Piano Time Pieces 3 presents a sparkling selection of pieces in all styles. Here are classical and jazzy pieces, folksongs and specially written tunes, and songs and character pieces of all kinds. Practising the range of techniques and keys introduced in Piano Time 3, these pieces provide a wealth of enjoyable practice and repertoire material for all young pianists. 
 
 
Pages: 28 Language: English Publisher: Oxford University Press

From the influences of the Southern US and the Caribbean to the Igbo people of Africa, this second volume truly represents the music of Africa and its Diaspora. This intermediate-level volume features more jazz and syncopated pieces that are both reflective and dance-like. Performance notes and composer biographies are also provided..
Contents

Laurindo Almeida: Lament in Tremelo Form
Ulysses Kay: Invention No. 2
Nathaniel Dett: Honey
Joshua Uzoigwe: Nigerian Dance No. 1
Wallace M. Cheatham: Prelude No. 1 ‘Joshua fit the Battle of Jericho’
Wallace M. Cheatham: Prelude No. 2 ‘Poor Mourner’s Got a Home’
Christian Onyeji: Oga
Amadeo Roldan y Gardes: Preludio Cubano
Florence B. Price: Silk Hat and Walking Cane
John W. Work III: At a Certain Church
J.H. Kwabena Nketia: Volta Fantasy
Akin Euba: Igbá Kerin – Àwon Abàmi Eye
Akin Euba: Igbá Kìnní – Akèrè gbè Baba Emu
Alain Pierre Pradel: Pomme Cannelle
Halim El-Dabh: Basseet
Halim El-Dabh: Nim Nawakht
Eleanor Alberga: If the Silver Bird Could Speak 

 
 
Pages: 54 Language: English Publisher: Oxford University Press

Based on the original printed score of 1929, including facsimile of Ravel’s manuscript. Duration: ca. 29 minutes.
Full Orchestral Score
The Masterworks Library
Pages: 130
Publisher: Boosey & Hawkes

Volume / Series : Full Score
Language: English
Pages: 384     
Publisher: Dover Publications
Composer / Author: Ludwig van Beethoven
CONTENTS
The five Beethoven piano concertos have long been staples of the pianist’s repertoire and are perennial favorites of concert audiences. Here in one convenient volume are all five, reproduced directly from the authoritative Breitkopf and Härtel edition, including most of the composer’s own cadenzas.
These concertos reveal the steady development of Beethoven’s mastery of pianistic and orchestral resources through his early and middle periods. The first two, No. 1 in C Major, Op. 15 (1795), and No. 2 in B-flat Major, Op. 19 (before 1793), reflect the youthful exuberance of Beethoven’s earlier style. No. 3 in C Minor, Op. 37 (1800), is “one of the most successful embodiments of Beethoven’s “C Minor mood'” (New Grove Dictionary) and No. 4 in G Major, Op. 58 (1805–1806), is considered a milestone in concerto development. No. 5 in E-flat Major, Op. 73 (“Emperor,” 1809), clearly illustrates Beethoven’s further innovations in concerto structure.
Pianists, musicians, conductors, and students seeking to learn more about Beethoven’s impact on musical history, and lovers of music in general, will appreciate having these concertos in one handy, inexpensive edition.
Reprint of selections from the Breitkopf & Härtel, Leipzig, n.d. edition.