In Sonata Fragments, Andrew Davis argues that the Romantic sonata is firmly rooted, both formally and expressively, in its Classical forebears, using Classical conventions in order to convey a broad constellation of Romantic aesthetic values. This claim runs contrary to conventional theories of the Romantic sonata that place this nineteenth-century musical form squarely outside inherited Classical sonata procedures. Building on Sonata Theory, Davis examines moments of fracture and fragmentation that disrupt the cohesive and linear temporality in piano sonatas by Chopin, Brahms, and Schumann. These disruptions in the sonata form are a narrative technique that signify temporal shifts during which we move from the outer action to the inner thoughts of a musical agent, or we move from the story as it unfolds to a flashback or flash-forward. Through an interpretation of Romantic sonatas as temporally multi-dimensional works in which portions of the music in any given piece can lie inside or outside of what Sonata Theory would define as the sonata-space proper, Davis reads into these ruptures a narrative of expressive features that mark these sonatas as uniquely Romantic.

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.

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."

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.

(Faber Piano Adventures ). Writing Book C (the companion book for Lesson Book C) provides 64 colorful, fun-filled pages of writing, ear-training, and "CLAP for Sightreading" activities. A focus on reading skips leads students to cross bridges, connect flags, meet a mouse, and skip to deep-sea treasures, to name just a few Writing Book C engages children in the lives and melodies of classical composers introduced in the Lesson Book C. Take part in Haydn's Fun Facts and Game, make after-dinner music with Mozart, tap Beethoven's rhythms, and help Tchaikovsky tell the story of a doll with a broken arm. The valuable educational activities and vibrant illustrations of My First Piano Adventure are sure to delight the young beginner and teacher.

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.

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.

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.

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.

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.

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.

Each of the six movements of this fine suite is an exquisite character sketch based on a Psalm text. The movements are easily diverse enough to make the entire suite a very satisfying, and indeed virtuosic, recital piece. The highly original language is replete with piquant harmonies and bracing rhythms, and the composer explores a wide variety of organ texture with great deftness.

Paul Harris's brilliant Improve your scales! Piano Grade 4 workbook contains the complete scales and arpeggios for the current ABRSM, Trinity, LCM and MTB Grade 4. It also uses finger fitness exercises, key pieces, sight-reading and simple improvisations to help you play scales and arpeggios with real confidence. An invaluable resource for students, the Improve your scales! Piano series covers all the keys and ranges required for each syllabus, helping you pick up valuable extra marks in exams. New edition, revised to support all major exam syllabuses from 2020.

This volume contains valuable practice material for candidates preparing for the ABRSM Grade 3 Piano exams. The book is written in attractive and approachable styles and representative of the technical level expected in the exam.

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

First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

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.

Designed to coordinate page-by-page with the Lesson Books. Contains enjoyable games and quizzes that reinforce the principles presented in the Lesson Books. Students can increase their musical understanding while they are away from the keyboard.

This guide to the piano literature for the one-handed pianist surveys over 2,100 individual piano pieces which include not only concert literature but pedagogical pieces as well. Following the introduction are four chapters cataloguing original works for the right hand alone, original works for the left hand alone, music arranged or transcribed for one hand alone, and concerted works for one hand in concert with other pianists, instruments, or voices. Each entry assesses the individual composition, its quality, its difficulty, its particular appeal, and its uses with the composer's name, dates, and nationality, where possible. Also included is a selected discography of commercially produced phonodiscs, compact discs, and cassettes.

Instructors and pianists alike will appreciate this exhaustive guide to one-handed piano music. To aid further research, a bibliography of books, articles, and theses about the literature is provided along with a chapter that lists the contents of thirty-six anthologies devoted to one-handed piano music. This unique reference also includes an index.

Keyboard Music Before 1700 begins with an overview of the development of keyboard music in Europe. Then, individual chapters by noted authorities in the field cover the key composers and repertory before 1700 in England, France, Germany and the Netherlands, Italy, and Spain and Portugal. The book concludes with a chapter on performance practice, which addresses current issues in the interpretation and revival of this music.

A piece a week Piano Grade 5 is ideal to be used alongside the Improve your sight-reading! graded piano books to support and improve the reading skills so fundamental to successful sight-reading. These fun, short pieces are specifically written to be learnt one per week. By continually reading accessible new repertoire, the crucial processing of information and hand-eye coordination are established and improved, developing confident sight-reading. The ability to sight-read fluently is a vital skill, enabling students to learn new pieces more quickly and play with other musicians. The best-selling Improve your sight-reading! series, by renowned educationalist Paul Harris, is designed to develop sight-reading skills, especially in the context of graded exams.

Entries are organized into six sections by topic: the first section lists works containing general information, including but not limited to, books and articles covering a wide range of topics, introductory materials, and serial titles. The second section covers the history on piano and is arranged by country. The section on builders and manufacturers is arranged by name of builder or manufacturer. The sections on construction and maintenance are arranged by parts of the piano. The section on miscellaneous subjects includes catalogs for collections of instruments, works about pedal pianos, pianos associated with composers, selection and purchase, works intended for younger readers, and works about other miscellaneous topics not included above. Readers are referred to the subject index for further cross-referencing. Referencing literature on every aspect of the piano, this annotated bibliography will cut down on research time for scholars and students, directing them to the most relevant and useful sources. No music library should be without it.

(Berklee Guide). Learn the essentials of accompanying soloists and playing in jazz ensembles. Comping is the practice of using chords to accompany a melody. Whether supporting a soloist, playing in an ensemble, or performing solo, this book will help you to use chords effectively and appropriately to create a rich jazz feel and enhance the sound of your whole ensemble. It begins with triads and voice leading, and progresses through altered seventh-chord spread voicings for two hands, covering many different techniques for using harmony and rhythm. The accompanying CD lets you practice with a small jazz combo. Suitable for all major jazz styles.