This book contains 50 easy piano arrangements of popular praise and worship songs that are sung in churches everywhere. The arrangements, by leading Christian music arranger Carol Tornquist, sound great both as piano solos and for sing-alongs. Complete lyrics are included along with basic chord symbols. Titles: 10,000 Reasons * Amazing Grace (My Chains Are Gone) * Be the Centre * Beautiful One * Better Is One Day * Blessed Be Your Name * Blessings * Breathe * Come, Now Is the Time to Worship * Cry of My Heart * Draw Me Close * Everlasting God * Forever * Give Thanks * God of Wonders * Great Is the Lord * Hallelujah (Your Love Is Amazing) * He Knows My Name * The Heart of Worship * Here I Am to Worship * Holy, Holy, Holy * Holy Is the Lord * Hosanna (Praise Is Rising) * How Deep the Father's Love for Us * How Great Is Our God * I Could Sing of Your Love Forever * I Lift My Eyes Up (Psalm 121) * I Love You, Lord * In Christ Alone (My Hope Is Found) * In the Secret * Indescribable * Jesus Messiah * Lord I Lift Your Name on High * Lord Reign In Me * Majesty (Here I Am) * Mighty to Save * More Love, More Power * Open the Eyes of My Heart * Our God * Revelation Song * Shout to the Lord * Sing to the King * Take My Life (Holiness) * Untitled Hymn (Come to Jesus) * We Fall Down * The Wonderful Cross * You Are My All in All * You Are My King (Amazing Love) * Your Grace Is Enough * You're Worthy of My Praise.

Twelve internationally-known keyboard artists entertainingly discuss their daily lives of practicing and performing in informative interviews, including reflections on learning new music, reviving repertoire, performing, controlling nerves, recording sessions, playing with ensemble groups, touring, playing in competitions, and the future of the piano. The pianists interviewed include: Vladimir Ashkenazy, Jorge Bolet, John Browning, Bella Davidovich, Misha Dichter, Janina Fialkowska, Rudolf Firkusny, Leon Fleisher, Andre-Michel Schub, Abbey Simon, Ralph Votapek, and Andre Watts.

Grand Tours is a chronicle of the American visits of five charismatic pianists--Leopold de Meyer, Henri Herz, Sigismund Thalberg, Anton Rubenstein, and Hans von Bulow--during the late nineteenth century. Performing Beethoven and Chopin in gold-rush era California, these pianists introduced many Americans to the delights of the concert hall. With humor and insight, Lott describes the clash between the flamboyant, elegant, European pianists and American audiences more accustomed to circuses and rodeos than these "serious" entertainments. Lott also explores the creative and sometimes outlandish publicity techniques of managers seeking to capitalize on rich but uncharted American markets. The tours, which included almost a thousand concerts in more than one hundred cities in America and Canada, illustrate the rigors of the performing life, the wide range of nineteenth-century audiences and their gradual transformation from boisterous participators to respectful listeners, and the establishment of the piano recital as it exists today. With the colorful personalities of the pianists, the juxtaposition of high art and unsophisticated audiences, and the predilection of Americans to treat even the most serious subjects with humor, the book is illuminating and entertaining. The text is illustrated with ads, newspaper clippings, and correspondence that bring to life this collision of cultures.

In this book, Ronald Ebrecht has meticulously studied each of Durufle's works and put together the first book to discuss in detail all of Durufle's music. With encouragement from Durufle's editor and the foundation established in his name, Ebrecht has compiled copious examples from manuscript sources to be published for the first time along with the little-known contextualizing works of Messiaen and Barraine. Most widely known for his masterpiece Requiem, the composer's orchestral gems are analyzed alongside his delightful miniature: the orchestration of the Sicilienne. The organ works which set the standard for virtuosity at conservatories around the world are given new insightful and thorough evaluation by Ebrecht, whose long association with late 19th and early 20th century France and French music affords illuminating connections between Durufle and his predecessors and successors with sweeping insight and minute detail.

You do not have to be an organist to be blown away by the sound of the 'full organ' in St. Paul's, London; Notre Dame, Paris; or St. John the Divine, New York. Some of this inexplicable excitement seems to reside in everyone's consciousness, providing a glimpse of a world in which one particular instrument the pipe organ can assume a larger presence than any other. This anthology presents many of the literary expressions from writers who have tried to capture the magic of the organ for more than 2000 years in poetry and prose, in stories, in factual and fictional accounts, in simile, and in metaphor. This book, which contains pieces of literature by approximately one hundred different authors, is divided into five sections, with an introduction by the compiler. The first section contains poetry by well-known poets from six centuries (such as W.H. Auden, Robert Browning, Geoffrey Chaucer, Emily Dickinson, John Dryden, T.S. Eliot, Hermann Hesse, Andrew Marvell, John Milton and Dylan Thomas) as well as many lesser-known ones. The Second section contains passages from novels by such diverse writers as Honore de Balzac, E.F. Benson, Elizabeth Bowen, Elizabeth Goudge, Thomas Hardy, Aldous Huxley, Francois Rabelais and John Updike, among others. The third section includes excerpts from mystery writers like Kate Charles, Jane Langton, E.C.R. Lorac, and J. Meade Falkner. The fourth section is composed of short stories, printed in their entirety, by such masters of the art as Arnold Bennett, David Ely, Bill Franzen, Garrison Keillor, H. L. Mencken, and Jessamyn West. The last section contains essays by a wide variety of authors such as Leigh Hunt, Gordon Reynolds, George Bernard Shaw, Richard Steele, and Virgil Thomson, among others. Selections are linked with commentary and background and biographical information. This is a book with a wide variety of moods, just as the organ is an instrument with a wide variety of sounds. All are sure to appeal to the lover of this gloriously melodic instrument of music."

Dynamic Group-Piano Teaching provides future teachers of group piano with an extensive framework of concepts upon which effective and dynamic teaching strategies can be explored and developed. Within fifteen chapters, it encompasses learning theory, group process, and group dynamics within the context of group-piano instruction. This book encourages teachers to transfer learning and group dynamics theory into classroom practice. As a piano pedagogy textbook, supplement for pedagogy classes, or resource for graduate teaching assistants and professional piano teachers, the book examines learning theory, student needs, assessment, and specific issues for the group-piano instructor.

Beethoven's piano sonatas are a cornerstone of the piano repertoire and favourites of both the concert hall and recording studio. The sonatas have been the subject of much scholarship, but no single study gives an adequate account of the processes by which these sonatas were composed and published. With source materials such as sketches and correspondence increasingly available, the time is ripe for a close study of the history of these works. Barry Cooper, who in 2007 produced a new edition of all 35 sonatas, including three that are often overlooked, examines each sonata in turn, addressing questions such as: Why were they written? Why did they turn out as they did? How did they come into being and how did they reach their final form? Drawing on the composer's sketches, autograph scores and early printed editions, as well as contextual material such as correspondence, Cooper explores the links between the notes and symbols found in the musical texts of the sonatas, and the environment that brought them about. The result is a biography not of the composer, but of the works themselves.

This reference work catalogs music for organ and harpsichord written by more than 700 women composers from 40 countries. Compiler Adel Heinrich has expanded the organ and harpsichord repertoire to include choir and instruments accompanying organ and harpsichord. She provides more detailed information about each work than can be found in any other reference book on women composers. In addition to biographies for each woman, Heinrich supplies listings of individual compositions, and includes descriptions and sources whenever possible. Each composition is listed in both the Instrumentation Index and the Title Index. Publishers, library sources, and recording companies with their addresses are also provided. There is also a chronological listing of composers by country. Two appendices list a large number of women who have either written music for organ and harpsichord with no specific titles known, or have performed on one or both instruments. This reference book is a valuable resource for organists, harpsichordists, teachers, choral and instrumental conductors, and planners of festivals and recitals.

The solos in Romantic Sketches, Book 2, will delight pianists who favor the Romantic style. Playing with musical expression is an important skill used in making music and is much more than just playing the notes on the printed page. Music written in the Romantic style is the perfect choice for developing this skill. These short, musical sketches will encourage students to play with nuance and sensitivity. Titles: Elegant Waltz * Elizabeth's Ballad * An Evening in Paris * Graceful Ballet * Interlude * The Magic Garden * Song of Peace * Young at Heart * Prelude in D Major * Romance

This book contains valuable material to help players strengthen their sight-reading skills in preparation for the ABRSM Grade 7 exam. Featuring preparatory exercises that gradually introduce key new elements encountered at Grade 7, along with a comprehensive selection of sample sight-reading pieces, More Piano Sight-Reading supports students with the transition between grades, and encourages them to integrate sight-reading into their daily practice. More Piano Sight-Reading is available for ABRSM Grades 1 to 8, offering additional support for the sight-reading requirements of the current syllabus.

Growing up in Huntsville, Alabama, during the first quarter of the 20th century, Alabama-born organist and composer Lee Orville Erwin, like many of the 20th century s great American composers, spent time studying in Paris. From 1930 until 1931 Erwin studied in France with organist Andre Marchal and the harmony teachers Jean Verd and Nadia Boulanger. This formative experience greatly shaped his compositional style and aesthetic. Upon returning to the United States, Erwin began his lengthy career in radio and television working with Arthur Godfrey. In 1967, Erwin was commissioned by the American Theater Organ Society to compose organ music for the Gloria Swanson film Queen Kelly. It was this film that led his career back into the consoles of the great American theater organs. He toured extensively, playing thousands of concerts of organ music during silent film showings. He thus ushered in the silent film revival, continuing the genre of live music performance accompanying film. Erwin, believing that cue sheets originally compiled for these films during the silent film era were full of the musical cliche s of the 1920s, composed new scores to over 100 silent films. An American Organist in Paris presents Lee Orville Erwin's letters from France to his family in 1930-1931. In these letters, Erwin recounts his daily experiences and encounters with some of the 20th century's greatest musicians and teachers. He writes of his lessons with Marchal, Verd, and Boulanger and dinner parties with Olivier Messiaen. Erwin's letters not only provide the singular experiences of a young musician but also reflect the common experiences shared by the multitude of American composers who studied in France during this time. These letters are extensively footnoted to provide clarity and background information of the locations and personalities discussed. A biographical chapter on Erwin, which outlines his extensive musical career and impact on the silent film music revival in the 20th century, is also included. This book will serve as a unique glimpse into the life of one of America's most prolific composers for the theater organ.

Influenced by Robert and Clara Schumann and Joseph Joachim, Johannes Brahms not only learned to play the organ at the beginning of his career, but also wrote significant compositions for the instrument as a result of his early counterpoint study. He composed for the organ only sporadically or as part of larger choral and instrumental works in his subsequent career. During the final year of his life, however, he returned to pure organ composition with a set of chorale preludes--though many of these are thought to have been revisions of earlier works. Today, the organ works of Johannes Brahms are recognized as beautifully-crafted compositions by church and concert organists across the world and have become a much-cherished component of the repertoire. Until now, however, most scholarly accounts of Brahms's life and work treat his works for the organ as a minor footnote in his development as a composer.
Precisely because the collection of organ works is not extensive, the pieces--composed at different times during Brahms's lifetime--help to map his path as a composer, pinpointing various stages in his artistic development. In this volume, Barbara Owen offers the first in-depth study of this corpus, considering Brahms's organ works in relation to his background, methods, and overall artistic development, his contacts with organs and organists, the influence of his predecessors and contemporaries, and analyses of each specific work and its place in Brahms's career. Her expert history and analysis of Brahms's individual organ works and their interpretation also investigates contemporary practices relative to the performance of these pieces. The book's three valuable appendices present aguide to editions of Brahms's organ works, a discussion of the organ in Brahms's world that highlights some organs the composer would have heard, and a listing of the organ transcriptions of Brahms's work.
Blending unique insights into composition and performance practice, this book will be read eagerly by performers, students, and scholars of the organ, Brahms, and the music of the Nineteenth Century.

Isolde Ahlgrimm (1914-1995) was an important pioneer in the revival of Baroque and Classical keyboard instruments in her native city, Vienna, and later, throughout Europe and the United States. She trained as a pianist at the Musikakademie in Vienna under the instruction of Viktor Ebenstein, Emil von Sauer and Franz Schmidt. In 1934 she met the musical instrument collector, Dr Erich Fiala, whom she married in 1938. His activities opened up the world of early instruments to her. Using a 1790 fortepiano by Michael Rosenberger, Isolde Ahlgrimm began her career as a specialist on early keyboard instruments with the first in her notable series of Concerte fA1/4r Kenner und Liebhaber, given in Vienna's Palais Palffy in February 1937. Ahlgrimm's career as a harpsichordist also began in 1937, when a new instrument was commissioned from the Ammer brothers in Eisenberg, Germany. In 1943 Ahlgrimm performed her first all-harpsichord programme, which consisted of the Goldberg Variations by J.S. Bach. From 1949 to 1956, she devoted herself to performing and recording nearly all of Bach's harpsichord music for the newly-founded Dutch label, Philips, presenting her new approach to the harpsichord to a wider audience. Ahlgrimm's performances of Baroque music represented a radical departure from the distinctly twentieth-century interpretations by the much more famous Wanda Landowska and her followers. Most obviously, Ahlgrimm's harpsichord performances eliminated frequent registration changes (her instrument had hand stops rather than pedals to change registers), and largely eschewed the massive ritardandi and other anachronistic performance practices that were hallmarks of Landowska's essentially Romantic style. Ahlgrimm researched and emphasized rhetorical traditions on which the music was based. This became more pronounced throughout the course of her later performing, writing and teaching career, and it was the beginning of an approach to the performance of eighteenth-century music which was later further developed by Gustav Leonhardt, Nikolaus Harnoncourt and their students. Peter Watchorn provides an engaging study of this pioneer, and argues that Isolde Ahlgrimm's contribution to the harpsichord and fortepiano revival was pivotal, and that her use of period instruments and the inspiration she instilled in younger musicians, including Nikolaus Harnoncourt and Gustav Leonhardt, has been almost entirely overlooked by the wider musical world.

This lavishly illustrated book treats the history of the piano from its invention in 1700 to the present in terms of its technology. Looking at the technologies of design, materials, and manufacture, and focusing its description on specific existing pianos, it describes the changes in pianos from the earliest days to contemporary instruments. This revised edition incorporates the results of recent research that increases knowledge of the work of Bartolomeo Cristofori, the inventor of the piano; changes perceptions of how eighteenth-century pianos were made and used; adds to the available information about the important contributions of the Steinway Company; and describes the most recent changes to the piano. The first edition of this book received the Otto Kinkeldey Award of the American Musicological Society as the best musicological book in English published in 1982-83. Reviews of the First Edition "If you have ever looked under the lid of a piano and wondered about the technical how and why of it all, this is the book to sate your curiosity. . . . Good's vigorous prose breathes life into the technology . . . and brings forward the people involved, with humor and sensitivity." -Los Angeles Times "This is a fine book. Accurate technical description, an abundance of photographs and drawings, and a very readable text complement a provocative thesis." -Technology and Culture "Intriguing reading. It turns out that the story of the piano and its evolution . . . is rife with human interest, at least when Good relates the details." -Keyboard

At fifteen, Sanford Brunson Campbell (1884-1952) became enchanted with the new sounds of ragtime and ran away from his rural Kansas home, hopping a train to Sedalia, Missouri, determined to take piano lessons from a black musician he had never met. Scott Joplin nicknamed his white protege ""The Ragtime Kid."" A composer and entertainer at the dawn of the ragtime era, ""Brun"" was a prime mover in the ragtime revival of the 1940s and helped establish Joplin's prominence as an American virtuoso. Campbell's own legacy was tarnished by his inability to tell a straight story and he was often dismissed as a liar and a clown. Based on his memoirs, musical compositions and correspondence with music industry notables, this first comprehensive biography of Campbell reveals an engaging storyteller and a devotee wholly dedicated to a musical genre that had been given up as dead. His firsthand account of life as an itinerant pianist in the Midwest provides a unique picture of life a century ago.

This book presents figured harmony as a form of aural training. It seeks to make the student more keenly aware of chord-relationships as actual sound. It will increase the student's power to form an inward realization of what a page of music is going to sound like without having actually heard it.

Longtime collectors of video recordings (VHS) of piano, both solo and with orchestra desire nothing more than a catalog listing only piano performances. This catalog provides the means whereby music professionals, average piano students, and piano aficionados can study piano performance in both its audio and video aspects. Part I provides information on nearly 200 piano performance videos that where personally heard by the authors. There is a brief evaluation of each video, the authors thoughts as well as the opinions of highly regarded critics in the music performance field. Part II lists supplemental video recordings containing performances by more than one pianist, as in collections, competitions, and documentaries. Part III cross-references the catalog by composer. Each composition relates to a piano performance listed in Part I or Part II. In some instances, the pianist plays only excerpts of compositions, but these musical fragments are included because they are the only VHS performances the authors could find by that particular pianist or simply because they are so representative of the pianist's style. The video recording provides an evocative look at the pianist, how he produces his particular sound, what hand position he prefers when playing a concerto, and his rapport with both orchestra and conductor. A useful tool for piano music enthusiasts, for those looking to hear piano performance, and for skilled pianists looking for new insights.

Music theory is often seen as independent from - even antithetical to - performance. While music theory is an intellectual enterprise, performance requires an intuitive response to the music. But this binary opposition is a false one, which serves neither the theorist nor the performer. In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer's preludes, nocturnes and barcarolle. An extension of Schenkerian analysis, the specific combination of five aspects distinguishes Hood's method from previous analytical approaches. These five methods are: attention to the rhythms created by pitch events on all structural levels; a detailed accounting of the musical surface; 'strict use' of analytical notation, following guidelines offered by Steve Larson; a continual concern with what have been called 'strategies' or 'premises'; and an exploration of how recorded performances might be viewed in terms of analytical decisions, or might even shape those decisions. Building on the work of such authors as William Rothstein, Carl Schachter and John Rink, Hood's approach to Chopin's oeuvre raises interpretive questions of central interest to performers.

This volume contains valuable practice material for candidates preparing for the ABRSM Grade 8 Piano exams. The book is written in attractive and approachable styles and representative of the technical level expected in the exam.

This volume contains valuable practice material for candidates preparing for the ABRSM Grade 1 Piano exams. The book is written in attractive and approachable styles and representative of the technical level expected in the exam.

This volume contains valuable practice material for candidates preparing for the ABRSM Grade 2 Piano exams. The book is written in attractive and approachable styles and representative of the technical level expected in the exam.

The piano works of Dmitri Shostakovich (1906-1975) are among the most treasured musical compositions of the twentieth century. In this volume, pianist and Russian music scholar Sofia Moshevich provides detailed interpretive analyses of the ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music. Each piece is introduced with a brief historic and structural description, followed by an examination of such interpretive aspects as tempo, phrasing, dynamics, voice balance, pedaling, and fingering. This book will be an invaluable resource for students, pedagogues, and performers of Shostakovich's piano solos.

Jazz, Rags & Blues, Books 1 through 4, contain original solos for late elementary to late intermediate-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.