Lang Lang Piano Academy: mastering the piano level 5 (approximately equivalent to Grade 5/Intermediate) includes sections on legato pedalling, phrasing and rubato and new accompaniment styles. Units: Developing dexterity Instinctive pedalling Refining the touch Phrasing and rubato Character Ornamentation Interpretation and style Performing Mastering the piano is the first series of books to be launched in the Lang Lang Piano Academy. Comprising five progressive books, mastering the piano captures Lang Lang's passion, drive and extraordinary mastery of the piano. Each book gives students the chance to learn from this exceptional talent, with: 8 units that develop key aspects of piano technique; specially devised exercises & studies; a diverse selection of repertoire including Lang Lang's favourite works; and inspirational commentary & guidance from Lang Lang himself. Mastering the piano is also available as an iPad App! Listen to Lang Lang perform Prelude in C by J. S. Bach Download FREE Scales & Arpeggios Chart for Level 5

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).

The magic of Martha Mier's Jazz, Rags & Blues is captured in her duet series---Jazz, Rags & Blues for Two. Book 1 features all-new music in six duets for early-intermediate pianists. Syncopated rhythms, colorful sounds and rich harmonies are highlighted in the variety of styles found in this collection.
"These duets would be a great addition to any recital or performance experience is excellent for sight reading at a lesson with the teacher; or used to provide personal pleasure as the music is shared with the duet partner."
Jean Ritter, Progressions

The largest Satie collection of piano works yet published, 17 in all, reprinted from the original French editions.

Studies in English Organ Music is a collection of essays by expert authors that examines key areas of the repertoire in the history of organ music in England. The essays on repertoire are placed alongside supporting studies in organ building and liturgical practice in order to provide a comprehensive contextualization. An analysis of the symbiotic relationship between the organ, liturgy, and composers reveals how the repertoire has been shaped by these complementary areas and developed through history. This volume is the first collection of specialist studies related to the field of English organ music.

Recent scholarship has vanquished the traditional perception of nineteenth-century Britain as a musical wasteland. In addition to attempting more balanced assessments of the achievements of British composers of this period, scholars have begun to explore the web of reciprocal relationships between the societal, economic and cultural dynamics arising from the industrial revolution, the Napoleonic wars, and the ever-changing contours of British music publishing, music consumption, concert life, instrument design, performance practice, pedagogy and composition. Muzio Clementi (1752-1832) provides an ideal case-study for continued exploration of this web of relationships. Based in London for much of his life, whilst still maintaining contact with continental developments, Clementi achieved notable success in a diversity of activities that centred mainly on the piano. The present book explores Clementi's multivalent contribution to piano performance, pedagogy, composition and manufacture in relation to British musical life and its international dimensions. An overriding purpose is to interrogate when, how and to what extent a distinctive British musical culture emerged in the early nineteenth century. Much recent work on Clementi has centred on the Italian National Edition of his complete works (MiBACT); several chapters report on this project, whilst continuing to pursue the book's broader themes.

(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.

Rediscover the piano with this exciting collection of easy-to-learn piano solos. The Rusty Pianist combines beautiful arrangements of well-known piano favourites with exciting pieces by best-selling composer Pam Wedgwood, sure to get all rusty pianists playing again with ease. The pieces progress from late-elementary to intermediate level, ideal for returning players. With Pam's unique commentary alongside each piece, her specially recorded demonstration tracks, and a handy Rusty Reminders insert to refer to whenever you play, you'll have everything you need to get straight back into playing. "Whether you're 'rusty', 'returning' or are just after some new repertoire to learn, these books are a must-have....These are the books which will stand the test of time. I would recommend these books without hesitation, and I'm sure they'll become mainstays of my own teaching for years to come. David Barton, davidbartonmusic.co.uk, May 2022

This book contains valuable material to help players strengthen their sight-reading skills in preparation for the ABRSM Grade 4 exam. Featuring preparatory exercises that gradually introduce key new elements encountered at Grade 4, 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.

This book contains valuable material to help players strengthen their sight-reading skills in preparation for the ABRSM Grade 1 exam. Featuring preparatory exercises that gradually introduce key new elements encountered at Grade 1, 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.

This book contains all the scales and arpeggios required for ABRSM's Grade 7 Piano exam. It covers all the new requirements from 2021.

Johana Harris was a musical prodigy who began her education in her native Canada, then moved to New York at the age of 12. The youngest student ever admitted to the Juilliard Graduate School of Music, Harris was destined for greatness on the world stage. However, exploitation by her mother and then by her husband Roy Harris, coupled with the prejudice shown women during the mid-20th century kept her from achieving that pinnacle. Johana Harris: A Biography brings to light the life of an unheralded musical genius, as well as providing new information on her husband Roy Harris, about whom very little is known. This revealing look at the lives of two important musicians who were referred to in the middle years of the last century as "Mr. and Mrs. American Music" is the first book published about these two people.

In The Pianist's Craft 2, pianist and scholar Richard P. Anderson gathers together a new collection of essays by renowned performing artists and teachers and discusses the preparation, pedagogy, and performance of selected works by an entirely different set of composers whose works are standard in the piano literature. In this volume, readers will find an invaluable collection of contributions on C.P.E. Bach, Antonio Soler, Felix Mendelssohn, Gabriel Faure, Erno Dohnanyi, Francis Poulenc, Heitor Villa-Lobos, Dmitri Kabalevsky, Alberto Ginastera, Aaron Copland, Samuel Barber, Olivier Messiaen, and John Cage. The contributors-all nationally and internationally recognized as performing artists, teachers, recording artists, and clinicians-write thoughtfully about the composers whose work they have studied and played for years. Each author addresses issues unique to an individual composer, examining questions of phrasing, tempo, articulation, dynamics, rhythm, color, gesture, lyricism, instrumentation, and genre. Valuable insight is provided into teaching, performing, and preparing these great works-information otherwise available only in conferences, master classes, and private lessons. This collection, with more than 250 musical illustrations, is intended for teachers and students of the intermediate and advanced levels of piano, instructors and performers at the university level, and those who love piano and piano music.

Original and brilliant study...Anyone interested in keyboard instruments of any kind will find in it a great fund of information and insight into matters of general musical interest, especially the performance of Bach's music. EARLY MUSIC TODAY Friederich Griepenkerl, in his 1844 introduction to Volume 1 of the first complete edition of J. S. Bach's organ works, wrote: "Actually the six Sonatas and the Passacaglia were written for a clavichord with two manuals and pedal, an instrument that, in those days, every beginning organist possessed, which they used beforehand, to practice playing with hands and feet in order to make effective use of them at the organ. It would be a good thing to let such instruments be made again, because actually no one who wants to study to be an organist can really do without one." What was the role of the pedal clavichord in music history? Was it a cheap practice instrument for organists or was Griepenkerl right? Was it a teaching tool that helped contribute to the quality of organ playing in its golden age? Most twentieth-century commentary on the pedal clavichord as an historical phenomenon was written in a kind of vacuum, since there were no playable historical models with which to experiment and from which to make an informed judgment. At the heart of Bach and the Pedal Clavichord: An Organist's Guide are some extraordinary recent experiments from the GAteborg Organ Art Center (GOArt) at GAteborg University. The Johan David Gerstenberg pedal clavichord from 1766, now in the Leipzig University museum, was documented and reconstructed; the new copy was then used for several years as a living instrument for organ students and teachers to experience. On thebasis of these experiments and experiences, the book explores, in new and artful ways, Bach's keyboard technique, a technique preserved by his first biographer, J. N. Forkel (1802), and by Forkel's own student, Griepenkerl. It also sifts and weighs the assumptions and claims made for and aga

Warm, lyrical, cantabile melodies and rich harmonic structures are found in this expressive series.

Duet for 2 pianos This arrangement has been made from a Soprano recitative and Aria from the Birthday Cantata by Bach. The piece has a fresh and pastoral character and the arrangement for two pianos stays true to Bach's balance between the beautiful melody and tone-painting in the harmonies.

Written late in his life, J. S. Bach's The Art of Fugue has long been admired-in some quarters revered-as one of his masterworks. Its last movement, Contrapunctus 14, went unfinished, and the enigma of its incompleteness still preoccupies scholars and musical conductors alike. In 1881, Gustav Nottebohm discovered that the three subjects of the movement could be supplemented by a fourth. In 1993, Zoltan Goencz revealed that Bach had planned the passage that would join the four subjects in an entirely unique way. This section has not survived, but, as Goencz notes, it must have been ready in the earliest phase of composition since Bach had created the expositions of the first three subjects from its "disjointed" parts. Goencz then boldly took on the task of reconstructing the original "template" by putting together the once separate pieces. In Bach's Testament: On the Philosophical and Theological Background of The Art of Fugue, Goencz probes the philosophic-theological background of The Art of Fugue, revealing the special structures that supported the 1993 reconstruction. Bach's Testament investigates the reconstruction's metaphysical dimensions, focusing on the quadruple fugue. As a summary of Zoltan Goencz's extensive research over many years, which resulted in the completion of the fugue, this work explores the complex combinatorial, philosophical and theological considerations that inform its structure. Bach's Testament is ideally suited not only to Bach scholars and musicologists but also intellectual historians with particular interests in 18th-century religious and philosophical ideas.

A new, deeply researched biography of the great French organist, who composed some of the best-loved works in the organ repertory -- and the masterful Requiem. Maurice Durufle: The Man and His Music is a new biography of the great French organist and composer (1902-86), and the most comprehensive in any language. James E. Frazier traces Durufle's musical training, his studies withTournemire and Vierne, and his career as an organist, church musician, composer, recitalist, Conservatoire professor, and orchestral musician. Frazier also examines the career and contributions of Durufle's wife, the formidable organist Marie-Madeleine Durufle-Chevalier. Durufle brought the church's unique language of plainsong into a compelling liaison with the secular harmonies of the modern French school (as typified by Debussy, Ravel, and Dukas)in works for his own instrument and in his widely loved masterpiece, the Requiem Op. 9 for soloists, chorus, organ, and orchestra. Drawing on the accounts of those who knew Durufle personally as well as on Frazier's own detailed research, Maurice Durufle offers a broad sketch of this modest and elusive man, widely recognized today for having created some of the greatest works in the organ repertory -- and the masterful Requiem. James E. Frazier holds advanced degrees in philosophy, organ, theology, and sacred music from St. Alphonsus College, Mt. St. Alphonsus Seminary, Hartt School of Music, the Yale University Divinity School, and the Yale Institute of Sacred Music. He served Episcopal churches in Hartford, Connecticut, and St. Paul, Minnesota, as organist and director of music. For ten years he was director of music for the Archdiocese of St. Paul and Minneapolis.