Beginning Baroque For Piano

More Easy Classics to Moderns is a sequel to widely popular first volume presenting 148 pieces by masters from the Baroque to the Modern period. As a result of the extended period of music history covered in this volume beginning Pianists of all ages will discover material suited to their particular need. The pieces are simple enough to appeal to the beginning student as a first sight reading book. Even at University level the student will finda rich source of material to supplement his study of theory and composition. Students teachers and all pianists should find these original miniatures valuable for study recital sight reading or just relaxing musicalentertainment of the highest caliber.

Cool Through Styles and Centuries-Cool Cat Piano Goodies – What's that? To begin with watch as Ulrich Kallmeyer explores various pop idioms in cool pieces conceived for easy to medium difficulty and for contrasting harmonies and rhythms. Such a claim still doesnt do justice to the Goodies however since references to the classical tradition shimmer through these pieces. Behind Second Loss is Schumanns Erster Verlust and the New Solo for Mr. Byrd reaches much farther yet into music history. Other works were influenced by Baroque and Classical forms such as prelude chorale and rondo. The Goodies leap nimbly through eras and styles and have something to offer both beginning and proficient pianists.

This exciting new teaching method by the renowned piano pedagogue Hans-Günter Heumann is ideal for adults and young people looking to learn the piano from scratch or for those returning to the piano after a break from playing. Using classical music as a basis for learning this method introduces interesting varied and well-known pieces right from the outset. The two method books have been carefully designed to progress in small manageable steps beginning with simple fingering patterns and exercises onto some of the most beautiful melodies and pieces from the baroque classical and romantic eras such as the Ode to Joy Für Elise and the Blue Danube Waltz.Leading the student through a range of exercises repertoire pieces theory checks tips on practicing playing and technique and composer biographies the process of learning is made interesting informed and fun. The four supplementary volumes present further material to help learning at each stage of the students? development as well as offering up a wider range of beautiful pieces for the solo pianist or piano duet.The method books and duet collections are accompanied by a CD recording of all pieces performed on a grand piano by a professional concert pianist as well as some additional accompanying parts which can be used as play-along tracks.

This exciting new teaching method by the renowned piano pedagogue Hans-Günter Heumann is ideal for adults and young people looking to learn the piano from scratch or for those returning to the piano after a break from playing. Using classical music as a basis for learning this method introduces interesting varied and well-known pieces right from the outset. The two method books have been carefully designed to progress in small manageable steps beginning with simple fingering patterns and exercises onto some of the most beautiful melodies and pieces from the baroque classical and romantic eras such as the Ode to Joy Für Elise and the BlueDanube Waltz. Leading the student through a range of exercises repertoire pieces theory checks tips on practising playing and technique and composer biographies the process of learning is made interesting informed and fun.The four supplementary volumes present further material to help learning at each stage of the students? development as well as offering up a wider range of beautiful pieces for the solo pianist or piano duet.The method books and duet collections are accompanied by a CD recording of all pieces performed on a grand piano by a professional concert pianist as well as some additional accompanying parts which can be used as play-along tracks.

Developing Artist Original Keyboard Classics-The Developing Artist: Piano Literature Book 3 presents authentic Keyboard literature for the intermediate pianist. The selections are organised into the four major periods: Baroque Classical Romantic and Contemporary with notes on the historical periods at the beginning of the book.The content of this book offers ample choice for auditions festivals recitals and personal study.

Start enjoying the music of the world's greatest composers at the earliest possible stage with this special selection of world-famous melodies in easy Piano arrangements. Whether you love the stately Baroque elegance ofHandel's Overture to The Messiah or the shimmering watercolour beauty of Debussy's Clair De Lune you're sure to find your favourite among these 17 accessible and easy-to-follow pieces. All fingering is fullyexplained ensuring that you begin with the very best possible technique.This superb collection of masterpieces will expand your repertoire with tunes that family and friends will adore. With such a wide range of stylesrepresented from all across the western classical tradition you'll find your Piano playing reaching new heights of confidence and ability.

The first in a set of tutorials that introduce and cover the Baroque techniques of figured harmony. Beginning with root-position chords this step-by-step guide gradually introduces inversions re-harmonisations passing tones and ornamentation. The short-hand figures are fully explained with specific reference to stylistic authenticity. Learn the most appropriate shapes how they move and how to apply them by sight in a manner true to the legacy of the Baroque composers.

Par BOYD MICHAEL. Une collection très représentative de la musique de la Renaissance et Baroque, habilement adaptée pour les solos de guitare de luth et piano works. Ce livre contient des pièces bien reconnus par maîtres compositeurs, dont beaucoup sont déjà devenus répertoire essentiel pour la guitare classique. Compilé avec les compétences de la performance du guitariste débutant à l'esprit, cette collection remplit également les exigences de répertoire de guitariste de l'étudiant, ainsi que fournir des exercices précieuses dans les orchestres en notation standard pour les artistes interprètes ou exécutants plus intermédiaires et avancés. / Niveau : Débutant / Recueil / Guitare

Piano Sonata D major K. 284 (205b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold The Sonata in D major is the last of the Six Sonatas K. 279-284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich, Augsburg and Mannheim, a fact he proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect, for instance having a slow Rondeau en Polonaise as the middle movement of the Sonata in D major. The six sonatas, which were previously only published together in the complete volumes (HN 1 and 3), are now all available as single editions with new prefaces. Mozart dedicated this Sonata to a Freiherr Thaddäus von Dürnitz - which is why it has often been called the Dürnitz-Sonata. It is undoubtedly the best, the most brilliant and the most technically demanding of these six early Sonatas. Understandably, Mozart retained a special affection for it and continued to perform it himself. It was this Sonata of which he said that it sounded incomparable on Stein's new fortepianos. FIRST MOVEMENT A first version of the beginning of the first movement, written on one and a half pages, was cancelled by Mozart. On the same page, he started anew to write the final version underneath. The thematic material of this opening movement (and to a lesser degree also that of the following movements) is laid out on a more ample, nearly orchestral scale, a departure from the intimacy of the early sonatas. The tremolo effect in measures 13-16 and the unison announcements of the first subject read very much like a piano reduction of an orchestral tutti. The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions a favourite harmonic formula of the baroque and classical periods. (There are analogous passages in the subsidiary themes in Gluck's overture Iphigénie en Tauride and the first movements of J. S. Bach's Italian Concert). This functions as a solo passage in contrast to the ensuing tutti entries in m.30. The development moves through a circle of minor keys before the recapitulation begins in measure 72. SECOND MOVEMENT Mozart called the second movement a Rondeau en Polonaise, so it is a dance. The opening four measures from a kind of dialogue (like the theme of the first movement of the preceding G major Sonata), and Mozart subjects them to felicitous counter-statement is heightened by Mozart's meticulous dynamic markings. THIRD MOVEMENT The last movement of the Sonata is a pianistically rewarding, cheerful set of variations, which, up to the adagio variation, has the character of a gavotte. It shows Mozart's special gift for writing variations at its most brilliant. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. The adagio variation is on special interest to Mozart scholars, for it gives us some insights into his concept of impromptu ornamentation. The autograph is only modestly ornamented, and Mozart presumably embellished it in performance as his fancy dictated. But a richly ornamented version survived in the first edition, published during Mozart's lifetime, and undoubtedly this embellished version is Mozart's own work. Who else could embellish in such an ingenious way? It illuminates Mozart's ideas on ornamentation in general and in particular. Paul and Eva-Badura-Skoda