Piano Solo - Digital Download

SKU: A0.901081

Composed by Paul Copeland. 20th Century,Contemporary. Score. 50 pages. Paul Copeland #5988217. Published by Paul Copeland (A0.901081).

Audacious Binary Forms for pianist playing one or two pianos, won Australia’s most prestigious piano composition competition the Jean Bogan Prize for Piano Composition 2016.

The world premiere was performed by Michael Kieran Harvey. He is considered by many as being one of Australia’s greatest living concert pianists. Michael specializes in performing world premieres of compositions by Australian composers. He is also a prolific composer of avant-garde music.

ABSTRACT FROM THE GENERAL DIRECTIONS

Audacious Binary Forms for piano is in a fractured binary form. Two types of structures exist; lettered structures, which are experimental structures, and explore the sonorities of the piano, and numbered structures, which are more traditional structures. A structure may be a single page or more than one page. Each page in a structure is to be played sequentially. For example, with structure C, consisting of three pages, C1, C2, C3, each page is played sequentially in numerical order, C1, C2, C3.

EXPERIMENTAL STRUCTURES

The structures A, B, C, D, E, F, G, Percussion, CADENZA, and CODA are experimental.

TRADITIONAL STRUCTURES

The structures 1, 2, 3, 4, 5, and 6, are traditional.

PREPARING THE SCORE FOR PERFORMANCE

There are four different options for a performance.

MINIMALIST OPTION

The 13 cards cut from the CUTOUT page are shuffled. Card 4 Rag (1,2) is removed.  The 12 cards are placed face down. One card is revealed representing the structure that is to be performed. A member of the audience can be invited to shuffle the cards.

STOCHASTIC OPTION

An audience member or members can be invited to shuffle all the pages of the score. The resultant random sequence of pages becomes the whole score for the performance.

PERFORMER’S OPTION

The performer prepares the structures according to his musical tastes. All of the experimental structures should be performed. The performer is free to play none, some, or all of the traditional structures. Please note that each structure remains an independent structure and is played sequentially. For example, structure C, consisting of three pages would be played C1, C2, C3 in that order.

PERFORMER/COMPOSER OPTION

Months before the concert the performer can contact me at paulcopeland1@bigpond.com, to discuss the performance, and to work out an ideal performance structure for the work, taking into consideration the venue, expected size of audience, size of auditorium, music program, and if two pianos will be available.

IMPORTANT INFORMATION REGARDING SHEET MUSIC SIZE

Please note that the score should be printed on separate pages (the notated pages), not back to back. Ideally the score should be printed on A3 pages in colour. However the score can still be printed in grayscale. 

The sheet music file is approximately 15Mb because the score is in full color. 

BIOGRAPHICAL INFORMATION

Paul Copeland is an award-winning multi-genre composer, graphic artist, programmer, teacher, and author, based in his home city of Melbourne. His compositional styles range from neo-classical, jazz, ragtime, and musical theatre to electronic, avant-garde, post-avant-garde, and experimental music.

Born in 1947, Copeland grew up an only child in a musical household. His mother was a talented singer, his father an accomplished amateur pianist, composer of popular music, and internationally renowned travelling telepathist known as Argus The Boy Prophet. Copeland's musical studies commenced at the age of 16 when he began studying piano, and a year later, he enrolled at the Melba Conserv.

Piano Solo - Level 5 - Digital Download

SKU: A0.533692

Composed by Carson Cooman. 20th Century,Concert,Contemporary,Sacred,Standards. Score. 17 pages. Musik Fabrik Music Publishing #3038635. Published by Musik Fabrik Music Publishing (A0.533692).

Biblicals: Concerto for Solo Piano in Five Movements (1998) was commissioned from the
composer by an anonymous benefactor for pianist Kathleen Supové in tribute of her tireless
support of new music.
The work is in five movements, each inspired by a different biblical quotation which is
quoted in the score before each movement. If possible, these passages should be printed in
the program or read aloud before the performance of the work. Each movement is
programmatic only in an internal sense. While the movements do not attempt to directly
portray the action of the passage in a storybook sense, they do attempt to capture the overall
affect of the verse. The form of the work is as a concerto for solo piano drawing on a title
that has been used in the past by numerous composers. Likewise, although the work does not
involve an orchestra, I have titled it concerto because it contains elements of a concerto solo
part and because of the virtuosity required to perform the work. The work explores a widerange
of styles from quasi-lyrical to highly chromatic. Throughout, the work has a rhythmic
intensity which should be observed by the performer.
The first movement, Hovering Over the Waters, makes use of an irregular rhythmic pattern
introduced in the opening measure and used throughout the work. Irregular and nervous
rhythms using chromatic intervals pervade the entire movement.
The second movement, Baldhead, is a forceful and loud movement making use of the clash
between diatonic and pentatonic clusters. It is relentless in its pounding energy, irregular
rhythms, and volume. This movement is dedicated to American composer Daniel Pinkham
on the occasion his 75th birthday in 1998. The connection of this movement to Pinkham
comes in the superimposition of pentatonic and diatonic clusters, a technique used so well in
one of my favorite Pinkham works, Blessings for Organ (1978).
The third movement, Forgiven and Free, presents a tranquil scene involving the building of
chords, standard and otherwise, through the adding of tones one at a time. Brief chromatic
melodies appear and then disappear quickly.
The fourth movement, Under the Sun, makes use of a motive involving four chords over a left
hand bass consisting of a major-tenth chord. This motive appears throughout the movement,
constantly breaking in and interrupting the action. A variety of irregular rhythmic motives
appear throughout as a contrast to the main motive with its strict rhythm. Quotes of nursery
rhyme tunes are hidden throughout the movement as well in various forms.
The fifth movement, The Seventh Angel, is a fast and furious tarantella. As the movement
flies by a variety of musical ideas emerge and then disappear into the main motive again.
The music continues to get faster and faster and finally the movement ends with a furious
progression from the bottom to top of the piano and then a thunderous unison chord in the
lower register.

Piano Solo - Level 5 - Digital Download

SKU: A0.533691

Composed by Carson Cooman. 20th Century,Concert,Contemporary,Standards. Score. 13 pages. Musik Fabrik Music Publishing #3038633. Published by Musik Fabrik Music Publishing (A0.533691).

This work, Kayser Variations, was written as a tribute to Margaret Kayser, long-time
chemistry teacher (for 16 years) at Allendale Columbia School in Rochester, New York on
the event of her retirement from teaching.
This work takes a variations on a theme form but uses the concept of placing the chorale
theme itself in the middle of the work (instead of its customary place at the beginning),
surrounded on both sides by variations. The theme is God Save the King/Queen, the
national anthem of the United Kingdom.
The pitch material of the variation accompaniment is derived, at some points, from subscripts
and coefficients from chemical formulae and balanced chemical equations.
Each of the variations also pokes fun at a different element, style, or method of 20th century
music competition. So this work is also a parody of sorts.
This work should be performed with a slight break (almost a breath) between each variation.
Dynamic markings are provided as a guide but performers should use their own judgment.
Pedal should be used by the performer where appropriate. This work should always be
performed in its entirety. The variations should never be played on their own.

Piano Solo - Level 3 - Digital Download

SKU: A0.1323881

By Michael Buble. By Haven Gillespie and John Frederick Coots. Arranged by Thomas Gunther. Blues,Christmas,Jazz. Score. 5 pages. Thomas Gunther Music Productions #912057. Published by Thomas Gunther Music Productions (A0.1323881).

Solo Piano Arrangement By Thomas Gunther
Santa Claus Is Coming To Town is another one of my favorite Christmas songs. For some reason I love playing it in a bluesy style, with some jazz voicings. The bridge is more in stride piano style.
About The Arrangement
The arrangement includes different stylistic elements found in more traditional popular piano music. It definitely has a bluesy vibe, but also shows elements of jazz and stride piano.
When it comes to the form I extended it by adding an intro that comes back in-between sections in form of an interlude. There is also an outro. 
About The Sheet Music
The sheet music is basically a transcription of my recording. It contains jazz chord symbols and plentiful of articulations as well as some dynamic markings. 
My Arranging Workflow
I have different approaches for creating solo piano arrangements of songs. The one I took here is as follows. First I come up with different ideas, try them out, and after a while settle on those I like best. Once I practiced and internalized those ideas I press record and hope for the best. Before the final version is done, I record myself many times over. This gives me the opportunity to improve upon each version until I have one that I feel comfortable with.
Recommendations For Learning The Song
I recommend that you first listen to my performance while reading along in the sheet music. This way you get a better understanding about the phrasing and the rhythmic feel.
You may want to spend a little time just vamping a few bars to get into the groove. When that feels good move on to different sections.
The bridge is different in feel because it is based on stride piano rather than blues. Stride piano features big jumps in the left hand and big intervals between the outer notes (up to a 10th). Should you have difficulty in playing those big intervals (smaller hands will make this hard) you may roll the notes and use the sustain pedal.
Is This Arrangement For You?
This solo piano arrangement is for every pianist who would like to try playing Santa Claus Is Comin' To Town in a more bluesy-jazzy style. Dependent on what your specialty is musically speaking, you made benefit from it in different ways. Here are some examples.
Classical Pianists
If you are a classical pianist who rarely listens to jazz and blues music, this arrangement might be a great way to dip your feed into more contemporary genres and styles like blues and jazz. This said, it might be quite challenging. Not from a technical point of view, but from a musical point of view. For example, swung eighth notes and accents and phrasing in blues and jazz are somewhat contrary to classical music. It's gonna be a great learning experience for sure!
Jazz Pianists
Should you be a jazz musician or blues musician, you may not necessarily want to play the arrangement as written note for note. Instead, you might just fall in love with some of my ideas and create your own arrangement based on those.
This goes especially for the solo section. You can play my solo or use it as inspiration for your own solo. Of course experiences blues and jazz musicians will prefer to make up their own solo.
I truly hope you have fun playing this arrangement! Yes.

Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Mainya Music Publishing (BMI)

Piano Solo - Level 4 - Digital Download

SKU: A0.948699

Composed by Mark S. Massey. 20th Century,Jazz. Score. 3 pages. Geofonica Artistworks #6038073. Published by Geofonica Artistworks (A0.948699).

Flowers For Dorothy is a beautiful jazz waltz (in lead-sheet format here) from pianist Mark Massey's breakthrough jazz LP: API: Acoustic Piano International, performed by Mark Massey and his trio (Eric Stiller on acoustic bass and Aldo Bentivegna on drums). In the vein of great jazz waltzes like Someday My Prince Will come, Emily, and Waltz for Debby.

ABOUT MARK:
In 2018, the California State Assembly and the Los Angeles County Board of Supervisors issued proclamations recognizing Mark Massey as a Jazz Living Legend. Jazz pianist-composer Mark Massey was born and raised in Lynwood, California, where he showed early talent on piano, trombone, and drums. During high school, he studied classical piano and played in the bands Synopsis (with future trumpet giant Wayne Bergeron), and Sabor (with Poncho Sanchez and the Banda Brothers). Mark played in the Pico Rivera Stage Band, which won First Place at the Hollywood Bowl Battle of the Bands. Mark graduated from California State University, Long Beach (with Bachelors and Masters degrees in Music), where he was recipient of the Carmen Dragon Fellowship for composition and he was dubbed A Young Giant by the National Association Of Jazz Educators.

Mark has performed throughout the U.S., Europe, the former Soviet Union (in the 1980s), Russia (2001), the Far East and India. He has worked with Larry Carlton, David Benoit, Paul Horn, Hubert Laws, Louie Bellson, the Side Street Strutters, Phil Upchurch, L. Subramaniam, Freddie Hubbard, Maynard Ferguson, Yehudi Menuhin, Stéphane Grappelli, and Tony Williams. Mark was featured in The Four Pianos In Concert series along with pianists Paul Smith, Pete Jolly and Steve Allen.

Mark Massey's debut CD, Acoustic Piano International, has received wide airplay on jazz radio. API featured nine of Mark's original jazz compositions--including Flowers for Dorothy, offered here--inspired by his musical excursions around the globe, along with Eric Stiller (bass) and Aldo Bentivegna (drums), and guest artists Alex Acuña, percussion (Weather Report), Justo Almario, flute (Mongo Santamaria), Plas Johnson, tenor sax (The Pink Panther Theme), Bob Mintzer, soprano sax (The Yellow Jackets), and Ron Stout, flugelhorn,

More recently, Mark has been recording his iconic Jazz Thoughts for the Day albums of original jazz improvisional compositions for each day of the year. Jazz Thoughts for the months of January through July have thus far been issued.

COMMENTS FROM MAJOR CRITIC REVIEWS OF MARK MASSEY:

Mark Massey is awfully good. His friendly, lyrical, melodic piano has a sound unto itself, API Coverbop and post-bop influenced, contemporarily informed, and languishing solidly in the modern mainstream. ...This is a very good trio that is together in many aspects of jazz expressionism. In larger, more interactive settings, Massey proves he has ideas that work well. ...Massey's talent being exposed is a breakthrough. A majority of jazz listeners should find this a worthwhile purchase, and a keeper. Recommended.
----MICHAEL G. NASTOS, ALL MUSIC GUIDE (CD review of Acoustic Piano International)

Mark Massey is an excellent straight-ahead pianist who often appears in the L.A. area. ...his playing is consistently appealing. Of the trio numbers, the often-introspective Flowers For Dorothy, the heated Limejuicer Blues, and Seraphs Of Terpsichore are highlights. The opening track, Que Garota Linda, is a particularly rewarding Latin jazz number... All in all, a well-rounded and easily enjoyable release from pianist Mark Massey.
----SCOTT YANOW (author of the books Swing and Bebop : The Essential Listening Companion), in L.A. JAZZ SCENE

The Mark Massey Trio makes an exciting impression... Massey has traveled the world, perfor.

Piano - Digital Download

SKU: RX.9783737803298

Sheet music for piano. Composed by Mulo Francel, Quandro Nuevo. Text language: English. World music. 4 pages. Published by Roba Music Verlag (RX.9783737803298).

This song is a travelling song written under the impression of several tours through South and East Europe, the Balkans and around the Black Sea. Dedicated to Jason, the hero of the Greek mythology, it has to be played in a hymnic manner. Jason went on a most adventurous journey to the very outermost coast of the Black Sea with this motley entourage - the Argonauts - in order to seize the Golden Fleece, a gigantic golden ram skin. Just about where the Georgian city of Batumi is today. If you would like to know more about it, you may want to read the chapter “Die Reise nach Batumi� (The Journey to Batumi) in our roadbook “Quadro Nuevo: Grand Voyage. To every person who is interested in these old myths, I recommend the books of the author and journalist Michael Kohlmeier, for example his amusing interpretations of the Sagen des Klassischen Altertums (Sagas of the classical antiquity). Just East of Batumi the Caucasus begins, with its colourful mixture of ancient peoples and cultures. I have always been fascinated with musicians who originate from this region. For example the composer Aram Katschaturian or the pianist David Gazarov, with whom I often play concerts. An Eastern groove suits this song well, quite comparable to a fast rumba. I suggest you play the intro (may be extended) and the theme (measures 6 to 39) first. Then you may improvise freely over the AABA-form of the theme. The last solo part is shortened because the B-part leads into a percussion solo. This percussion solo may be omited. After the last complete solo part you can repeat the theme and then play the al fine. For Improvisation: On a separate sheet I am offering some scales to the chords of the song in various transpositions, which is helpful as basic material for improvisations. Some chords (like the very first one) fit several different scales. Decide for yourself which one you prefer. Or maybe even make up your own. Even though these notes may sound right with the chords, one thing always holds true in creative music: There should be no dogmatic wrong or right. Sometimes what seems like a wrong note, could give the progression of the melody its special colour, tension and spice. Sometimes an improvisation with exclusive right notes is correct in music theory, but sounds terribly boring. Besides, every improviser is encouraged to happily help themselves to the chromatics. All of this is only a suggestion. Music becomes exciting and colourful when the basic material is interpreted in an imaginative and creative way!

Piano Solo - Level 3 - Digital Download

SKU: A0.1355003

Composed by Clifford Grey, Greatrex Newman, and Vivian Ellis. Arranged by Martyn Clive Johnson (aka Martycli Piano Guy). 20th Century,Contemporary,Film/TV,Jazz,Ragtime. Score. 7 pages. Martyn Johnson #939714. Published by Martyn Johnson (A0.1355003).

This is a beautiful golden oldie from 1929 resurrected by Sting in 1982 and used in the film Brimstone and Treacle. I have made a Stride piano arrangement and taken it through two keys Eb and E major. It should be played in a lively and cheerful manner. It is a fun song but still quite nostalgic.
The stride left hand can be quite tricky and any 10ths can be replaced by either single notes or octaves depending on your hand size. I haven't notated fingering, pedal or dynamics as no two piano teachers would ever agree on these and I prefer to leave it to the discretion of the individual pianist. 
Please note this is sheet music for a piano solo and doesn't contain notation from the other instruments used on my youtube channel (Bass Guitar etc).
It's a lovely tune and I hope you have as much fun playing it as I did arranging it.

Piano Solo - Level 3 - Digital Download

SKU: A0.972635

Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635).

These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces are
I. Intonatione In the Whole-Tone Scale
II. Prélude and Nocturne in Modes
III. An Impression of Impressionism
IV. An Imitation of Roy Harris
V. Adding Chord-Tones While Shifting Meters
VI. Ragtime Bitonality
VII. Diatonic Waltz

Program Notes:

The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy.

The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat.

An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises.

An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing.

Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist.

Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality!

In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago.

About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com

Piano Solo - Level 4 - Digital Download

SKU: A0.533554

Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Publishing #3018601. Published by Musik Fabrik Music Publishing (A0.533554).

I. (Flowing)
II. (Fast, nimble)
III. (Funereal) (in memoriam Donald Martino)
IV. (Dancing)
V. (Distant, echoing) (for Richard and Dee Wilson)
VI. (Moderate, singing, with humor) (for Michael Finnissy)
VII. (Slow, very lyrical)
VIII. (March)
IX. (Envoi: Very slow, from afar)
Nine Preludes (2007) for piano was written for and is dedicated to pianist Marilyn Nonken; it was commissioned by
Richard Mason.
Although the work is composed as a set of discrete movements, the preludes are very much interconnected, as motivic
and developmental ideas run throughout the entire set. The basic musical material (founded upon collections of minor
and major thirds) is shared among all nine movements. An elegiac quality runs throughout the work.
The first prelude (Flowing) is inspired by the piano music of Johannes Brahms, whose contributions to the instrument’s
literature have been a significant and ongoing influence on my work.
The second prelude is fast and bright. Consistent staccato textures are maintained as the two hands intertwine.
The third prelude (Funereal) is dedicated to the memory of American composer Donald Martino (1931–2005). The music
refers very obliquely to Martino’s setting of Robert Herrick’s poems of death and eternity in The White Island (1985).
The fourth prelude (Dancing) is light and buoyant. After a melodic middle section, the opening music reverses itself to the
end.
The fifth prelude (Distant, echoing) is dedicated to Richard and Dee Wilson. Through large blocks of sustained sound (both
quiet and loud), the movement explores certain harmonic colors of the piano.
The sixth prelude (Moderate, singing, with humor) is dedicated to English composer Michael Finnissy. The opening is
marked “like an ‘off-kilter’ folk song,� and this original melody is subjected to a variety of transformations and textures.
The rhythmic patterns are constantly in flux.
The seventh prelude (Slow, very lyrical) is melodic and passionate, with a nocturnal character. The middle builds to an
intense climax before dying away.
The eighth prelude (March) is spiky and crisp. In the trio, the march theme is turned first into a tonal ballad before
gradually transforming back into the language of the march. A faster reprise of the opening music follows.
The ninth prelude (Envoi: Very slow, from afar) is an elegaic “farewell.� Romantic gestures and harmonies try to assert
themselves before the music dies away.

Performance Note: Although it is preferred that the entire set of nine preludes be played in concert, individual preludes (or smaller
assembled groupings) may be performed when necessary for programming needs. If the entire set is played, however, the order of the
preludes should not be changed. The movements should be listed in the program in the format shown at the top of this page.

Recorded by Donna Amato on Carson Cooman: Piano works  ALTARUS AIR-CD-9015

Piano Solo - Level 3 - Digital Download

SKU: A0.1418587

By James Bersey. By James Bersey. 21st Century,Chamber,Easter. Score. 7 pages. James Bersey #1000160. Published by James Bersey (A0.1418587).

Shafts of Light
for Solo Piano

Composed by James Thomas Bersey

Print off as A4 booklets or read from device.
Public performances should be notified to PRS (UK) or ASCAP (USA)
or other global affiliated performing rights organisations (P.R.O.)

This work (including artwork) is protected by international copyright laws.

This work is also available for:

S.A.T.B Choir & Piano
S.A.T.B Choir & Orchestra
Jazz ensemble leadsheets.

Piano Solo - Level 2 - Digital Download

SKU: A0.1349339

By The Beatles. By John Lennon and Paul McCartney. Arranged by Rene Alves. Children,Multicultural,Pop,Rock,Wedding,World. Score. 2 pages. Rene Alves #934090. Published by Rene Alves (A0.1349339).

Piano sheet music for the song I Should Have Known Better - beatles. The sheet music is large, great for reading on tablets.

Piano Solo - Level 2 - Digital Download

SKU: A0.1452763

By Kay Kyser & His Orchestra. By George Tibbles and Ramey Idriss. Arranged by Glauco Fernandes. Film/TV,Instructional. Score. 2 pages. Glauco Fernandes #1032044. Published by Glauco Fernandes (A0.1452763).

Sale of Easy Piano Arrangement Sheet Music for the Woody Woodpecker Cartoon Theme

Are you passionate about music and looking for a fun and nostalgic piece to play on the piano? Then the easy piano arrangement sheet music for the Woody Woodpecker cartoon theme is perfect for you!

Why choose our sheet music?

Easy Arrangement: We have developed an arrangement accessible to all skill levels, from beginners to more experienced pianists looking for a light and enjoyable piece.

Fidelity to the Original: We captured the essence and energy of the classic Woody Woodpecker melody, maintaining the fidelity to the original theme that everyone knows and loves.

Guaranteed Fun: Ideal for practice sessions, performances, or simply playing for pleasure. Bring the joy and fun of the famous cartoon into your home.

Quality Material: Our sheet music is clear and well-formatted, making it easy to read and interpret. Printed in high quality, it will withstand continuous use.

Additional Benefits:

- Musical Development: Playing recognizable tunes like the Woody Woodpecker theme can help develop sight-reading skills, rhythm, and musical expression.
- Culture and Nostalgia: Relive childhood memories and share the fun with friends and family.

Who should buy it?

- Piano students looking for well-known pieces to expand their repertoire.
- Music teachers who want to introduce a touch of fun and nostalgia into their lessons.
- Lovers of classic cartoons who want to bring a piece of their history to the piano.

Don't miss the chance to add this charming piece to your repertoire. Let the Woody Woodpecker melody enliven your piano sessions and enchant everyone around you!

Happy practicing and have lots of musical fun!

Piano Solo - Level 3 - Digital Download

SKU: A0.1348191

By Matt Johnson. By Matt Johnson. Arranged by John D. Wattson. Contemporary,Instructional,Jazz,Multicultural,New Age,World. Score. 8 pages. Dolce & Nuit Productions #933008. Published by Dolce & Nuit Productions (A0.1348191).

This delicate and nuanced solo piano work expresses a melancholic yearning for reconnection with a heartfelt melody floating over a gently flowing rhythmic pattern. Playing the notes is not difficult, so pianists may interpret the music from their own emotional points of view. Most of the piece is in a slow 5/4 time, with a middle passage in 3/4, before returning to 5/4.

Performers should aim to evoke self-preservation clarity. Learning to let go of those we love and move on is a painful experience to journey through. Yet, letting go does not mean loving less.

The John D. Wattson Series showcases the music of Matt Johnson with abridged and accessible piano solo arrangements.
Contemporary lyrical and rhythmic repertoire for piano students of varying degrees.

View Johnson's original score:
SheetMusicDirect: https://www.sheetmusicdirect.com/en-US/se/ID_No/1209727/Product.aspx
SheetMusicPlus: https://www.sheetmusicplus.com/en/product/loving-by-letting-go-22360455.html

Web2: https://www.MattJohnsonMusic.com
Web3: MattJohnsonMusic.x.