The SUZUKI METHOD of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that man is the son of his environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human behavior. Students are taught using the mother-tongue approach. Suzuki Piano School materials include: Piano Books (Vol. 1-7) * Cassettes (performed by Meiko Miyazawa, Vol. 1-4) * William Aide Performs Suzuki Piano School (Cassettes & Compact Discs, Vol. 1-7) * Haruko Kataoka Performs Suzuki Piano School (Cassettes & Compact Discs, Vol. 1-3) * Valery Lloyd-Watts Performs Suzuki Piano School (Cassettes and Compact Discs Vol. 1-7). Suzuki Method Core Materials available for piano, violin, viola, cello, string bass, flute, harp, guitar, and recorder.

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that man is the son of his environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Suzuki Viola School materials include: Viola Parts (Vol. 1-7) * Piano Accompaniments (Vol. 1-7) * Cassettes (Vol. 1-7 performed by Bill Preucil). Suzuki Method® Core Materials available for piano, violin, viola, cello, string bass, flute, harp, guitar, and recorder.

Par HENRY VIII. Thirty-Five Compositions By King Henry VIII is a unique collection, containing King Henry VIII’s complete secular works. These works consist of part-songs and instrumental consorts, and have been transcribed and edited by John Stevens. The collection is a mixture of instrumental pieces and pieces for vocal ensemble, mostly in three parts, with about half-a-dozen in four. Seventeen of the pieces are instrumental, though it is perfectly possible (and historically accurate) to play the vocal pieces on instruments if preferred. In the instrumental pieces no instruments are stipulated. The top staff is treble, the second is written in the trebleclef but sounds an octave lower, as for vocal tenor, and the lowest line is a for a bass clef melody instrument. Either flute or recorder would work well for the top line in most of these pieces, which usually go no lower than around middle C. The bassoon could play either the second or third line. And the line left over could be played on keyboard. This is not harmonic music however. There are no chords, nor would it be easy of idiomatic for the keyboard player to vamp or otherwise extemporise harmonies. The pieces are printed in score, so two players might share one copy, but two copies would be ideal if the keyboard player is also taking part, and three of course if the players want to practise separately./ Recueil / Piano

Par GORDON ANDREW D.. The Bluesier Side of Jazz by Andrew D. Gordon was inspired by the Piano students he teaches at Shepherd University School of Music in Los Angeles and is dedicated to those students: Jungwon, Yumiko, Yoko, Eunice, Sooji, Hae Ji and Ok Kyu. As with many students that come from a classical background (including himself) it is a difficult transition to learn to play Blues & Jazz. When a musician improvises they usually play a variety of riffs or phrases that they have developed and learnt over a period of time and can access these phrases instantaneously whatever key they are playing in to create a seamless improvised solo from the phrases they have learnt. Andrew's idea for thisbook is to create phrases or riffs over two measures of various Blues progressions. He sub-divided each of the 12 Bar Blues progressions used in this book (the chord progression for Watermelon Man is a 16 measure progression) into six sections (two measures each) and within each of the six sections created four different phrases or riffs so that the student has a choice of four different phrases to play over every two measures. They can then create a solo based on which phrase they choose for each two measures. By breaking down these phrases to two measures each, he has found that the students have an easier time of learning to improvise than by trying to transcribe a whole solo from an audio recording or leaving them to their own devices in trying to play a solo based on the Blues scale or other related scales. Each of the ten examples are based on common Jazz/Blues chord progressions from Jazz songs such as 'Watermelon Man', 'Blue Monk', 'Tenor Madness', 'Route 66', 'Blue Trane', 'Bag's Groove' starting off with basic I-IV-V chords and increasing in complexity throughout the book. There are over 200 phrases/riffs to choose from that can be learned and applied to many types of jazz songs. The Bluesier Side of Jazz by Andrew D. Gordon was inspired by the Piano students he teaches at Shepherd University School of Music in Los Angeles and is dedicated to those students: Jungwon, Yumiko, Yoko, Eunice, Sooji, Hae Ji and Ok Kyu. As with many students that come from a classical background (including himself) it is a difficult transition to learn to play Blues & Jazz. When a musician improvises they usually play a variety of riffs or phrases that they have developed and learnt over a period of time and can access these phrases instantaneously whatever key they are playing in to create a seamless improvised solo from the phrases they havelearnt. Andrew's idea for this book is to create phrases or riffs over two measures of various Blues progressions. He sub-divided each of the 12 Bar Blues progressions used in this book (the chord progression for Watermelon Man is a 16 measure progression) into six sections (two measures each) and within each of the six sections created four different phrases or riffs so that the student has a choice of four different phrases to play over every two measures. They can then create a solo based on which phrase they choose for each two measures. By breaking down these phrases to two measures each, he has found that the students have an easier time of learning to improvise than by trying to transcribe a whole solo from an audio recording or leaving them to their own devices in trying to play a solo based on the Blues scale or other related scales. Each of the ten examples are based on common Jazz/Blues chord progressions from Jazz songs such as 'Watermelon Man', 'Blue Monk', 'Tenor Madness', 'Route 66', 'Blue Trane', 'Bag's Groove' starting off with basic I-IV-V chords and increasing in complexity throughout the book. There are over 200 phrases/riffs to choose from that can be learned and applied to many types of jazz songs. / Niveau : 3 / Recueil / Piano

Including the Transcendental Etudes, Ed. Busoni. Par LISZT FRANZ. Liszt's reputation as perhaps the greatest pianist of all time is powerfully supported by his dazzling body of work for solo piano. The undiminished popularity of his etudes with pianists and audiences alike have made them among the most performed and recorded works for solo piano in the Romantic reportoire. The first volume, Series 1, include many of Liszt's most inspired piano works and are edited by the great pianist, composer and musical scholar Ferruccio Busoni for the Franz Liszt Society and published by Breitkopf and Hartel in Leipzig in 1910-11. Each set of Etudes is a highly successful work in its own terms and are all fiendishly difficult. The separate ' Mazeppa' is yet another working of one of the etudes from these sets. The individual etudes range dramatically in style from the delicate refinement of 'Feux Follets' to the startling bravura of 'Wilde Jagd' (both from Transcendental Etudes). Each will bring to pianists and their listeners a moving encounter with the genius of this towering musical personalityLiszt's reputation as perhaps the greatest pianist of all time is powerfully supported by his dazzling body of work for solo piano. The undiminished popularity of his etudes with pianists and audiences alike have made them among the most performed and recorded works for solo piano in the Romantic reportoire. The first volume, Series 1, include many of Liszt's most inspired piano works and are edited by the great pianist, composer and musical scholar Ferruccio Busoni for the Franz Liszt Society and published by Breitkopf and Hartel in Leipzig in 1910-11. Each set of Etudes is a highly successful work in its own terms and are all fiendishly difficult. The separate ' Mazeppa' isyet another working of one of the etudes from these sets. The individual etudes range dramatically in style from the delicate refinement of 'Feux Follets' to the startling bravura of 'Wilde Jagd' (both from Transcendental Etudes). Each will bring to pianists and their listeners a moving encounter with the genius of this towering musical personality/ Répertoire / Piano

Gustavo Beytelmann has taken some of the most beautiful tango music ever written and created his own arrangements for solo piano. His collection shows how varied the genre is, from the ragtime-like lilt of El esquinazo to the romantic waltz La loca de amor by Pablo José Vázquez and the energetic El entrerriano by Rosendo Menizabal, as well as a new arrangement of Carlos Gardel's immortal El dia que me quieras. Beytelmann shows too how technically varied these works can be. Each of the pieces features specific performance techniques such as accents, tempo changes, balance and attack and he advises Spend some time concentrating on these elements and you will find the works even more enjoyable. These immensely rewarding pieces are equally suited to the concert stage as to the piano lesson. Gustavo Beytelmann has made a significant contribution to the evolution of the Tango, through his numerous recordings, performances and through his teaching. Born in Argentina, he began his professional career writing music for the cinema, working as pianist and arranger for the record industry and performing with various jazz ensembles. After moving to Paris, Astor Piazzolla invited him to participate in his European tour. He has continued to perform and compose across Europe and the Americas. From 1993 onwards he intensified his work as a composer. www.gustavobeytelmann.com Arolas Eduardo: Comme il faut Gardel Carlos: Cuesta abajo Gardel Carlos: El dia que me quieras Mendizábal Rosendo: El entrerriano Villoldo Angel: El esquinazo Arolas Eduardo: El marne Villoldo Angel: El portenito Vázquez Pablo José: La loca de amor Greco Vicente: Ojos negros Santa Cruz Domingo: Union civica Title: Solo Tango Solo Piano Scored for: for piano Arranger: Beytelmann Gustavo Degree of difficulty: 3-4 ISBN: 978-3-7024-6788-3 ISMN: 979-0-008-08139-2 Order number: UE34679

En décembre 2011, Chilly Gonzales déménagea son piano au studio Pigalle à Paris. Tout seul pendant 10 jours, il enregistra une sélection de ses compositions parmi une centaine de mélodies composées depuis les 8 années qui le séparent du mythique album Solo Piano.

Jour après jour, le processus d?enregistrement pur et minutieux prit lace. Chilly Gonzales enregistra ses morceaux, les uns après les autres, jusqu?à capturer l?essence-même de chacun.

Après des années passées à distraire son public avec sa personnalité ?larger than life?, à défier tous les artistes du monde, les obligeant à se surpasser pour atteindre l?excellence qu?ils doivent à leurs fans, Chilly Gonzales nous présente aujourd?hui son argument le plus persuasif : les 14 titres de Solo Piano II contenus dans ce recueil.

La route fut riche jusqu?à Solo Piano II pour ?le génie musical auto-proclamé?. Porté par une nomination Grammy et un record du monde Guinness Book du concert le plus long, Chilly Gonzales reprit enfin la scène après de nombreuses années passées derrière la console d?un studio à travailler pour les autres. Il devient LE pianiste sollicité par Drake, Feist, Daft Punk, ?et même Steve Jobs pour sa campagne mondiale pour IPAD 2.

A travers ses albums et tournées, Chilly fascine par sa polyvalence en tant qu?interprète et sa virtuosité en tant que pianiste. Rare est l?artiste qui fait danser son public sur les rythmes les plus branchés du moment, puis fait appel à un orchestre symphonique pour l?accompagner durant son concert de rap.

Avec Solo Piano II, Chilly Gonzales se distingue une fois de plus comme un authentique ?entertainer?, conscient que la plus belle marque de respect pour ses fans est avant tout de ?shut up and play the piano? (dixit Chilly Gonzales dans ?The Unspeakable Chilly Gonzales?, 2011). / [Chilly Gonzales : NoteBook Solo Piano II] / Partition / Agrafé /

This is a new edition of Béla Bartók's popular Romanian Folk Dances in its original scoring for Solo Piano. With fascinating background notes and unique imagery, this publication is essential for pianists interested in the work of the Hungarian composer.When Bartók was just 23 years old, he visited the Transylvanian town of Gerlicepuszta. Overhearing a lullaby sung by a teenage servant girl named Lidi Dósa, he quizzed her about it and noted it down. This was the beginning of a passion for folk music that would go on to change the course of the composer's life and work.Romanian Folk Dances remains one of Bartók's most popular and enduring works, evoking the folk melodies combined with his own idiosyncratic harmonies and textures. Each of the six short pieces here is based on a traditional melody which Bartók penned during his travels. Including newly engraved masterpieces Stick Dance, Waistband Dance, In One Spot, Dance From Butschum, Romanian Polka and Fast Dance, this sheet music collection features editorial revisions guided by recordings of Bartók's own performance. The notation also includes fingering guidance throughout.Romanian Folk Dances also features a specially-written introduction as well as some fantastic photographs that both tell the story of the young composer and the intriguing backstory of this work. One of the most important 20th century composers and, along with Liszt, one of Hungary's finest musical minds, Bartók held a strong fascination for folk music. Through his studies, recordings and arrangements, he composed some incredible music like these Romanian Folk Dances, while simultaneously initiating the field of ethnomusicology. / Piano

Andrew D. Gordon has created 30 12bar blues play-a-long backing tracks in various Blues styles, keys and tempos such as: Funky Blues, Boogie Blues, Jazz Blues, Minor Blues, Country Blues, Latin Blues, Old Time Jazz Blues, Jazz Swing Blues, Classic Blues Rock, Soulful Blues, Slow Blues and many more.Each of the 30 play-a-long tracks has been recorded with 12 choruses of the 12 bar blues progression giving you the opportunity practice soloing techniques totaling over 3 hours of music. Each of the 30 Blues styles contains a solo improvisational melody line, 12 measures in length, designed for the beginner student in mind as a starting point to create your own improvisational solos.Each of the 30 Blues tracks have been recorded, first with the solo playing along with the rhythm backing tracks of Keyboards, Guitar, Bass and Drums and immediately following, is the play-a-long backing track that cycles through the 12 bar blues progression 12 times, generally between 5-8 minutes in length, giving you plenty of time to practice.Blues is the basis of many forms of music and these tracks have been specifically created to include styles such as: Jazz, Funk, Folk, Country, Latin, Rock, Gospel, Pop, Boogie, giving you a well-rounded selection of musical styles based on the blues. / Piano

to the concerto for piano and orchestra in G Major Hob. XVIII:4. Par HAYDN FRANZ JOSEF. Improvised and also composed solo cadenzas, normally occuring towards the end of a bravura aria or an instrumental concerto movement, have existed since the late 16th century. They provide the performer with an opportunity for self-presentation in the form of a free style of playing or singing, based on themes and motifs from previous sections of the movement. Solo cadenzas are for the most part introduced by a six-four chord held by the orchestra; the soloist begins a protracting interpolation in free stlye, subsequently culminating on the dominant chord, usually with a trill. Whereas originally composers left solo cadenzas to be freely improvised, from the middle of the 19th century onwards they were frequently specifically written out. The increasing abuse of cadenzas as a mere display of free virtuosity, ignoring the style and impetus of the composition, played a substantial factor in this development. Thus Beethoven gives the soloist no opportunity whatsoever for free improvisation in his 5th piano concerto in which the cadenza becomes an integral, obligatory component of the complete work. In this unique series Schott Music presents cadenzas created for well-known instrumental concertos from the Classical and Romantic periods by major composers and soloists of our time. Nino Rota dedicated the 'Kadenzen zum Klavierkonzert Nr. 4 in G-Dur (Cadenzas of the Concerto No. 4 for Piano and Orchestra in G major) Hob. XVIII:4' by Joseph Haydn to Arturo Benedetti Michelangeli (1920-1995), who recorded them for the label EMI./ Répertoire / Piano

Par GORDON ANDREW D.. The Art Of Successful Rhythm Piano/Keyboard Playing by Andrew D. Gordon is for keyboardists and pianists that need a practical approach to playing in various styles such as: blues, rock, jazz, latin, gospel and rhythm and blues, whether accompanying a singer, solo instrumentalist or playing in a band. There are 19 different 36 measure examples showing many great ways of voicing chords and playing various rhythmic patterns. The one hour cassette consists of melody, rhythm Keyboard part, Bass and Drums so that you can hear how the rhythm Keyboard part is played in conjunction with the other instruments. The Art Of Successful Rhythm Piano/Keyboard Playing by Andrew Gordon is for keyboardists and pianists that need a practical approach to play in various styles such as: Blues, Rock, Jazz, Latin, Gospel and Rhythm and Blues, whether accompanying a singer, solo instrumentalist or playing in a band. There are 19 different 36 measure examples showing many great ways of voicing chords and playing various rhythmic patterns. The recording consists of melody, rhythm keyboard part, bass and drums so that you can hear how the rhythm keyboard part is played in conjunction with the other instruments. / Niveau : 3 / Etude / Piano

The Blues Play-A-Long and Solos Collection For Piano/Keyboards by Andrew D. Gordon consists of 30 12 bar blues play-a-long backing tracks created in various Blues styles, keys and tempos such as: Funky Blues, Boogie Blues, Jazz Blues, Minor Blues, Country Blues, Latin Blues, Old Time Jazz Blues, Jazz Swing Blues, Classic Blues Rock, Soulful Blues, Slow Blues and many more. Each of the 30 play-a-long tracks has been recorded with 12 choruses of the 12 bar blues progression giving you ample time to practice soloing techniques totaling over 3 hours of music. The inside front cover of the book gives a link to download the free audio files for the bookThe 30 Blues styles contains 3 solo improvisational melody lines each of which are 12 measures in length, ranging from a basic solo and increasing in skill level designed for musicians/music students of all levels totaling 90 solos. Also, there is a rhythm keyboard chart so that you can play a rhythm keyboard part for each Blues style. Using this book will help you on your way to becoming a great sounding blues pianist/keyboard player.Blues is the basis of many forms of music and these tracks have been specifically arranged to include styles such as: Jazz, Funk, Folk, Country, Latin, Rock, Gospel, Pop, Boogie, giving you a well-rounded selection of musical styles based on the Blues. / Piano