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.

The 60 exercises by C. L. Hanon, The Virtuoso Pianist, are a classic textbook of technical training widely used by piano students, teachers and professionals.

However, in the hundred years or so that have elapsed since these exercises first appeared, the technical demands made on students and pianists have enormously changed and developed.

Therefore, the famous two-piano team of Gold and Fizdale has attempted to bring Hanon's exercises up-to-date. It is hoped that Hanon Revisited will serve students and pianists as a preparation for the increasingly complicated technical requirements of present-day piano performance and study.

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.

The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.

(Faber Piano Adventures ). A collection of effective pieces in a variety of styles. Contents include: Allegro * Alouette * Backpacking * Boogie in 3rds * Carousel Melody * Clock Tower Bells * For He's a Jolly Good Fellow * Greensleeves * The Handbell Choir * Horse and Sleigh * La Cinquantaine * March of the English Guard * A Merry March * more.

In Making Light Raymond Knapp traces the musical legacy of German Idealism as it led to the declining prestige of composers such as Haydn while influencing the development of American popular music in the nineteenth century. Knapp identifies in Haydn and in early popular American musical cultures such as minstrelsy and operetta a strain of high camp-a mode of engagement that relishes both the superficial and serious aspects of an aesthetic experience-that runs antithetical to German Idealism's musical paradigms. By considering the disservice done to Haydn by German Idealism alongside the emergence of musical camp in American popular music, Knapp outlines a common ground: a humanistically based aesthetic of shared pleasure that points to ways in which camp receptive modes might rejuvenate the original appeal of Haydn's music that has mostly eluded audiences. In so doing, Knapp remaps the historiographical modes and systems of critical evaluation that dominate musicology while troubling the divide between serious and popular music.

This book contains nine pieces from ABRSM's Grade 1 Piano syllabus for 2023 & 2024, three pieces chosen from each of Lists A, B and C - ideal for both Practical and Performance Grade exams. The pieces have been carefully selected to offer an attractive and varied range of styles, creating a collection that provides an excellent source of repertoire to suit every performer.The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information. A version of this book with audio download is also available.

Uses the rare depictions of musical instruments and musical sources found on the Eglantine Table to understand the musical life of the Elizabethan age and its connection to aspects of culture now treated as separate disciplines ofhistorical study. The reign of Elizabeth I (1558-1603) has often been regarded as the Golden Age of English music. Many works of high quality, both vocal and instrumental, were composed and performed by native and immigrant musicians, while balladry and minstrelsy flourished in hall, street and alehouse. No single source of the sixteenth century presents this rich musical culture more vividly than the inlaid surface of the Eglantine Table. This astonishing piece of furniture was made in the late 1560s for the family of Elizabeth or 'Bess' of Hardwick, Countess of Shrewsbury (1527-1608). The upper surface bears a wealth of marquetry that depicts, amidst the briar roses and other plants, numerous Elizabethan musical instruments in exquisite detail together with open books or scrolls of music with legible notation. Given that depictions of musical instruments and musical sources are rare in all artistic media of the Elizabethan period, the Eglantine Table is a very important resource for understanding the musical life of the age and its connection to aspects of culture now treated separately in disciplines such as art history, social and political history or the study of material culture. This volume assembles a group of leading scholars in the history of instruments and associated fields to ground future research upon the most expert assessment of the depicted instruments, the music and the decorative imagery that is currently attainable. A final section of the book takes a broad view, placing the Table and the musical components of its decoration in relation to the full range of Elizabethan musical life.

English keyboard music reached an unsurpassed level of sophistication in the late sixteenth and early seventeenth centuries as organists such as William Byrd and his students took a genre associated with domestic, amateur performance and treated it as seriously as vocal music. This book draws together important research on the music, its sources and the instruments on which it was played. There are two chapters on instruments: John Koster on the use of harpsichord during the period, and Dominic Gwynn on the construction of Tudor-style organs based on the surviving evidence we have for them. This leads to a section devoted to organ performance practice in a liturgical context, in which John Harper discusses what the use of organs pitched in F may imply about their use in alternation with vocal polyphony, and Magnus Williamson explores improvisational practice in the Tudor period. The next section is on sources and repertoire, beginning with Frauke Jurgensen and Rachelle Taylor's chapter on Clarifica me Pater settings, which grows naturally out of the consideration of improvisation in the previous chapter. The next two contributions focus on two of the most important individual manuscript sources: Tihomir Popovic challenges assumptions about My Ladye Nevells Booke by reflecting on what the manuscript can tell us about aristocratic culture, and David J. Smith provides a detailed study of the famous Fitzwilliam Virginal Book. The discussion then broadens out into Pieter Dirksen's consideration of a wider selection of sources relating to John Bull, which in turn connects closely to David Leadbetter's work on Gibbons, lute sources and questions of style.

(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.

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

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.

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.

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.

For those who prefer a compact book here's a solution from the bestselling music learning author Jake Jackson. Left and right-hand chords, organised as a chord per spread, this is a simple, direct solution for anyone learning the piano or keyboard, or needing a quick reminder. Great for beginners, and for those playing with others needing a straightforward reference.

Up-Grade! Piano Duets Grades 0-1 is a fun addition to Pam Wedgwood's popular Up-Grade! Series, which aims to help bridge the gap between grades. Packed with great duets for players of Grade 0-1 level plus teacher, parent or slightly more advanced pupil, it's guaranteed to breathe new life into your piano playing. Featuring Over The Rainbow and Close Every Door, alongside original pieces by the inimitable Pam Wedgwood, all pieces are demonstrated via the online audio.

The history of Gdansk carillons begins in 1561. It was that year that fourteen automatic bells were installed in the Main Town Hall. Later, a "striking mechanism" appeared in St Catherine's Church. This magnificent instrument, consisting of thirty-five bells, has been in use since 1738. The third carillon was built in 1939 in the youth hostel at Biskupia Gorka. The play of Gdansk carillons was interrupted by the Second World War. The book discusses the history and music of Gdansk carillons. It contains valuable information on bells, carillon mechanisms, bell founders, carillonists, and bell setters, inviting the reader to study the Protestant repertoire, the unique notation of preserved manuscripts, and the remarkable soundscape of Gdansk, which for centuries has been marked by the sound of carillons.

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

This book assesses the influence and reception of many different forms of guitar playing upon the classical guitar and more specifically through the prism of John Williams. Beginning with an examination of Andres Segovia and his influence upon Williams' life's work, a further three incisive chapters cover key areas such as performance, perception, education and construction, considering social and cultural contexts of the guitar over the past century. A final chapter on new directions in classical guitar examines the change in reception of the instrument from the mid-1970s to the present day, and Williams' impact upon what might be termed 'standard classical guitar repertoire'. With in-depth discussion of the cultural and perceptual impact of Williams' more daring crossover projects and numerous musical examples, this is an informative reference for all classical guitar practitioners, as well as scholars and researchers of guitar studies, reception studies, cultural musicology and performance studies. An online lecture by the author and a transcript of the author's interview with John Williams are also available as e-resources.

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.