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This early intermediate to intermediate piano volume features the most widely taught preludes by twentieth-century Russian composer Samuel Maykapar. Maykapar wrote these preludes to introduce piano students to many different types of pedal technique. The preludes, written in a highly Romantic style, are valuable for both study and performance. This volume includes an excellent composer biography and extensive performance notes. It is also an important reference work on use of pedal.
This early intermediate to intermediate piano volume features the most widely taught preludes by twentieth-century Russian composer Samuel Maykapar. Maykapar wrote these preludes to introduce piano students to many different types of pedal technique. The preludes, written in a highly Romantic style, are valuable for both study and performance. This volume includes an excellent composer biography and extensive performance notes. It is also an important reference work on use of pedal.
Volume I contains eight sonatas, a composer biography, and useful written-out ornaments, all helpful to students. Included are some of the more often taught and performed of the Scarlatti sonatas such as Sonata in C Major. All newly engraved and at a great price.
Volume II includes sonatinas at a more advanced level than Volume I. Here we offer six sonatinas from various composers and periods to further introduce students to this musical form before going into the complete sonatas. Composers represented in this volume include BartÑk, Beethoven, Benda, Clementi, Dusek, and Kuhlau.
These paperback editions makes Peter Williams's influential scholarship available to a wider field of readers, including those with an interest in the ever-expanding discussions of original instrumentation and its implications for modern performance. Professor Williams examines Bach's organ works piece-by-piece, reconstructing for the present-day performer and listener the original context of the work. Form and style are analysed, with abundant musical examples and frequent allusions to the views of other commentators. Each volume contains a preface, calendar, lists of musical sources and references, and an index.
Murray Baylor's scholarly edition of Rachmaninoff's most famous and dramatic Prelude includes historical notes and performance suggestions, and an optional page with measures 1-13 for pianos without a sostenuto pedal.
(Educational Piano Library). This handy and thorough guide is designed to help the independent piano teacher in all aspects of running his/her own studio. Whether it be business practices such as payment plans, taxes, and marketing, or teaching tips involving technique, composition, or sight reading, this all-inclusive manual has it all! Topics include: Developing and Maintaining a Professional Studio, Finances, Establishing Lessons, Studio Recitals, Tuition and Payment Plans, Composition and Improvisation, Marketing, Communications with Parents, Make-up Policies, Zoning and Business Licenses, Teaching Materials and Learning Styles, The Art of Practice, Arts Funding, and many more!
The 17th century was the century of the organ in much the same way the 19th century was the century of the piano. Almost without exception, the major composers of the century wrote for the instrument, and most of them were practicing organists themselves. This historical book surveys, analyzes, and discusses the major national styles of 17th century European organ music. Due to the extraordinarily extensive body of literature produced during this 100-year period, this text includes 350 musical examples to illustrate the various styles. The book also includes brief discussions of the various national styles of organ building, an appendix about the various notational methods used in the 17th century, and a chapter on Spain and Portugal written by Andre Lash, an expert on the subject.
In 2007, the great Bach scholar Anne Leahy died at the age of 46. She was a leading light in Bach studies and lecturer at the Dublin Institute of Technology (DIT) Conservatory of Music and Drama. Posthumously edited by renowned Bach scholar Robin A. Leaver, Leahy's dissertation research forms the basis for this original study of the preludes to Bach's Leipzig chorales. Originally composed in Weimar and later revised in Leipzig, Bach's compositions have been a source of some puzzlement. As Leahy notes, "the original intentions of Bach and the possible purpose of this collection might be regarded as speculative." Working from available sources, however, she argues that through the careful examination of the links among the music, hymn texts, and theological sources some answers may be had. From Bach's personal and deep interest in Lutheran theology to his enormous musical passion, Leahy considers closely a series of critical questions: does the original manuscript for the chorales simply reflect a randomgathering of compositions or is there a common theme in setting? How critical is the order of the chorales and what is the theological significance of that order? Were the chorales a unified collection, and if so, which parts were to be included and whichnot? Indeed, were the chorales themselves part of a possibly larger corpus? As Leahy makes evident, there are no simple answers, which is why she considers critical the relationship the texts of the hymns to the chorales and to one another, outlining atheological pattern that is vital to fully grasping the guiding philosophy of these compositions. J. S. Bach's "Leipzig" Chorale Preludes: Music, Text, Theology is ideally suited for Bach scholars and those with a general interest in the intricateconnections between text and music in the composition of religious music.