SKU: BT.9780008353230
ISBN 9780008353230. English.
My First Piano Book introduces young children to the piano and music-making through fun activities, rhymes, songs and pieces. The author’s tried-and-tested progression covers note learning, theory, aural and composing through acreative and holistic approach. Many pieces have simple teacher duet parts to encourage ensemble playing from the start, and the book is illustrated throughout in the charming Get Set! style. This carefully designed tutor willinspire, entertain and, most importantly, nurture a love of music that can last a lifetime. Suitable for children aged 5+.
SKU: BT.9781408192771
ISBN 9781408192771.
Get Set! Piano Pieces Book 1 is an exciting new collection of pieces by Heather Hammond and Karen Marshall, arranged and written specially for the twenty-first century child.Get Set! PianoPieces Book 1 follows and supplements the tried and tested progression of Get Set! Piano Tutor Book 1. It includes favourites like Alice the camel, Little bird, Hot cross buns, We wish you a Merry Christmas andengaging new pieces from jigs to jazz featuring wriggly caterpillars and scary pirates. Many of the pieces have straightforward teacher duet parts to encourage ensemble playing from the start.The book isattractivelylaid out and fully illustrated, with quizzes and crosswords to reinforce learning.
SKU: HL.49003293
ISBN 9790220119453.
Following on from Volume 1, this book contains more fun pieces for piano or keyboard players. Contents: My Turn, Your Turn * Walkin' with the Gerbil * And the Little Birds Go... * Don't Stop * Lost for Words * Hop-Bop * Clockword Soldier * Minor Bird * Sunshine Rag * Quiet * I'm Thinking * Sneakin' Up Behind * Reflections in a Rockpool * Ghost Train Boogie * Preachin' * Soul Food (Duet) * Release the Monkey * Purple Seas * Nocturne * Terms and Signs * Key to the Written Music.
SKU: HL.14034353
ISBN 9780711991712. 9.0x12.0x0.146 inches.
Step by step instructions for ABRSM and other singing exams. This book contains everything you need to progress to Grade 3 and includes over 30 songs which can be used in your exam. Includes sections on warming-up, sight singing and an introduction to singing with other people.
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.
SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: HL.49045690
For decades, pupils (aged 6+) have been learning the basics of piano playing with plenty of imagination and creativity by using the popular three-volume piano method Piano Kids by Hans-Gunter Heumann. In 2014 the method was revised and has since been published in a revised and expanded new edition: New songs and illustrations breathe new life into the standard work and adjust it to the realityof life of today's first-time piano players. The educational concept of Piano Kids, resulting from the combination of textbooks, additional activity books as well as the large number of themed tune books, is now completed by tune books that are companions to the textbooks.These new tune books contain a wide range of very easy pieces for beginners which are in line with the progress of the textbooks andprovide the young pianists with age-appropriate playing literature from the very first piano lesson. Well-known folklore melodies, upbeat compositions in the style of pop, rock and jazz music as well as the first little masterpieces by Mozart, Beethoven & Co. motivate and stimulate the pupils and add variety to the music lessons. Volume 1 starts with several pieces for piano duet which will easily motivate beginners without demanding too much. All pieces are limited to the five-note range while nevertheless covering the whole spectrum of styles: from folk melodies via classical pieces by composers such as Gurlitt, Turk or Bartok to modern compositions from the areas of pop, rock and jazz music. Alongside Vol. 2 of the piano method, Volume 2 extends the pitch range and heightens the rhythmic demands. Apart from the wide rangeof songs from the areas of folk, rock and pop music, the young musicians get to know the first easy piano pieces by Mozart, Beethoven & Co. Many little 'treats' will have a lasting motivating effect on the pianists, like e.g. the Baby Elephant Walk by Henri Mancini or The Entertainer by Scott Joplin. These pieces have been arranged by Hans-Gunter Heumann in such a way that they do not demand too much of the children but motivate them when playing these famous melodies.
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