A new addition to the successful Michael Aaron Piano Course lesson books. These new Performance books are centered around Michael Aaron's original Lesson books and are focused on his original teaching concepts.

A method in how to play jazz and hot guitar.

This book contains all the scales and arpeggios required for ABRSM's Grade 6 Piano exam. It covers all the new requirements from 2021.

38 really easy arrangements of the best-loved familiar tunes you will recognize from recordings, radio, and TV. The witty cartoons will bring a smile to the lips of even the most jaded piano pupil.

This book contains nine pieces from ABRSM's Grade 5 Piano syllabus for 2021 & 2022, three pieces chosen from each of Lists A, B and C. 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. The enclosed CD features inspiring recordings of all 30 pieces on the Grade 5 syllabus, performed by Yulia Chaplina, Mei Yi Foo, Nikki Iles, Dinara Klinton, Charles Owen, Robert Thompson and Richard Uttley.

This book contains all the scales and arpeggios required for ABRSM's Grade 5 Piano exam. It covers all the new requirements from 2021.

This book contains nine pieces from ABRSM's Grade 4 Piano syllabus for 2021 & 2022, three pieces chosen from each of Lists A, B and C. 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. The enclosed CD features inspiring recordings of all 30 pieces on the Grade 4 syllabus, performed by Yulia Chaplina, Mei Yi Foo, Nikki Iles, Dinara Klinton, Charles Owen, Robert Thompson and Richard Uttley.

In this title, the Sussex based author provides accessible text, clear instructions, step-by-step photographs and a full-size plan of the guitar. Readers will learn how to make a steel-stringed OM cutaway guitar with 14 frets from scratch, following the clear step-by-step photographs and straightforward instructions. Suitable even for woodworkers with a basic level of skills, this is a rewarding project to undertake and will no doubt become a family heirloom. Packed full of handy information and expert tips, close guidance through the whole process from choosing the materials to the final stringing up and a full-size plan of the guitar to follow, readers can't go wrong. Plus this revised and updated edition features new and expanded material on: power tools and jigs, bolt-on and dovetail neck joints, alternative ways of making a guitar body, soundboard bracing for a Classical guitar and much more.

These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki MethodA(R), or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.

Discover the magic of classical guitar with this fun and easy guide The perfect starting point to learning classical guitar, Classical Guitar For Dummies, walks you through the steps, techniques, and styles you'll need to finger-pick your way around some of the most beautiful songs ever written. Whether you're a first timer looking to add your very first classical guitar to your collection or you've already made the jump to the classical style want to pick up some priceless tips, this book is the easy-to-read companion you'll want at your side. You can even play along with audio and video examples at dummies.com that will help you on your journey toward classical guitar mastery. In Classical Guitar For Dummies, you'll find: Foundational and advanced techniques, from adapting your playing posture to coloring your tone with vibrato Tips and tricks on playing classical guitar favorites, like Cavatina by Stanley Myers Explorations of classical scales, up and down the guitar neck Classical Guitar For Dummies is an essential aid for new and aspiring classical guitarists just beginning to learn their craft. More experienced guitarists seeking to improve their fundamentals and learn some new strategies for creating amazing music will also find a ton of useful info inside.

Signature Licks - Queen is a step-by-step breakdown of Brian May playing technique by Wolf Marshall. The book features excerpts from 18 songs recorded over Queen's extensive playing career, in-depth studies of each song and example, and a CD for practice accompaniment.

Skyhorse Publishing is proud to revive "Playing Piano for Pleasure." With the wonderful writing one would expect from a longtime "New Yorker" reporter, Piano aficionado Charles Cooke, offers concrete routines for improving your piano performance. A pleasant and constant cheerleader, Cooke asks readers to practice every day, suggesting that they work through just that section time and again until it is perfect. In addition to his own thoughts, Cooke includes material from his interviews with master pianists, artists, and writers. The result is a book that should be cherished for years to come.

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.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.

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

Barcelonian Gaspar Cassado (1897-1966) was one of the greatest cello virtuosi of the twentieth century and a notable composer and arranger, leaving a vast and heterogeneous legacy. In this book, Gabrielle Kaufman provides the first full-length scholarly work dedicated to Cassado, containing the results of seven years of research into his life and legacy, after following the cellist's steps through Spain, France, Italy and Japan. The study presents in-depth descriptions of the three main parts of Cassado's creative output: composition, transcription and performance, especially focusing on Cassado's plural and multi-facetted creativity, which is examined from both cultural and historical perspectives. Cassado's role within the evolution of twentieth-century cello performance is thoroughly examined, including a discussion regarding the musical and technical aspects of performing Cassado's works, aimed directly at performers. The study presents the first attempt at a comprehensive catalogue of Cassado's works, both original and transcribed, as well as his recordings, using a number of new archival sources and testimonies. In addition, the composer's significance within Spanish twentieth-century music is treated in detail through a number of case studies, sustained by examples from recovered score manuscripts. Illuminated by extraordinary source material Gaspar Cassado: Cellist, Composer and Transcriber expands and deepens our knowledge of this complex figure, and will be of crucial importance to students and scholars in the fields of Performance Practice and Spanish Music, as well as to professional cellists and advanced cello students.

- An important and timely volume, presenting and delivering a much-needed (and inclusive) counter-narrative in the field of Community Music - Chimes with the International Society of Music Education's World 2020 Conference theme on celebrating equity and diversity in music education (including Community Music) research and practices - Appropriate and required reading for a large range of readers including (but not limited to) undergraduates, graduate students, academics, scholars, university professors, practitioners, and researchers

In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods. This historically informed practice is now supplanting the late Romantic view of improvised music as a rhapsodic endeavour-a musical blossoming out of the capricious genius of the player-that dominated throughout the twentieth century. In the Renaissance and Baroque eras, composing in the mind (alla mente) had an important didactic function. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instruments. This volume offers the first systematic exploration of the close relationship among improvisation, music theory, and practical musicianship from late Renaissance into the Baroque era. It is not a historical survey per se, but rather aims to re-establish the importance of such a combination as a pedagogical tool for a better understanding of the musical idioms of these periods. The authors are concerned with the transferral of historical practices to the modern classroom, discussing new ways of revitalising the study and appreciation of early music. The relevance and utility of such an improvisation-based approach also changes our understanding of the balance between theoretical and practical sources in the primary literature, as well as the concept of music theory itself. Alongside a word-centred theoretical tradition, in which rules are described in verbiage and enriched by musical examples, we are rediscovering the importance of a music-centred tradition, especially in Spain and Italy, where the music stands alone and the learner must distil the rules by learning and playing the music. Throughout its various sections, the volume explores the path of improvisation from theory to practice and back again.