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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles > Keyboard instruments
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.
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.
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.
This book contains all the scales and arpeggios required for
ABRSM's Grade 8 Piano exam. It covers all the new requirements from
2021.
This book contains nine pieces from ABRSM's Grade 1 Piano syllabus
for 2023 & 2024, three pieces chosen from each of Lists A, B
and C - ideal for both Practical and Performance Grade exams. 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. A version of this book with audio
download is also available.
This book contains all the scales and arpeggios required for
ABRSM's Grade 4 Piano exam. It covers all the new requirements from
2021.
Steve Beresford's polymathic activities have formed a prism for the
UK improv scene since the 1970s. He is internationally known as a
free improviser on piano, toy piano and electronics, composer for
film and TV, and raconteur and Dadaist visionary. His résumé is
filled with collaborations with hundreds of musicians and other
artists, including such leading improvisers as Derek Bailey, Evan
Parker and John Zorn, and he has given performances of works by
John Cage and Christian Marclay. In this book, Beresford is heard
in his own words through first-hand interviews with the author.
Beresford provides compelling insight into an extensive range of
topics, displaying the broad cultural context in which music is
embedded. The volume combines chronological and thematic chapters,
with topics covering improvisation and composition in jazz and free
music; the connections between art, entertainment and popular
culture; the audience for free improvisation; writing music for
films; recording improvised music in the studio; and teaching
improvisation. It places Beresford in the context of improvised and
related musics – jazz, free jazz, free improvisation – in which
there is growing interest. The linear narrative is broken up by
'interventions' or short pieces by collaborators and commentators.
In the course of the nineteenth century, four-hand piano playing
emerged across Europe as a popular pastime of the well-heeled
classes and of those looking to join them. Nary a canonic work of
classical music that was not set for piano duo, nary a house that
could afford not to invest in them. Duets echoed from the student
bedsit to the Buckingham Palace, resounded in schools and in
hundreds of thousands of bourgeois parlors. Like no other musical
phenomenon it could cross national, social and economic boundaries,
bringing together poor students with the daughters of the
bourgeoisie, crowned heads with penniless virtuosi, and the
nineteenth century often regarded it with extreme suspicion for
that very reason. Four-hand piano playing was often understood as a
socially acceptable way of flirting, a flurry of hands that made
touching, often of men and women, not just acceptable but
necessary. But it also became something far more serious than that,
a central institution of the home, mediating between inside and
outside, family and society, labor and leisure, nature and nurture.
And writers, composers, musicians, philosophers, journalists,
pamphleteers and painters took note: in the art, literature and
philosophy of the age, four-hand playing emerged as a common motif,
something that allowed them to interrogate the very nature of the
self, the family, the community and the state. In the four hands
rushing up and down the same keyboard the nineteenth century
espied, or thought espy, an astonishing array of things.
Four-Handed Monsters tells the story of that practice, but also the
story of the astonishing array of things the nineteenth century
read into it.
Choice Magazine (a major library review magazine): "After an
introductory section on the history of the piano, particularly as
reflected in and influenced by works of the major composers for the
instrument, this interesting and informative book describes various
compositional "schools," from Austro-German, French, and Italian
through English, American, Russian, Spanish, Japanese, and others.
This section constitutes a brief course in music history beginning
with the Renaissance. ... The body of the work consists of
historical and stylistic sketches of 17 composers, with brief
remarks about several works of each, and lists of selected works,
ending with a complete work or movement. These sketches are
exceptionally well written, assuming an intelligent reader, and
convey a great deal of information concisely.... this book contains
much well-organized and useful material. For libraries serving
serious amateur pianists, high school upward. ******************
Booklist (The book review magazine of the American Library
Association): This authoritative volume will make a solid addition
to the public library music collection. After offering a brief
opening chapter on the evolution of the piano as instrument and the
changing styles of technique, author Pat Hammond provides
opinionated but well-reasoned analyses of the works of the major
piano composers, with focus on the Baroque era (Bach and Handel),
the Classical age (Haydn, Mozart Beethoven), Romanticism (Schubert,
Chopin Liszt, and others), Impressionism (Debussy) and Modernism
(Bartok). This book's unique feature is its inclusion of musical
examples of each composer's work, which are meant to be played as
one reads along. Pertinent biographical material is also featured
for the great masters. Appendixes include a suggested
twentieth-century piano repertoire and a bibliography. Piano music
- Bibliography ******************* Clavier Magazine "Compiled and
annotated by Patricia Fallows-Hammond. Suitable as a reference
source, this handbook supplies concise biographical and stylistic
sketches of composers and annotation of selected compositions. ...
Fallows-Hammond has a knack for setting and maintaining an
appropriate level of sophistication. Writing in a crisp, direct
style, she steers the student toward complicated subjects and gives
them a palpable hold on them. To explain the concept of the
concerto grosso, for example, she explains that, "In Handel's time,
Concerto Crosso meant a small group of instruments playing in
contrast to a larger body of strings." Her synopsis of the
development of sonata form is equally apt....Commentary on the
composers is well-researched and written at a uniform level of
detail that will make it useful to a wide
audience....Fallows-Hammond does a good job of compiling accurate
information on the composers she has chosen. If the contents of the
book serve your purposes, you will find this handbook a handy
reference source. " **************** The American Organist "The
author has created a self-instruction course which gives
information about the evolution of the piano and changing styles in
piano technique, and then discusses topics with emphasis on special
composers: ..... Piano students seeking background information will
profit from this book. Recommended for public libraries."
******************** Keyboard Magazine "Patricia Fallow-Hammond's
302 page study embraces the proposition that historical context is
an important, and frequently neglected, element in building an
understanding of classical repertoire. .... she has assembled a
fairly basic catalogue of keyboard works, arranged chronologically
by composer, and preceded each list with a short biography relating
milestones from each composer's life. ....... Her decision to
further enlighten the reader with short samples of their handiwork
is a happy extra addition. Her efficiency at summarizing and
packaging that line is what makes her debut in print a success."
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