100 Ultimate Blues Riffs for Piano/Keyboards the Beginner Series by musician educator and world renowned author Andrew D. Gordon is an exhaustive guide to introduce beginner students to the various phrases or riffs that make up Blues piano playing both from a rhythmic and soloing standpoint. Due to the continued success of his more advanced book 100 Ultimate Blues Riffs for Piano/Keyboards Andrew decided to author a similar type of book for beginner students. This book is ideal for the beginner to intermediate music student with most of the examples notated in the easier keys. Besides learning how to play Blues riffs the book is a useful toolfor sight reading exercises with many different left and right hand rhythms. The 12 bar Blues progression and the Blues scale in Andrew s opinion the two most important aspects of playing the Blues is explained in detail as well as straight and swing rhythms. There are five sections to the riffs in the book section 1 contains basic Blues riffs section 2 contains Rhythm

Arrangements for two or more keyboards with a pull-out second copy of the music. More than a dozen favourites including 'We Wish You a Merry Christmas'.Grade: 1 - 3

The first step towards experiencing the fun of playing Keyboards. This book will guide you through everything you need to know to begin playing the keyboards. Learn How To: Play Chords And Arpeggios Playmajor and minor scales Play melodies by ear Improvise Play the blues CD included

from 'Versuch uber die wahre Art das Clavier zu spielen'-Book 4 in this collection of Selected Carl Emanuel Bach Keyboard Works contains six fantastic sonatas from his Versuch uber die wahre art das Klavier zu spielen or The True Art of Playing Keyboard Instruments. Published within the â??Signature Series' a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars including informative introductions and performance notes. These authoritative and satisfying volumes are all set for solo Keyboard instrument and are suitable for Piano Harpsichord or Keyboard solo.

Miscellaneous Pieces-Book Two in this fantastic collection of selected Carl Philipp Emanuel Bach keyboard works contains a miscellany of a superb pieces including Solfeggietto in C Minor and Abschied von meinem Sibermannschen Clavier all edited by Howard Ferguson. Published within the Signature Series a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars including informative introductions and performance notes. These authoritative and satisfying volumes are all set for solo Keyboard instrument and are suitable for Piano Harpsichord or Keyboard solo. Setfor the ABRSM Harpsichord examinations grades 5 and 6.

Complete Sonatas For KeyboardVolume I: Nos 1 - 10 The Czech composer František Xaver Dušek (1731–1799) was a leading figure in Prague’s music life in the latter half of the 18th century. He was an outstanding pianist composer and Piano teacher whose pupils included Leopold Koželuch. Now all of Dušek’s 21 sonatas many of which have until now been available only in old prints or manuscripts are appearing in two volumes. The editor Vojt ch Spurný has carefully collected and compared archival sources strewn throughout Europe. The sonatas arranged in chronological order bydate of publication now appear for the first time in critical editions. They are easy to play some most probably having been written for teaching purposes. First complete critical edition of Dušek’s sonatas Previously hard to reach repertoire Trilingual Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) Easy to moderate difficulty

Media Type : Book Level : Beginning Musical Genre : Blues Series : Photo Chords Number of pages : 32 As opposed to Complete Piano Photo Chords, this edition encompasses only the most commonly used chords that you will find in BLUES music. All photos are shown in the left hand, except where two hands are necessary. A vivid graphic illustrates the location of the notes and a list of note names and the most commonly used chord symbol is also supplied. Chords are listed by the circle of fifths. A listing of alternate chord names/symbols is also provided. A wonderful, genre specific guide perfect for any level and a must-have for any pianists'/keyboardists' library!

A flat maj Wq. 49/2 B min Wq. 55/3 F maj Wq. 55/5 F min Wq. 57/6 C min Wq. 60-Five of Carl Philipp Emanuel Bach's best sonatas in one terrific volume edited and annotated by Howard Ferguson. Published within the â??Signature Series' a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars including informative introductions and performance notes. These authoritative and satisfying volumes are all set for solo Keyboard instrument and are suitable for Piano Harpsichord or Keyboard solo.

Bundle of BA9511 BA9512 BA9513 BA9514-The composer pianist and Piano teacher Leopold Koželuch (1747-1818) was one of the leading Czech musicians in 18th-century Vienna. His 50 sonatas for Keyboard bear witness not only to the transition from the harpsichord or clavichord to the pianoforte but also to the evolution of the classical sonata at the turn of the 19th century.Until now there have been few modern editions of this music. Our new edition prepared by Christopher Hogwood is the first to present all of Koželuch’s sonatas for solo Keyboard.Each of the four volumes contains 12 to 13 sonatas in chronological order by date of initial publication.Firstcomplete edition of the sonatas for Keyboard.Suitable for professionals and amateurs alike.Ideal for teaching purposes.Detailed Foreword (Eng/Cz/Ger) Critical Commentary (Eng) and facsimile pages.Overview of contents: Complete Sonatas for Keyboard:Volume I BA 9511 12 sonatas from the years 1780-1784.Volume II BA 9512 12 sonatas from the years 1784-1786.Volume III BA 9513 13 sonatas from the years 1788-1797.Volume IV BA 9514 9 sonatas from the years 1807-1809; 4 sonatas from the 1770s

This outstanding collection brings together forty-nine of the finest keyboard works by major Italian composers of the 17th and 18th centuries. With works by Frescobaldi Scarlatti Martini and others arranged for piano solo or other keyboard instruments. The beautiful melodies flowing elegance and charm of these pieces will leave you uplifted and energised. 49 works arranged for Solo piano.

Western Classics-...für Keyboards Soundmodule und Computer. General Midi - kompatibel zu allen GM & GS-Instrumenten allen 3 5' SMF-Laufwerken IBM/IBM-kompatibel/ATARI/Apple (mit Apple File Exchange). Texte in ASCII-Format. Topaktuelle Arrangements angesagter Evergreens: Dixie; Two Country Waltzes; Blue Moon Of Kentucky; Lazy River; One Has My Name...; Kentucky Waltz; Shenandoah; Yellow Rose Of Texas; Wabash Cannonball; Will The Circle Be Unbroken. Plus Bonus-Track (Medley). Alle Titel mit Noten. Der Notenausgabe ist eine Musikdaten-Diskette beigelegt deren einzelne Titel sowohl einen Klavier-Part als auch eine professionell arrangierte Begleitung enthalten.Diese Standard Midi Files können von jedem SMF-Player der in der Lage ist die Daten zu lesen abgespielt werden. Die Noten für die rechte Hand finden Sie stets auf Midi-Kanal 4 die der linken Hand auf Midi-Kanal 3. In der Bedienungsanleitung Ihres SMF-Players finden Sie detailierte Hinweise zum Stummschalten einzelner Midi-Kanäle. Die 3 5' DD Diskette ist in MS-DOS formatiert und hat eine Kapazität von 720 KB. Die Midi-Files sind im Format 0 abgespeichert und entsprechen dem GM Standard. Außerdem finden Sie auf der Diskette sämtliche Texte im ASCII-Format die Sie für Ihren eigenen Gebrauch ausdrucken können.

Features 16 of Bach's transcriptions for solo keyboard instruments (piano and harpsichord) of concertos for violin and other non-keyboard instruments by Vivaldi, Telemann, and others. Reprinted from the definitive Bach-Gesellschaft edition prepared by Ernst Naumann. Content : Concerto No. 1 in D major, BWV 972 (based on a violin concerto by Antonio Vivaldi, op. 3, no. 9) [ALLEGRO]. LARGHETTO. ALLEGRO. Concerto No. 2 in G major, BWV 973 (based on a violin concerto by Antonio Vivaldi, op. 7, book 2, no. 2) [ALLEGRO]. LARGO. ALLEGRO. Concerto No. 3 in D minor, BWV 974 (based on an oboe concerto by Allessandro Marcello) [ALLEGRO]. ADAGIO. PRESTO. Concerto No. 4 in G minor, BWV 975 (based on a violin concerto by Antonio Vivaldi, op. 4, no. 6) [ALLEGRO]. LARGO. GIGA: PRESTO. Concerto No. 5 in C major, BWV 976 (based on a violin concerto by Antonio Vivaldi, op. 3, no. 12) [ALLEGRO]. LARGO. ALLEGRO. Concerto No. 6 in C major, BWV 977 (source unknown) [ALLEGRO]. ADAGIO. GIGA. Concerto No. 7 in F major, BWV 978 (based on a violin concerto by Antonio Vivaldi, op. 3, no. 3) ALLEGRO. LARGO. ALLEGRO. Concerto No. 8 in B minor, BWV 979 (source unknown) [ADAGIO]-ALLEGRO. ADAGIO. ALLEGRO. Concerto No. 9 in G major, BWV 980 (based on a violin concerto by Antonio Vivaldi, op. 4, no. 1) [ALLEGRO]. LARGO. ALLEGRO. Concerto No. 10 in C minor, BWV 981 (based on a concerto by Benedetto Marcello, op. 1, no. 2) [ADAGIO. VIVACE. [LARGO]. PRESTISSIMO. Concerto No. 11 in B-flat major, BWV 982 (based on a violin concerto by Duke Johann Ernst of Saxe-Weimar, op. 1, no. 1) [ALLEGRO]. ADAGIO. ALLEGRO. Concerto No. 12 in G minor, BWV 983 (source unknown) [ALLEGRO]. ADAGIO. ALLEGRO. Concerto No. 13 in C major, BWV 984 (based on a concerto by Duke Johann Ernst of Saxe-Weimar) [ALLEGRO]. ADAGIO E AFFETTUOSO. ALLEGRO ASSAI. Concerto No. 14 in G minor, BWV 985 (based on a violin concerto by Georg Philipp Telemann) [ALLEGRO]. ADAGIO. ALLEGRO. Concerto No. 15 in G major, BWV 986 (source unknown) [ALLEGRO]. ADAGIO. ALLEGRO. Concerto No. 16 in D minor, BWV 987 (based on a violin concerto by Duke Johann Erns of Saxe-Weimar, op. 1, no. 4) [GRAVE]-PRESTO. ALLEGRO.

Near-complete collection of this great English composerâ??s keyboard compositions including the eight suites the core of his keyboard works. Also included are many miscellaneous one-movement pieces: airs trumpet tunes (for harpsichord solo) grounds preludes dances etc. Edited with a preface by noted music scholar William Barclay Squire.

It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major