Sonny Chua's Cool Keys 1 is packed with irresistible tunes that progress from Initial to Grade 2 standard (Elementary level). Featuring an assortment of exciting original pieces, from Jive turkey jazz to tango, modern waltz and cool Moonlight whispers, these creative piano solos offer a wide range of styles and moods - sure to spark the imagination of every player. With hints and tips from the composer throughout to encourage performance and support technique, as well as online audio of the pieces as recorded by Sonny himself. Sonny Chua (1967-2020) was an Australian composer, educator and pianist, known for his characterful and energetic musical style. It is hoped that these imaginative piano solos will be a fitting tribute to Sonny and inspire pianists of all ages to perform, for many years to come.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Ades, Kaija Saariaho, Toru Takemitsu and Gyoergy Kurtag, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that 'Your Best Provision' for playing such music is a chest of old English viols, and he names five early English viol makers than which 'there are no Better in the World'. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.

Music has long been a way in which visually impaired people could gain financial independence, excel at a highly-valued skill, or simply enjoy musical participation. Existing literature on visual impairment and music includes perspectives from the social history of music, ethnomusicology, child development and areas of music psychology, music therapy, special educational needs, and music education, as well as more popular biographical texts on famous musicians. But there has been relatively little sociological research bringing together the views and experiences of visually impaired musicians themselves across the life course. Insights in Sound: Visually Impaired Musicians' Lives and Learning aims to increase knowledge and understanding both within and beyond this multifaceted group. Through an international survey combined with life-history interviews, a vivid picture is drawn of how visually impaired musicians approach and conceive their musical activities, with detailed illustrations of the particular opportunities and challenges faced by a variety of individuals. Baker and Green look beyond affiliation with particular musical styles, genres, instruments or practices. All 'levels' are included: from adult beginners to those who have returned to music-making after a gap; and from 'regular' amateur and professional musicians, to some who are extraordinarily 'elite' or 'successful'. Themes surrounding education, training, and informal learning; notation and ear playing; digital technologies; and issues around disability, identity, opportunity, marginality, discrimination, despair, fulfilment, and joy surfaced, as the authors set out to discover, analyse, and share insights into the worlds of these musicians.

This comprehensive method of music instruction enables the beginner to progress to an advanced stage of technical skill.

(Berklee Guide). This chord dictionary includes over 100 rock chord forms, from open-position chords to barre chords and drop-tunings, with a comprehensive glossary of the essential chords in all 12 keys. It is organized to reveal relationships between different types of chords and help you learn the voicings quickly and thoroughly in a way that is easy to remember. You will improve your comping and soloing, develop your fingerboard facility, and add more colors to your harmonic palette.

This book contains valuable practice material for ABRSM's Initial Grade Piano exam. * Specimen tests for the exam sight-reading requirements * Representative of the technical level expected in the exam

This book contains valuable material to help players strengthen their sight-reading skills in preparation for the ABRSM Grade 2 exam. Featuring preparatory exercises that gradually introduce key new elements encountered at Grade 2, 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.

Based on extensive ethnographic fieldwork in New York and Dakar, this book explores the Senegalese dance-rhythms Sabar from the research position of a dance student. It features a comparative analysis of the pedagogical techniques used in dance classes in New York and Dakar, which in turn shed light on different aesthetics and understandings of dance, as well as different ways of learning, in each context. Pointing to a loose network of teachers and students who travel between New York and Dakar around the practice of West African dance forms, the author discusses how this movement is maintained, what role the imagination plays in mobilizing participants and how the 'cultural flow' of the dances is 'punctuated' by national borders and socio-economic relationships. She explores the different meanings articulated around Sabar's transatlantic movement and examines how the dance floor provides the grounds for contested understandings, socio-economic relationships and broader discourses to be re-choreographed in each setting.

Team Strings is firmly established as a leading series of string tutors. It presents a flexible course which can be tailored to suit each student, ideal for individual, group and class tuition - including the ABRSM music medals. The books in the series contain plenty of carefully graded music in a wide range of styles, from Baroque and Classical eras to film, folk, jazz and Latin American. The series encourages ensemble playing with varied repertoire and develops instrument-related aural skills, improvisation and composition. Included are scales and arpeggios and downloadable online audio of over 70 backing tracks to make every student feel like a star performer. Team Strings is available for Violin, Viola, Cello and Double Bass all of which are compatible. There is also a separate book of Piano Accompaniments/Score. All of the books in the series are fully integrated allowing students using Team Strings to play in ensembles with students using Team Brass and Team Woodwind.

Enrich your drumming with world rhythms and sounds. World music presents many learning opportunities and challenges, especially for drums and percussion. Learning grooves from Africa, Latin America, South America, and other regions will make you a more complete musician, and give you more ideas for creating your own sound and solos. Many jazz greats have been inspired by world traditions: Miles Davis, John Coltrane, Herbie Hancock, John McLaughlin, and so many others. Follow in their footsteps, and discover how to use these elements to inspire your own music. You will learn to: * Incorporate world instruments into a standard drum kit * Coordinate stick, foot, hand techniques to enrich your palette of articulations * Play dozens of world grooves * Take inspiration from world grooves for your own improvisations * Perform advanced concepts, such as odd time signatures and metric modulation * Be prepared for many creative musical situations, through knowledge of more styles and greater mastery of drumming fundamentals Mark Walker is a multiple-Grammy Award winning artist, who is currently a member of Oregon and the Pacquito d'Rivera Quintet. He is an associate professor of percussion at Berklee College of Music.

Teaching Strings in Today's Classroom: A Guide for Group Instruction assists music education students, in-service teachers, and performers to realize their goals of becoming effective string educators. It introduces readers to the school orchestra environment, presents the foundational concepts needed to teach strings, and provides opportunities for the reader to apply this information. The author describes how becoming an effective string teacher requires three things of equal importance: content knowledge, performance skills, and opportunities to apply the content knowledge and performance skills in a teaching situation. In two parts, the text addresses the unique context that is teaching strings, a practice with its own objectives and related teaching strategies. Part I (Foundations of Teaching and Learning String Instruments) first presents an overview of the string teaching environment, encouraging the reader to consider how context impacts teaching, followed by practical discussions of instrument sizing and position, chapters on the development of each hand, and instruction for best practices concerning tone production, articulation, and bowing guidelines. Part II (Understanding Fingerings) provides clear guidance for understanding basic finger patterns, positions, and the creation of logical fingerings. String fingerings are abstract and thus difficult to negotiate without years of playing experience-these chapters (and their corresponding interactive online tutorials) distill the content knowledge required to understand string fingerings in a way that non-string players can understand and use. Teaching Strings in Today's Classroom contains pedagogical information, performance activities, and an online virtual teaching environment with twelve interactive tutorials, three for each of the four string instruments. ACCOMPANYING VIDEOS CAN BE ACCESSED VIA THE AUTHOR'S WEBSITE: www.teachingstrings.online

Visual Perception of Music Notation: On-Line and Off Line Recognition addresses the computer recognition of music notation, its interpretation and use within various application contexts. It includes research in the field of image processing and pen-based computing, representation languages and web-based applications. This book consolidates the successes, challenges and questions raised by the computer perception of this music notation language.

What are the key topics that define Romantic violin playing? This book discusses key issues (and barriers) of putting into practice nineteenth-century violin performing practices. It deals with a number of well-known problems concerning romantic performance including the widely perceived 'gap' between scholarship and the act of performance. Taking account of a modernist revolution in performing practices and aesthetic thought in the twentieth century, the book focuses on key topics to define romantic violin playing. Practically-focused chapters discuss key aspects of performing practice evidence. The book then moves into a case-study phase to discuss examples from the author's long experience. It concludes with practical advice and exercises to enable students to begin experimenting with the assimilation of such practices into their own performance. In this way, the proposed structure aims to be a 'handbook' proper. The handbook ends by looking to the future and suggesting practical ways for violinists to adopt what has been discussed in the text. The continued centrality of nineteenth-century music in contemporary concert life makes the importance of the topic self-evident.

This new edition contains all the scales and arpeggios required for ABRSM's Grade 2 Violin exam. Includes all Grade 2 scales and arpeggios for the revised syllabus from 2012, with bowing patterns, along with a helpful introduction including advice on preparing for the exam.

(Book). So you want to write songs, and you want to write them on guitar. This is the book that shows you exactly how. Taking tips and tricks from classic songwriters, from Bob Dylan to the Beatles to Tori Amos, How to Write Songs on Guitar takes you through the four main elements of a song rhythm, melody, lyrics, and harmony and inspires you to combine them in exciting new ways. Now with updated songs and tips on writing trends, it's packed with wisdom and practical advice culled from over 1,500 songs, How to Write Songs on Guitar 2nd edition will soon have you producing better, more memorable songs.

for SATB and organ This radiant anthem explores the theme of light, with luminescent harmonies, a virtuosic organ part, and soaring vocal lines. The text is by Dr Marcus Tomalin, after Dante's Paradiso, and Bednall's word painting is highly effective. A compelling climax as the singers tell of the 'pure living light shining' falls away to a powerful unaccompanied moment, before the organ picks up a motif and develops it in a majestic interlude. This is a highly rewarding anthem for performer and audience alike. Pure Living Light was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189).

Nikki Iles & Friends Book 1 is a collection of 16 original compositions and new arrangements for piano written by Nikki Iles and her friends from the world of jazz. Expertly curated and commissioned by Nikki Iles, this book contains piano pieces at the levels of Grades 4 to 6 written by some of the best-known figures on the jazz scene. Also including a CD with recordings of every piece, this book provides a wealth of new and original jazz piano music for those seeking to explore accessible jazz repertoire, building a recital or a programme for ABRSM Performance Grades, or simply playing for pleasure.

A SUNDAY TIMES BEST PAPERBACK OF 2021 * Shortlisted for the 2021 Stanford Dolman Travel Book of the Year prize * A critically-acclaimed Sunday Times, Spectator and Independent Book of 2020 * Now with colour photography by Michael Turek 'Richly absorbing... An impressive exploration of Siberia's terrifying past.' Guardian 'Evocative and wonderfully original.' Colin Thubron __________ Siberia's expansive history is traditionally one of exiles, bitter cold and suffering. Yet there is another tale to tell. Dotted throughout this remote and beautiful landscape are pianos created during the boom years of the nineteenth century. They tell the story of how, ever since entering Russian culture under the influence of Catherine the Great, piano music has run through the country like blood. How these pianos made the journey into this snow-bound wilderness in the first place is remarkable. That they might be capable of making music in such a hostile landscape feels like a miracle. The Lost Pianos of Siberia is an absorbing story about a piano hunt - a quixotic quest through two centuries of Russian history and eight time zones stretching across an eleventh of the world's land surface. It reveals not only an unexpected musical legacy, but profound and brave humanity in the last place on earth you might expect to find it. __________ What readers are saying about The Lost Pianos of Siberia: ***** 'You know a book's good when, on finishing it, you just want to start again.' ***** 'Beautifully written, full of compelling anecdotes celebrating Siberia's extraordinary history.' ***** 'The most unusual and intelligent way to tell a travel story.'

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.

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.