The New International Edition of Suzuki Piano School, Volume 2 includes French, German and Spanish translations, new Romantic and 20th-century pieces, as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately. The contents have changed slightly with minimal reordering of the music. The Mozart Minuet and Bach Musette from the earlier edition were eliminated and replaced with two new 20th-century pieces by BartA3k (noted below), and the Bach "Minuet in G Minor" (from J. S. Bachas Notebook for Anna Magdalena Bach) has been moved to Volume 3. Other improvements include a cleaner appearance with less editing and spacious new engravings, as well as more detailed titles that include the keys, sources, composer dates, and catalog numbers.
Titles: Acossaise (J. N. Hummel) * A Short Story (H. Lichner) * The Happy Farmer, from Album for the Young, Op. 68, No. 10 (R. Schumann) * Minuet in G Major, BWV 822 (J. S. Bach) * Minuet in G Major, from J. S. Bach's Notebook for Anna Magdalena Bach (Anonymous) * Minuet in G Minor, BWV 822 (J. S. Bach) * Cradle Song, Op. 13, No. 2 (C. M. von Weber) * Arietta (W. A. Mozart) * Hungarian Folk Song, from For Children, Sz. 42 (BA(c)la BartA3k) * Melody, from Album for the Young, Op. 68, No. 1 (R. Schumann) * Minuet in G Major, from J. S. Bach's Notebook for Anna Magdalena Bach (C. Petzold) * Sonatina in G Major, Anh. 5 (Moderato, Romance) (L. van Beethoven) * Children at Play, from For Children, Sz. 42 (BA(c)la BartA3k).

When the producers of Where the Wild Things Are recruited the Yeah Yeah Yeahs' Karen O to compose tunes for the soundtrack, she called upon a bevy of indie rock musicians to help her. The aural accompaniment perfectly captures the spirit of Maurice Sendak's classic kids' tale. This piano/vocal/chords folio contains Karen O's wonderful music and also includes eight panels of color photos from the film. Titles: Igloo * All Is Love * Worried Shoes * Rumpus * Hideaway * Lost Fur * Heads Up.

Complementing Shearer and Shearer's useful one-volume source of information--"State Names, Seals, Flags, and Symbols-- this book provides the music and lyrics for the official songs adopted by the state governments. Arranged alphabetically by state, each song has a single vocal line over a piano accompaniment, with one verse only under the vocal line and remaining verses appearing separately. Each entry includes the date the song was adopted, the name of the composer, and in some instances, a brief history of the song. The book will be a useful reference for those wanting to perform a state song or to find the official songs of other states.

Designed as a practical reference guide for professional pianists and piano teachers, "A Guide to Piano Music by Women Composers, Volume I," is an annotated catalogue of the available piano music in print composed by 144 women born before the 20th century. The work also features biographies and extensive bibliographical information for each composer. Arranged alphabetically by composer into categories including single works, collections, and anthologies, the music is also described in terms of grade level, genre, mood, style characteristics, and technical requirements, and ranges in difficulty from late elementary to virtuoso concert repertoire.

Far too many teachers, students, professional musicians, and audiences are unaware of the contributions made by women in music, and of the beauty and merit of their specific compositions. This reference work provides an invaluable addition to the current literature.

Mi nombre es Gersam Pastor Tuckler Hern ndez. Nac en Managua, Nicaragua el 30 de Marzo, de 1937. Obtuve mi diploma de Bachiller de Ciencias y Letras, del Instituto Pedagogico de Varones, conocido como Colegio de los Hermanos Cristianos La Salle, el 18 de Febrero de 1956. Tambi n recib mi diploma de Inspector de Sanamiento Rural, en Febrero de 1965, del Gobierno de Nicaragua. Obtuve un Certificado de Asistente de Refineria de Petroleo de Exxon Standard Oil. Despu?'s de muchos empleos que tuve sin xitos, incluyendo la ayuda que aportaba en la Farmacia de mi madre, me dediqu al Teatro, dando shows de baile y cantos, incluyendo tocando piano en restaurantes y escuelas p blicas. Al fin de decid salir del pa s. Mis padres estuvieron de acuerdo, y sal para New York City el 4 de Julio de 1965. El primer trabajo decente que encontr fue en Bulova Watch Co. Estuve trabajando por 20 a os desempe ado varios otros empleos. Me cas con una muchacha nicarag ense, hasta la fecha de hoy. Recib mi Diploma de Asociado en Ciencia en Marzo, 19 de 1978 del Colegio de la Comunidad de la Ciudad de Nueva York. Obtuve mi grado de Sargento con la Polic a Auxiliar de la ciudad de Nueva York en 1979, y al mismo tiempo fui miembro de la Banda Musical de Polic a Auxiliar, tocando el piano. Me retir en 1999. Durante mi estad a en New York, principi a escribir poemas a mi familia, y amigas. He escrito casi 200 composiciones musicales para piano, as como canciones rom nticas, y melod as bailables. Toqu la marimba nicarag ense y piano en shows especiales, cuando me invitaban. A mi padre le agradezco por ingresarme a este noble pasatiempo. Cuando nosotros nicarag enses nos invitaban a cualquier evento familiar, siempre, a como cualquier grupo tnico lo hace, se formaba un grupo para contar aventuras cuando viv amos en nuestra tierra. Se hablaba m?'s de pol tica, comparando las diferencias de comunismo, dictadura y rep blica. Sin darnos cuenta el tiempo hab a pasado tan r pido que ve amos los rayos matutinos entran por las ventanas. Nos promet amos llamarnos por tel fono, pero yo nunca recib alguna. Y siempre alguien suger a que se pod a escribir un libro con tantas cosas que se o a cada vez que nos reun amos cuando ramos invitados a alguna fiesta. Yo hab a escrito muchos poemas y canciones. Lo mismo que escribir la m sica de mis canciones que eran casi como 200 de ellas. Principi a buscar publicadores que encontraba atr?'s de libros en las bibliotecas p blicas. Siempre hab a una raz n para rechazar mis anhelos. Algunos gerentes de librer as, no sab an, y me aconsejaban que lo hiciera en el extranjero, como Colombia, M jico, Espa a, Rep blica Dominicana. Escrib a cartas, llamaba por tel fono a ciertos lugares que encontraba en las "p ginas amarillas." Nada encontraba. En Julio de 2010, mi esposa y yo, cambiamos de domicilio, y nos venimos a Virginia. Bueno, leyendo los peri dicos dominicales, encontr lo que siempre buscaba. Palibrio, una publicadora en espa ol, ofrec an lo que yo anhelaba. Bueno, y en eso estamos ahora.

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

In this concise and accessible volume, a noted keyboard artist and Bach specialist takes a fresh look at the performance of J. S. Bach's keyboard music. Addressing the nonspecialist player, Richard Troeger presents a wide range of historical information and discusses its musical applications. The author shares accounts of the musical styles Bach employed and the instruments he knew. In direct and pragmatic terms, he clarifies the importance of notational and style details as guides to the composer's intentions, particularly emphasizing changes in notational norms between Bach's time and the present. Troeger offers core information on dynamics, articulation, tempo, rhythm, ornamentation and accompaniment. He considers controversial issues as well, establishing the importance of the clavichord in Bach's milieu and examining the link between baroque music and rhetoric - a dramatic relationship that can bring great vitality to performance.

The New International Edition of Suzuki Piano School, Volume 2 includes French, German and Spanish translations, new Romantic and 20th-century pieces, as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately. The contents have changed slightly with minimal reordering of the music. The Mozart Minuet and Bach Musette from the earlier edition were eliminated and replaced with two new 20th-century pieces by BartA3k (noted below), and the Bach "Minuet in G Minor" (from J. S. Bachas Notebook for Anna Magdalena Bach) has been moved to Volume 3. Other improvements include a cleaner appearance with less editing and spacious new engravings, as well as more detailed titles that include the keys, sources, composer dates, and catalog numbers.
Titles: Acossaise (J. N. Hummel) * A Short Story (H. Lichner) * The Happy Farmer, from Album for the Young, Op. 68, No. 10 (R. Schumann) * Minuet in G Major, BWV 822 (J. S. Bach) * Minuet in G Major, from J. S. Bach's Notebook for Anna Magdalena Bach (Anonymous) * Minuet in G Minor, BWV 822 (J. S. Bach) * Cradle Song, Op. 13, No. 2 (C. M. von Weber) * Arietta (W. A. Mozart) * Hungarian Folk Song, from For Children, Sz. 42 (BA(c)la BartA3k) * Melody, from Album for the Young, Op. 68, No. 1 (R. Schumann) * Minuet in G Major, from J. S. Bach's Notebook for Anna Magdalena Bach (C. Petzold) * Sonatina in G Major, Anh. 5 (Moderato, Romance) (L. van Beethoven) * Children at Play, from For Children, Sz. 42 (BA(c)la BartA3k).

Poetic Song Verse: Blues-Based Popular Music and Poetry invokes and critiques the relationship between blues-based popular music and poetry in the twentieth and twenty-first centuries. The volume is anchored in music from the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. Musician Mike Mattison and literary historian Ernest Suarez synthesize a wide range of writing about blues and rock-biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies-to examine the development of a relatively new literary genre dubbed by the authors as "poetic song verse." They argue that poetic song verse was nurtured in the fifties and early sixties by the blues and in Beat coffee houses, and matured in the mid-to-late sixties in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, Van Morrison, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the questions asked in Poetic Song Verse are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, Mattison and Suarez engage in an extended discussion of the roots of the relationship between blues-based music and poetry and address how it developed into a distinct literary genre. Unlocking the combination of richly textured lyrics wedded to recorded music reveals a dynamism at the core of poetic song verse that can often go unrealized in what often has been considered merely popular entertainment. This volume balances historical details and analysis of particular songs with accessibility to create a lively, intelligent, and cohesive narrative that provides scholars, teachers, students, music influencers, and devoted fans with an overarching perspective on the poetic power and blues roots of this new literary genre.

I turned 70 on June 3rd, 2020, and my bucket list looms large. Doing a lyric book was always on that list so, here it is. Through my Words, is an illustrated informative diary of my life, told through the lyrics of my songs. Creation has always been my salvation. Enjoy! -Suzi Quatro

A comprehensive catalogue of the surviving polyphonic song repertory 1415-1480 in any European language. The catalogue will be an essential work of reference for anyone interested in the music of the 15th century.

Pierre Monteux became famous at the age of 38 for conducting the riotous world premiere of Igor Stravinsky's Rite of Spring in Paris on May 29, 1913. The composer, fearing bodily harm, escaped through a backstage window, while the imperturbable conductor persisted, forever to be identified with the event. He would also conduct the first concert performance and one of the first two recordings of Stravinsky's masterpiece, the other one conducted by Stravinsky himself. Though French by birth, the distinctively portly man with the walrus mustache resisted being typecast as a French conductor. He could have been a European maestro: he played for Brahms, worked with Grieg, presided over the world premieres of major works by Ravel, Stravinsky and many others, was Diaghilev's conductor of choice. But it was Monteux's American audiences, especially in San Francisco and Boston, who would love him the most over the course of a long career. He conducted many American premieres, works of Debussy, Falla, Ravel, and among the more than a dozen Boston premieres, those of The Rite of Spring and of Mahler's First Symphony. Canarina, a conductor and teacher of conducting himself, studied with Monteux for seven summers and brings great personal warmth and understanding to this wise, admiring and honest book, the first full-length biography of the man whom so many knew and loved as "Maitre."