(Faber Piano Adventures ). Book C of the Fabers' young beginner method continues the staff-reading adventure with the introduction of skips (3rds). Students first explore skips aurally and kinesthetically across the full range of the keyboard. A delightful variety of songs follow which carefully and comfortably guide the child toward line-line and space-space staff recognition. The new CD for Book C offers a unique listening experience with outstanding orchestrations and vocals. The recordings demonstrate a key principle of the course: when children listen, sing, tap, and move to their piano music, they play more musically.

Kenneth Hamilton's book engagingly and lucidly dissects the oft-invoked myth of a Great Tradition, or Golden Age of Pianism. It is written both for players and for members of their audiences by a pianist who believes that scholarship and readability can go hand-in-hand. Hamilton discusses in meticulous yet lively detail the performance-style of great pianists from Liszt to Paderewski, and delves into the far-from-inevitable development of the piano recital. He entertainingly recounts how classical concerts evolved from exuberant, sometimes riotous events into the formal, funereal trotting out of predictable pieces they can be today, how an often unhistorical "respect for the score" began to replace pianists' improvisations and adaptations, and how the clinical custom arose that an audience should be seen and not heard. Pianists will find food for thought here on their repertoire and the traditions of its performance. Hamilton chronicles why pianists of the past did not always begin a piece with the first note of the score, nor end with the last. He emphasizes that anxiety over wrong notes is a relatively recent psychosis, and playing entirely from memory a relatively recent requirement. Audiences will encounter a vivid account of how drastically different are the recitals they attend compared to concerts of the past, and how their own role has diminished from noisily active participants in the concert experience to passive recipients of artistic benediction from the stage. They will discover when cowed listeners eventually stopped applauding between movements, and why they stopped talking loudly during them. The book's broad message proclaims that there is nothing divinely ordained about our own concert-practices, programming and piano-performance styles. Many aspects of the modern approach are unhistorical-some laudable, some merely ludicrous. They are also far removed from those fondly, if deceptively, remembered as constituting a Golden Age.

Contains all the piano accompaniments for Cello Time Runners (the cello duets are unaccompanied and so printed in the cello book only). Characterful and easy to play, these piano parts provide the perfect stylish accompaniment to the cellist's first tunes, and help capture the spirit and mood, from jazz to calypso, folk to rock. Essential for teachers and musical parents, these books will help motivate all young cellists as they learn to play.

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 organistas library.

This collection presents a selection of varied repertoire by J. S. Bach in new arrangements for the organ. Bringing a wealth of popular pieces under the fingers and feet of intermediate players, the volume caters for all parts of a church service, as well as providing recital repertoire and popular encores. Taking its cue from the Baroque practice of transcription, and with the needs of modern players in mind, this volume presents a set of pieces with wide and varied use and makes a valuable addition to any organist's repertoire.

The perfect companion to Piano & Keyboard Chords, Advanced Piano Chords is a handy resource for those who feel they are ready to take the next step. The simple and clean layout provides 15 chords per key, with positions for left and right hand, covering majors, minors, 9ths, augmented 5ths, diminished 9ths, 11ths, 13ths and add 9ths. Ideal for playing genres such as jazz and musical theatre, this no-nonsense, easy-to-carry, spiral-bound book will fit into a gig bag, flight case or handbag with the minimum of fuss and will help musicians become more accomplished pianists.

This is the third in a trilogy of organ works inspired by the metaphysical poet, George Herbert. This piece and the first of the three, Sounding heaven and earth, draw their titles from George Herbert's Prayer (I). The second of the group, Sacred and hallowed fire, takes its inspiration from the sequence of poems by George Herbert entitled he Temple.

Playing Beyond the Notes: A Pianist's Guide to Musical Interpretation demystifies the vague and complex concept of musical interpretation in Western tonal piano music by boiling it down to basic principles in an accessible writing style. Its intended audience is performing pianists, independent piano teachers, and piano pedagogy students, and the over 200 repertoire excerpts in the book cover the intermediate to advanced piano literature. Rather than dealing with issues pertaining to performance practice, specific composers, or genres, this book focuses solely on musical interpretation. Each chapter tackles a different interpretive principle, explaining clearly, for example, how to play effective ornaments and rubatos or how to understand transitional sections of pieces. The author supplies a helpful checklist of questions at the end of each chapter. The book aims to help pianists understand concrete ways to apply interpretive concepts to their own playing and to give teachers practical ways to teach interpretation to their students. The book is supplemented by a companion website that hosts over 100 audio recordings to enhance the reader's experience.

This book contains nine pieces from ABRSM's Grade 3 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. The enclosed CD features inspiring recordings of all 30 pieces on the Grade 3 syllabus, performed by Nikki Iles, Dinara Klinton, Robert Thompson and Anthony Williams.

Sacred and hallowed fire was commissioned by Harrison & Harrison as part of their 150 years celebration of organ building. It is one of a trilogy of works for organ by McDowall which draws from the poetry of George Herbert; the first of the three (commissioned by Christopher Batchelor for the London Festival of Contemporary Church Music) is Sounding heaven and earth; the last of the trilogy, Church bells beyond the stars, has been commissioned to celebrate the centenary of the Edinburgh Society of Organists, May 2013.

This is the final book in a 4-book collection of preludes, interludes, and postludes compiled and arranged by Carlo Rossini for performance on pipe, electronic or reed organs, and with Hammond registrations included. No separate pedal notation staff is included, however many examples indicate notes for the pedals. The Liturgical Organist provides the average organist with an orderly collection of liturgical compositions for church use and for possible performance even on the smallest instrument. The compositions include works from the baroque, classical and romantic eras.

In this penetrating study, Russell Stinson explores how four of the greatest composers of the nineteenth century-Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms-responded to the model of Bach's organ music. The author shows that this quadrumvirate not only borrowed from Bach's organ works in creating their own masterpieces, whether for keyboard, voice, orchestra, or chamber ensemble, but that they also reacted significantly to the music as performers, editors, theorists, and teachers. Furthermore, the book reveals how these four titans influenced one another as "receptors" of this repertory and how their mutual acquaintances-especially Clara Schumann-contributed as well. As the first comprehensive discussion of this topic ever attempted, Stinson's book represents a major step forward in the literature on the so-called Bach revival. He considers biographical as well as musical evidence to arrive at a host of new and sometimes startling conclusions. Filled with fascinating anecdotes, the study also includes detailed observations on how these composers annotated their personal copies of Bach's organ works. Stinson's book is entirely up-to-date and offers much material previously unavailable in English. It is meticulously annotated and indexed, and it features numerous musical examples and facsimile plates as well as an exhaustive bibliography. Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572. Engagingly written, this study should be read by anyone interested in the music of Bach or the music of the nineteenth century.

"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.

(Faber Piano Adventures ). Developing the ear and training the eye of the young child is a key component of the Writing Book A. Tucker, the mascot dog who loves to LISTEN, is always on the scene as the young child imitates, matches, and creates rhythmic and melodic patterns. The multi-cultural friends present improvisation and simple, guided composition activities. Blinker, the owl who loves to LOOK, helps students recognize patterns of rhythms and notes, and introduces sightreading. The Writing Book offers a holistic, musical approach to theory through discovery, creativity, imagination, and fun

Lesson Book 2 starts as pre-reading, then moves to reading on the staff. After a review, the new concepts taught are: Dotted quarter note and 4/4 time, 4/4 time, Mezzo-forte, Staff and note reading, Steps and skips, Grand staff. New notes taught are F and G in the LH and RH, completing the Middle C position.

Continuing the expansion of note-reading skills begun in Levels 1Aa2A, this book includes melodic and harmonic 7ths and octaves to aid the student with moving freely around the keyboard. New items include the introduction of C and G major scales, as well as three-note V7 chords in C and G. Dotted quarter and eighth-note rhythm patterns are added to other rhythms of gradually increasing complexity. Each piece on the CD was recorded at a performance tempo and a slower practice tempo.