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 13 Barcarolles composed over a period of almost four decades (1882 1921) are highly representative of his output for piano and are regarded as his most characteristic works. They reflect his breaking free from the Romantic idiom particularly that of Chopin and Mendelssohn developing an independent musical language in which he combined tradition and the emerging modernism.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 of thecompositions 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.

c-Moll C minor ut mineur. C.P.E. Bach?s Solfeggio (also commonly known as Solfeggietto) provides a thrilling sprint for the fingers around the keyboard in 60 seconds of pure musical energy. The title, referring to the solfège exercises commonly given to singers, indicates a piece that is designed to develop technique. But the panache with which Bach flies through the scales and arpeggios of this piece make it both a satisfying and highly-effective practice piece as well as a reliable concert showstopper for pianists moving past the first stages of learning. This new Urtext edition has been produced by the internationally renowned C.P.E. Bach expert Wolfram Enßlin and brings together the highest level of musicology with a beautifully prepared and practical edition. Contains a preface and critical commentary in German, English and French. ? New Urtext edition of C.P.E Bach?s famous and popular Solfeggio ? Edited by international C.P.E. Bach scholar Wolfram Enßlin ? Contains Preface and Critical Commentary in German, English and French ? Medium difficulty makes this a perfect study piece for advancing students

Following the newly engraved publications of Schubert?s ?Moments Musicaux? (BA 9647) and ?Impromptus? (BA 9648) the composer?s late Piano works are now published in a scholarly-critical Urtext edition that will meet the demands of today?s performers. Schubert?s popular ?Ungarische Melodie? D 817 inspired by gypsy melodies was composed in 1824; his ?Allegretto in C minor? D 915 was written in the spring of 1827; a little later at the latest in 1828 he also wrote his ?Drei Klavierstücke? D 946 which are closely related in form to his ?Moments Musicaux?.Suggestions on performance practice optimum page turns and fingering which takes intoconsideration essential aspects of performance practice of Schubert?s time as well as the performance on modern concert Pianos are all included in this edition.Based on the Urtext of the ?New Schubert Edition?Newly engraved Urtext edition with optimum page turnsWith fingering and information on performance practice (Ger/Eng)In-depth foreword (Ger/Eng) and critical commentary (Eng)ContentsUngarische Melodie (Hungarian Melody) D 817Allegretto in C minor D 915Drei Klavierstücke (Three Piano Pieces) D 946Mario Aschauer studied Piano historical Keyboard instruments conducting and musicology in Linz Salzburg and Vienna. He performs as a soloist and chamber musician with among others the Austrian ?Calamus-Consort? and has developed a wide-ranging repertoire on the Fortepiano Cembalo and Organ. Mario Aschauer has been a collaborator for the ?New Schubert Edition? since 2008 and is a teacher at the University of Vienna. In his research he concentrates on the historical performance practice of European art music of the 17th 19th centuries.

Urtext with fingering-Haydn’s late piano sonatas Hob. XVI:40–42 (1784) and Hob. XVI:48–52 (1788-95) reveal him to be a distinctive and consummate master in terms of form and expression. These technically brilliant works the quintessence of his sonata output reflect the fresh inspiration he received in London. This new Urtext edition presents these piano sonatas in a spacious engraving. The early version of the second movement of the Sonata in C major Hob. XVI:50 is reproduced in the appendix. Rounding off this performing edition are historically informed fingering and valuable notes on period performance practice by Rebecca Maurer a highly acclaimed harpsichord andfortepiano player. Critical performing edition at the cutting edge of musicology Valuable notes on period performance practice (Ger/Eng) Includes historically informed fingering Practical page turns Informative Foreword (Ger/Eng) and Critical Commentary (Eng)

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

NATIONAL EDITION SERIES A VOLUME 7 Jan Ekier. Par CHOPIN FREDERIC. The Preludes of Op. 28 include all 24 major and minor tonalities arranged in a circle of fifths, with each major key being followed by its relative minor. Contrary to custom of using this type of piece as didactic material, Chopin's cycle was intended as concert music. The Preludes are a diverse variety of mood, tempo, articulation, texture, etc.The objective of the National Edition is to present Chopin's complete output in its authentic form, based on the entire body of available sources. Sources were analysed with up-to-date scientific and musicological methodology. The National Edition was based on sources originated from the composer, mainly autographs, copies of autographs and first editions with the composer's corrections, and pupils' copies with Chopin's annotations. In cases when original sources were lacking, the closest possible materials were used. Collecting the source materials was a laborious task which took years of effort. The characteristics of sources, the links and discrepancies between them as well as the reasons for particular editorial decisions are discussed in the Source Commentary in each volume. The Performance Commentary appended to each volume includes: the realisation of ornaments, comments on pedal markings (the original markings sometimes are inadequate, due to the difference in sound between pianos used in Chopin`s times and modern pianos), suggestions as to the harmonic legato (a performance technique often used by Chopin and now forgotten). About the National Edition Full Introduction to the Polish National Edition of the Works of Fryderyk Chopin / Date parution : 2023-11-03/ Recueil / Piano