Jazz Chords On Piano -2 by Tormod Vinsand (2017). This book is a follow-up on Jazz Chords on Piano (WH32971) and it is definitely an advantage if you have familiarised yourself with the techniques and terms used in Jazz Chords on Piano. There are many ways in which to play jazz on a piano. In Jazz Chords on Piano I describe some guidelines for how to prepare accompaniment and melody playing but admittedly there are of course many other ways to play or other techniques to use. In Jazz Chords on Piano - 2 I have chosen to focuson four typical techniques: Part 1 - Playing Arpeggioin left handPart 2 - 4-stacked chords in a piano movementPart 3 - Left-hand chordsPart 4 - Overlying triads when accompanying To illustrate the various techniques I have made compositions that are stylistically adjusted so that the various techniques make musical sense and are playable. (Tormod Vinsand) Tormod Vinsand (born 1958) has a Master’s Degree in Musicology from University of Copenhagen.Since 1988 Tormod has been a jazz piano lecturer atThe Rhythmic Music Conservatory Copenhagen TheInstitute of Musicology at University of Copenhagen and the Royal Danish Academy of Music Copenhagen.The material you fi nd in this book has been used at theabove three educational institutions and is primarilytargeted to music students that do not have the pianoas their primary instrument at these schools. Butothers may also benefi t from this book provided youhave an elementary theoretical background in music.Since 2013 Tormod has also been Music SchoolManager at the Rødovre School of Music.

Gabriel Fauré?s four Valses-Caprices (1882/83 1894) demonstrate various forms of his treatment of the waltz in combination with the free form of the caprice. The composer drew his inspiration for his Valses-Caprices in the first place from works such as Liszt?s Valse-Impromptu and his Valse capriccio and the famous Valse-Caprice by Anton Rubinstein.These important works are now made available in scholarly-critical Urtext editions based on the ?uvres complètes de Gabriel Fauré and reflect the latest state of research. Detailed forewords offer information on the genesis and significance ofthe compositions as well as valuable suggestions on historical interpretation.All the available manuscript and printed sources as well as piano rolls containing recordings by the composer have been taken into consideration leading to new discoveries particularly regarding the Valses-Caprices.Based on the ?uvres complètes de Gabriel FauréBased on the latest research findings and extensive source studiesInformative forewords with advice on performance practice (Fr/Eng/Ger)Christophe Grabowski is a French pianist and doctor of musicology and studied in Warsaw and Paris. He has edited a volume of the ?uvres complètes de Gabriel Fauré and is Series Editor of the Complete Chopin: A New Critical Edition as well as two volumes of the Édition Complète des ?uvres de Claude Debussy. Together with John Rink he published the Annotated Catalogue of Chopin?s First Editions in 2010.

Liszt, Franz
Piano Pieces from the Years 1880?85
- Scholarly-critical Urtext edition at the cutting edge of musicology
- Valuable notes on interpretation by Steffen Schleiermacher (Ger/Eng)
- Well-suited for medium-level piano teaching
·
Romance oubliée (Vergessene Romanze) / Romance oubliée (Forgotten Romance)
·
Vergessene Romanze (Romance oubliée) / Forgotten Romance (Romance oubliée)
·
Wiegenlied (Chant du berceau) / Cradle Song (Chant du berceau)
·
Unstern! (Sinistre) / Disaster! (Sinister)
·
Die Trauer-Gondel (La lugubre gondola)
·
The Funeral Gondola (La lugubre gondola) (S 200/1)
·
Die Trauer-Gondel (La lugubre gondola)
·
The Funeral Gondola (La lugubre gondola) (S 200/2)
·
R. W. ? Venezia
·
Am Grabe Richard Wagners / At the Grave of Richard Wagner
·
Frage und Antwort. Nocturne / Question and Answer. Nocturne
·
Schlaflos! Frage und Antwort. Nocturne (nach einem Gedicht von Toni Raab)
·
Sleepless! Question and Answer. Nocturne (after a Poem by Toni Raab)
·
Trübe Wolken (Nuages gris) / Gloomy Clouds (Nuages gris)
·
En rêve. Nocturne / In a Dream. Nocturne / Partitions classique / Piano - instruments à clavier / Piano / BARENREITER

Faur??s piano works are of central importance within his compositional oeuvre. He dedicated his ?Ballade? composed in 1879 to his teacher Camille Saint-Sa?ns. Structurally and in terms of its lyrical character the work breaks from the genre?s epic form and takes on the traits of the sonata form. In 1881 Faur? arranged his ?Ballade? for piano and orchestra and the work was premiered in this new scoring.Drawing on the most recent discoveries and comprehensive source research the work is presented in a scholarly-critical Urtext edition. The publication which is based on the ??uvres compl?tes de Gabriel Faur?? includes a detailed foreword and notes on performancepractice.Published on the basis of ??uvres compl?tes de Gabriel Faur??Incorporates the latest research and findings regarding the sourcesScholarly-critical Urtext edition with advice on performance practiceDetailed foreword (Fr/Eng/Ger)Christophe Grabowskiis a pianist and doctor of musicology who studied in Warsaw and in Paris. He edited among other works one volume of the ??uvres compl?tes de Gabriel Faur?? two volumes of the ??dition Compl?te des ?uvres de Claude Debussy? and was the series editor for the new Chopin Complete Edition. In 2010 together with John Rink he published the ?Annotated Catalogue of Chopin?s First Editions?.

In autumn 1827 Schubert composed eight 'Impromptus' for publication as a complete collection by Haslinger in Vienna. When the plan fell through Schubert offered his 'Impromptus' to Schott as pieces which 'could be issued individually or all four together'. The name of the works probably originated from the publisher Haslinger and Schubert also used it for his collection published later as op. posth. 142. The lyrical-romantic works are suitable for advanced piano students and have the character of sonata movements. Robert Schumann who regarded them as parts of a four-movement sonata drew attention to the second collection published by Diabelli in 1839 in hisreview.For the first time this scholarly-critical Urtext edition presents the musical text of the 'New Schubert Edition' in new engraving and with optimum page-turns. The fingering takes essential aspects of performance practice of Schubert’s time as well as performance on the modern concert grand piano into consideration.A detailed foreword suggestions for performance and notes on the evaluation of the primary sources complete the edition.- Scholarly-critical editions based on the Urtext of the New Schubert Edition taking all known sources into account- Newly engraved editions with optimum page-turns- With fingering and suggestions for performance (Ger/Eng) by Mario Aschauer- With a detailed foreword (Ger/Eng) and critical commentary (Eng)Mario Aschauerstudied piano historical keyboard instruments conducting and musicology in Linz Salzburg and Vienna. He performs as a soloist and chamber musician with groups including the Austrian Calamus Consort presenting a wide-ranging repertoire on fortepiano harpsichord and organ. Four Impromptus op. 90 - D 899: I. Impromptu C minorII. Impromptu E flat majorIII. Impromptu G flat majorIV. Impromptu A flat majorFour Impromptus op. post. 142 - D 935: I. Impromptus F minorII. Impromptus A flat majorIII. Impromptus B flat majorIV. Impromptus F minor Critical Commentary

For Teresa was commissioned by Tim Suter for his wife Helen as part of William Howard’s Love Songs Project and was first performed privately by William Howard for her 60th birthday in February 2017. He gave the public premiere at Hoxton Hall London on 26th April 2017. The music is based on the notes T E S (E flat) A of the Christian name of the composer’s wife Teresa Cahill.  The music works towards a quotation of the opening of Beethoven’s Bagatelle No. 25 in A minor  Für Elise (which also uses letters from the name Therese H being B natural in German nomenclature) a piece which it isnow thought was originally titled Für Therese and possibly composed for Theresa Malfatti to whom Beethoven unsuccessfully proposed marriage in 1810 but recent musicology has suggested other possible dedicatees.

Jeunehomme-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologistsas well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Jeunehomme-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologistsas well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

New findings in Beethoven?s first piano concerto The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven?s works now turns his focus on the piano concertos. In the Piano Concerto No. 1 in C major op. 15, Del Mar has found no less than 17 corrections in Beethoven?s autograph which were made after the work was published. These have been brought to light in this new Bärenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor. This new critical edition sets the highest scholarly standards without losing sight of the needs of modern performers. - Urtext edition reflecting the latest musicological research - Includes Beethoven?s cadenzas - Piano reduction with a separate solo piano part Edition no.: BA 9021-90 ISMN: 9790006543069 Editor: Del Mar, Jonathan Arranger: Schelhaas, Martin Language(s) of text: English, German Product format: Piano reduction, Part(s), Urtext edition Includes the following individual parts: Piano (2) Binding: Paperback Pages / Format: 57/52 S. - 31,0 x 24,3 cm

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano

for Piano and Orchestra. Par MOZART WOLFGANG AMADEUS. Concerto For Piano And Orchestra No. 22 E-flat major K. 482. Piano Solo, Flute, Clarinet (in B-flat) (2), Bassoon (2), Horn (2), Clarin trumpet (2), Kettledrum, Violin (2), Viola (2), Violoncello, Double bass. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart 's autograph manuscripts). At the same time, it also serves as an aid to authentic performances. The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!/ Répertoire / Piano

Franz Schubert's Impromptus Op. post 142 (D 935) are among his most frequently played piano works and have found a permanent place in music lessons and in the concert repertoire. The Wiener Urtext Edition now presents a new edition covering the latest musicological research. Closely following Schubert's original manuscript, numerous details have been added to and corrected in the text. This edition now also includes notes on interpretation by Robert D. Levin which look even into the most subtle shades of meaning of expression markings. The score and page layout have been designed in a user-friendly way. / Piano

The Modal Column is a cycle of paired pieces for piano starting from the classical structure- prelude-fugue - used by Bach in Das wohltemperierte Klavier. The modes that are being used have a relatively simple octavizing structure hence an almost infinite variety of combinations that can generate a large number of pieces impossible to exhaust by a composer. Therein lies the idea of a column in the sense given by Brancusi i.e. an endless succession of modules. In the vision of the author the mechanism of the mode is a secondary (ancillary) aspect the primary goal is deciphering the ethos incorporated in it. The prelude-fugue structure hypostatizesthe musical discourse at the two possible extremes. free-constructed. While Romanian music rules in free areas like any old music with an (especially oral) tradition the constructed pieces start from Dutch (Flemish) or Venetian polyphony which precedes the idea of fugue understood as a technology of the movement (dynamics) of sound after the models of Giovanni Gabrieli or Ockeghem. The Modal Column is first of all the presentation of a melodic world but as the subtitle indicates also an investigation into the ethos of Romanian music. The forms in which the pieces are thought are simple non-ostentatious the whole cycle being in fact a musical workshop whose better parts may be worth including in ampler works. Before the succinct description of the six couples in Books I and II a few observations necessary from a musicological point of view: 1. The modes are rich in nostalgia with even graver nuances in the livelier movements. 2. It is well-known that all the columns - Egyptian obelisks ancient ornamental columns - have scenarios engraved on them. Trajan's Column describes the wars against the Dacians and their defeat. George Calinescu says 'Trajan's Column is beautiful but let us not forget that the Dacians are in chains on it.' The Romanian melos is millennia-old and was but little influenced by historical

The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works.It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals.The critical edition will form the basis of accurate performance material for Robert Schumann's work. / Piano