"How to Play Piano" contains everything the new or intermediate piano player needs to know to really get to grips with making music on this most popular of instruments. Highly practical, it leads you from the basics to more complex techniques, covering playing with the left hand, right hand and both together, along with a basic introduction to reading music. The clear text is accompanied by illustrative photos and diagrams, and the guide is complemented by some classic practice pieces to try your hand(s) at, such as "Fur Elise" and "Pachelbel's Canon", as well as a glossary and further reading.

for organ solo The syncopated Toccatina is influenced by pop music as well as the music of South America, while the use of repeated notes is derived from Jan Pieterszoon Sweelinck. The piece will be effective on any size of instrument, providing a joyous lift at the end of a service or in a recital.

for solo piano Featuring sparse textures, quirky endings, and intuitive phrasing, these 24 Preludes and Fugues, in all the keys, bear the hallmarks of Skempton's Minimalist style. This set is well-suited for performance but also for pianists wishing to practise polyphonic textures and single-hand exercises.

Keyboard artists in the time of J.S. Bach were simultaneously performers, composers, and improvisers. By the twentieth century, however, the art of improvisation was all but lost. Today, vanishingly few classically-trained musicians can improvise with fluent, stylistic integrity. Many now question the system of training that leaves players dependent upon the printed page, and would welcome a new approach to musicianship that would enable modern performers to recapture the remarkable creative freedom of a bygone era. The Pianist's Guide to Historic Improvisation opens a pathway of musical discovery as the reader learns to improvise with confidence and joy. Useful as either a college-level textbook or a guide for independent study, the book is eminently practical. Author John Mortensen explains even the most complex ideas in a lucid, conversational tone, accompanied by hundreds of musical examples. Mortensen pairs every concept with hands-on exercises for step-by-step practice of each skill. Professional-level virtuosity is not required; players of moderate skill can manage the material. Suitable for professionals, conservatory students, and avid amateurs, The Pianist's Guide leads to mastery of improvisational techniques at the Baroque keyboard.

For the first time ever, musical selections from the first five Harry Potter movies are available in one jam-packed collection. Intermediate-level pianists will love playing these Easy Piano arrangements, which faithfully render the magical music of John Williams, Patrick Doyle, and Nicholas Hooper. Full color art pages from each movie are included. Titles: Buckbeak's Flight * The Chamber of Secrets * Double Trouble * Dumbledore's Army * Fawkes the Phoenix * Fireworks * Hagrid the Professor * Harry in Winter * Harry's Wondrous World * Hedwig's Theme * Hogwarts' Hymn * Hogwarts' March * Loved Ones and Leaving * Nimbus 2000 * Potter Waltz * Professor Umbridge * The Quidditch World Cup (The Irish) * The Room of Requirement.

This book contains all the scales and arpeggios required for ABRSM's Grade 1 Piano exam. It covers all the new requirements from 2021.

The John Rutter Christmas Piano Album brings together eight of the composer's best-loved seasonal choral pieces as piano transcriptions, made by John Rutter himself, for performance use or enjoyment at home. Designed for pianists at early intermediate level, the collection provides skilful and approachable arrangements of festive favourites such as 'Angels' Carol' and 'What sweeter music' and of the more recent 'Colours of Christmas' and 'Christ our Emmanuel'. The gentle 'Mary's Lullaby', meanwhile, features a newly written Epilogue, a homage to George Shearing and evoking the style of this celebrated jazz pianist. Clearly presented and laid out, the transcriptions also include the texts (lyrics) within the piano score, for reference or potential sing-alongs. From the composer who has become synonymous with Christmas, this versatile collection is a joyous celebration of the season. The pieces in this collection have been recorded by Wayne Marshall on Decca Records.

With a host of accessible, quality new settings, and with pieces based on all the major hymn tunes, these volumes are a must for every church organist's library.

Sun Dance is a slightly modified version of the fifth movement from the composer's Organ Dances, originally conceived for organ solo, strings, and percussion. The music is for the most part celebratory in character, its spiky rhythms driven along by the pervasive alternation of 3/8 and 4/4 metrical groupings, although the composer also has fun with 7/8 and 5/8 patterns.

Alfred's Basic Adult All-in-One Course is a greatly expanded version of Alfred's Basic Adult Piano Course that includes lesson, theory, technic and additional repertoire in a convenient, "all-in-one" format. This comprehensive course adds such features as isometric hand exercises, finger strengthening drills, and written assignments that reinforce each lesson's concepts. The accompanying DVD includes an introduction to all the pages in the book and performances of the pieces by well-known teacher, Gayle Kowalchyk. Titles: Alouette * Alpine Melody * Amazing Grace * Au Claire de la Lune * Aunt Rhody * Auld Lang Syne * Aura Lee * The Bandleader * Beautiful Brown Eyes * Blow the Man Down * Blues for Wynton Marsalis * Brother John * Caf? Vienna * The Can-Can * Chasing the Blues Away * Chiapanecas * Cockles and Mussels * The Cuckoo * Day is Done * Dueling Harmonics * The Entertainer * A Friend Like You * Go Down, Moses * Good King Wenceslas * Good Morning to You * Good People * Got Those Blues * Greensleeves * Happy Birthday to You * Harmonica Rock * Harp Song * Here's a Happy Song * He's Got the Whole World in His Hands * I'm Gonna Lay My Burden Down * Jericho * Jingle Bells * Joy to the World * Kum-ba-yah * Largo (Dvorak) * Lavender's Blue * Lightly Row * Little Brown Jug * Liza Jane * London Bridge * Lone Star Waltz * Love Somebody * Lullaby * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Raisins and Almonds * Rock Along * Rockets * Rockin' Intervals * Rock It Away * Scarborough Fair * Shoo, Fly, Shoo * Skip to My Lou * Standing in the Need of Prayer * The Stranger * Tisket, a Tasket * Waltzing Chords * Waltz Time * What Can I Share * When the Saints Go Marching In * Why Am I Blue?

Schoenberg's Op.23 for solo piano, written between 1920 and 1923, represented a move from his atonal music of the preceding twelve years to 12-note music. In this analysis of the five pieces which make up Op.23, Kathryn Bailey discusses the ways in which Schoenberg clearly explores new ideas in these pieces in the context of his old style. Op.23 marked the development of a new way of organizing pitches and establishing centres of gravity in the absence of tonality; but it was also an extension of what had gone before. While moving on from Op.23 was not a big step for Schoenberg, it represented a climacteric in the history of musical composition. It was a long time before anyone outside of Schoenberg's circle would be able to see past the revolutionary idea of composing from a single pre-determined arrangement of the 12 notes of the chromatic scale to notice that in most ways this New Music answered the same conditions and fulfilled the same expectations that music had for generations.

A welcome collection of piano transcriptions made by the composer himself, featuring eight of his best-loved choral pieces spanning the last 40 years. Designed for pianists at early intermediate level, the collection provides skilful and approachable arrangements of classics such as 'The Lord bless you and keep you', 'All things bright and beautiful', and 'For the beauty of the earth', as well as recent gems like 'A flower remembered', all for performance use or enjoyment at home. Clearly presented and laid out, the transcriptions also include the texts (lyrics) within the piano score, for reference or potential sing-alongs. This is a versatile collection for the many admirers of one of today's greatest choral composers. The pieces in this collection have been recorded by Wayne Marshall on Decca Records.

A single piece of repertoire is the primary focus for each chapter, with preparatory exercises providing the necessary technical work building towards the piece. Each lesson covers four main topics, which are systematically developed: practice methods, registration, fingering and pedalling, and historically-informed interpretation. The method is for keyboard players of any age who are establishing first steps at the organ with or without a teacher. It will also serve more experienced organists who want to improve their technique.

Jazz, Rags & Blues, Books 1 through 5 contain original solos for late elementary to early advanced-level pianists that reflect the various styles of the jazz idiom. An excellent way to introduce your students to this distinctive American contribution to 20th century music. The CD includes dynamic recordings of each song in the book.

This powerful piece, dating from 2010, shows off the full resources of any organ it is played on. Its driving rhythms and exhilarating, often bitonal, harmonies recall such French organist-composers as Langlais and Messiaen, and while there is often an improvisatory feel, the music is far from formless, and its carefully planned structure contributes crucially to its success.

How can the studio teacher teach a lesson so as to instill refined artistic sensibilities, ones often thought to elude language? How can the applied lesson be a form of aesthetic education? How can teaching performance be an artistic endeavor in its own right? These are some of the questions Teaching Performance attempts to answer, drawing on the author's several decades of experience as a studio teacher and music scholar. The architects of absolute music (Hanslick, Schopenhauer, and others) held that it is precisely because instrumental music lacks language and thus any overt connection to the non-musical world that it is able to expose essential elements of that world. More particularly, for these philosophers, it is the density of musical structure-the intricate interplay among purely musical elements-that allows music to capture the essences behind appearances. By analogy, the author contends that the more structurally intricate and aesthetically nuanced a pedagogical system is, the greater its ability to illuminate music and facilitate musical skills. The author terms this phenomenon relational autonomy. Eight chapters unfold a piano-pedagogical system pivoting on the principle of relational autonomy. In grounding piano pedagogy in the aesthetics of absolute music, each domain works on the other. On the one hand, Romantic aesthetics affords pedagogy a source of artistic value in its own right. On the other hand, pedagogy concretizes Romantic aesthetics, deflating its transcendental pretentions and showing the dichotomy of absolute/utilitarian to be specious.