Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ' a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy'he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book'encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation and pivot, and the application to tunes. The reader will be tempted to stop on every page and compose. I found the Lost Chord, but won't tell you the page number. Bert Ligon Jazz Pianist/Guitarist, Composer, Arranger, Educator, Director of Jazz Studies, University of South Carolina Ever wonder how to move harmony around instead of repeating the same chord voicing over and over' Then Chords in Motion is a must have book for you! Andy has included a ton of information that will open up your comping and should keep you busy with new ideas for a long time! I highly recommend it! Dan Haerle Jazz Pianist, Composer, Author, Educator, Professor Emeritus, University of North Texas Chords in Motion is an essential guide to expanding one's conception of modern Jazz Piano Harmony. Andy LaVerne has managed to outline in a very practical and concise way, modern principles of piano chord voicings, as they pertain to the Jazz Pianist's primary group function of comping. David Hazeltine Jazz Pianist, Composer, Educator, SUNY Purchase College Conservatory of Music Chords in Motion should be fun to take into the practice room to explore new ways of sustaining harmonies over the entire register of the piano. It is encyclopedic and thorough in its content. No stone is left unturned! Stephany Tiernan Pianist, Composer, Educator, Chair, Piano Department, Berklee College Of Music Chords In Motion is an excellent practicing resource that provides a garden of harmonic sonorities for a musician to choose and explore at the piano. I like the way that Andy has made the information accessible to any level of student. I look forward to discovering some different sounds with this book. Phil DeGreg Jazz Pianist, Author, Educator, University of Cincinnati College Conservatory of Music I am delighted to recommend Andy LaVerne's Chords In Motion to aspiring jazz pianists! Andy is a superb pianist, very capable of addressing this topic. Prior to pianists like McCoy Tyner, Herbie Hancock, Bill Evans, and others, most pianists were content to have acquired a small handful of chord voicings, generally with the chord roots on the bottom of the voicings. Though 'rootless voicings' were adopted in later years, they were primarily for the left hand and generally only used the 3rd or 7th on the bottom. But now the serious jazz pianist needs to be able to move his or her voicings in a more diatonic manner, as shown in Andy's book. Jerry Coker Jazz Saxophonist, Author, Educator Andy LaVerne's Chords in Motion is a study of encyclopedic scope on the use of harmonies based on fourth intervals in the context of jazz harmony. There is a wealth of information in terms of voicings, voice leading and chord/scale relationships and their application to common harmonic formulae (ii-V, etc.) and the chord progressions used in blues and common standard tunes. Jazz musicians interested in this vocabulary should find this book to be a useful launching pad for exploring this important corner of the world of jazz harmony. Bill Dobbins Jazz Pianist, Composer, Arranger, Author, Educator, Professor of Jazz Studies, Conductor, Coordinator Jazz Composition and Arranging, Eastman School of Music Chords in Motion is a highly detailed, informative and filling-in-the-gap text. It's an important and welcome addition to the jazz piano literature, which can be applied to any level of proficiency. Stefan Karlsson Jazz Pianist, Educator, Professor/Jazz Studies Division, University of North Texas Fantastic pianist Andy LaVerne has put together an amazing, detailed, and incredibly comprehensive guide for effectively implementing quartal and related voicings. He has honed in on the 'secret' to using these structures musically and creatively: moving the voicings through changes in logical and interesting ways. Clearly presented, extremely thorough, and loaded with information, Chords in Motion is a must-have for any pianist! Martin Bejerano Jazz Pianist, Composer, Educator, Assistant Professor, Jazz Piano, Frost School of Music University of Miami Chords in Motion is an in-depth look at fourth and related voicings that give an atmosphere that you want to improvise on. We play over the voicing, not the chord symbol. Chords in Motion targets that modal atmosphere that horn players love playing over. Love this book - can't wait to start practicing it! Jerry Bergonzi Jazz Saxophonist, Composer, Author, Educator, New England Conservatory I was thrilled when Jazz Piano Great Mulgrew Miller agreed to write a quote for this book. I was deeply saddened to hear of Mulgrew's passing just days before publication. All who loved Mulgrew and his music will sorely miss him, and are grateful for the rich musical legacy he left us. Rest easy, Mulgrew. Andy LaVerne

Jóhann Jóhannsson was an award-winning Icelandic composer, renowned for his compositions across film, television, theatre and dance, including his stunning score to James Marsh?s Stephen Hawking biopic The Theory of Everything (2014), which earned him a Golden Globe Award for Best Original Score. Jóhann Jóhannsson: Piano Works brings together for the first time transcriptions of his best-loved works in a special limited-edition collection for solo piano, which celebrates music from his solo albums alongside his highly acclaimed and powerfully moving film scores. Featuring 30 pieces accurately transcribed for solo piano, this collection will allow fans of Jóhannsson to immerse in his unique sound-world with music from across his career including The Theory of Everything, Odi et Amo and Flight From the City. Suitable for intermediate piano.With only a thousand copies available, Jóhann Jóhannsson: Piano Works is presented as a stunning high-end cloth-bound hardback limited-edition book. Alongside the scores, it includes a wealth of striking photographs and a specially written introduction from American composer Dustin O?Halloran, a longtime friend of Jóhannsson.?I believe that music acts as a time capsule, preserving the very essence of an individuals heart. When we play music from the past, we possess the ability to summon their spirit and bring them back to life. Jóhann?s music, in its timelessness, will forever remain vibrant and alive. By playing these pieces, you will find yourself drawing closer to his musical world, ensuring its eternal resonance?. Dustin O?Halloran, composer.?Jóhann Jóhannsson: Piano Works offers a superb tribute and testament to the musical achievement of this much-missed composer.? Andrew Eales, pianodao.com A Game of Croquet (from The Theory of Everything) A Model of the Universe (from The Theory of Everything) Bað A Sparrow Alighted Upon Our Shoulder Be Over (from The Shadow Play soundtrack) Beauty (from Blind Massage) By the Roes, and by The Hinds of the Field Dressing Up (from Personal Effects) The Drowned World Eleven Thousand Six Hundred and Sixty-Nine Died of Natural Causes Englabörn (piano version) Flight From the City Flugeldar II Good Morning, Midnight He Says It?s the Future Indian Wedding (from Personal Effects) Innocence (from Free the Mind) Já, Hemmi Minn Jói and Karen Linda and Walter (from Personal Effects) Melodia (III) Odi et Amo / Krókódíll Payphone (from McCanick) The Radiant City Ruslpóstur The Sun?s Gone Dim and the Sky?s Turned Black Theme from ?Varmints? soundtrack The Theory of Everything (soundtrack) Time to Say Goodbye (from White Black Boy) Will?s Story (from Free the Mind) / Piano / Faber Music

The 'Essential Composer Series' published for Piano by Minstrel Press and distributed by Santorella Publications features the original works from some of the greatest composers that ever lived. The selections have been carefully chosen to give the user a source of essential core literature from that specific composer. This transcribed series by Avis Fedge Romm has only had minor editing when seen as a valuable aid in facilitating the musician in authentically interpreting the composer's music. The Essential Composer Series has become a staple stock item for many music retailers throughout the world. Each edition includes a performance CD, which is also a great tool foryounger players to hear the melodies that they have been practicing so diligently. Essential Piano Masters Volume 2 features the following works of Robert Schumann, Frederic Chopin & Claude Debussy. Robert Schumann: Melody (from Album for the Young) - Sicilienne (from Album for the Young) - Knecht Ruprecht (from Album for the Young) - About Strange Lands and People - Reverie (Traumerie) Frederic Chopin: Prelude in A Major - Prelude in C Minor - Prelude in D Flat Major - Mazurka in G Minor - Waltz in D Flat Major Claude Debussy: The Girl with the Flaxen Hair - Claire de Lune - Golliwogg's Cakewalk./ Recueil / Piano

Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. / Piano

June Armstrong's songbook The Girona Suite - Eight Evocations For Piano features eight original and challenging compositions for grades five to seven standard, all inspired by the shipwreck of the Spanish galleas, the Girona.The pieces included in this songbook were all composed specifically for this collection by revered pianist and teacher June Armstrong. Her many years of experience in teaching have allowed her to craft compositions both subtle and powerful that stretch the ability of students while giving them an engaging story on which to base their expression and feeling when playing. Armstrong is an advocate of focusing learning on atmosphere and tonal awareness, which, when combined with the necessary techniques and theory, makes this songbook a learning tool that is theoretically sound and musically enticing.From the first page, the composer has shown her commitment to creating pieces specifically for students learning the Piano, as she writes of how many people, including former students, have inspired her. She then writes in detail about the historical context of the theme of the work, before giving more practical advice on the music itself and how to go about playing it. The friendly and warm approach that Armstrong brings to presenting her suite makes it more than a simple songbook, it becomes a personal journey, where the composer herself guides you through the characters and settings that the music has been composed to evoke. As well as presenting challenging and entertaining pieces, Armstrong's work serves as a fantastic introduction into how major and minor keys can be manipulated to different ends, and how motifs can be used together with a theme. Armstrong writes:?The final piece, Sarabande for the Lost Souls returns to the desolation of Eb minor, closing with a final statement of the No Tengo theme.?The songs in The Girona Suite are designed to cultivate a student's ability to play in keys containing more than three flats or sharps, as well as a number of different time signatures and with varying degrees of expression. This songbook would be ideal for a student of any age who is unafraid to experiment with evoking feeling and emotion in their playing, while also learning and practicing numerous techniques in an appealing and informative context. If you would like to listen to any of the songs that are listed below, these can be heard free of charge on the composer's website. / Piano

This portrait of celebrated German film composer Dirk Reichardt contains 13 easy Piano arrangements of scores from seven cinema greats.From his beginnings as a session musician working with diverse artists like Bonnie Tyler and Dionne Warwick, composer Dirk Reichardt has gone on to collaborate closely with successful film director Til Schweiger on a number of his films. Reichardt has scored works like 'The Red Baron' and 'Rabbit Without Ears', the latter being the only German film soundtrack to go platinum.This collection of Reichardt's most memorable and enduring works includes a great range of styles, all with that cinematic feel that is perfect for solo or performance Piano. Many of his pieces have become standard in Piano lessons and can be used to provide students with a great way to learn the instrument through these expertly-composed and exciting scores.The Filmkomponisten Im Portrait is a brilliantly varied collection of the hugely successful German composer Dirk Reichardt's works. Whether you're a fan or just looking to expand your repertoire with some inspiring film compositions, this compilation is an excellent introduction to Germany's answer to Hans Zimmer. / Piano

Sonata for Piano N 5 /Three Romances Without Words op. 17 N 52 / Mazurka N 8 / Prelude [and Fugue] N 17 / Gavotte N 14 / Short Pieces op. 84 N 147 / Mazurka op. 32 N 75 / Five Impromptus. Par FAURE GABRIEL. Centering on the important series of the “Impromptus”, the collection of “Pièces brèves”, and the “Trois Romances sans paroles”, the present volume also gathers piano works by Gabriel Fauré that are either unpublished or little-known. It is of additional interest insofar as it draws attention to a series of pieces dating from his earliest creative period. The young composer’s progress can thus be followed, from his student work at the “École de musique classique et religieuse” to the earliest masterpieces for piano born between 1875 and 1880. These scores show Fauré’s ability to imitate styles of the past, crafting preludes and fugues, a sonata in the Viennese tradition, and character pieces deriving straight from Mendelssohn, Schumann, and Chopin. Through them, a musical personality emerges little by little: its signs are tenuous in the “Sonate”, in the early versions of the “Fugues”, and in the “Trois Romances”, but they are more in evidence in the “Mazurke”, the “Gavotte”, and the “Prélude” in E minor. Of his early compositions, Fauré, to be sure, retained only what is included in this volume, namely those pieces which he deemed most personal and suitable for publication. All of these compositions are remarkable for their individual flavour. Despite the diverse origin of its constituent parts the contrasted “Pièces brèves” collection is unjustly neglected, as it forms an ensemble of high quality, with a search for concision that anticipates the “Neuf Préludes”. Next to the “Nocturnes” and “Barcarolles”, the five “Impromptus”, vigorously crafted between 1881 and 1906, show a composer with ever increasing creative powers who crosses borders in the pursuit of his artistic ideas. Beside the first versions of the 3rd “Romance” and two “Pièces brèves”, the appendices to the present volume include the interesting piano solo version of the “Pavane” doubtlessly penned by the composer, as well as the cadenzas to piano concertos by Beethoven and Mozart which he wrote for his students and, later, for the pianist Marguerite Hasselmans. These cadenzas’ originality has aroused the interest of pianists again and again./ Recueil / Piano

PIANO SONATA NO. 4 from the years 1962?1964 is dedicated to the memory of Fiser?s friend, the pianist Antonín Jemelík, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70,by Alexander Scriabin. The tragedy of the death of the composer?s friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestraand Fifteen Prints after Dürer?s Apocalypseand has earned its rightful place alongside them as masterpieces of Fiser?s ?uvre. The work was first performed by Pavel Stepán in Prague?s Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969) only with regard to a few inconsistencies in the score was it necessary to consult the composer?s manuscript (kept at the National Museum ? Czech Museum of Music, acquisition number 297/2006). H 7988, ISMN 979-2601-0447-1

Par BEETHOVEN LUDWIG VAN. Beethoven's bagatelles are short compositions written over the span of the composer's lifetime, from the early to the late periods. Ranging from easy to intermediate level, these popular pieces display a wide variety of moods and musical ideas and are favourites with students and accomplished pianists alike. The Romantic era abounded in short compositions for piano: etudes, serenades, impromptus, and other miniatures. Beethoven's term for his refined little piano gems was Kleinigkeiten — 'small things' — or bagatelles. Although the public expected symphonic abundance from a composer of his stature, Beethoven was reputed to take particular satisfaction in the challengeof distilling his musical ideas into a concentrated form. Reprinted from authoritative editions, this collection presents all 27 of the composer's bagatelles, including the well-loved 'Für Elise. ' Reprinted from authoritative editions./ Répertoire / Piano

Arrangeur: Franz Liszt. Par LISZT FRANZ. Franz Liszt's transcriptions of other composers' music are as highly regarded as his original piano works. First acquainted with Bach through his piano studies, Liszt further explored the earlier composer's works in his career as a virtuoso performer. His piano interpretations of Bach's Organ Music are executed in a simple and straightforward manner, and they rapidly became the classic models for all future works in this genre. This compilation features Six Organ Preludes and Fugues (BWV 543-548) and the Fantasia and Fugue in G Minor (BWV 542). Franz Liszt's transcriptions of other composers' music are as highly regarded as his original piano works. First acquainted with Bach through his piano studies, Liszt further explored the earlier composer's works in his career as a virtuoso performer. His piano interpretations of Bach's Organ Music are executed in a simple and straightforward manner, and they rapidly became the classic models for all future works in this genre. This compilation features Six Organ Preludes and Fugues (BWV 543-548) and the Fantasia and Fugue in G Minor (BWV 542)./ Répertoire / Piano

Le Festin d'Esope op. 39 no. 12. Par ALKAN CHARLES-VALENTIN. Charles Valentin Alkan's cycle of variations Le Festin d'Esope derives from his monumental series of etudes op. 39, the 12 Etudes dans tous les Tons Mineurs, and forms the culmination of that work. Now G. Henle Publishers presents, for the first time in an Urtext edition, what is by far the most well-known piano composition by this French pianist and composer notorious for the extreme virtuosity of his works. Because no autograph manuscripts survive, the first edition from 1857 is the sole source. The premier Alkan scholar Wolfgang Rathert gives details about the life and oeuvre of the composer in his preface, while fingerings are provided by the Italian keyboardvirtuoso Vincenzo Maltempo, who has recorded numerous works by Alkan. By popular demand, this composer may also now finally assume his place in the Henle Urtext catalogue! / Classique / Répertoire / Piano

Only few pieces have ever won over the audience and haunted their composer as much as Rachmaninoff's Prelude in C-sharp minor. The composer virtually complained that 'people want to have it played all the time'. The present new edition of this 'highlight' of the piano music repertoire considers the differences between autograph and first edition very carefully, comparing them with the composer's recordings. / Piano

The Complete Schwanengesang. Par LISZT FRANZ. The foremost pianist-composer of his day, Franz Liszt unselfishly promoted the works of his fellow composers through his brilliant piano transcriptions of their music. Among his most inspired contributions to the literature were his legendary transcriptions of Franz Schubert's songs. This volume, the third in the series, contains Schubert's complete Schwanengesang, and nine other great lieder. Reproduced from extremely rare early editions edited by Liszt himself, they retain all the lyric beauty and emotional depth of Schubert's original music, yet reflect Liszt's incomparable mastery of the difficult art of transcription from the original medium of voice and piano to that of solo piano. The foremost pianist-composer of his day, Franz Liszt unselfishly promoted the works of his fellow composers through his brilliant piano transcriptions of their music. Among his most inspired contributions to the literature were his legendary transcriptions of Franz Schubert's songs. This volume, the third in the series, contains Schubert's complete Schwanengesang, and nine other great lieder. Reproduced from extremely rare early editions edited by Liszt himself, they retain all the lyric beauty and emotional depth of Schubert's original music, yet reflect Liszt's incomparable mastery of the difficult art of transcription from the original medium of voice and pianoto that of solo piano./ Répertoire / Piano

Par LISZT FRANZ. Franz Liszt was not only a brilliant and innovative composer and the greatest piano virtuoso of the 19th century; he was also a generous populariser of other composers’ music. One of his primary methods was through his superb piano transcriptions of great orchestral, operatic and other pieces. These transcriptions made it possible for people to enjoy music to which they otherwise had no access to. This collection offers a memorable feast of pianistic virtuosity sure to delight pianists, and admirers of Liszt. Franz Liszt was not only a brilliant and innovative composer and the greatest piano virtuoso of the 19th century; he was also a generous populariser of other composers’ music. One of his primary methods was through his superb piano transcriptions of great orchestral, operatic and other pieces. These transcriptions made it possible for people to enjoy music to which they otherwise had no access to. This collection offers a memorable feast of pianistic virtuosity sure to delight pianists, and admirers of Liszt./ Répertoire / Piano