(Educational Piano Library). 120 color-coded cards to learn basic musical symbols, all notes from low ledger C to high ledger C, and rhythm patterns in 4/4 and 3/4. Also includes cards that focus on recognition of steps and skips on the staff.

for SATB and organ This setting of Psalm 139 by Chilcott is warm and mesmerizing. The chant-like texture and shifting tonalities impart the sensation of being entranced in prayer. The words offer respite, as one is safe in the omnipresence of God. Tranquil yet powerful, this work captures a sense of the total stillness after a storm. The sustained chords in the organ swell and fall, binding and supporting the choir's phrases while adding to the magical atmosphere of the anthem.

This book will help any musician unlock the secrets of the Afro-Cuban rhythmic feel. By clearly demonstrating the underlying pattern called the Clave and the comping patterns called Tumbaos that are played over the Clave, this book will help every keyboard player learn these fundamental Latin rhythms. [Matching bass book (EL9707CD) also available.]

Russian composer and pianist Scriabin is best known for his perfectly spun miniatures. This volume collects his finest pieces, the complete etudes and preludes for the solo piano. Chopinesque works include the 12 etudes from Op. 8 and the 24 Preludes, Op. 11; Preludes, Opp. 33 and 48; and the Etudes, Op. 42.

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

This is the story of one woman's accidental career as a cocktail lounge piano player. Connecting the people she has met with the places she has played and the pianos she has known Robin Meloy Goldsby discovers the human side for better or worse of her audiences a mobsters and moguls the down-and-out the downright scary and ordinary people dealing with life in extraordinary ways.

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.

Shura Cherkassky's life story, like his piano playing, is provocative and captivating. At his death in 1995, Cherkassky was considered one of history's greatest pianists, as well as the last direct link to the Romantic piano tradition of Chopin, Liszt, and Anton Rubinstein. Cherkassky's story merits telling not only for his musical achievements but also for the inspiration he provided by demonstrating tenacity, integrity, common sense, and uncommon courage. Cherkassky began his concert playing life in Ukrainian Odessa at a time of lethal civil strife. Escaping with his parents to America, the child prodigy came under the tutelage of famed pianist Josef Hofmann, whose unfailing personal and professional assistance continued for more than twenty years. Cherkassky overcame poverty, prejudice against his Jewish origins, and unhappiness from his ambivalence over his homosexuality to forge an impressive touring and recording career, an enormous musical repertoire, and an intriguing personality both on stage and off. From his sensational 1923 American debut tour to sold-out concerts on six continents, Cherkassky retained his brilliance throughout a seventy-five year professional career. As a close friend for his last twenty years, author Elizabeth Carr traveled with Cherkassky on tour, attending recording and rehearsal sessions and watching him practice, plan programs, and cope with pianos, acoustics, conductors, and orchestras. Her role as confidante results in a keen understanding of Cherkassky both as a human being and a performer. Through observations, anecdotes, sixteen pages of photos, and personal correspondence reprinted in the book, this biography offers extensive research never before published, and an intimate look at the man and his music.

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

The concept of stylus phantasticus (or 'fantastic style') as it was expressed in free keyboard music of the north German Baroque forms the focus of this book. Exploring both the theoretical background to the style and its application by composers and performers, Paul Collins surveys the development of Athanasius Kircher's original concept and its influence on music theorists such as Brossard, Janovka, Mattheson, and Walther. Turning specifically to fantasist composers of keyboard works, the book examines the keyboard toccatas of Merulo, Fresobaldi, Rossi and Froberger and their influence on north German organists Tunder, Weckmann, Reincken, Buxtehude, Bruhns, Lubeck, Bohm, and Leyding. The free keyboard music of this distinguished group highlights the intriguing relationship at this time between composition and performance, the concept of fantasy, and the understanding of originality and individuality in seventeenth-century culture.

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.

The art of expressive harpsichord playing was lost when the instrument was replaced by the piano in the nineteenth century. Despite the great strides in harpsichord performance and building made during the last 100 years, the full expressive potential of the instrument has not yet been realized, or sometimes even acknowledged by professionals or amateurs. This book reveals the depth of expression that is possible on the harpsichord, and teaches the performer how to achieve it. Previous books devoted to playing the instrument have either been written for amateurs and beginners with little or no experience on the harpsichord, or they take a scholarly approach. This resource is written with a different goal in mind: teaching the art of expressive harpsichord playing to those who have had experience on the instrument, and also to pianists and organists who love the repertoire, and want to play it on the keyboard instrument for which it was composed. Presented together with quotes from the most important primary sources on the instrument, the book contains more than 100 musical examples in an easily-accessible format and one of the most comprehensive bibliographies available.

The London firm of Gray (later Gray & Davison) was one of Britain's leading organ-makers between the 1790s and the 1880s. Established for the building of keyboard instruments, by the mid-1790s the workshop of brothers Robert and William Gray had become one of the leading organ-makers in London, with instruments in St Paul's, Covent Garden and St Martin-in-the-Fields. Under William's son John Gray, the firm built some of the largest English organs of the 1820s and 1830s, as well as exporting major instruments to Boston and Charleston in the United States. In the early 1840s, with the marriage of John Gray's daughter to Frederick Davison - a member of the circle of Bach-enthusiasts around the composer Samuel Wesley - the firm became 'Gray & Davison'. Davison was a progressive figure who reformed workshop practices, commissioned a purpose-built organ factory in Euston Road and opened a branch workshop in Liverpool to exploit the booming market for church organs in Lancashire and the north-west. Under Davison's management,the firm was responsible for significant mechanical and musical innovations, especially in the design of concert organs. Instruments such as those built in the 1850s for Glasgow City Hall, the Crystal Palace and Leeds Town Hall were heavily influenced by contemporary French practice; they were designed to perform a repertoire dominated by orchestral transcriptions. Many of the instruments made by the firm have been lost or altered; but the surviving organs in St Anne, Limehouse (1851), Usk Parish Church (1861) and Clumber Chapel (1889) testify to the quality and importance of Gray & Davison's work. This book charts the firm's history from its foundation in 1772 to Frederick Davison's death in 1889. At the same time, it describes changes in musical taste and liturgical use and explores such topics as provincial music festivals, the town hall organ, domestic music-making and popular entertainment, the building of churches and the impact on church music of the Evangelical and Tractarian movements. It will appeal to organ aficionados interested in the evolution of the English organ in the later Georgian and Victorian eras, as well as other music scholars and cultural historians.

Lesson Book 1 is pre-reading. Concepts taught are: How to sit at the piano; Correct hand position; High and low; Loud and soft (forte and piano); Keyboard topography; Bar line and measure, Quarter, half, whole notes and rests; and Repeat signs. The first pieces in the book are played on the black keys. Later in the book, C D E for the RH and C B A for the LH (Middle C position) are taught with letter notes (the name of the note is written inside the note head).

"19th-Century Piano Music" focuses on the core composers of the 19th-century repertoire, beginning with 2 chapters giving a general overview of the repertoire and keyboard technique of the era, and then individual chapters on Beethoven, Schubert, Weber, Mendelssohn, Chopin, Schumann, Brahms, Liszt, and the women composers of the era, particularly focusing on Fanny Hensel and Clara Schumann.

Series Information:
Routledge Studies in Musical Genres

The composer and pianist Michael Finnissy (b. 1946) is an unmistakeable presence in the British and international new music scene, both for his immeasurable generosity as prolific composer for many different types of musicians, major advocate for the works of others, and performer and conductor who has also been a driving force behind ensembles; he was also President of the International Society for Contemporary Music from 1990 to 1996. His vast and enormously varied output confounds those who seek easy categorisations: once associated strongly with the 'new complexity', Finnissy is equally known as composer regularly engaged with many different folk musics, for working with amateur and community musicians, for a long-term engagement with sacred music, or as an advocate of Anglo-American 'experimental' music. Twenty years ago, a large-scale volume entitled Uncommon Ground: The Music of Michael Finnissy gave the first major overview of the output of any 'complex' composer. This new volume brings a greater plurality of perspectives and critical sensibility to bear upon an output which is almost twice as large as it was when the earlier book was published. A range of leading contributors - musicologists, composers, performers and others - each grapple with particular questions relating to Finnissy's music, often in ways which raise questions relating more widely to new music, and provide theoretical foundations for further of study both of Finnissy and other composers.

(Faber Piano Adventures ). The 2nd Edition Performance Book is a solo collection of 28 effective pieces that reinforce the concepts presented in the Primer Lesson and Theory Books. Fanciful lyrics, colorful artwork, and sophisticated teacher duets enrich the learning experience. Contents include: In the Jungle * The Doorbell * The Shepherd's Flute * Hot Cross Buns * Banana Split * Listen to the Drums * Classical March * The Opposite Song * Rex, the Tyrannosauraus * Trumpet Song * and more.

When F. E. Kirby published A Short History of Keyboard Music in 1966, scholars and keyboard players welcomed it as the first detailed historical interpretation of music for organ, harpsichord, clavichord, and piano. In this book, which is comparable in length but substantially different in content, Kirby focuses on music for the piano "in the fine-art or classical tradition", providing an in-depth survey of music for piano solo, and including discussions of important compositions for piano duet and two pianos. Beginning with early types of keyboard music that influenced the first music for the instrument in the seventeenth century, and ending with the bold, iconoclastic works of the late twentieth century, Kirby provides a scholarly yet readable overview of the literature, drawing on the results of the most recent research. Concerned with the historical context of the works, the author traces the development of the composers' styles in light of the times in which they lived. With an emphasis on principal composers and important compositions, the book is an excellent introduction for anyone interested in the development of the great repertoire of piano music. Incorporating an extensive topical bibliography of more than 1100 sources for further reading - likely the largest ever compiled - and illustrated throughout with music examples, this volume is indispensable to students and teachers at both the graduate and advanced undergraduate levels, music historians, and anyone interested in music literature.

Paris at the turn of the 20th century was obsessed with the interrelations of the arts. It was a time when artists and writers spoke of poetry as music, sounds as colors, and paintings as symphonies. The music of Claude Debussy, with its unique textures and dazzling colors, was the perfect counterpart to the bold new styles of painting in France. Paul Roberts probes the sources of Debussy's artistic inspiration, relating the "impressionist" titles to the artistic and literary ferment of the time. He also draws on his own performing experience to touch on all the principal technical problems for a performer of Debussy's piano music. His many suggestions about interpreting the music will be particularly valuable to performers as well as listeners.