAJOR. Par . Playing piano is great ' and not just in minor but also, of course, in major keys as well! High time for the publication of the companion to our bestseller Toll in Moll [Finer in Minor] (EB 9410) to complete now the long missing other half. With a selection of beautiful original works, easy to moderate in difficulty, these collections include both familiar but above all not so familiar pieces from a repertoire varying in terms of era and style. Just by listening to them, these pieces will inspire you to want to play piano more and more. When pianists musically are en route to the large wonderful works of piano literature have the opportunity to delve more deeply into the special aspects of piano music from different epochs with Greater in Major and Finer in Minor, two piano books that pianists of all ages can always return to and enjoy over many years. / Date parution : 2022-02-15/ Recueil / Piano

Le plomb est une série intégrée pour saxophone alto, clarinette, flûte, piano, saxophone ténor, trompette et violon. Dans chaque édition, toutes les chansons sont dans la même clé au concert pitch, permettant aux différents instruments à jouer ensemble. Symboles de corde sont inclus au concert pitch pour utilisation par piano ou de la guitare. ' Prendre la Collection classique de plomb ' dispose d'arrangements idiomatiques des pièces classiques bien connus. Ces pièces encouragent la progression de la technique et instrumentistes de débutants apprécieront vraiment d'apprentissage et de leur exécution. Les étudiants ont le choix de jouer avec CD, Piano ou guitare et toutes les pièces sont entièrement intégrés avec des arrangements pour les autres instruments de la série, ce qui en fait la ressource idéale pour les groupes scolaires et les petits ensembles. Utilisé comme un livre solo ces pièces encouragera la progression technique et la confiance en jouant. Pièces idéales pour la performance, ou juste pour le plaisir. Le plomb est une série intégrée pour saxophone alto, clarinette, flûte, piano, teno... / Piano

FINER IN MINOR. Par . With beautiful, easy to moderately difficult, familiar and above all not so familiar pieces, our bestseller Finer in Minor has now been a companion for many generations on their way to the wonderful works of major piano literature. In the meantime, the sister edition Greater in Major (EB 8936) expands the sound palette, showing that playing the piano in a major key is, of course, just as beautiful as playing in a minor key! In the course of preparing it, the desire for freshness and renewal of the well-established minor-key edition developed. Editors and publishing house finally gave in and decided on a revised and expanded new edition. The outer appearance has been adapted to its major-key twin, and inside the edition, things look new and different, too. New composers and even more pieces expand the range of minor-key music to include new worlds of sound and feeling. / Date parution : 2022-02-15/ Recueil / Piano

This delightful piece will bring a smile to the face of every late-elementary student. The minor sounds (and positions) describe a pumpkin dancing on Halloween with rhythmic energy and just the right amount of articulation.

'The idea for this set of pieces initially came from writing one as a sixtieth birthday present (I shall not mention which one!). Having written one Baroque-titled piece I gradually added more until a whole suite of Baroque dances was completed.The stimulus of writing a modern set of piano pieces based on Baroque models (in my case a mixture of the English and French Suites of Bach) is nothing new of course. Many twentieth-century composers were inspired by the rigours of devising new ways of looking at Baroque dances and in the process brought new life to the forms (in the case of Schoenberg?s Piano Suite of 1925 actually liberating his new method of 12- notecomposition from theory into practice).For my part the challenge was to write a set of pieces for the piano which would be technically suitable for both young and mature pianists whilst still responding to the compositional demands of creating interesting material mainly organised through contrapuntal means (often just two-part counterpoint as in Bourr?e 1 or the Gigue) but sometimes through harmonic means (as in the Sarabande or Gavotte).In addition the more personal nature of the genesis of the album resulted in each piece or dance being dedicated to a particular friend. Whilst their pianistic skills might vary quite considerably they all share a great love of music - something which unites us all.'???????????? - Edward Gregson1. Paul?s Prelude2. Adam?s Allemande3. Clare?s Courante4. Stefan?s Sarabande5. Gaynor?s Gavotte6. Brian?s Bourr?e (Bour?e 1)7. Bethan?s Bour?e (Bour?e 2)8. Maggie?s Minuet9. Gavin?s Gigue10. Phil?s Postlude

The mazurka was Chopin's companion throughout his entire artistic life: He wrote the Mazurka in A minor Op. 68 at the age of seventeen and even his very last composition was dedicated to this Polish dance form. 'Chopin unleashed the unknown poetry which was only suggested in the original themes of the true national mazurkas. Maintaining their rhythm he refined the melody expanded the proportions and introduced a harmonic contrast that was as new as the objects to which he adjusted it…' (F. Liszt). Of the total of 58 mazurkas by Chopin this edition provides a selection of the better known and easier pieces for lessons and music lovers.

Par VAN NUETEN GUY. Contact by Guy Van Nueten originated from the feeling of being abandoned, such as a person who treks through a barren desert following a great disaster and asks himself if there's any point in carrying on when every day brings just more of the same - still more desert. I suspect that each of us has such a desert within himself, but that it depends on circumstances whether or not we choose to make the journey through it. Contact lays out a path that we can share. This music seems especially romantic to me, in the sense that the sounds have much to say about loneliness. There are moments where this album emphasises its own seriousness, then immediately afterwards invites us todance. Contact sticks out a hand, sometimes two, mostly to show the internal process of the composer - firstly the lack of fire and the abandoned longing for this, followed by the bewilderment that there is something that is still smouldering and that can be fanned into a blazing forest fire to burn away all the pain of desolation. For this reason it is also moving music - because it wants the recognition of the listener, wants us to feel our own desolation while the piano explores further depths and heights. At times a composition is almost carelessly abandoned and another one begun. Whoever looks closely at feelings and is honest with himself and the world is always a little cruel. But finally there is an end to that desert - he sees an oasis and also a beautiful hotel. Upon entering, he sees no-one, not even at the desk, but the reigning play of light and colour is of an otherworldly power. Maybe no other people are needed here and the beauty that prevails is enough. Then sounds of music arise and some people move across to the immense hall where a wing has been set up, behind which a man is sitting, his fingers moving across the keyboard. And only one thing is real: after desolation comes comfort. That person is you and that person is me. And that music is called Contact, directly from the soul of Van Nueten. Contact by Guy Van Nueten originated from the feeling of being abandoned, such as a person who treks through a barren desert following a great disaster and asks himself if there's any point in carrying on when every day brings just more of the same - still more desert. I suspect that each of us has such a desert within himself, but that it depends on circumstances whether or not we choose to make the journey through it. Contact lays out a path that we can share. This music seems especially romantic to me, in the sense that the sounds have much to say about loneliness. There are moments where this album emphasises its own seriousness, then immediately afterwards invites us todance. Contact sticks out a hand, sometimes two, mostly to show the internal process of the composer - firstly the lack of fire and the abandoned longing for this, followed by the bewilderment that there is something that is still smouldering and that can be fanned into a blazing forest fire to burn away all the pain of desolation. For this reason it is also moving music - because it wants the recognition of the listener, wants us to feel our own desolation while the piano explores further depths and heights. At times a composition is almost carelessly abandoned and another one begun. Whoever looks closely at feelings and is honest with himself and the world is always a little cruel. But finally there is an end to that desert - he sees an oasis and also a beautiful hotel. Upon entering, he sees no-one, not even at the desk, but the reigning play of light and colour is of an otherworldly power. Maybe no other people are needed here and the beauty that prevails is enough. Then sounds of music arise and some people move across to the immense hall where a wing has been set up, behind which a man is sitting, his fingers moving across the keyboard. And only one thing is real: after desolation comes comfort. That person is you and that person is me. And that music is called Contact, directly from the soul of Van Nueten./ Répertoire / Piano