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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles > Keyboard instruments
La methode que nous presentons suggere a l'eleve l'amour de la
musique, et lui trace la voie du succes. Elle recourt a la forme
melodique pour lui faciliter l acces du piano, pour capter plus
etroitement son attention, et, en definitive pour enlever a
le'etude du piano l'aridite dont elle est souvent coutumiere.
Keyclub Pupil's Book 1, by Ann Bryant, is part of a fun-packed
series of tutors for beginner pianists that introduces young
players to the rudiments of piano playing in an exciting and
colourful way. Each book is packed full of great pieces, as well as
animated characters such as, the Mud Monsters and the Wizards of
the White Wishing Well, who will really liven up the early stages
of learning to play. The Keyclub Series is a piano course that's up
to date, fun to use and packed with pieces to play, things to do
and stickers to stick! The Keyclub Course takes place in Keyland -
a magical fantasy world of characters and places.
(Keyboard Instruction). This comprehensive book/CD pack will teach
you the basic skills needed to play jazz-blues piano. From comping
to soloing, you'll learn the theory, the tools, and the tricks used
by the pros. The accompanying CD features many of the examples in
the book performed either solo, or with a full band, including a
full chapter of complete songs. Topics covered include: scales and
chords * harmony and voicings * progressions and comping * melodies
and soloing * characteristic stylings.
This collection includes twelve popular and lesser-known pieces by
Verdi arranged for organ, covering a variety of styles and moods,
and serving both church and concert organists.
Satie's music and ideas are inextricably linked with the City of
Light. This book situates Satie's work within the context and sonic
environment of contemporary Paris. Erik Satie's (1866-1925) music
appeals to wide audiences and has influenced both experimental
artists and pop musicians. Little about Satie was conventional, and
he resists classification under easy headings such as "classical
music". Instead of pursuing the path of a professional composer,
Satie initially earned a living as a cafe pianist and moved in
bohemian circles which prized satire, popular culture and
experiment. Small wonder that his music is fundamentally new in
conception. It is music which is not always designed to be listened
to attentively: music which can be machine-like but is to be played
by humans. For Satie, music was part of a wider concept of artistic
creation,as evidenced by his collaborations with leading
avant-garde artists and in works which cross traditional genre
boundaries such as his texted piano pieces. His music was created
in some of the most exciting and creatively stimulating
environments of the late nineteenth and early twentieth century:
Montmartre and Montparnasse. Paris was the artistic centre of
Europe, and Satie was a notorious figure whose music and ideas are
inextricably linked with the City of Light. This book situates
Satie's work within the context and sonic environment of
contemporary Paris. It shows that the influence of street music,
musicians and poets interested in new technology, contemporary
innovations and radical politics are all crucial to an
understanding of Satie. Music from the ever-popular Gymnopedies to
newly discovered works are discussed, and an online supplement
features rare pieces recorded especially for the book. CAROLINE
POTTER is Reader in Music at Kingston University London. A graduate
in both French and Music, she has published widely on French music
since Debussy and was Series Advisor to the Philharmonia
Orchestra's Paris2014-15 season.
German Language Edition. The Michael Aaron Piano Course Lesson
books have been completely re-engraved, expanded (adding more
definitions of musical terms and more musical pieces), updated
(with modernized artwork), and re-edited (with less emphasis on
fingerings and more on note-reading).
While Chopin composed only a few works in variation form, he
employed variations and variation technique in the majority of his
works. Multiple modified repetitions of musical units on different
levels of a work are so typical of Chopin's works that this may be
considered one of the chief determinants of his style. Focusing on
a broad range of Chopin's works, this book explores the extent to
which Chopin's oeuvre is suffused with variations, the role that
variation technique plays in his work, to what extent it interacts
with other techniques for developing and modifying musical
material, and how the variation technique itself evolved. Beginning
with a comprehensively documented investigation of the concept of
variation in its own right, Zofia Chechlinska employs Riemannian
and Schenkerian theory to consider, in turn, the ways in which
Chopin constructs variations on the level of microstructure (motif
and phrase) and macrostructure (thematic areas, sections, movements
and form). This is the first English translation of one of the
classics of musicological literature in Poland and is essential
reading for scholars of Chopin and nineteenth-century music and
music analysts.
Johann Friedrich Franz Burgmuller (1806-1874) was a popular
Parisian pianist, skilled improviser and prolific composer. These
varied studies will help develop technique and are also enjoyable
to play in their own right.
The Oxford Book of Funeral and Memorial Music for Organ is a
collection of practical repertoire for organists playing at
funerals, memorial services, and services of thanksgiving. Covering
a broad range of music for players of intermediate ability, it
includes a mixture of established repertoire, attractive new
arrangements of well-known works, and newly commissioned pieces.
A diverse collection of seasonal organ music for manuals only,
covering the church's year from Advent to Epiphany. The pieces are
drawn internationally from across the centuries and include a
mixture of established repertoire, attractive new arrangements, and
four newly commissioned pieces. The collection is technically
accessible and provides approachable repertoire for all church
musicians, making it an attractive companion to The Oxford Book of
Christmas Organ Music.
Why does a piano sound like a piano? A similar question can be
asked of virtually all musical instruments. A particular note-such
as middle C-can be produced by a piano, a violin, a clarinet, and
many other instruments, yet it is easy for even a musically
untrained listener to distinguish between these different
instruments. A central quest in the study of musical instruments is
to understand why the sound of the "same" note depends greatly on
the instrument, and to elucidate which aspects of an instrument are
most critical in producing the musical tones characteristic of the
instrument. The primary goal of this book is to investigate these
questions for the piano. The explanations in this book use a
minimum of mathematics, and are intended for anyone who is
interested in music and musical instruments. At the same time,
there are many insights relating physics and the piano that will
likely be interesting and perhaps surprising for many physicists.
(Faber Piano Adventures ). Outstanding popular repertoire
skillfully arranged and correlated with the concepts in Accelerated
Lesson Book 1. Contents include: In Dreams * Video * Star Wars *
Hedwig's Theme * Fiddler on the Roof * What a Wonderful World *
Soak up the Sun * Over the Rainbow * The Lion Sleeps Tonight.
The best-selling Improve your sight-reading! series, by renowned
educationalist Paul Harris, has now been extended to offer a series
of editions supporting the Trinity College London sight-reading
criteria. Improve your sight-reading! Trinity Edition Initial Piano
has been specifically written to reflect Trinity's parameters for
beginner, sight-reading pianists and contains new material
throughout. Improve your sight-reading! series is designed to help
you overcome all your sight-reading problems. These books follow
the same progressive format as previous editions, where technical
aspects are introduced step-by-step firstly through rhythmic and
melodic exercises, then by studying prepared pieces with associated
questions, and finally by 'going solo' with a series of
meticulously graded sight-reading pieces.
This volume considers the influences and development of the English
organ sonata tradition that began in the 1850s with compositions by
W. T. Best and William Spark. With the expansion of the
instrument's capabilities came an opportunity for
organist-composers to consider the repertoire anew with many
factors reinforcing a desire to elevate the literature to new
heights. This study begins by examining the legacy of the keyboard
sonata in Britain and especially the pedagogical lineage that was
to be seen through Mendelssohn and ultimately the early organ
sonatas. The abiding influence of William Crotch's lectures are
studied to illuminate how a culture of conservatism emboldened the
organist-composers towards compositions that were seen to represent
the ideals of the Classical era but in a contemporary vein. The
veneration of Bach, Mozart and Beethoven is then examined as
composers wrote "portfolio" sonatas, each with a movement in a
contrasting style to exhibit their compositional prowess while
providing repertoire for the novice and connoisseur alike. Finally
the volume considers how the British organist-composers who studied
at the Leipzig Conservatorium had a direct bearing on the
furtherance of an organ culture at home that in turn set the ground
for the seminal work in the genre, Elgar's Sonata of 1895.
This Companion is an essential guide to all aspects of the organ and its music. The early chapters examine the instrument's history and construction, and consider the scientific basis of its sounds, pitch and tuning. Central chapters investigate the practical art of learning and playing, and introduce the complex area of performance practice, while the final section explores the vast repertoire of organ music, by country, focusing on a selection of the most important traditions. The contributors are all experts in their field, making this the most authoritative reference book currently available.
The music of Edvard Grieg is justly celebrated for its harmonic
richness, a feature especially apparent in the piano works written
in the last decades of his life. Grieg was enchanted by what he
styled the 'dreamworld' of harmony, a magical realm whose
principles the composer felt remained a mystery even to himself,
and he was not alone, in that the complex nature of late-Romantic
harmony around 1900 has proved a keen source of debate up to the
present day. Grieg's music forms a particularly profitable
repertoire for focusing current debates about the nature of
tonality and tonal harmony. Departing from earlier approaches, this
study is not simply an inventory of Griegian harmonic traits but
seeks rather to ascertain the deeper principles at work governing
their meaningful conjunction, how elements of Grieg's harmonic
grammar are utilised in creating an extended tonal syntax. Building
both on historical theories and more recent developments, Benedict
Taylor develops new models for understanding the complexity of
late-Romantic tonal practice as epitomised in Grieg's music. Such
an investigation casts further valuable light on the twin issues of
nature and nationalism long connected with the composer: the
question of tonality as something natural or culturally constructed
and larger historiographical claims concerning Grieg's apparent
position on the periphery of the Austro-German tradition.
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