(Faber Piano Adventures ). The style and rhythmic appeal of these rock and roll favorites make it the perfect motivational material for students. Written with the teacher in mind, the book provides instruction and drill in basic chord patterns in the keys of C, G, and F. Songs include: Chantilly Lace * Come Sail Away * Crazy Little Thing Called Love * Rock Around the Clock * Surfin' Safari * Witch Doctor ( Alvin and the Chipmunks ) * Yesterday * and more.

(Yorktown). Popular classics, jazz and novelty solos, waltzes, marches and polkas and favorite songs. Compiled and arranged by Denes Agay. Suitable for pianists from grade 3.

This course has been designed to guide you gently into playing simple tunes from day one. Items of musical history and biography, an easy-to-follow introduction to the theory of music is covered plus a free dummy keyboard for silent practice and theory work.

The Advanced Pianist Book 2 from the PianoTrainer series is for students who are beyond the intermediate stages and want to develop an advanced technique and musicality. Exploring piano technique through a variety of elements, these books include exercises, 'quick study' sight-reading, repertoire and 'concert pianist' hints and tips. The series not only develops students' technique, reading, theory and musicianship, but also provides an invaluable insight into the world of classical music, here focussing both on historical context and key composers for the piano. Book 2 is suitable for students at grade 7-8 level.

(BH Piano). 29 pieces, including selections from Anna Magdalena's Note Book, The Little Clavier Book, and other suitable works for the beginning pianist.

24 works reveal Debussy's genius: "La Cathedrale engloutie," "Ondine," "La fille aux cheveux de lin," "Feuilles mortes," "Ce qu'a vu le Vent d'Ouest," many more. Glossary of French terms.

Interest in the authentic performance of early music has grown dramatically in recent years, and scholarly investigation has particularly benefited the study of keyboard music of the classical period. In this landmark publication, the most comprehensive study written on Haydn's keyboard sonatas, a leading Haydn scholar presents novel ideas, corrects misconceptions, and offers new hypotheses on long-debated issues of early music research.
Laszlo Somfai begins with a thorough study of Haydn's keyboard instruments and their development. After recommending instruments appropriate for modern use, he discusses performance practice and style, explains the peculiarities of Haydn's manuscripts in the context of eighteenth-century notation, and provides specific suggestions for playing ornaments, improvising, slurring, and dynamics. He also investigates Haydn's sonata genres within their historical context and discusses the problems of establishing a chronology of their composition. Finally, Somfai analyzes the organization and style of each musical form. The book includes an index listing the sonatas by date of first publication, and an extensive bibliography.

Teach yourself to play any make of electric keyboard .Based on popular songs and with easy to follow text and clear diagrams, it assumes no previous knowledge of the keyboard or music. The CD contains full band backing and demonstrations of all songs.

Eighteenth-century pianos shaped and influenced the music that was written for them. However, although organological studies probe the instrument in ever more detail, and musical criticism focuses increasingly on the musical repertoire, the relationship between the two has not been properly examined. This book concentrates on the keyboard writing of the last third of the eighteenth century, as inspired by the fundamentally different constructions of the German/Viennese and the English pianoforte. The highly articulated languages of Mozart and his Viennese contemporaries, and the more robust, pre-romantic style of Duzzek and his London colleagues reflect the very characteristics of these respective instruments. Beyond the scrutiny of the music, attention is given also to the players. The differentiation between professionals and amateurs is addressed, and contemporary sources help provide a description of late eighteenth-century performing styles; such a survey offers new insight into the living art of the pianoforte during a most important period in its history.

From the pages of "Keyboard" magazine, "Keyboard Presents Synth Gods" spotlights artists who did much more than just play synthesizers: they changed the course of music history and inspired generations. Featuring in-depth profiles of leading synthesists such as Jan Hammer, Wendy Carlos, Rick Wakeman, and Stevie Wonder, this book delves into how these new, untested boxes of circuitry captured the imagination of these legendary artists. You can read about the design of some of the most famous synthesizers ever made, models from masterminds such as Dr. Robert Moog, Dave Smith, and Ray Kurzweil. You can get the details on what made them sound unique, what timeless music was created on them, and how you can re-create some of these sounds using synths you already have! Related titles: "In the Studio with Michael Jackson" (978-1-42346-495-2); and "Behind the Glass" (978-0-87930-614-4). Ernie Rideout (San Francisco, CA), as the former editor in chief of "Keyboard" magazine, got to spend a lot of quality time with many of the greatest synth players, synth designers, and synthesizers of all time. When he's not tweaking sounds on his beloved collection of analog and virtual synthesizers, he enjoys writing about music and video technology and participating in the music scene in the San Francisco Bay Area.

A group of resourceful kids start "solution-seekers.com," a website where "cybervisitors" can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of "S" words that reveal a "spectacular story!" With creative characters, humorous dialogue and great music, The "S" Files is a children's Christmas musical your kids will love performing.

Improvising Fugue: A Method for Keyboard Artists is a guide for those who aspire to the highest levels of fluency as inventors of spontaneous music at the piano, fortepiano, harpsichord, organ, or digital keyboard. Written for professional performers, conservatory students, and devoted amateurs, this book leads the reader along the arduous journey from score dependency to improvisational freedom. Improvising Fugue begins with a comprehensive course in 18th century Italian partimento, the system of musicianship training that simultaneously strengthens improvisation, counterpoint, harmony, keyboard skills, and audiation. The reader then encounters fugue improvisation in a gradual, methodical, and rigorous manner. Every concept is accompanied by extensive and clear explanation, examples from music literature, and practical exercises. The book covers every aspect of fugue improvisation in depth, including subjects, countersubjects, tonal and real answers, episodes, presentations, pedal points, and stretti. Author John J. Mortensen draws on experience as a concert improviser on the international stage; the book's pragmatic, real-world instruction comes from a seasoned performer who knows firsthand exactly what is required to improvise fugues in the presence of a live audience.

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 at all interested in the music of Bach or the music of the nineteenth century.

As his mother was dying, Philip Kennicott began to listen to the music of Bach obsessively. It was the only music that didn't seem trivial or irrelevant, and it enabled him to both experience her death and remove himself from it. For him, Bach's music held the elements of both joy and despair, life and its inevitable end. He spent the next five years trying to learn one of the composer's greatest keyboard masterpieces, the Goldberg Variations. In Counterpoint, he recounts his efforts to rise to the challenge, and to fight through his grief by coming to terms with his memories of a difficult, complicated childhood. He describes the joys of mastering some of the piano pieces, the frustrations that plague his understanding of others, the technical challenges they pose, and the surpassing beauty of the melodies, harmonies, and counterpoint that distinguish them. While exploring Bach's compositions he sketches a cultural history of playing the piano in the twentieth century. And he raises two questions that become increasingly interrelated, not unlike a contrapuntal passage in one of the variations itself: What does it mean to know a piece of music? What does it mean to know another human being?

(Music Sales America). A superb selection of more than 20 Chopin works for the pianist. With its combination of all-time favorites arranged for easy piano and several very accessible pieces presented in their original versions, this is a unique collection that makes a perfect introduction to playing the works of the great Polish composer.

Harold Taylor draws on a combination of Alexander Technique and the teaching of pianist Raymond Thiberge to propound a piano method that is all about overall mental and physical coordination rather than analysing different elements of technique. Playing the piano, in this world, is not about the fingers, but about the whole body; it's not about conquering the external obstacle of the piano, but about removing the internal obstacles with which we habitually distort or get in the way of ourselves.

Features all common keyboard chords shown in every key in root position. Chords are shown as keyboard diagrams and also notated on both treble and bass clefs. Chords are arranged by type and presented in the order of the Circle of Fifths. The book also presents scales in treble and bass clef for all major keys. An excellent supplement to any piano or keyboard method.