Piano - Digital Download SKU: A0.1071368 Arranged by Chris Cooke. Christian,Praise & Worship,Sacred. Accompaniment. Duration 4241. Chris Cooke #3004317. Published by Chris Cooke (A0.1071368). This book is a recording of the printed piano accompaniment book in this series. Besides accompanying solo or duet instruments, these recordings may also be used for group singing. There is a short introduction, and enough repeats of the verses in case you would like to play or sing them all! While these recordings contain multiple verses, the print version (also available on Sheet Music Plus) contains only one verse with no introduction. All hymns are in a good vocal range except Christ the Lord is Risen Today which is in F to accommodate a more accessible playing range. The only hymn not included in this recording (that occurs in the print book) is Great is Thy Faithfulness, since I only have print publication rights to this piece. This is one large file, containing all 34 accompaniments. For this  reason, I have notated the cue point, i.e. the time in the recording when each hymn occurs so they can be located more easily within this one-hour and 10-minute recording. For instance, the second hymn would be found at the 2-minute and 17-second time point. The full list of hymns, with their concert keys, cue points, and length of the introduction, is below: Abide with Me, C; 4-measure intro All Hail the Power of Jesus’ Name, E-flat; cue point: 0:2:17; 4-measure intro Am I A Soldier of the Cross; E-flat; cue point: 0:4:18; 4-measure intro Amazing Grace, E-flat; cue point: 0:5:33; 4-measure intro Blessed Assurance, B-flat; cue point: 0:8:11; 2-measure intro Blest Be the Tie That Binds, E-flat; cue point 0:10:19; 3-measure intro Christ the Lord is Risen Today, F; cue point: 0:12:12; 2-measure intro Come Thou Almighty King, E-flat; cue point: 0:14:36; 4-measure intro Come Thou Fount of Ev’ry Blessing, B-flat; cue point: 0:16:21;4-measure intro Count Your blessings, B-flat; cue point: 0:18:01; 4-measure intro Crown Him With Many Crowns, B-flat; cue point: 0:20:36; 4-measure intro Doxology, E-flat; cue point: 0:22:55; 4-measure intro For the Beauty of the Earth, C; cue point: 0:23:14; 4-measure intro God of Grace and God of Glory, F; cue point: 0:25:49; 2-measure intro Holy, Holy, Holy, B-flat; cue point: 0:27:39; 4-measure intro I Surrender All, C; cue point: 0:30:34; 2-measure intro In Christ There is No East or West, B-flat; cue point: 0:33:26;2-measure intro It is Well with My Soul, B-flat; cue point: 0:35:33; 3-measure intro Jesus Loves Me, B-flat; cue point: 0:36:50; 4-measure intro Jesus the Very Thought of Thee, F; cue point: 0:39:08; 2.75 measure intro Joyful, Joyful, We Adore Thee, C; cue point: 0:40:35; 4-measure intro Love Divine, All Loves Excelling, E-flat; cue point: 0:43:11; 4-measure intro My Country Tis of Thee, E-flat; cue point: 0:45:51; 4-measure intro O Sacred Head, Now Wounded, E-minor; cue point: 0:47:45; 4-measure intro O For A Thousand Tongues to Sing, F; cue point: 0:49:58; 4-measure intro Oh God, Our Help in Ages Past, B-flat; cue point: 0:51:00; 4-measure intro Onward Christian Soldiers, B-flat; cue point: 0:52:46; 4-measure intro Praise Him, Praise Him All Ye Little Children, B-flat; cue point:0:56:08; 4-measure intro Praise to the Lord, the Almighty, E-flat; cue point: 0:57:07; 4-measure intro Sweet Hour of Prayer, B-flat; cue point: 0:59:12; 4-measure intro Take My Life and Let It Be, E-flat; cue point: 1:02:22; 8-measure intro The Battle Hymn of the Republic, B-flat; cue point: 1:04:15; 2-measure intro What a Friend We Have in Jesus, C; cue point: 1:06:33; 4-measure intro Whisper a Prayer, E-flat; cue point: 1:09:12; 4-measure intro

Piano Solo - Level 4 - Digital Download SKU: A0.1200229 By Skeeter Davis. By Arthur Kent and Sylvia Dee. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Rock,Standards. Score. 6 pages. Timothy Stapay #799031. Published by Timothy Stapay (A0.1200229). An arrangement of The End Of The World,  a song covered by many famous artists. includingThe Carpenters; thanks to the phenomenal singing of Karen Carpenter.  The End of the World was written by composer Arthur Kent and lyricist Sylvia Dee, who often worked as a team.The Carpenters (officially known as Carpenters were an American vocal and instrumental duo consisting of siblings Karen (1950–1983) and Richard Carpenter (born 1946). They produced a distinctive soft musical style, combining Karen's contralto vocals with Richard's harmonizing, arranging, and composition skills. During their 14-year career, the Carpenters recorded 10 albums along with many singles and several television specials. Karen possessed a powerful singing voice, and close miking brought out many nuances in her performances.  Richard arranged their music to take advantage of this, though Karen had a three-octave vocal range.  Richard's work with Karen was influenced by the music of Les Paul, whose overdubbing of the voice of wife and musical partner Mary Ford allowed her to be used as both the lead and harmony vocals.[6] By multi-tracking, Richard was able to use Karen and himself for the harmonies to back Karen's lead. The overdubbed background harmonies were distinctive to the Carpenters, but it was the soulful, engaging sound of Karen's lead voice that made them so recognizable.  Record executive Mike Curb said it was Karen's voice that took the Carpenters above straight pop music into pop rock.   She was known as a one take wonder and could deliver a strong performance on the first attempt.Richard Carpenter was the creative force behind the Carpenters' sound. An accomplished keyboard player, composer and arranger, music critic Daniel Levitin called him one of the most gifted arrangers to emerge in popular music.  The duo's smooth harmonies were not in step with contemporary music, which was dominated by heavy rock.  Instead, the Carpenters strove for a rich and melodic sound, along the same vein as the Beach Boys and the Mamas & the Papas, but with greater fullness and orchestration including frequent use of small string and horn sections and introspective lyrics centred around relationships.  Richard also admired the musicianship and arranging skills of Frank Zappa, and the two briefly met backstage at the Billboard Forum in 1975.End Of The World: Lyrics:Why does the sun go on shining?Why does the sea rush to shore?Don't they know it's the end of the world?'Cause you don't love me any moreWhy do the birds go on singing?Why do the stars glow above?Don't they know it's the end of the world?It ended when I lost your love[Bridge]I wake up in the morning and I wonderWhy everything's the same as it wasI can't understand, no, I can't understandHow life goes on the way it doesWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you said goodbyeWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you

Piano Solo - Level 3 - Digital Download SKU: A0.1262310 By The Carpenters. By John Bettis and Richard Carpenter. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Songwriter,Standards. Score. 2 pages. Timothy Stapay #855346. Published by Timothy Stapay (A0.1262310). A piano solo arrangement of Yesterday Once More;  made famous by The Carpenters.  Yesterday Once More, written by Richard Carpenter and John Bettis, is a hit song by the Carpenters from their 1973 album Now & Then. Thematically the song concerns reminiscing about songs of a generation gone by. It segues into a long medley, consisting of eight covers of 1960s tunes incorporated into a faux oldies radio program. The work takes up the entire B-side of the album.The single version of the song peaked at number 2 on the Billboard Hot 100 chart, kept from the number 1 spot by Bad, Bad Leroy Brown by Jim Croce.  It was the duo's fifth number two hit and makes them the act with the second-most number two hits on the chart behind Madonna. The song also peaked at number 1 on the easy listening chart, becoming their eighth number 1 on that chart in four years.   It is the Carpenters' biggest-selling record worldwide and their best-selling single in the UK, peaking at number 2 Richard Carpenter stated, on a Japanese documentary, that it was his favorite of all the songs that he had written. He has performed an instrumental version at concerts.Lyrics:[Verse 1]When I was young, I'd listen to the radioWaitin' for my favorite songsWhen they played, I'd sing alongIt made me smile[Pre-Chorus 1]Those were such happy timesAnd not so long agoHow I wondered where they'd goneBut they're back againJust like a long-lost friendAll the songs I loved so well[Chorus 1]Every sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fineWhen they get to the partWhere he's breaking her heartIt can really make me cryJust like before, it's yesterday once more(Shoobie-doo, lang, lang)(Shoobie-doo, lang, lang) [Verse 2]Lookin' back on how it was in years gone byAnd the good times that I hadMakes today seem rather sadSo much has changed[Pre-Chorus 2]It was songs of loveThat I would sing to themAnd I'd memorize each wordThose old melodiesStill sound so good to meAs they melt the years away[Chorus 2]Every sha-la-la-laEvery whoa, whoa-oh still shines(Only oldies, but goodies)Every shing-a-ling-a-lingThat they're starting to sing so fineAll my best memoriesCome back clearly to meSome can even make me cryJust like before, it's yesterday once more(Shoobie-doo, lang, lang) [Outro]Every sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fineEvery sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fine...

Piano Solo - Level 3 - Digital Download SKU: A0.1276456 By Jacques Offenbach. By Jacques Offenbach. Arranged by Darek. 19th Century,Classical,Romantic Period. Score. 1 pages. Darek #868180. Published by Darek (A0.1276456). Galop Infernal (Can-can) (MEDIUM PIANO) Orpheus in the Underworld [Jacques Offenbach]Intermediate arrangement for pianists of Galop Infernal (Can-can) Orpheus in the Underworld by Jacques Offenbach. Intermediate version for pianists | Intermediate piano arrangement | Intermediate Version | Intermediate Piano Sheet Music Classical Music | Romantic Period | Intermediate arrangement | Piano | Keyboard | For Intermediate Pianists. Included: Fingering, articulation, dynamics and video YouTube tutorial.  Embark on a captivating musical journey with meticulously crafted piano sheet music for Galop Infernal (Can-can) from Jacques Offenbach's beloved masterpiece, Orpheus in the Underworld. Immerse yourself in the vivacious melodies of this iconic composition, thoughtfully arranged for intermediate pianists seeking an exhilarating challenge. Transport yourself to the enchanting soundscape of the 19th century as you delve into this timeless piece. With meticulous fingering, articulation, and dynamics markings, each note takes on a life of its own, allowing you to infuse your interpretation with depth and expression. This arrangement bridges the gap between proficiency and virtuosity, enabling you to capture the essence of the era. Elevate your practice sessions with the accompanying YouTube tutorial, revealing the intricacies and nuances of the composition. Whether seated at a piano or exploring on other instruments, the infectious energy of this captivating song transcends time and resonates with musicians of all backgrounds. Join me in celebrating the art of musical expression, as you honor Offenbach's legacy through an interpretation that captures the brilliance of his era. Ignite your passion for music and showcase your talents with this intermediate-level arrangement that promises both growth and enjoyment. Keywords: Galop Infernal, Can-can, Orpheus in the Underworld, Jacques Offenbach, intermediate pianists, piano sheet music, fingering, articulation, dynamics, YouTube tutorial, captivating song, musical expression, 19th-century music, exhilarating challenge, interpretation, essence, virtuosity.

Piano Solo - Level 4 - Digital Download SKU: A0.1010568 Composed by Hannah Heinz. Christian,Classical,Contemporary,Praise & Worship,Spiritual. Score. 4 pages. Hannah Puckett #3034073. Published by Hannah Puckett (A0.1010568). Solo Piano Score - IntermediateEmbarking is infused with a lyrical melody that soars through the piece with grace. The Composer's Story:After packing and getting ready for a trip that would take me out of the country for the first time ever, I slowly passed the piano in the living room. Pausing, I sat down to play one more time before I departed. At that point, I did not know how many months or years it would be until I had the blessing of playing the piano again. Feeling the smooth keys, I started to play this melody. As I added in the arpeggiating left hand, this piece became the bittersweet goodbye at that point in my life. Leaving the instrument behind was not a final goodbye because I could take this melody with me in my heart. Original composition from GraceWave Audio by Hannah Heinz.

Piano Solo - Level 3 - Digital Download SKU: A0.742752 By Juan María Solare. By Juan María Solare. 20th Century,Classical,Contemporary,Instructional. Score. 15 pages. Juan Maria Solare #350886. Published by Juan Maria Solare (A0.742752). Colores de un otoño incipiente -- Colors of an incipient autumn seven somewhat abstract pieces for piano Recording of Colores de un otoño incipiente - piano in several platforms Colores de un otoño incipiente -- on Spotify In this work, an idea that has haunted me for a long time crystallizes: that the titles of the individual pieces are read like lines of a poem. Colores de un otoño incipiente Declina el día. Cobriza de hojarasca, la tierra aguarda. Inocencia Apergaminada por las largas vigilias. Frugal ante la desmesura, Se resignó a lo inconcluso Y dejó un hueco de luz en esta nada. Colors of an incipient autumn The day declines. Coppery with old leaves, the earth awaits. Innocence Parched by the long vigils. Frugal in the face of excess, He resigned himself to the unfinished And he left a hole of light in this nothingness. Such a poem alludes without great subtlety to decadence and aging. The title Apergaminada por las largas vigilias is taken from a poem by Pedro Lastra. Y dejó un hueco de luz en esta nada comes from a micropoem attributed to Alejandro Güerri, written in memory of Javier Adúriz. This seventh piece, transparent and delicate, pictures a being definitively transformed into light. The idea of desmesura (excess) arises from the prologue by Javier Adúriz to his book Solos de conciencia (1985): Faced with the excess of death, consciousness perceives the weakness of its willful affirmation, the one for which it feels itself unique and safe from all decrepitude. Adúriz was one of the fundamental figures in my artistic training. And apparently he still is. Musically, this cycle of works abounds in harmony of chords by fourths in a minimalist neoclassical aesthetic. The way of working texturally with the piano as an instrument - my instrument - highlights the pedal, the resonances, the third dimension of sound. These seven somewhat abstract pieces were composed at the end of 2019 in and around Bremen, in several cases with my new-born daughter Laura in my arms, trying to put her at to sleep and staying asleep. This explains the cautious nature of the music and its prudent dynamics that never reach a mezzoforte. There were several unsuccessful attempts to release this recording (initially planned for September 2020, at the beginning of autumn in the northern hemisphere). Finally, the album will be released (on Spotify and other streaming platforms) on 22 April 2022, coinciding with what would be my father's 103rd birthday. It is also autumn but in the southern hemisphere. Recorded on a Steinway B grand piano (serial number: 568208) at the Musikschule Bremen (Germany) with two Neumann KM-184 microphones. Recording and mastering technician: Alexander Derben. For the artwork, the impressive photographer and visual storyteller Leon Drago, from London, has kindly authorised the use of his photograph Pathway, The Garden House and Pergola, Hampstead Heath extension, London. The recording of Colores de un otoño incipiente (with the composer on piano) can be found here: Colores de un otoño incipiente - piano

Piano Solo - Intermediate - Digital Download Composed by Public Domain, as performed and recorded by Isadar. Arranged by Isadar. Neo-Classical, Christmas, Children's Music, Recital, New Age. Sheet Music Single. 7 pages. Published by Mainya Music Publishing (BMI)

Piano - Digital Download SKU: LV.6596 Arranged by Charles M. King. Lester S. Levy Collection. 10 pages. Published by Johns Hopkins University Sheridan Libraries (LV.6596). The Beauties of Amilie, or, The Love Nest. Includes My Boyhoods [sic] Home, Take Thou Cheat of Human Bliss, Yes Me Thinks I See Her Smiling, and To the Mountain Away. Containing the whole of the Songs, Duets, Choruses, Etc. in the above Celebrated Opera, arranged in Four Books,as Brilliant Divertimentos for the Piano Forte by Charles M. King. Published 1839 by Firth & Hall, 1 Franklin Square in New York. Composition of sectional with piano instrumentation. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Piano Solo, Collection / Songbook - Advanced Intermediate - Digital Download Composed by Public Domain, as performed and recorded by Isadar. Arranged by Isadar. Neo-Classical, Christmas, Children's Music, Recital, New Age. 50 pages. Published by Mainya Music Publishing (BMI)

Piano Solo - Early Intermediate - Digital Download Composed by Louis Landon. New Age. Sheet Music Single. 4 pages. Published by Landon Creative, Inc.

Piano Solo - Early Intermediate - Digital Download Composed by Louis Landon. Spiritual, New Age. Sheet Music Single. 7 pages. Published by Landon Creative, Inc.

Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century, New Age. Sheet Music Single. 4 pages. Published by Landon Creative, Inc.

Piano Solo - Level 4 - Digital Download SKU: A0.1000329 Composed by Johann Sebastian Bach, Paul Eber, and Steve Boudreau. Arranged by Steve Boudreau. 20th Century,Jazz,Sacred. Score. 2 pages. Steve Boudreau #6681051. Published by Steve Boudreau (A0.1000329). The Bach Chorales are ultimate examples of melodies creating harmonies, the parts coming together to form a whole. They are also great examples of a musician taking a melody and making a new arrangement of it, like jazz musicians do today. This piece is a combination of two chorale melodies that Bach arranged, originally based on hymns by 16th-century composer Paul Eber. For context, Bach set the melody around 200 years after it was written, and I re-worked the melodies with my own harmonies nearly 300 years after that.The first job I had when I moved back to Ottawa from Boston was as a church pianist. At one point there was a two-month stretch where I was in charge of programming the instrumental music we played, and I challenged myself to come up with new arrangements every week- the way Bach would have in his time, just on a much smaller scale. This was a terrific creative outpouring of music for me, and it renewed my enormous respect for the church music community and the work involved.For this piece I took two seemingly unrelated chorales (they are actually from the same Cantata, BWV 127) and attached them, using their distant keys of A Major and F Major to set up an interesting modulation halfway through. I had to actively try out some more modern harmonic progressions to take the overall sound of the piece further away from Bach's version. One of my favourite moments is when you finish the C major resolution and then repeat back into F# Minor at the top for improvising. In the solo piano version this surprising cut doesn't occur unless you take a second pass through the piece, so I encourage you to try repeating the piece even if you don't feel comfortable embellishing or changing anything the second time around.