The Piano Teacher's Survival Guide is a comprehensive and practical guide providing essential advice for all piano teachers. Aiming to improve and develop confidence in teaching skills and piano technique, the book focuses on the best ways to support pupils and develop their love of the piano.Featuring many case studies, musical examples and problem-solving clinics, this is a rich resource of basic principles, useful tools and thought-provoking ideas.

Intended as a supplement to The Mechanical Muse: The Piano, Pianism and Piano Music, c.1760-1850, this Companion provides additional information which, largely for reasons of space but also of continuity, it was not possible or desirable to include in that volume. The book is laid out alphabetically and full biographical entries are provided for all musical figures mentioned, including composers, performers, theoreticians and teachers, as well as piano makers and publishers of music, within the period covered by The Mechanical Muse. There are also entries on figures of importance from outside the period but whose influence is palpably important within it, such as J.S. Bach. As well as biographical information, all these entries contain lists of principal works and a section on further reading so that readers can follow up people and matters of particular interest. Also included in The Companion are entries devoted to particular works and other information of relevance, such as descriptions of musical forms, characteristics of dances and so on, as well as some technical information on music and explanations of technical terms pertaining to keyboard instruments themselves and to ways of playing them. This Companion is not intended to replace existing reference books such as Grove or Musik in Geschichte und Gegenwart, but will be useful for those who desire to know more about a particular topic and do not necessarily have access to more specialist reference works, or time to visit large or specialist libraries. As such it is indispensable to users of The Mechanical Muse.

for organ A setting of the traditional Christmas carol for organ. Dicie presents three variations of the carol's melody, which are separated by a ritornello. This piece would be useful as a prelude or interlude for services during Advent and Christmas seasons.

The first study of the performance practice, repertoire and context of the modern 'brass ensemble' in the musical world. Whereas the British 'brass band' originated in the nineteenth century and rapidly developed into a nationwide working-class movement, the perceived modern 'brass ensemble' has a less clear foundation and identity. This book is the first to focus exclusively on the performance, practice, repertoire and context of the 'brass ensemble' in the musical world. Following World War II, the brass quintet and other orchestral groupings emerged in the United States and Europe, with musical customs established by professional players playing orchestral instruments. These groups initially played a combination of the music of Gabrieli and his contemporaries as well as newly commissioned works. By the late twentieth century, however, repertory spanned works by Elliott Carter, Maxwell Davies and Lutoslawski, together with music that integrated jazz, commercial elements, and landmark transcriptions. At the book's heart is the story of the London-based, internationally acclaimed, Philip Jones Brass Ensemble. But this is not a story of one ensemble, as the 'brass ensemble' can be defined in several forms. The Modern Brass Ensemble in Twentieth-Century Britain offers a comprehensive account by an author and performer who was involved in many of the key developments of the modern 'brass ensemble'.

Splendid compilation features a variety of the composer's best piano works, all reproduced from authoritative sources. Taking its title from the popular orchestral work "Danse Macabre" (presented here in the brilliant arrangement by Liszt), this collection also includes "Allegro appassionato," "Album" (consisting of six pieces), "Rhapsodie d'Auvergne," "Theme and Variations," plus six etudes, three waltzes, and six etudes for left hand alone. Introduction.

(Book). Ibanez is the most important Japanese guitar brand, and this new book tells the story of its electric guitars, tracking the fortunes of this impressive brand. At first the guitars were cheap and basic, and in the 1970s, Ibanez was best known for its copies of leading Gibson instruments, including Les Pauls, SGs, and Explorers. As the Japanese music industry gained maturity and increased quality, Ibanez made more assured instruments with original features; and in the late '70s and early '80s, it hit new peaks of achievement. The big break came in the late '80s with the arrival of Steve Vai's impressive and spectacular JEM signature models. In recent years, the company has continued to provide great modern electric guitars. Ibanez guitarists featured in the book include George Benson, Charlie Burchill (Simple Minds), Phil Collen (Def Leppard), Allan Holdsworth, Pat Metheny, Steve Miller, Joni Mitchell, John Petrucci (Dream Theater), Lee Ritenour, Joe Satriani, John Scofield, Paul Stanley (Kiss), Mick Thompson (Slipknot), Steve Vai, and Bob Weir (Grateful Dead). The book is in the tradition of Tony Bacon's best-selling guitar series, with a carefully researched story, including exclusive interviews with Vai and Satriani, a gallery of full-color pictures of famous guitars and players, and a reference section detailing production years and specifications of all Ibanez's electric models.

(Book). Incurable Blues explores the life and genius of Hubert Sumlin, a highly influential guitarist who has survived cancer, alcoholism, and personal and professional tribulations to testify to the classic days of Chicago blues. Sumlin's incendiary guitar playing is heard on most of Howlin' Wolf's classic Chess sides. Sumlin's pick-less playing has inspired countless blues-rock luminaries. Author Will Romano places Hubert's playing and performing style in context, showing how it formed the basis of blues rock and rock n roll and how it bridges the gap between African folk; the work of early masters like Robert Johnson, Charley Patton and Peetie Wheatstraw; the revisionist British invasion guitarists Eric Clapton, Jeff Beck, and Keith Richards; and the modern-era blues styles of Stevie Ray Vaughan and John Mayer.

(Faber Piano Adventures ). The 2nd Edition Primer Theory Book provides important reinforcement and creative application of basic theory concepts. Students will enjoy note-naming with StoryRhymes, exploring improvisation, and engage with eye-training and ear-training activities all within a fun-filled context tied thematically to the Primer Lesson Book pieces.

for solo violin and orchestra or piano This serene romance is one of Vaughan Williams's most enduring popular works. Taking its title from a poem by George Meredith, the music perfectly evokes the lark's 'chirrup, whistle, slur, and shake'. This beautifully presented new edition of the violin and piano score includes a preface by Michael Kennedy.

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.

One of the most remarkable tales of recent resurrections in the field of early keyboard music concerns the music of Heinrich Scheidemann (c. 1595-1663). Long considered a minor master overshadowed by such figures as his teacher Jan Pieterszoon Sweelinck or his fellow student Samuel Scheidt, a number of major source discoveries made in the second half of the twentieth century - the most important one being the discovery of the Zellerfield tablatures - have gradually raised his stature towards what it should now be, namely that of the paramount figure in North German organ music of the first half of the seventeenth century, equalled only by Buxtehude in the second half. Pieter Dirksen, one of the leading scholars on early German keyboard music, shows how Scheidemann was a central personality in the rich musical life of Hamburg and stood on friendly terms with colleagues such as Jacob and Johannes Praetorius, Ulrich Cernitz, Thomas Selle, Johann Schop and Johann Rist. The sources for Scheidemann are for the most part contemporary and stem from all periods of his career, and beyond that until one or two decades after his death. His keyboard music was never published in his lifetime but circulated widely within professional circles. Dirksen considers the transmission of Scheidemann's music as a whole in Part One, where each source is analyzed individually, and the repertoire itself is examined in Part Two. A number of specialized studies, including a detailed investigation into the background of one of the sources as well as adressing questions of organology (an account of the famous Catharinen organ as it was during Scheidemann's era) and performance practice (a study of the fingering indications and observations on registration practice) form Part Three. A wealth of appendices also detail a relative chronology of the music; a geographic overview of the transmission and two hitherto unpublished, fragmentarily transmitted Scheidemann pieces. The book will therefore a

From the swelling synths of Depeche Mode to the dance-friendly grooves of Thomas Dolby and from the power ballads of Journey to the New Power Generation of Prince the music of the '80s was infused with the sound of keyboards. You'll learn:THU How technological developments in keyboards helped artists such as Erasure Human League Peter Gabriel Kraftwerk Bruce Hornsby Frank Zappa and Jam and Lewis create entirely new sounds a and how their production tricks can help you make great music today.THU How to recreate the sounds of the '80s using the soft synths and recording software you already have on your computer.THU The breakdowns of the piano and keyboard parts for stadium rockers by Night Ranger Journey and Bon Jovi.

Amy Beach was celebrated during her lifetime as the foremost female composer of the United States, and her writing was frequently inspired by the folk music of America and Britain. Originally for piano, her Scottish Legend evokes Scotland in its wistful melody, adorned by Scotch snaps and conveying a folk-like atmosphere, but spiced up with a few late-Romantic harmonies. Contrasts between major and minor are also used to telling effect in this gently attractive piece, sympathetically arranged for the organ by Robert Gower.

Many standard musicological reference works document the use of the trombone from its beginning to the middle of the 17th century, and then from Mozart to the present, but few deal with the intervening years. This book reproduces the texts from two dozen treatises, dictionaries, and encyclopedias, along with English translations, published between 1697 and 1811. It provides an overview of the use of the trombone during that time in America and seven European countries and examines its use in choral music, opera, symphonic music and military music.

The Appalachian dulcimer is one of America's major contributions to world music and folk art. Homemade and handmade, played by people with no formal knowledge of music, this beautiful instrument arrived in the light of the 20th century with virtually no written record. Appalachian Dulcimer Traditions is a first-hand report to enlarge our knowledge of the dulcimer's history by searching the hills and "hollers" of Appalachia, looking at old instruments, and listening to the tales of old folks. After reviewing the instrument's special musical features, the book describes some related instruments, and reveals little-known facts about the dulcimer's origins on the early Appalachian frontier. The book then describes three major design traditions of the dulcimer, each centered in its own geographical area, and focuses on important makers in each of the three traditions-the Melton family of Galax, Virginia, Charles M. Prichard of Huntington, West Virginia, and "Uncle Ed" Thomas of Kentucky. A final chapter describes four Appalachian makers of the folk revival transition, who began making instruments the old-time way and modernized them to meet the needs of Post-World-War-II urban players. The book concludes with listings of dulcimer recordings in the Archive of Folk Culture of the Library of Congress.

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.

Alfred's Basic Adult All-in-One Course is designed for use with an instructor for the beginning student looking for a truly complete piano course. It is a greatly expanded version of Alfred's Basic Adult Piano Course that will include lesson, theory, technic, and additional repertoire in a convenient, "all-in-one" format. This comprehensive course features written assignments that reinforce each lesson's concepts, a smooth, logical progression between each lesson, a thorough explanation of chord theory and playing styles, and outstanding extra songs, including folk, classical, and contemporary selections. At the completion of this course, the student will have learned to play some of the most popular music ever written and will have gained a good understanding of basic musical concepts and styles. The comb binding creates a lay-flat book that is perfect for study and performance. Titles: Alexander's Ragtime Band * Arkansas Traveler * Ballin' the Jack * The Battle Hymn of the Republic * Black Forest Polka * Black is the Color of My True Love's Hair * Bourlesq * Brahms Lullaby * Bridal Chorus from "Lohengrin" * Calypso Carnival * Canon in D (Pachelbel) * Chorale * Circus March * Danny Boy * Dark Eyes * Deep River * Divertimento in D * Down in the Valley * Etude (Chopin) * Farewell to Thee (Aloha Oe) * Fascination * Festive Dance * For He's a Jolly Good Fellow * Frankie and Johnnie * Guantanamera * Hava Nagila * He's Got the Whole World in His Hands * The Hokey-Pokey * The House of the Rising Sun * Hungarian Rhapsody No. 2 * Introduction and Dance * La Bamba * La Donna E Mobile * La Raspa * Light and Blue * Loch Lomond * Lonesome Road * Love's Greeting * The Magic Piper * The Marriage of Figaro * Mexican Hat Dance * Morning Has Broken * Musetta's Waltz * Night Song * Nobody Knows the Trouble I've Seen * Olympic Procession * Overture from "Raymond" * Plaisir D'Amour * Polyvetsian Dances * Pomp and Circumstance No. 1 * The Riddle * Rock-a My Soul * Sakura * Scherzo * So

Pierre Boulez's first piano pieces date from his youth, prior to his studies in Paris with Messiaen, and his subsequent meteoric rise to international acclaim as the leader of the musical avant-garde during the 1950s. His most recent published work is a solo piano piece, Une page d'ephemeride, written some sixty years after his first attempts at composition. The piano has remained central to Boulez's creative work throughout his career, and although his renown as a conductor has to some extent overshadowed his other achievements, it was as a performer of his own piano music that his practical gifts first found expression. Peter O'Hagan has given performances of various unpublished piano works by Boulez, including Antiphonie from the Third Sonata and Trois Psalmodies. In this study, he considers Boulez's writing for the piano in the context of the composer's stylistic evolution throughout the course of his development. Each of the principal works is considered in detail, not only on its own terms, but also as a stage in Boulez's ongoing quest to invent radical solutions to the renewal of musical language and to reinvigorate tradition. The volume includes reference to hitherto unpublished source material, which sheds light on his working methods and on the interrelationship between works.

(Stylistic Method). This intense metal method teaches you the elements of lead guitar technique with an easy to understand, player-oriented approach. The metal concepts, theory, and musical principals are all applied to real metal licks, runs and full compositions. Learn at your own pace through 12 'smoking fully transcribed' heavy metal solos from simple to truly terrifying 'One of the most thorough' and 'one of the best rock series currently available' - Guitar Player magazine. Music and examples demonstrated on CD.

The Violin Play-Along Series will help you play your favorite songs quickly and easily. Just follow the music, listen to the CD to hear how the violin should sound, and then play along using the separate backing tracks. With the melody and lyrics included in the book, you may also choose to sing along. Chord symbols are provided should you wish to elaborate on the melody. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch! This volume includes the songs: Foggy Mountain Breakdown * Gold Rush * John Hardy Was a Desperate Little Man * Orange Blossom Special * Panhandle Rag * Salty Dog Blues * Tennessee Waltz * You Don't Know My Mind.

The first edition of Black Women in American Bands & Orchestras (a Choice Outstanding Academic Book in 1982) was lauded for providing access to material unavailable in any other source. To update and expand the first edition, Handy has revised the profiles of members featured in the first edition, corrected omissions, and added personal and career facts for new faces on the scene. Profiles are presented under the headings of orchestras and orchestra leaders, string players, wind and percussion players, keyboard players, and non-playing orchestra/band affiliates. Features 100 photographs.

The art of expressive harpsichord playing was lost when the instrument was replaced by the piano in the nineteenth century. Despite the great strides in harpsichord performance and building made during the last 100 years, the full expressive potential of the instrument has not yet been realized, or sometimes even acknowledged by professionals or amateurs. This book reveals the depth of expression that is possible on the harpsichord, and teaches the performer how to achieve it. Previous books devoted to playing the instrument have either been written for amateurs and beginners with little or no experience on the harpsichord, or they take a scholarly approach. This resource is written with a different goal in mind: teaching the art of expressive harpsichord playing to those who have had experience on the instrument, and also to pianists and organists who love the repertoire, and want to play it on the keyboard instrument for which it was composed. Presented together with quotes from the most important primary sources on the instrument, the book contains more than 100 musical examples in an easily-accessible format and one of the most comprehensive bibliographies available.