Vladimir de Pachmann was perhaps history's most notorious pianist. Widely regarded as the greatest player of Chopin's works, Pachmann embedded comedic elements-be it fiddling with his piano bench or flirting with the audience-within his classic piano recitals to alleviate his own anxiety over performing. But this wunderkind, whose admirers included Franz Liszt and music critic James Gibbons Huneker (who cheekily nicknamed Pachmann the "Chopinzee"), would by the turn of the century find his antics on the concert stage scorned by critics and out of fashion with listeners, burying his pianistic legacy. In Chopin's Prophet: The Life of Pianist Vladimir de Pachmann, the first biography ever of this remarkable figure, Edward Blickstein and Gregor Benko explore the private and public lives of this master pianist, surveying his achievements within the context of contemporary critical opinion and preserving his legacy as one of the last great Romantic pianists of his time. Chopin's Prophet paints a colorful portrait of classical piano performance and celebrity at the turn of the 20th century while also documenting Pachmann's attraction to men, which ultimately ended his marriage but was overlooked by his audiences. As the authors illustrate, Pachmann lived in a radically different world of music making, one in which eccentric personality and behavior fit into a much more flexible, and sometimes mysterious, musical community, one where standards were set not by certified experts with degrees but by the musicians themselves. Detailing the evolution of concert piano playing style from the era of Chopin until World War I, Chopin's Prophet tells the fantastic and true story of an artist of and after his time.

This guide to the piano literature for the one-handed pianist surveys over 2,100 individual piano pieces which include not only concert literature but pedagogical pieces as well. Following the introduction are four chapters cataloguing original works for the right hand alone, original works for the left hand alone, music arranged or transcribed for one hand alone, and concerted works for one hand in concert with other pianists, instruments, or voices. Each entry assesses the individual composition, its quality, its difficulty, its particular appeal, and its uses with the composer's name, dates, and nationality, where possible. Also included is a selected discography of commercially produced phonodiscs, compact discs, and cassettes.

Instructors and pianists alike will appreciate this exhaustive guide to one-handed piano music. To aid further research, a bibliography of books, articles, and theses about the literature is provided along with a chapter that lists the contents of thirty-six anthologies devoted to one-handed piano music. This unique reference also includes an index.

Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers' songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers' songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.

Mozart's Clarinet Concerto is of supreme importance as his last instrumental work. Yet there are a number of special problems surrounding the piece, since the autograph is lost and the unique instrument for which it was written has not survived. This book presents a wealth of background information, an analysis of the Concerto, discussion of performance practice and details of surviving relevant instruments.

Following on the heels of his Conducting and Rehearsing the Instrumental Music Ensemble, John F. Colson takes students to the next level in conducting practice with Rehearsing: Critical Connections for the Instrumental Music Conductor. Colson draws together the critical connections for those seeking to become fully capable and self-assured instrumental music conductors. As he argues, too often conductor training programs treat the problems and challenges of the rehearsal-perhaps the single most critical element in any effort to achieve competency as a conductor-as secondary. Colson supplies the missing link for conductors looking for advice that allows them to complete their training for reaching complete competency as a conductor. He demonstrates throughout the specific connections that the advanced conductor must know and regularly employ-connections that few, if any, other works on the art of conducting address or bring together. One connection, for example, illustrates the joining of music imagery, inner singing, and conducting technique to score study. Throughout, these connections describe the nitty-gritty of what it really takes to stand up in front of an instrumental music ensemble and successfully rehearse in order to achieve its highest performance level. Also, Colson argues and demonstrates the pitfalls of the commonly mistaken assumption among instrumental music conductors that score study alone is sufficient to prepare them for the rehearsal process. This grave error is regularly belied by the fact that a number of other steps precede the actual rehearsal process, from the use of instrumental pedagogy during the rehearsal process to teaching through performance concepts. Colson's work addresses the entire rehearsing process thoroughly and authoritatively.

Following on the heels of his Conducting and Rehearsing the Instrumental Music Ensemble, John F. Colson takes students to the next level in conducting practice with Rehearsing: Critical Connections for the Instrumental Music Conductor. Colson draws together the critical connections for those seeking to become fully capable and self-assured instrumental music conductors. As he argues, too often conductor training programs treat the problems and challenges of the rehearsal-perhaps the single most critical element in any effort to achieve competency as a conductor-as secondary. Colson supplies the missing link for conductors looking for advice that allows them to complete their training for reaching complete competency as a conductor. He demonstrates throughout the specific connections that the advanced conductor must know and regularly employ-connections that few, if any, other works on the art of conducting address or bring together. One connection, for example, illustrates the joining of music imagery, inner singing, and conducting technique to score study. Throughout, these connections describe the nitty-gritty of what it really takes to stand up in front of an instrumental music ensemble and successfully rehearse in order to achieve its highest performance level. Also, Colson argues and demonstrates the pitfalls of the commonly mistaken assumption among instrumental music conductors that score study alone is sufficient to prepare them for the rehearsal process. This grave error is regularly belied by the fact that a number of other steps precede the actual rehearsal process, from the use of instrumental pedagogy during the rehearsal process to teaching through performance concepts. Colson's work addresses the entire rehearsing process thoroughly and authoritatively.

This handy reference guide fits into your guitar case or pocket and is organized in a unique dictionary style permitting you to locate any chord quickly.

Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers' songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers' songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.

What does it mean to perform expressively on the cello? In Cello Practice, Cello Performance, professor Miranda Wilson teaches that effectiveness on the concert stage or in an audition reflects the intensity, efficiency, and organization of your practice. Far from being a mysterious gift randomly bestowed on a lucky few, successful cello performance is, in fact, a learnable skill that any player can master. Most other instructional works for cellists address techniques for each hand individually, as if their movements were independent. In Cello Practice, Cello Performance, Wilson demonstrates that the movements of the hands are vitally interdependent, supporting and empowering one another in any technical action. Original exercises in the fundamentals of cello playing include cross-lateral exercises, mindful breathing, and one of the most detailed discussions of intonation in the cello literature. Wilson translates this practice-room success to the concert hall through chapters on performance-focused practice, performance anxiety, and common interpretive challenges of cello playing. This book is a resource for all advanced cellists-college-bound high school students, undergraduate and graduate students, educators, and professional performers-and teaches them how to be their own best teachers.

(Book). This expanded edition for beginners to experts is a step-by-step manual to maintaining and repairing electric and acoustic guitars and basses. Players learn how to set up a guitar and keep it in top form by mastering basic maintenance. Features an essential DVD that makes guitar maintenance easier than ever. New features include set-up specs of leading players; stronger coverage of guitar electronics, including pickups and wiring diagrams; and expanded coverage of acoustics.

In Chamber Music: An Extensive Guide for Listeners, Lucy Miller Murray transforms her decades of program notes for some of the world's most distinguished artists and presenters into the go-to guide for the chamber music novice and enthusiast. Offering practical information on the broad array of chamber music works from the Classical, Romantic, and Modern periods-and an artful selection from the Baroque period of Johann Sebastian Bach's works-Chamber Music: An Extensive Guide for Listeners is both the perfect reference resource and chamber music primer for listeners. Covering over 500 works, Murray surveys in clear and simple language the historical and musical impact of some 130 composers-20 of them living. Notably, Chamber Music includes the complete string quartets of Beethoven, Bartok, and Shostakovich, as well as 35 piano trios of Haydn. It also provides critical information and assessments of works by composers not nearly so well known, both past and present. Entries appear in alphabetical order by composer, and, in every instance, give a brief introduction to the composer's life and work. Of particular interest are the brief spotlight contributions, from well-known figures in the chamber music world, who focus on the performance experience or offer special knowledge of the works. This work is an ideal introduction and reference for students and scholars, new listeners, and enthusiasts of the chamber music tradition in Western music. Special contributors include: * Charles Abramovic * James Bonn * Michael Brown * Eugene Drucker * James Dunham * Daniel Epstein * Ralph Evans * Jeremy Gill * Jake Heggie * Paul Katz * Bert Lucarelli * Stuart Malina * Robert Martin * Peter Orth * Jann Pasler * Susan Salm * David Shifrin * Peter Sirotin/Ya-Ting Chang * Arnold Steinhardt * Kenneth Woods * David Yang * Phillip Ying

While written works of nineteenth and early twentieth century flute virtuosos remain a foundation of modern flute study, and despite a recent proliferation of historical recordings reissued on CD, much less is known about their recorded legacy. The recordings, now more accessible, allow increased awareness of these musicians, their repertoire, and their performance styles. The availability of these compact discs and their importance shows the need for a thorough discography of the flute. The Flute on Record: The 78 rpm Era serves as a comprehensive and practical guide to the wealth of flute recordings made between 1889 and 1954. The discography lists commercial, private, and unpublished recordings, on cylinders and 78 rpm discs, for over two hundred national and international flutists. Recordings are logged in meticulous detail, including dates and locations, matrix numbers, domestic and foreign catalog numbers, and corresponding long-playing reissues. Solo works, chamber music, and vocal and orchestral works that feature flute passages are addressed in the citations, and in complete appendixes of anonymous recordings. Details about broadcast transcriptions, live performance transcriptions, and films are also included. Notes and bibliographies offer background information on additional recordings and repertory, and provide a link between modern study and historical evidence. With a list of record labels and numerical series, as well as indexes for composers and additional musicians, this important resource is accessible to researchers, collectors, and general users alike. The various components combine to create a fuller understanding of the importance of these classic recordings.

Titles in Dictionaries for the Modern Musician series offer both the novice and the advanced artist key information designed to convey the field of study and performance for a major instrument or instrument class, as well as the workings of musicians in areas from conducting to composing. Unlike other encyclopedic works, contributions to this series focus primarily on the knowledge required by the contemporary musical student or performer. Each dictionary covers topics from instrument parts to playing technique and major works to key figures. A must-have for any musician's personal library! Trumpeters today perform a vast repertoire of musical material spanning 500 years, much of it in a variety of styles and even on a number of related instruments. In A Dictionary for the Modern Trumpet Player, scholar and performer, Elisa Koehler has created a key reference work that addresses all of the instruments in the high brass family, providing ready answers to issues that trumpeters, conductors, and musicians commonly-and sometimes not so commonly-encounter. Drawing on a broad range of scholarly sources, A Dictionary for the Modern Trumpet Player includes entries on historic instruments like the cornetto, keyed bugle, and slide trumpet; jazz trumpet techniques; mutes and accessories; and ancient ancestors of the trumpet and related non-Western instruments. In addition to its concise and detailed definitions, this work includes biographies of prominent performers, teachers, instrument makers, and composers of trumpet solo and ensemble literature often omitted from other musical references. Carefully labeled illustrations illuminate the inner workings of various valve mechanisms, allowing readers to visualize the more technical points of high brass instruments. Appendixes include a time line of trumpet history, a survey of valve mechanisms, a list of prominent excerpts from the orchestral and operatic repertoire, and an extensive bibliography. From quick definitions of confusing terms in a musical score to an in-depth overview of trumpet history, A Dictionary for the Modern Trumpet Player is an ideal reference for students, professionals, and music lovers.

This research guide is an annotated bibliography of sources dealing with the string quartet. This second edition is organized as in the original publication (chapters for general references, histories, individual composers, aspects of performance, facsimiles and critical editions, and miscellaneous topics) and has been updated to cover research since publication of the first edition. Listings in the previous volume have been updated to reflect the burgeoning interest in this genre (social aspects, newly issued critical editions, doctoral dissertations). It also offers commentary on online links, databases, and references.

In Rhythm Makers: The Legendary Drummers of Nashville in Their Own Words, Tony Artimisi documents through extensive interviews the work of some of the most influential drum kit players in popular music today, opening a window onto one of the most vibrant music scenes in modern American history. Telling their stories in their own words, each legendary figure walks readers through the realities of how musical opportunities arise in Nashville, how the recording process has changed over time, what it is like to drum behind some of the top artists in American music, and how one makes it as a professional drummer. Artimisi's subjects together have performed on literally thousands of recordings, from master recordings to demos, jingles to sound-alikes. Having played behind nearly everyone who passed through Nashville, from Dolly Parton and Elton John to Glen Campbell and Johnny Mathis, Eddie Bayers Jr. regales readers with stories of the many areas in the industry he worked to build his legendary career. Master drummer Jerry Kroon, whose credits include work with Ricky Skaggs, Willie Nelson, Merle Haggard and numerous others, shares his secret for maintaining good relationships with various personality types in music. Percussionist extraordinaire Tom Roady, who has recorded with Wilson Pickett, The Dixie Chicks, and Kenny Chesney-too name but a few-offers insights into what makes a drummer in his recollection of his career start. One of the most inventive instrumentalists, Kenny Malone, who has worked with Waylon Jennings, Garth Brooks, Johnny Cash and many more, discusses his own unique experiments in drumming technique in order to maintain his creative edge. Finally, Tommy Wells, whose career beginnings in Motown led him to Nashville, where he drummed for Charley Pride, The Statler Brothers, and The Charlie Daniels Band, offers a true insider's perspective offering insights into how jingle and sound-alike sessions operate, which can be a valuable part of the professional sideman's work. This work is the ideal for readers interested in the history of country music and the Nashville recording scene more generally, record and music production, popular music, and drumming as both art and profession.

Jazz, Rags & Blues, Books 1 through 5 contain original solos for late elementary to early advanced-level pianists that reflect the various styles of the jazz idiom. An excellent way to introduce your students to this distinctive American contribution to 20th century music. Available separately (item #18115), the CD includes dynamic recordings of each song in Books 1-3 of this series.

Guitarist Gordon Giltrap is the epitome of what is often referred to as a `musician's musician', in that the respect in which he is held by his peers speaks volumes for his ability and influence. Beginning his career as a solo acoustic guitarist and vocalist in the late 1960s, it was 1976 before the name Gordon Giltrap came into the public eye with the release of his landmark album Visionary, and album and single chart success followed over the next few years with the albums Perilous Journey and Fear Of The Dark, as he formed The Gordon Giltrap Band to perform these progressive rock-tinged works in the live environment. By now a wholly instrumental performer, his greatest commercial success came with his signature piece Heartsong, which followed up its chart success by being picked up by the BBC for use as the theme tune to their long-running Holiday programme. Following this, Gordon retreated largely to the acoustic realm with his next few albums, and retained a devoted hardcore following, as well as the aforementioned admiration of some of the biggest names in modern guitar music. Coming from the humblest of childhoods in South East London, Gordon's life in and out of the spotlight has proved to be a rollercoaster of highs and lows and one which ultimately transcends even his musical achievements as a story of human triumph and tragedy

The second half of the twentieth century saw vast changes in all aspects of percussion - the instruments themselves, playing techniques, and percussion writing - plus the huge influence of pop music, jazz, and film scores. Additionally, the revolution in travel and communications has meant that composers have become much more aware of a seemingly endless variety of ethnic instruments from around the world. Holland aims to show the world of percussion as it is today, and to answer some common questions about it. Today's professional players frequently find themselves performing in many countries where the availability of percussion instruments can vary widely. Practical Percussion contains a section on manufacturers and suppliers all over the world. In addition to this list of manufacturers, the percussion requirements - both instruments and players - for some 1500 works are also listed. The foreword by Pierre Boulez further assists the reader in appreciating and understanding the richness, variety, and function of percussion instruments the world over.

How did a music instrument transplated to South America by colonial Jesuit missionaries earn the official designation as Paraguay's cultural national symbol? This ethnomusicological and organological study of the Paraguayan diatonic harp in the twentieth century tells its story as an emblematic national musical instrument. First used liturgically by Jesuit missions in colonial times, the transplanted European diatonic harp was transformed and adopted into the folk music vocabulary of Paraguay and the Rio de la Plata region. Following the commercial success of Paraguayan harpist Felix Perez Cardozo in the 1930s in Argentina, the instrument's symbolic value as an icon of social, cultural, and national identity was articulated in local traditions such as popular folk music festivals. It received designation of arpa paraguaya (Paraguayan harp) and, in 2010, official recognition as simbolo de la cultura nacional (cultural national symbol). The author's fieldwork in Paraguay and continuous contact with composers, educators, festival organizers, harp performers, researchers, and festival organizers have provided unique insights into the development of the Paraguayan harp tradition as a cultural icon of the nation.

* For undergraduate music majors at colleges, universities, and conservatories who take the Class Piano course. * The pedagogical text is on separate pages from the musical content/notation, creating fewer distractions in the narrative, while helping students to focus on the music more readily * Includes music by women, persons of color, and from outside the United States have a prominent place throughout the textbook. * contains sections on fundamentals such as scales and arpeggios, as well as sightreading, keyboard theory, harmonizing melodies, improvising in both classical and blues styles, score reading, accompanying, and solo, duet, and ensemble repertoire

Titles: Mary Had a Little Lamb (Folk Song) * Fireflies (Children's Song) * Kagome Kagome (Children's Song) * Cuckoo (Folk Song) * Lightly Row (Folk Song) * Twinkle, Twinkle, Little Star Variations (Suzuki-Takahashi) * Go Tell Aunt Rhody (Folk Song) * Amaryllis (J. Ghys) * Allegro (Shinichi Suzuki) * The Honeybee (Folk Song) * Long, Long Ago (T.H. Bayly) * Lullaby, Op. 98, No. 2 (F. Schubert) * The Moon over the Ruined Castle (R. Taki) * Minuet, Minuet III from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Minuet, BWV Anh. II 114/Anh. III 183 (J.S. Bach) * Minuet, BWV Anh. II 116 (J.S. Bach) * Bourr?e from Sonata No. 3 in G Major for Flute and Basso Continuo, Op. 1, No. 5, HHA IV/3 No. 5 (G.F. Handel) * Fingering Chart. This title is available in SmartMusic.