The Schaum Note Speller has the unqualified testimonial of thousands of teachers who pronounce it 'The Best.' Musical facts, beginning with line and space numbers are taught. Students learn by doing, since this book is in workbook form. This saves valuable lesson time, and immediately shows any mistakes in the beginner's thinking.

Me and My Piano is the best-selling series by the distinguished authors Fanny Waterman and Marion Harewood, that has sold over 2 million copies worldwide. Designed especially for the needs of the younger beginner and delightfully illustrated throughout, the series makes learning the piano an enjoyable experience for both pupil and teacher. This Complete Edition combines Parts 1 and 2 in one book. Part 1 takes the young pianist step by step through the earliest stages of piano technique, leading to very easy pieces for hands together using a constant five-finger hand position in C major. Part 2 builds on these foundations by extending the compass of notes, introducing new rhythms, note values, chords and changes of hand position. Games and puzzles throughout give elementary theory a new lease of life, and children will love the rhymes, songs and Monkey Puzzles pages.

This catalogue completes the bibliographic survey of French harpsichord music begun in Bruce Gustafson's French Harpsichord Music of the Seventeenth Century: A Thematic Catalogue of Sources with Commentary (Ann Arbor, 1979). It has entries for all of the printed music known to have existed, over 230 volumes, and 150 manuscripts. It offers precise transcriptions of the title pages, full contents, dating, locations, editions, facsimiles, evaluations in the contemporary press, identifications of dedicatees, and stylistic comments. The eighteenth-century French harpsichord repertory is shown to extend from 1699 to about 1780, from Louis Marchand's Pieces de clavecin to the four Symphonies concertantes by Jean-Francois Tapray that juxtapose the harpsichord and piano as solo instruments. All original keyboard music is included. Since the introduction of the piano into France occurred during the twenty years preceding 1780, this Catalogue includes some music that may have been intended for that instrument rather than for the harpsichord. This period of transition is discussed in full in the Introduction.

Brahms Among Friends identifies patterns of listening, performance, and composition among close friends of Johannes Brahms and explores how those patterns informed the creation and reception of his music in the intimate genres of song, sonata, trio, and piano miniature. Among the tangled threads of counterpoint and circumstance that bound Brahms to his acquaintances was the technique of allusive musical borrowing, whereby a brief passage from a familiar work was drawn into the fabric of a new composition. For the specific listeners whose habits of mind and musicianship he knew best, allusive borrowings could become rhetorically charged gestures, persuasively revising the meanings his music conveyed and the interpretive strategies it invited. Primary documents, original manuscripts, music-analytic comparison, and kinesthetic parameters experienced in the act of performance all work in tandem to support ten case studies in the interplay between Brahms's small-scale works and the women and men who encountered them before publication. Central characters include violinist Joseph Joachim, singers Amalie Joachim, Julius Stockhausen, and Agathe von Siebold, composers Heinrich and Elisabeth von Herzogenberg, and pianists Emma Engelmann and Clara Schumann. For these musicians and for the composer himself, Brahms's allusive music served a broad variety of emotional needs and interpersonal ends. Yet across diverse repertoire and interdisciplinary correlates ranging from ethnography to psychoanalysis, each case study furthers a single, underlying aim: Yet across diverse repertoire and interdisciplinary correlates ranging from ethnography to psychoanalysis, each case study furthers a single, underlying aim: to reconstruct the mutually dependent perspectives of historically situated agents and restore forgotten features of their communicative landscapes as bases for both musical and historical scrutiny.

In Chopin's set of 24 interconnected "Preludes (Op. 28)," we are presented with 24 distinct compositional surfaces, aiming at as many distinguishable emotional expressions. As such, the Preludes stand as a virtual survey of the developing musical manners of the 19th century--which was, after all, the stylistic period in which mood was promoted most energetically and frankly. Under analytic investigation, the technical means to these varied expressive ends can be discovered and assessed. 24 separate explorations reveal themselves to the inquiring musician, who can investigate any or as many of the pieces as is wished or needed. At the same time, the Preludes form a fairly compelling total entity, related by precise balances of mood and key, as well as certain subtler interconnecting details.

The individual analyses aim at conjoined descriptive statements that take into account the various separable, but ultimately fused, musical elements: line and harmony in the pitch domain; rhythm in terms of local detail, but also at the levels of meter, phrase, and form; and the various expressive modifications of dynamics and articulation. Form is seen to grow out of the harnessed progress of these elements, which together determine expressive content. "The Chopin Preludes," a centerpiece of 19th-century Romanticism, are unique: two dozen distinct moods that seem to summarize the musical manners of the time, they also function as an organic whole. This book is a detailed guide through the "Preludes," both individually and as a group. The analyses assess technical and expressive means and ends.

This collection of intermediate piano solos is perfect for the romantic at heart. All of the pieces are lyrical, expressive, and absolutely beautiful Titles: Daydream * First Loss * A Heart Takes Flight * Lament * A Lovely Mood * Love Theme * Prairie Love * Simple Pleasures.

This easy step-by-step method emphasizes correct playing habits and note reading through interval recognition. Lesson Book 5 concepts include the ornaments: long appoggiatura, short appoggiatura, trill and mordent; plus arpeggios; the A Major scale; and the keys of B minor and C minor. Also introduces the playing of minuets, sonatinas, preludes and arias.
For reinforcement of each principle as it is introduced, supplementary material is carefully coordinated, page for page, at each level of instruction. Coordinating supplemental books for Level 5 include: Classic Themes * Ear Training * Merry Christmas * Recital * Repertoire * Theory and Top Hits! Solo.

This book contains all the scales and arpeggios required for ABRSM's Grade 6 Piano exam. It covers all the new requirements from 2021.

This second edition of Gellerman's classic reference work is a must for collectors and aficionados of reed organs. Its aim is to present a complete listing and brief history of every manufacturer of reed organs in the world as an aid to the collector. In the 13 years since publication of the first edition, hundreds of new names and historical facts have come to light and are included in this revised edition. 89 illustrations. 104 photos.

The second edition of this world famous book puts into clear pictures and language how anyone handy with tools can repair, regulate, maintain, and even completely rebuild a piano.

This much anticipated new edition of Robert Gellerman's The American Reed Organ covers the history, construction, manufacturing, tuning, restoration, and music of these classic American and European parlor instruments.

The Recital Books congratulate students for a job well done by providing correlated repertoire to their Lesson Books that are based on concepts they've already learned. As a result, the pieces are quickly mastered. Recital Book Level 4 comprises mostly arrangements of familiar tunes like "'Country Gardens" and "Amazing Grace," and a few new originals as well.

The New International Edition of Suzuki Piano School, Volume 2 includes French, German and Spanish translations, new Romantic and 20th-century pieces, as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately. The contents have changed slightly with minimal reordering of the music. The Mozart Minuet and Bach Musette from the earlier edition were eliminated and replaced with two new 20th-century pieces by BartA3k (noted below), and the Bach "Minuet in G Minor" (from J. S. Bachas Notebook for Anna Magdalena Bach) has been moved to Volume 3. Other improvements include a cleaner appearance with less editing and spacious new engravings, as well as more detailed titles that include the keys, sources, composer dates, and catalog numbers.
Titles: Acossaise (J. N. Hummel) * A Short Story (H. Lichner) * The Happy Farmer, from Album for the Young, Op. 68, No. 10 (R. Schumann) * Minuet in G Major, BWV 822 (J. S. Bach) * Minuet in G Major, from J. S. Bach's Notebook for Anna Magdalena Bach (Anonymous) * Minuet in G Minor, BWV 822 (J. S. Bach) * Cradle Song, Op. 13, No. 2 (C. M. von Weber) * Arietta (W. A. Mozart) * Hungarian Folk Song, from For Children, Sz. 42 (BA(c)la BartA3k) * Melody, from Album for the Young, Op. 68, No. 1 (R. Schumann) * Minuet in G Major, from J. S. Bach's Notebook for Anna Magdalena Bach (C. Petzold) * Sonatina in G Major, Anh. 5 (Moderato, Romance) (L. van Beethoven) * Children at Play, from For Children, Sz. 42 (BA(c)la BartA3k).

(Faber Piano Adventures ). 64 pages of fun-filled activities support the music learning process. Reading steps on the staff is a primary focus of Book B. The inventive Writing Book guides young players in reading, hearing and creating with steps on the Grand Staff. Teachers will welcome the special "C.L.A.P. for Sightreading" pages, designed to reinforce and celebrate note-reading. Students touch on music history with Mozart's and Beethoven's Fun Facts and Games and take a peek into Beethoven's Composing Room. Tucker, Blinker and Tap return with ear-training, sightreading, and rhythm fun. Then there is also the Tooth Fairy Visit, Rhythm Beads, Escape of the Quarter Notes... and much more.

From Mozart's fabulous legato that "flowed like oil" to Beethoven's oceanlike surge, from Clara Schumann's touch "sharp as a pencil sketch" to Rubinstein's volcanic and sensual playing, The Great Pianists brings to life the brilliant, stylish, and sometimes eccentric personalities, methods, and technical peculiarities of history's greatest pianists.Pulitzer Prize-winning critic and author Harold C. Schonberg presents vivid accounts of the artists' performances, styles, and even their personal lives and quirky characteristics-- such as Mozart's intense competition with Clementi, Lizst's magnetic effect on women (when he played, ladies flung their jewels on stage), and Gottschalk's persistent nailbiting, which left the keys covered with blood. Including profiles of Horowitz and Van Cliburn, among others, and chapters detailing the playing and careers of such modern pianists as de Larrocha, Ashkenazy, Gilels, Gould, Brendel, Bolet, Gutierrez, and Watts, The Great Pianists is a comprehensive and fascinating look at legendary performers past and present.

This book contains nine pieces from ABRSM's Grade 7 Piano syllabus for 2021 & 2022, three pieces chosen from each of Lists A, B and C. The pieces have been carefully selected to offer an attractive and varied range of styles, creating a collection that provides an excellent source of repertoire to suit every performer. The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information.