SKU: A0.1384069

The inspiration for Hommages III. Sonata No. 1 â??Gothicâ??, Movement 2 comes from the German fairy tale Hansel and Gretel by the Brothers Grimm. The music begins with Hansel and Gretel walking into the witchâ??s house made of gingerbread, cake, and candy. The children have a sense of unease and fright once they enter the house, which is demonstrated in the music by the eeriness and darkness of the harmonies. The term oscuro is found at the beginning of the music â?? this is the Italian word for dark. The repeat, which begins at measure 25, is marked sempre sotto voce which translates to always under the voice, meaning always in a hushed tonal quality and dynamic volume. This section represents the children trying to tip-toe out of the house without the witch taking notice. The repeat is almost identical to the beginning section, with the exception of measures 39 and 40 which have ties in the right hand; the similar measures 15 and 16 in the first section do not have these ties. The right-hand trills in measures 53 through 55 symbolize the children attempting to quietly turn a key to unlock the door, which would lead them to freedom.

This is the second movement only of the Sonata which is the third piece from 'Hommages: Suite pour le Piano'. 5 pages. ISMN 979-0-800277-00-9.

SKU: A0.918262

Sometimes I Feel Like a Motherless Child is traced back to the era of slavery.  It's an expression of pain and despair as the lyrics describe the hopelessness of a child torn from its parents.  Steal Away is a song with a coded message, not only about having faith in God, but messages about slaves running away to seek their freedom.  Sung softly in the dark of night, it was a signal that the coast was clear and now was the time to escape their bondage.  They sang hopefully:  Steal away, steal away, Steal away to Jesus! Steal away, steal away home, I ain't got long to stay here. (included in Brenda Dillon's African American Collection)

About the arranger:  Brenda Dillon is best known for her contributions to the Recreational Music Making movement.  She served on the RMM Committee that designed the RMM Track for MTNA's Pedagogy Saturday.  She also presented group piano and RMM sessions throughout the U.S.  In addition to serving as a teacher trainer, she has written extensive articles on both group piano and RMM teaching.  She has publications with Hal Leonard and Alfred listed on her website (www.brendadillon.com).

SKU: A0.1033340

The chase is afoot! A rather large cat attempts to hunt a wily mouse. The mouse tries to escape the cat’s clutches. Who succeeds?

This piece’s ternary form follows the chase between a cat and mouse. Section A is lively and fast-paced because the cat is on the hunt for the mouse. Since this piece is written from the mouse’s perspective, C-sharp minor conveys the mouse’s fright and fear. The time signature is 4/4 to allow for 16th notes, which denote running steps. The theme in m.19 repeats several times throughout Section A to signify the large cat’s ominous stalking. Tenutos and staccatos punctuate the cat’s heavy steps. In m.14-15, the chromatic scale represents the cat’s momentum. The constantly changing dynamics showcase the various movements and emotions in a chase. Specifically, in m.28-31, the dynamic changes to piano and pedal is employed to signify the mouse’s despair.

Section B stands alone, representing the mouse’s successful escape from the cat. The section’s key signature D-flat major is light and happy. A time signature of 6/8 swings, furthering the carefree mood of the mouse. The beginning of Section B repeats to emphasize the mouse’s joyous escape. However, at the end of the section, the cat returns. In m.61-68, varying speeds and descriptors contrast the movements of the cat and mouse. In m.68, the cat’s theme is an octave lower to draw attention to the cat’s threatening, heavy steps. In m.70-71, the notes accelerate to show that the mouse begins to run again.

Section A’s refrain recaps the cat chasing the mouse. In m.89-100, the end, tells the mouse’s fate. The climatic ending is highlighted by the speeding tempo. The treble-clef notes are an octave higher to build excitement. In m.95-96, notes descend 4 octaves to indicate the mouse’s ultimate demise. The piece ends with grand chords to mark the mouse’s death.

SKU: A0.1135633

A solo piano edition of one of the finest classical works ever to have been written. Very popularly played with an orchestra and occasionally in 2 piano form this solo version will give pianists the freedom and versatility to perform wherever they like. A challenge but well worth it! This is just the first movement but the second and third will be available soon!

SKU: A0.1069681

Duration: 7'27 (2005). This is the seventh movement from my Royal Oilworks Music (Op. 80). .

SKU: A0.918302

Children of the Heavenly Father is a Christian hymn with lyrics by Lina Sandell, the daughter of a Lutheran minister. She was partially paralyzed at an early age and doctors believed she would never walk. When her parents returned from church one Sunday morning, they found her healed and walking freely. She published her first book of spiritual poetry when she was 16.

About the composer: Brenda Dillon is best known for her contributions to the Recreational Music Making Movement. She also presents group piano and RMM sessions throughout the U.S. As well as serving as a teacher trainer, she has written extensive articles on both group piano and RMM teaching. She has publications with Hal Leonard and Alfred Music listed on her website. (www.brendadillon.com).

SKU: A0.480157

I figure every pianist (and keyboardist) has their own inner Beethoven, and every composer does too! I've studied piano, but I never really delved into any literature. But I figure that while I write eighteenth-century music, I shouldn't limit myself to just instruments from that era, ergo the first movement to my piano partita. If there are any pianists on this site, please feel free to give me some feedback! If you want to play it and make a video/recording, go ahead!

SKU: A0.961989

樂曲簡介 《鋼��鳴曲》 本樂曲1974年春天完�於德國雷根斯堡，全曲共分三個樂章，�賞者�以感覺到�個樂章��的曲趣與變化。 　　第一樂章是莊嚴的�快�，�鳴曲形�。第一主題莊嚴而有力，為雙元性動機，由其中一動機導出柔和悠�的副題；全樂章在兩個�立性的主題間交錯展開。 　　第二樂章為自由曲�，以歌謠風的慢�展開簡短的�，有如詩歌朗誦般。正題樂�隨著�唱進入，�分為四段，段與段以部分共�的動機串連，一氣呵�。 　　第三樂章為詼諧活潑�輕巧的快�，節�變化的幅度帶給人��的情趣，時而詼諧�輕巧，時而嚴肅�激動，時而引頸高歌，多元情趣的變化並未曾影響到樂念的連貫，這是本章的特性，�時亦是全曲的沸點。 ※本曲世界首演於德國雷根斯堡，由德國�鋼�家Prof. K. Pfeiffer演�，��首演由鋼�家許��擔任演�。 1. Piano Sonata The piece was completed in Regensburg, Germany in spring 1974. It comprises three movements in different characters, which can be easily identified by the audience. The first movement, Allegro con brio, is in sonata form. The first theme is majestic and powerful with dualistic motifs, one of which leads to the mild subordinate theme. The unfolding of the whole movement is based upon the contrast between the two themes. The form of the second movement is freer. The slow song-like introduction is like poem-reciting, and the main theme follows it. The movement comprises four sections, which are coalesced by the common motifs among them. The last movement is Scherzo - Allegro Vivace. The ample width of its rhythmic change brings different shades of delight, sometimes witty, brisk; sometimes majestic, agitated, throaty, etc. Nevertheless, the diversity never eclipses the musical coherence. It is the characteristic, as well as the very highlight, of the piece. The pianist in the world premiere in Regensburg was Prof. K. Pfeiffer, and the first public performance of this piece in Taiwan is presented by the pianist Hsu Tzu-Chen.