Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.

Graded Keyboard Musicianship provides graded and integrated exercises for developing five core skills at the keyboard: figured bass, score-reading, transposition, harmonization, and improvisation. Organized into two books, it develops these skills from an elementary level, providing support for practical and theoretical music exams, and for teaching harmony. Book 1 assumes keyboard ability of Grade 1 ABRSM standard and covers up to Grade 5, while Book 2 covers Grades 6 to 8. The bite-size approach, catering for pianists and organists, uses practical worksheets of exercises alongside supplementary text.

Winner of the 2012 Ogasapian Book Prize from the The Organ Historical Society The organist seated at the king of instruments with thousands of pipes rising all around him, his hands busy at the manuals and his feet patrolling the pedalboard, is a symbol of musical self-sufficiency yielding musical possibilities beyond that of any other mode of solo performance. In this book, David Yearsley presents a new interpretation of the significance of the oldest and richest of European instruments, by investigating the German origins of the uniquely independent use of the feet in organ playing. Delving into a range of musical, literary and visual sources, Bach's Feet demonstrates the cultural importance of this physically demanding mode of music-making, from the blind German organists of the fifteenth century, through the central contribution of Bach's music and legacy, to the newly-pedaling organists of the British Empire and the sinister visions of Nazi propagandists.

24 stylish pieces in a range of jazz and light-hearted styles, supported by witty illustrations. Great stuff that sounds cool, but is still easy. Piano Time Jazz Book 2 is around the level of Piano Time 3.

Makers of the Piano Volume 2: 1820-1860 continues the overview of early pianos begun in Clinkscale's Makers of the Piano 1700-1820 (OUP, 1993). Although a few of the biographies overlap, the majority of the makers are completely new. Approximately 2,400 makers and manufacturers and about 2,200 pianos are listed in this book. Of this total, about 645 are English, the majority of whom were active in London; more than 200 of the London makers have not been discussed in previous publications. In addition to British makers, several hundred others have not before been catalogued in English. This group includes makers active in nineteenth-century Hungary, Austria, major German cities, Scandinavia, The Netherlands, Italy, Spain, Canada, and the United States. Particularly useful is an appendix prepared by John R. Watson of the Colonial Williamsburg Foundation in Virginia of detailed drawings of the major types of instrument styles discussed in the main text itself.

Although eighteenth-century Viennese keyboard music, especially by such composers as Haydn, Mozart, and Beethoven, is among the most popular ever written, there has been surprisingly little serious research into the instruments for which it was composed. Consequently myths and guesses abound, while accurate and reliable information is hard to come by. This book fills that gap. Based on evidence from primary source material, much of it previously undiscovered or neglected, Maunder traces the history and development of the various keyboard instruments available in Vienna throughout the eighteenth century-harpsichords, clavichords, and pianos-and their use by composers and performers. There are detailed descriptions of many surviving Viennese instruments, several of which have only recently come to light; contemporary newspaper advertisements for over 1200 keyboard instruments are reproduced, in the original German as well as in English translation; and an alphabetical list of eighteenth-century Viennese makers includes much newly-discovered biographical information as well as some previously unknown names.

The Pianoforte in the Classical Era is an important and radically new history, detailing the nature of the early piano and related instruments during the lifetimes of Mozart, Haydn, and Beethoven. It promises to be a standard reference on the subject for many years to come.

31 really simple arrangements of operatic masterpieces starting at about the level of Piano Time 2 and arranged in order of difficulty.

11 pieces, many of which were previously unpublished, by the leading figure in Belgian music in the first half of the twentieth century.

(Piano Solo Personality). 11 of Elton's finest arranged for piano solo: Blessed * Candle in the Wind * Don't Let the Sun Go Down on Me * I Want Love * Lucy in the Sky with Diamonds * Nikita * Someday Out of the Blue (Theme from El Dorado) * Something About the Way You Look Tonight * Sorry Seems to Be the Hardest Word * Tiny Dancer * Your Song.

(Schott). The Classical Piano Method is ideal for adults and young people looking to learn the piano from scratch, or for those returning to the piano after a substantial break from playing. You will learn traditional, classic technique, and will be introduced to interesting, varied and well-known classical pieces right from the outset. The method is friendly and is carefully designed to progress in small manageable steps, beginning with simple fingering patterns and exercises, moving onto some of the most beautiful melodies and pieces from the baroque, classical and romantic eras: such as Ode to Joy, Fur Elise and the Blue Danube Waltz . This repertoire collection provides 45 extra pieces explicitly linked to the levels of progression (starting with beginners) found in Method Book 1, providing a wider range of beautiful pieces for the solo pianist. The pieces are drawn mainly from the classical repertoire, and also include a number of folk and contemporary pieces in interesting and varied arrangements.

The widely held belief that Beethoven was a rough pianist, impatient with his instruments, is not altogether accurate: it is influenced by anecdotes dating from when deafness had begun to impair his playing. Presenting a new, detailed biography of Beethoven's formative years, this book reviews the composer's early career, outlining how he was influenced by teachers, theorists and instruments. Skowroneck describes the development and decline of Beethoven's pianism, and pays special attention to early pianos, their construction and their importance for Beethoven and the modern pianist. The book also includes new discussions of legato and Beethoven's trills, and a complete annotated review of eyewitnesses' reports about his playing. Skowroneck presents a revised picture of Beethoven which traces his development from an impetuous young musician into a virtuoso in command of many musical resources.

A technical volume on the construction of organs. Comprises an alphabetically arranged detailing of the various components of organs, their characteristics and uses. Also includes a study of organ building.

An anthology including the organ arrangements of Walton's works which were made with his authorization, plus new ones by Robert Gower. The varied and idiomatic arrangements in this book are indispensable additions to every organist's library.

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.

Piano Star Theory is an activity book for young players in the early stages of learning the piano. Packed full of engaging exercises and games, it can be used alongside any beginner piano tutor to help develop a student's understanding of musical notation. The imaginative activities link to practical music-making, building aural awareness and boosting the confidence of young musicians.Key features: * Written and practical theory activities, covering the note values, rests, pitches, time signatures and other symbols most commonly found in beginner piano tutors * Short, specially written pieces which can be sung, clapped or played * Quizzes, puzzles and a Piano Star Theory board game * Colourful illustrations and fun stickers * The perfect companion to the Piano Star beginner repertoire books.

This volume is a collection of 37 of the best pieces for use at carol services, Christmas services, and Christmas concerts. It includes a number of exciting new pieces on established tunes (from Andrew Carter, Gerre Hancock, and David Willcocks, among others), as well as excellent new arrangements of popular Christmas pieces.

Practice makes Perfect takes you through all the various aspects of playing your instrument, clearly, helpfully, and progressively. It's full of useful advice, tunes, exercises, practice tips, studies, listening games, and projects about your instrument, designed to show that technique is neither difficult nor boring - but can be fun!

These pieces are of tremendous charm, and make ideal tutorial material as they are very easy, with simple pedal parts. They are ideal as quiet voluntaries for liturgical use.