Fr d ric Chopin did not attempt to preserve definitive versions of his compositions because he disliked the labor of writing down notes. Improvising his performances at will, he never played a piece the same way twice. As a result, there are numerous texts of any single Chopin work and the editions of these texts have more editorial improvisation than do the texts of most composers. One of the most respected editions was prepared by Carl Mikuli, Chopin's student and, later, his teaching assistant, who was in a particularly privileged and advantageous position to take into account all that the master brought to his playing and teaching. His editorial contributions to this volume reflect his understanding of the principles that underly this body of work, imparted to him in word and deed by the composer.
The 20 nocturnes reproduced here include Opp. 9, 15, 27, 32, 37, 48, 55, 62, 72, and the posthumous Nocturne in C-sharp Minor. The 11 polonaises include Opp. 26, 40, 44, 53, 61,71, and the posthumous Polonaise in G-sharp Minor.
Serious pianists will want to have these authoritative texts of 31 of Chopin's most popular and enduring works.
This is a secret history of modern times, told by way of what conventional history tries to exclude. Lipstick Traces tells a story as disruptive and compelling as the century itself. Hip, metaphorical and allusive...--Gail Caldwell, Boston Sunday Globe. Full-color illustrations and halftones.
This volume contains the complete music for solo piano written by Claude Debussy between 1888 and 1905. Beginning with Deux Arabesques (1888), it offers the Suite bergamasque (1890-1905), R verie (1890), Danse (1890), Ballade (1890), Pour le piano (1896-1901), D'un cahier d'esquisses (1903), Extampes (1903), Mazurka (1891), Valse romantique (1890), Masques (1904), L'Isle joyeuse (1904), and the first series of Images (1905): Reflets dans l'eau, Hommage a Rameau, and Mouvement. In each case the music has been reproduced photographically from original or early editions.
This book has been designed to be used at the piano. Noteheads are large and clearly printed: margins and spaces are adequate for written notes, fingerings, and turnovers. It is also most useful, of course, for analysis or simply for listening along with the music.
Among the best-loved and most performed of Chopin's piano compositions are his mazurkas. This volume includes 51 works -- remarkable for their wide emotional appeal, advanced choromatic techniques and pianistic devices, and ranging in difficulty from relatively easy, for advanced beginnings, to quite challenging, for the accomplished pianist.Edited by Carl Mikuli, a pupil of Chopin, the works in this inexpensive and attractive volume extend from the radiant joyfulness of the Mazurka in B-flat major, Op. 7, No. 1, to the aching sadness of the Mazurka in A minor, Op. 17, No. 4, and from the brevity of the Mazurka in E-flat minor, Op. 6, No. 4, to the breadth of the C-sharp minor Mazurka, Op. 50, No. 3.Pianists and music lovers will welcome this attractive, sturdy volume reproduced directly from the authoritative Kistner edition. It comprises a treasury of Chopin's most characteristic and appealing works in one convenient, inexpensive source.
According to Larry Teal, the best method of learning to play the saxophone is to study with a competent teacher. Teal's studies were mostly of instruments other than the saxophone, but as a student at a Chautauqua summer session, he came under the influence of Georges Barr re, the eminent French flutist. He played bass clarinet with the Detroit Symphony, but he continued to be absorbed by the saxophone. As a result of his acquired expertise and growing reputation, he was appointed to a full-time faculty position as a saxophone teacher by the University of Michigan -- the first ever to receive such an appointment from a major university. During his 21-year tenure, he attracted students from all over, thus exerting an ever widening influence on saxophone teaching and performing.
Stephen Cheng's innovative book is the first to combine the best of Western vocal technique and modern psychophysical exercises with ancient Chinese philosophy and breathing practices. His simple but powerful vocal method is widely known for bringing about dramatic improvement in the performance of novices and professionals alike. Whether you are a singer, actor, or public speaker, it will help you to develop your vocal identity; increase vocal range and power; enhance the quality, dynamics, color, and expression of your voice; overcome stage fright; and memorize with ease.
An excellent source of 135 holiday songs that correlate with the special events of each month in the school year. Elements of the Orff, Kod ly and Laban philosophies are used and the Teacher's Edition contains extensive suggestions on focus, activities, body movement and other innovative ideas. The comb binding creates a lay-flat book that is perfect for study and performance.
These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki Method(R), or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.
Compiled from the literary estate of the singer who brought a wildly lyrical poetry of the damned to the world of rock 'n' roll. Includes unpublished poems, drawings, photos, and a candid self-interview.