Designed to coordinate page-by-page with the Lesson Books. Contains enjoyable games and quizzes that reinforce the principles presented in the Lesson Books. Students can increase their musical understanding while they are away from the keyboard.

The life and works of one of the most difficult yet rewarding composers of modern time. Jean Barraque is increasingly being recognized as one of the great composers of the second half of the 20th century. Though he left only seven works, his voice in each of them is unmistakeable, and powerful. He had no doubt of hisresponsibility, as a creator, to take his listeners on challenging adventures that could not but leave them changed. After the collapse of morality he had witnessed as a child growing up during the Second World War, and having taken notice of so much disarray in the culture around him, he set himself to make music that would, out of chaos, speak. Three others were crucial to him. One was Pierre Boulez, who, three years older, provided him with keysto a new musical language -- a language more dramatic, driving and passionate than Boulez's. Another was Michel Foucault, to whom he was close personally for a while, and with whom he had a dialogue that was determinative for bothof them. Finally, in the writings of Hermann Broch-and especially in the novel The Death of Virgil-he found the myth he needed to realize musically. He played for high stakes, and he took risks with himself as well as in hisart. Intemperate and difficult, even with his closest friends, he died in 1973 at the age of forty-five. Paul Griffiths was chief music critic for the London Times (1982-92) and The New Yorker (1992-96) and since 1996 has written regularly for the New York Times. He has written books on Boulez, Cage, Messiaen, Ligeti, Davies, Bartok and Stravinsky, as well as several librettos, among them The Jewel Box (Mozart, 1991), Marco Polo (Tan Dun, 1996) and What Next? (Elliott Carter, 1999).

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.

Beethoven's piano sonatas are a cornerstone of the piano repertoire and favourites of both the concert hall and recording studio. The sonatas have been the subject of much scholarship, but no single study gives an adequate account of the processes by which these sonatas were composed and published. With source materials such as sketches and correspondence increasingly available, the time is ripe for a close study of the history of these works. Barry Cooper, who in 2007 produced a new edition of all 35 sonatas, including three that are often overlooked, examines each sonata in turn, addressing questions such as: Why were they written? Why did they turn out as they did? How did they come into being and how did they reach their final form? Drawing on the composer's sketches, autograph scores and early printed editions, as well as contextual material such as correspondence, Cooper explores the links between the notes and symbols found in the musical texts of the sonatas, and the environment that brought them about. The result is a biography not of the composer, but of the works themselves.

From the preface by Lorin Hollander: ..".a remarkable piece of work by an equally remarkable teacher, philosopher, and healer. Ruth explores with wonderful clarity and thoroughness virtually every important aspect of the mind, heart, body, and soul of the creative person. This is truly a book for our age, and would make valuable reading for those pursuing most fields of human endeavor." This small book on a large subject, the culmination of many years of performing and teaching, offers piano students, teachers, and performers useful advice for many stages along the path to becoming a pianist. Friedberg explains the mystery of the connection between the body and the brain of the pianist. What exactly is the role of the body in establishing, helping, or hindering the pianist's process? How can the mind's unending activity be harnessed most effectively to facilitate this process? She explores relevant published information and new psychological insights into learning and how it operates, supplying extensive annotated bibliographies of books and periodicals published during the past fifty years. In the final section of the book she investigates the ultimate synthesis of musical activities of the body and mind, known as "performance." Paperback edition available 2002.

Now in paperback! Hugely popular in the 19th century, and starting to regain popularity now, the literature for multiple pianos is relatively unknown. J.S. Bach began the history of keyboard music for three or more players around 1730; Mozart contributed to the literature. Other important composers_Czerny, Moscheles, Smetana, Glazunov, Rachmaninoff_continued the tradition for particular pianists and occasions. Louis Moreau Gottschalk used a large number of pianos and pianists for his popularly acclaimed 'monster concerts' in the Americas. By the early 20th century, a mass of transcriptions and arrangements had accumulated. Later in the century, such important 20th-century composers as Ives, Stravinsky, Antheil, Orff, Dallapiccola, Milhaud, and others composed original works for the medium. Includes a comprehensive bibliography with an illustrative, detailed guide to the catalogue. Cloth edition originally published in 1993.

Max Reger (1873-1916) is perhaps best-known for his organ music. This quickly assumed a prominent place in the repertory of German organists due in large measure to the efforts of Reger's contemporary Karl Straube (1873-1950). The personal and collegial relationship between the composer and performer began in 1898 and developed until Reger's death. By that time, Straube had established himself as an important artist and teacher in Leipzig and the central authority for the interpretation of Reger's organ music. The Reger-Straube relationship functioned on a number of levels with decisive consequences both for the composition of the music and its interpretation over a period fraught with upheaval on sociopolitical, religious and aesthetic fronts. This book evaluates the significance of the relationship between the composer and organist using primary source materials such as autograph performing manuscripts, reviews, programmes, letters and archival sources from contemporary organ building. The result is a much enhanced understanding of Reger in terms of performance practice and reception history, and a re-examination of Straube and, more broadly, of Leipzig as a musical centre during this period.

This is a provocative account of pianist Glenn Gould's intellectual and musical thought. Gould was a philosopher who incessantly pursued wisdom through his art. If the reader follows Gould's ardent campaign through the metaphorical thicket found in his ideas, a compelling Gouldian model for a philosophy of music unfolds. Gould argues that music is not only a reflection of social dynamics, but could also be a tool for the betterment of society. The original methodology conceived and implemented in this study contributes an important design for subsequent historical/philosophical studies, particularly in music education.

for organ solo Fiducie, which can be translated as 'Faith', voices the vitality of Rotterdam, as witnessed in the recovered hope of the inhabitants after the bombardment of 14 May 1940. Ostinato patterns and energetic syncopations drive the music boisterously to its sonorous conclusion.

The Keyboard Play-Along Series will help you play your favorite songs as played by your favorite artists quickly and easily. Just follow the music in the book, listen to the CD to hear how the keyboard should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch! This volume contains 8 songs: Break on Through to the Other Side * Hello, I Love You (Won't You Tell Me Your Name?) * L.A. Woman * Light My Fire * Love Me Two Times * People Are Strange * Riders on the Storm * Roadhouse Blues.

A student of Clementi, the Irish composer John Field was especially known for his nocturnes and the influence of these musical mood pieces on the works of Frederic Chopin. Titles: Nocturne in E-flat Major * Nocturne in C Minor * Nocturne in A-flat Major * Nocturne in A Major * Nocturne in B-flat Major * Nocturne in F Major * Nocturne in A Major * Nocturne in E-flat Major * Nocturne in E Minor * Nocturne in E Major * Nocturne in E-flat Major * Nocturne in E Major * Nocturne in C Major * Nocturne in G Major * Nocturne in F Major * Nocturne in C Major * Nocturne in C Major * Nocturne in F Major.

Arranged by Guy Maier for two performers at two separate pianos, this famous and beautiful piece is transcribed from the 2nd movment of Bach's second flute sonata. Originally published in 1924, this arrangement features a gentle, flowing sixteenth note accompaniment and melodic duties shared nicely between the two parts. Two copies are included. A Federation Festivals 2014-2016 selection.

During a career spanning more than 50 years, pianist Helmut Deutsch has accompanied over 100 singers, including Ian Bostridge, Grace Bumbry, Diana Damrau, Brigitte Fassbaender, Jonas Kaufmann, Angelika Kirchschlager, Camilla Nylund, Christoph Pregardien, Mauro Peter, Hermann Prey, Thomas Quasthoff, Yumiko Samejima, Peter Schreier, Irmgard Seefried and Anne Sofie von Otter. Translated from the German by Richard Stokes, professor of lieder at the Royal Academy of Music, this memoir describes, with humour, honesty and intelligence, Helmut Deutsch's journey from unknown repetiteur to one of the most refined and sought-after accompanists of the modern era, respected by the leading singers of our time, who make music with him and revere him as a great artist and strong musical partner. In this engaging and entertaining account, Deutsch offers fascinating insights into pianistic technique, repertoire, performance, interpersonal relationships, and the special qualities required for his profession: empathy, flexibility, sensitivity, patience and the ability to stand back in the service of others. Deutsch is a captivating narrator, frank and entertaining. From out of tune pianos to jealous singers, his memoir teems with anecdotes and reflections on his multi-faceted life as a musician, offering readers a glimpse of unforgettable moments on and off stage without a trace of vanity.

For the first time, all data for recordings of non-classical piano made for issue on disc and cylinder records prior to 1935 are brought together in this work. The majority of the listing consists of material which has never been published in any form. The volume includes piano solos, duets, trios, and quartets, as well as selected titles where a soloist is featured within a recording by a dance band or orchestra. It covers a wide variety of pianists and piano styles including ragtime, stride, novelty-syncopated, boogie, and blues. This work will be of interest to major libraries, archives, and schools of music, as well as researchers and collectors. The recordings covered in this work range from the earliest known piano recordings which were made in 1889 as cylinder records for the North American Phonograph Company through recordings of the early 1930s by some of the great jazz pianists of that era (Mary Lou Williams, Garland Wilson, Herman Chittison, Art Tatum, and Teddy Wilson). In between are a wide variety of pianists and piano styles from around the world. While many of the solos recorded were of popular tunes of the day, there is also a fascinating selection of piano compositions, often played by the composer. They include such well-known names as Felix Arndt, Nacio Herb Brown, Hoagy Carmichael, Rudolf Friml, George Gershwin, John W. Green, Ferdie Grofe, Ralph Rainger, Leslie Stuart, Clarence Williams, and Vincent Youmans. A comprehensive title index includes composer credits for the majority of titles listed.

In recent years, considerable scholarly attention has been paid to women in music, and information on the music of a handful of black women composers, such as Florence Price and Mary Lou Williams, has been published. Determined search, however, is needed to locate what little data is available on most such composers. Proceeding from a desire to use music of black women composers in her piano performance and teaching, Helen Walker-Hill has dedicated herself to uncovering this material, utilizing secondary sources and numerous archives, conducting interviews with composers, and engaging in voluminous correspondence with individuals and institutions. The result is the most comprehensive catalog of music composed by African American women to date. The depth of detail required limiting the scope to solo and ensemble piano music. However, an introductory overview on the contributions of black women in music and biographical sketches on the fifty-four composers profiled in the catalog contain broader information. Over 300 piano works are listed, with detailed descriptive information on close to 200 works the author was able to obtain and study, including sources and levels of difficulty. Appendixes list available published music, ensemble instrumentation, music for teaching, and music published before 1920. A selected bibliography and a selected discography are also provided. This biographical dictionary and descriptive catalog will be most directly useful to performers and teachers, but the breadth of information makes it valuable for research in music history, African American studies, and women's studies.

A discography and bibliography of music written for the modern harpsichord, this volume features more than 800 mass-marketed recordings of some 600 compositions written after the revival of the harpsichord (ca. 1889). Also included is information pertaining to performances of compositions arranged for harpsichord. Although the modern harpsichord is a much greater part of 20th-century music than one might imagine, it is about to become a relic because of its historical incorrectness. This will leave sound recordings as the prime medium of information for contemporary compositions, most of which cannot be adequately performed on any other instrument. The modern harpsichord consists of two manuals with at least four stops—one 4-foot, two 8-foot, and one 16-foot—operated by pedals. This type of harpsichord (except for the 16-foot stop) has been in existence since 1889. The new design, popular for many years, has fallen on hard times due to its lack of resonance and its historically inaccurate disposition of stops. Because it may well become an instrument of the past, this volume, which documents music composed specifically for the modern harpsichord, is especially valuable.

Johann Sebastian Bach dominates the field of organ music like no other composer dominates any other repertory. It comes as no surprise, therefore, that Bach's organ works have long attracted scholarly attention. Still, the subject has by no means been exhausted. The sheer number of Bach's surviving organ compositions will always prevent anyone from having the "last word" on the subjects, either the music's stylistic diversity, or its complexity. In addition, Bach's organ works have exerted a profound and lasting influence on later generations, including many of the greatest composers, performers, conductors, critics, and scholars in the whole history of music. In J. S. Bach at His Royal Instrument, author Russell Stinson delves into various unexplored aspects of these masterpieces. Drawing on previous research and new archival sources, he sheds light on many of the most mysterious aspects of this music and its reception. Beginning with a critique of the literature, Stinson questions recent hypotheses regarding authorship and provenance of several of Bach's most famous pieces. From there he discusses the music itself, revealing compositional procedures that not only illuminate key aspects of the chorales, but those of the composer's contemporaries and predecessors as well. From there, Stinson turns to reception. From Mendelssohn and Schumann to Emerson, Lake, & Palmer, Stinson shows how Bach's music has remained a part of Western culture for nearly three hundred years. J. S. Bach at His Royal Instrument casts new light on these foundational pieces of Western music, and is essential reading for students, scholars and fans of Bach, and "the king of instruments."

New synths with unique features and layers of complexity are released frequently, with hundreds of different synths currently available in the marketplace. How do you know which ones to use and how do you get the most out of the ones you already own? The Musical Art of Synthesis presents synthesizer programming with a specific focus on synthesis as a musical tool. Through its innovative design, this title offers an applied approach by providing a breakdown of synthesis methods by type, the inclusion of step-by-step patch recipes, and extensive web-based media content including tutorials, demonstrations, and additional background information. Sam McGuire and Nathan van der Rest guide you to master synthesis and transcend the technical aspects as a musician and artist. Synths are presented using a multi-tiered system beginning with basic instructions for all common synth techniques. Historical information is included for each type of synth, which is designed to help you understand how each instrument relates to the bigger picture. Advanced level instruction focuses on modern implementations and on mobile devices, with special focus on performing and practical usage. The goal The Musical Art of Synthesis is to bring all of the different types of together in the same discussion and encourage you to see the similarities and differences that force you to gain a better overall understanding of the synthesis process. Key features of this title: * This book will teach you how to put synthesizers to use with easy-to-use synth patch recipes * Using a unique, multi-tiered approach applicable to the level of equipment in use, this publication introduces concepts that apply to a wide range of hardware/software synthesizers. * A robust companion website, featuring video demonstrations by synthesizer experts, further supports the book: www.focalpress.com/cw/mcguire

An approach based on self-learning and the recognition of rhythmic and melodic patterns.

Piano Time Pieces 1 presents a sparkling selection of pieces in all styles. Here are classical and jazzy pieces, folksongs and specially written tunes, and songs and character pieces of all kinds. Practising the range of techniques and keys introduced in Piano Time 1, these pieces provide a wealth of enjoyable practice and repertoire material for all young pianists.

Piano Time Pieces 2 presents a sparkling selection of pieces in all styles. Here are classical and jazzy pieces, folksongs and specially written tunes, and songs and character pieces of all kinds. Practising the range of techniques and keys introduced in Piano Time 2, these pieces provide a wealth of enjoyable practice and repertoire material for all young pianists.