Instrumental Duet Harpsichord,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.862671 Composed by Wolfgang Amadeus Mozart. Arranged by Michael Bomier. Classical,Concert,Standards. Score and parts. 9 pages. Michael Butkus-Bomier #3667951. Published by Michael Butkus-Bomier (A0.862671). This Mozart piece was a favorite of Alfred Brendel. It has more sweep and scope than most of his other piano music and most of the sonatas as well. Thus, it was favored as a showpiece. Our setting uses all the trademarks of our house style: no clef changes in the middle of ANY measure, labeled notes above three ledger lines, written-out ornamentation, the re-distribution of various notes into the opposite hand to facilitate a gesture, and a minimum of interpretive markings and multiple voices, so as to make sure you know where each New Note Begins, and less attention paid to how long it lasts. This piece has a repeat at the three-minute mark, which requires a turnback from the top of pg. 3 to the beginning, a bit outside of our usual practice, but unavoidable here, UNLESS one considers that repeat as optional, and avoids it, which Brendel does indeed do. Full running time at our conservative tempo is 13 mins+. Pedal this deeply for a resonant effect on all the sweeping arpeggios, or use it sparingly for a dryer, more early Classical Period sort of effect. MBB

Piano Solo - Level 5 - Digital Download SKU: A0.977032 Composed by Paul SanGregory. Contemporary. Score. 10 pages. Distant Engraver Music #3534595. Published by Distant Engraver Music (A0.977032). Capricious FantasyAs per the request of pianist Michael Tsalka, this flowing, expressive and lyrical piece is based on motives from the music of Classical Bohemian composer Johann Baptist Wanhal. Motives from his Capriccio No. 3, for piano, are used as fundamental building blocks, but the style of their expression and development is radically different. Because motives from different sections or movements of Wanhal’s piece all appear in this single movement, the character and expression here is more changeable, less stable and some might even say more romantic than Wanhal’s capriccio. Technically, this piece borrows ideas of repetition and continuous flow from recent minimalist music, but the effect is more lyrical, flexible and dramatic than classic minimalism. It begins with the repetition of four chords that were derived from notes used in one of Wanhal’s melodic motives. New melodies based on that motive then enter with different phrase lengths, creating a gentle dialogue of independent voices. Eventually, a faster idea from the same capriccio is introduced, but it is first played slowly and freely before its tempo increases. The entire piece then continues unfolding as a freely flowing dialogue of moods, tempos and characters based on these three simple ideas and it culminates with fast notes and strong declarations before subsiding into a gentle ending that includes all three motives.Performance duration ca. 6 minutes.

Instrumental Duet Harpsichord,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.862645 Composed by Alessandro Scarlatti. Arranged by Michael Bomier. Baroque,Sacred,Standards. Score and parts. 7 pages. Michael Butkus-Bomier #3543635. Published by Michael Butkus-Bomier (A0.862645). The first sonata is faster-paced and has hand-crossing throughout. It was used as a showpiece early in the career of Arturo Benedetti Michaelangeli. Video of him playing this piece is on YT. The slower one was a favorite of Horowitz at the end of his career. Audio sample here is the fast one. Video of Horowitz is also up on YT. Both pieces were pedaled by these masters, and I use it as well!Our editions favor the utmost in visual clarity, not for voices as in much counterpoint, but in simultaneous notes, such that the intervals are solid and not delineated as to each voice. The hand-crossings and clearly labeled, with NO clef changes, as some editions have. If your LH is UP, it's in the Treble Clef, along with the RH. Ideal pageturns ro ease of practise and performance. MBB/GateWay

Piano Solo - Level 2 - Digital Download SKU: A0.516446 Composed by Santino Cara. Baroque,Classical. Score. 16 pages. Santino Cara #32419. Published by Santino Cara (A0.516446). Composed in Rome in the 1981 Fughetta no.1 in F sharp minor Fughetta no.2 in C major Fughetta no.3 in G minor Fughetta no.4 in A flat major Fughetta no.5 in A minor.

Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte (A0.987080). This piece is one of an album of my contemporary classical compositions. Yes, I too wince at offering you something saddled with this oxymoron--contemporary classical--but this phrase is now an irresistible, commercially recognized category defying any principled protest from the ranks of wounded musicological curmudgeons like me.  The style here employs a tonal palette that celebrates the more or less common practice of composers from J. S. Bach to Ravel, Prokofiev, and the 20th century American songbook.  You will see that I reject Arnold Schoenberg's assertion that by 1910 tonality had exhausted itself, and needed to be reinvented according to an aesthetics that dismiss our scales and harmonies as purely arbitrary human conventions with no basis in nature. On the contrary, I believe that we are endowed by our nature to respond emotionally to our traditional materials of music in the same way as nature equips us to respond to the taste of food and drink. We differ in our taste for savory, sweet, and sour, but it is wrong to say that our very capacity to taste is a merely cultural convention. There is biology, and then physics too! By the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats. The major triad is a force of nature, like the sun, wind, and rain! I also like big fat juicy 13 chords, and contrapuntal weaving of melody! I believe the purpose of music is to sway us emotionally, and if it can uplift us too, so much the better! While I am not ashamed to write a bare triad, unadorned by chromatic alterations (much less by clusters of chord collisions) I have nevertheless employed much complicated harmony. Moreover, some passages are written in a spiky harmony that might be analyzed as bitonal, as at the meno mosso section, beginning at measure 112, where the mood I wanted to set inspired me to write the theme in C minor while the left hand climbs up from the bottom of the keyboard in a widely spaced, D-flat 13 arpeggio.  I have composed these pieces with the skills of intermediate to early-advanced pianists in mind. This piece demands the ability to play some counterpoint between two voices in one hand. There is a section that requires one to play moderately fast octaves, but nothing as difficult as the G minor Prelude of Chopin (to say nothing of his harrowing octave Etude from Opus 25!) While there are many polyrhythmic passages, none is more complicated than two-against-three notes. All said, there is nothing here to make your hands (or, I dare say, your ears) bleed. The performing time is around nine minutes and a breath or three. I have a number of videos posted on YouTube.com, I have a website under construction, ericpaulnolte.com, and, since 2011, an occasional blog of my ravings on life, love, and the cosmos, at ericpaulnolte.blogspot.com. You may write me at nolte0125@gmail.com.

Piano Solo - Level 5 - Digital Download SKU: A0.1145522 Composed by Andrew Maurer. 20th Century,Classical,Romantic Period. Score. 34 pages. Andrew Maurer #745764. Published by Andrew Maurer (A0.1145522). Compared to the Op. 1 Prelude, the Piano Sonata Op. 2 is a much different take on pianism with its virtuosic and dense textures, from the opening bars to the spectacular ending. The sonata owes its inspiration primarily to Rachmaninoff’s works, of whom it is dedicated, as well as stylistic elements of Chopin, and influence of early Prokofiev sonatas. The composition explores a unique sound world and attempts to comprise a wide gamut of human emotion through writing in idioms of romantic lyricism. The single movement work explores thematic development as its focus, and the form can be roughly divided into sections of fast-slow-fast-slow-fast-slow-fast. The opening is an inversion of the solo entrance rhythmic motif in Rachmaninoff’s First Concerto, and is built around the simple four note motif in E minor. This theme appears over pedal point with its melody eventually developing into the first lyrical theme. The inspiration for the second lyrical theme occurs prior to the development and recapitulation, which share perpetual tension between the harmonically complex theme and second lyrical theme in D major, culminating in a resolution in D major instead of the home key. Elsewhere, the hidden Dies Irae motif briefly appears. The last triumphant theme is thematically transposed from the inner voices of the second theme motif. Visit https://andrewmaurer.wixsite.com/official for more!

Instrumental Duet Harpsichord,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.742466 Composed by Johann Sebastian Bach. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards. Score and parts. 32 pages. Arte Nova Music Lab #4411069. Published by Arte Nova Music Lab (A0.742466). The Inventions and Sinfonias, BWV 772â??801, also known as the Two- and Three- Part Inventions, are a collection of thirty short keyboard compositions by Johann Sebastian Bach (1685â??1750): 15 inventions, which are two-part contrapuntal pieces, and 15 sinfonias, which are three-part contrapuntal pieces. They were originally written as musical exercises for his students. Bach titled the collection: Forth right instruction, where with lovers of the clavier, especially those desirous of learning, are shown in a clear way not only 1) to learn to play two voices clearly, but also after further progress 2) to deal correctly and well with three obbligato parts, moreover at the same time to obtain not only good ideas, but also to carry them out well, but most of all to achieve a cantabile style of playing, and thereby to acquire a strong foretaste of composition. The two groups of pieces are both arranged in order of ascending key, each group covering eight major and seven minor keys. The inventions were composed in Köthen; the sinfonias, on the other hand, were probably not finished until the beginning of the Leipzig period.Taken from https://en.wikipedia.org/wiki/Inventions_and_Sinfonias_(Bach)