SKU: AP.44697

ISBN 9781470627331. UPC: 038081508139. English.

Alfred's Basic Adult Piano Course: Popular Hits answers the often- expressed need for a variety of supplementary material in many different popular styles. Soon after beginning piano study, students can play attractive versions of the best-known music of today. This book is correlated page-by-page with Lesson Book 1 of Alfred's Basic Adult Piano Course and Level 1 of Alfred's Basic Adult All-in-One Course. When pieces from the Popular Hits books are assigned in conjunction with the material in the Lesson Books, new concepts are reinforced in a fun and motivating way, increasing the student's interest in piano study. Titles: Best Day of My Life (American Authors) * Big Yellow Taxi (Joni Mitchell) * Bye Bye, Love (The Everly Brothers) * Clouds (Zach Sobiech) * Don't Stop Believin' (Journey) * Everything Is Awesome (Awesome Remixx!!!) (from The LEGO Movie) * Flicker (Kanye West Rework) (from The Hunger Games: Mockingjay, Part 1) * I Could Have Danced All Night (from My Fair Lady) * I Got You Babe (Sonny and Cher) * I Love Paris (from Can-Can) * I'll Stand By You (The Pretenders) * James Bond Theme * Let It Go (from Walt Disney's Frozen) * Mamma Mia (from Mamma Mia!) * Over the Rainbow (as sung by Israel IZ Kamakawiwo'ole) * Raiders March (from Raiders of the Lost Ark) * The Rose (Bette Midler) * Star Wars (Main Theme) * Take My Breath Away (Berlin) * A Teenager In Love (Dion and The Belmonts) * Try to Remember (from The Fantasticks) * You Raise Me Up (Josh Groban).

About Alfred's Basic Adult Piano Course

Designed for use with an instructor, the Adult All-in-One Course is for the beginning student looking for a truly complete piano course. It is a greatly expanded version of Alfred's Basic Adult Piano Course that includes lessons, theory, technique, and additional repertoire in a convenient all-in-one format. This comprehensive course features written assignments that reinforce each lesson's concepts, a smooth, logical progression between each lesson, a thorough explanation of chord theory and playing styles, and outstanding extra songs, including folk, classical, and contemporary selections. At the completion of this course, the student will have learned to play some of the most popular music ever written and will have gained a good understanding of basic musical concepts and styles.

SKU: BR.EB-9253

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.