Classical piano music

Since 2003 the three most famous international Liszt-piano-competitions Budapest "Liszt Ferenc International Piano Competition", Utrecht "International Franz Liszt Piano Competition" and Weimar "Internationaler FRANZ LISZT Klavierwettbewerb Weimar-Bayreuth" are organising every 3 years an Europe-wide tour with three of their winners: the European Liszt Night Tour (ELNT).

The international locations of the concerts are distinguished by their special relationship with both or the life or the oeuvre of Franz Liszt. In 2018 the ELNT will come for the first time in Italy, on lake Como, vis-à-vis to  Bellagio, where Liszt passed a few month in 1837 together with his lady-love, the countess Marie d’Agoult. In those days he dedicated himself to the study of  Dante’s Divina Commedia source of inspiration for the homonymous symphonic poem; furthermore in decembre ‘37 there was born on lake Como their daughter Cosima Francesca Gaetana (later on wife of Richard Wagner).

The three pianists of the ELNT for the piano-recital at Villa Vigoni are:
Alexander Ullmann, Great Britain (1. price, Utrecht 2017 and 1. price, Budapest 2011)
Tomoki Sakata, Japan(1. price, Budapest 2016)
Alexey Sychev, Russia (1. price, Weimar 2015)

https://www.villavigoni.eu/event/european-liszt-night-tour/?lang=en

Many of Alexander Scriabin's preludes feature quixotic or rhythmically inaccurate notation, including time signatures that do not correlate with rhythmic events in the foreground. From the standpoint of performance practice, I introduce an interpretive approach that focusses on rubato as a causal factor of Scriabin's notational idiosyncrasies and argue that they represent an act of selfanalysis, pointing to a conscious imprint of pre-compositional planning on the final product in the choice of metric notation. In this study, preludes are classified according to two criteria: (1) the type of primary metrical dissonance they engender, which includes Type A rubato, i.e., an expressive anticipation or ornamentation of the melodic line against the accompaniment in strict time, and Type B rubato -temporary displacement of the entire texture; and (2) the type of approximation in time signature notation. The focus of this study are the early preludes (up to 1903) as Scriabin's attention in the later preludes appears to increasingly turn toward the harmonic dissonance and away from rubato and hand synchronisation issues. I present notational variants to three preludes from op. 11 that serve as an investigative tool into Scriabin's compositional process. Finally, I offer suggestions regarding performance considerations as well as the historical evaluation of Scriabin's oeuvre in light of the analyses presented in this study.

O presente trabalho apresenta-se estruturado em três capítulos. O primeiro capítulo pretende introduzir o leitor no contexto biográfico de João Domingos Bomtempo. Este capítulo, destinado ao professor pretende constituir-se como um auxiliar da compreensão da importância relativa da obra para piano de Bomtempo no contexto da sua obra geral e o seu enquadramento sócio-cultural da época. Deste modo, pretendeu-se ajudar o professor a criar na sua sala de aula um ambiente propício a apresentação de fragmentos da obra de
Bomtempo.
O segundo capítulo é de igual importância, uma vez que procurará sistematizar o estudo por nós realizado sobre o repertório pianístico de Bomtempo. Este capítulo abordará a fundamentação oferecida por trabalhos didácticos cujo conteúdo musical é susceptível de nortear o presente estudo. Abordará igualmente os critérios de escolha
adoptados pelos trabalhos apresentados, de forma a seleccionar e adaptar o repertório a uma aplicação nas aulas.
O presente trabalho finalizará com a apresentação de uma selecção de fragmentos musicais extraídos e adaptados das sonatas e variações para piano solo de João Domingos Bomtempo, fragmentos esses que serão acompanhados por sugestões didácticas inspiradas em algumas obras e programas consultadas.

La situación actual del mundo pianístico español es un tanto contradictoria. Acabados sus estudios superiores, un pianista se enfrenta a diversas salidas profesionales. Por una parte está la realidad concertística, por otra la pedagógica y por último la de pianista acompañante. La formación en el grado superior de piano se presupone que le capacita para todas estas opciones profesionales, ya sea eligiendo la vía interpretativa o la pedagógica. Sin embargo, para trabajar como pianista acompañante no recibe apenas formación y mucho menos especializada. He aquí la contradicción, pues en el terreno laboral se le exige una aplicación para la que no ha recibido adecuada formación.
Éste es el motivo fundamental para la redacción de la presente investigación. Hemos podido comprobar en primera persona, tanto como estudiante como profesional, la realidad que acabamos de relatar, con unas carencias e incoherencias de índole legislativa y pedagógica. Por ello el objetivo fundamental es el de proponer un currículum específico para esta especialidad de pianista acompañante que dé cabida a esta demanda profesional.
Para ello definimos qué es un pianista acompañante, en qué centra su actividad profesional y cuál es su trayectoria a través de la historia de la música. Con ello podremos establecer las necesidades formativas.
Posteriormente dedicamos un amplio estudio al estado de la cuestión, donde hemos podido constatar el vacío legislativo y pedagógico existente en España en esta materia. Sin duda uno de los apartados más importantes es la realidad profesional del pianista acompañante, donde apreciamos incongruencias y falta de ordenación en torno a la figura del pianista acompañante. Esta situación es la que nos dirige a la necesidad de reclamación de la existencia de una especialidad propia y diferenciada que forme adecuadamente al pianista acompañante, pues en el terreno laboral existe una gran y variada demanda de puestos de trabajo en este campo. Paralelamente también reclamamos una mejor y adecuada organización profesional, pues hemos podido comprobar la ausencia de ordenación en este terreno en España.
Seguidamente y una vez analizado todo lo relativo al acompañamiento al piano en España, hemos examinado fuera de nuestras fronteras qué ocurría en relación con este tema y de qué manera se organizan estos estudios en Europa y el resto de continentes.
Con estas premisas y dejando patente a través de cada una de ellas la necesaria existencia de la especialidad de pianista acompañante, nos hemos dispuesto a redactar nuestra propuesta de estudio para un pianista acompañante y su futura integración en la sociedad musical. Dicha integración pasa por la correcta ordenación y denominación de su especialidad en los distintos centros de enseñanza, así como una apropiada actuación en el mundo liberal de la música. Asimismo hemos definido las competencias y perfiles que debe reunir un pianista acompañante una vez finalizados dichos estudios.
Por todo ello podemos concluir que este estudio es un proyecto con marcado carácter social de índole innovadora y absolutamente viable, pues mediante su aplicación asegura el desarrollo de la educación musical y facilita el emprendimiento.

"Piano Teaching Methodology" is a textbook for students - future piano pedagogues. For this purpose, the themes for the specifics of the initial training, for the stages of studying a piano work have been extensively developed, with particular attention being paid to the preparation of the piece for its stage performance. Several approaches have been described for working on different types of piano technique, on a polyphonic work, the application of the different clavier means of expression is considered depending on the stylistic features of the studied play. The rubrics "Teachers' Mistakes" and "Student Mistakes" have been developed for each subject. In those rubrics are discussed frequently made inaccuracies, incompleteness, misconceptions about the specific problem. Each theme is illustrated with a rich note of material, selected not only to highlight the discussed problem most clearly, but also to enable the comparison of individual examples. After each subject are suggested questions and tasks that help the practical use of the information taught. There is also a possibility to use this book as a reference book for the piano teacher - there are lists in which frequently used etudes as well as commonly studied polyphonic clavier works are arranged by difficulty.

Though two-phrase thematic units that initiate a composition in Classical style typically follow one of William Caplin’s tight-knit models (sentence, period, hybrid), many Classical main themes demonstrate irregular construction, due to unusual patterns of cadential closure. One such design is the two-phrase thematic unit in which the second phrase cadences further off tonic that the first one, dubbed an “antiperiod” by James Webster (who notes how rarely it is discussed in the literature), and a “reversed period” by William Caplin. Though this formal unit can serve as a complete theme, its open-ended character lends itself readily to function as the initial unit of a larger formal span. I propose that such seemingly periodic units, even when they form a complete theme in and of themselves, behave in the manner of a presentation phrase (basic idea plus basic idea repeated), thus initiating a large-scale sentence design.
As a point of departure, this paper will present three archetypal models of the antiperiod from 1750-1800 (consequent-antecedent, antecedent-failed consequent, presentation-modulating continuation) from Haydn and Beethoven to illustrate this theme type in its simplest form (as well as to demonstrate how such themes can be classified as one of Caplin’s tight-knit theme types). Subsequently, I will show how the antiperiod can serve as an initiating unit for a longer formal structure. Its parallel melodic content allows it to serve as the presentation phrase of an expanded sentence design. This presentation function can span the first half of a binary form (Beethoven, Opus 79) or the main theme of a sonata movement, with the transition providing the continuation (C. P. E. Bach, Wq. 62 no. 4). It can even encompass the entire first half of a sonata exposition, wherein the main theme comprises the basic idea, and a dependent transition acts as basic idea repeated (Beethoven, Opus 49 no. 1). In this instance, which constitutes the largest formal span that the antiperiod can initiate, the subordinate theme would supply the requisite continuation function for formal completion.
Since Caplin designed his form-functional models with the High Classical period in mind, it is easy (though misleading) to consider thematic designs from the mid-18th century such as the antiperiod to be formal anomalies, and to subsume them (however uncomfortably) into the later paradigms. Such an approach forces these form-functional designs into a musical Procrustean bed, ignoring or removing what seems not to fit the model. This paper makes an appeal to use seemingly unusual theme-types such as the antiperiod as a point of departure for generating sentence-like, periodic, or hybrid themes. Further, it illustrates how composers altered or expanded the antiperiod to encompass a complete binary form, a Main Theme/Transition region, or even an entire sonata exposition. The antiperiod, so often given short shrift in the literature (as noted by Webster) was a common manner of thematic organization, whose influence at a number of different structural levels persisted at least throughout the Classical period.

The keyboard toccatas of J. S. Bach, BWV 910-916, present a formidable challenge of interpretation to the modern-day performer. These works contain some of the most unusual compositional techniques to be found in Bach’s output due to their use of an improvisatory, virtuosic style inherited from the seventeenth century. While pianists of today are trained to perform with perfect fidelity to the score, the treatises from the time of Bach point to a rhythmically free approach to the improvisatory features of these toccatas. The goal of this treatise is to explore how the historical tradition from which Bach’s toccatas emerged influenced their stylistic characteristics with the purpose of applying this information to create an informed performance by today’s interpreters. In this effort, this treatise focuses on several broad categories in the process of understanding the inspiration and, therefore, the interpretation of these works. These categories include the genesis of the toccata as a genre, the compositional techniques associated with the toccata, Bach's personal contribution to the genre, and the interpretation of Bach's toccatas specifically.

TEXTBOOK EXCERPT (under the tab Description,):
https://notus.world/en/products/par007-piano-foundation-textbook/

This is the first book of the NOTUS PIANO COURSE.

ABOUT THE PUBLICATION

For whom?
The NOTUS PIANO FOUNDATION Textbook has been compiled for the layperson in the field of music. It starts from absolutely zero knowledge of music and piano. The book is used during the first 3 to 4 months of self-study or teacher-guided study.
The book is suitable for ages 12 and up but it is aimed primarily at the adult and senior beginner. This is reflected in the layout and no-frills didactic strategy. You can preview the book (under the DESCRIPTION TAB) here: https://notus.world/en/products/par007-piano-foundation-textbook/
The study of this book is also required for people who have already experimented a little with the complex conventional music notation and have doubts about it: firstly, to phase out their knowledge of conventional music notation and secondly to build their knowledge of the new NOTUS Music Notation.
Focus
The focus in the NOTUS PIANO FOUNDATION Textbook is on learning how to read ALL the notes of the piano keyboard and play ALL the corresponding piano keys. This is done through 134 exercises and short pieces for beginners. NOTUS piano courses are characterized by their smooth and steady evolution. By the end of the first 3 to 4 months, you’ll be playing pieces that are at least two years ahead of the pieces typically learned by the four-month mark using conventional notation.
Whereas, in conventional courses, piano practice during the entire first year is limited to the middle of the piano (approximately 21 white piano keys), NOTUS learners start familiarizing themselves with the entire piano keyboard from the very first lesson. By the end of the NOTUS PIANO FOUNDATION Textbook – that is, after 3 to 4 months – NOTUS learners have control of the entire 88-key piano keyboard and, as such, ALL the notes of this entire keyboard. This makes a significant difference compared with conventional piano lessons, and this in turn has a positive follow-on effect on subsequent study. The NOTUS PIANO FOUNDATION Textbook is an extremely solid music foundation on which to build further.
Final Goal
The specific focus of the NOTUS PIANO FOUNDATION Textbook is for the learner to master the reading of the pitch of all the notes so that this does not form an obstacle to subsequent study, i.e. PIANO TEXTBook 1 and onwards. Indeed, being able to read all the notes is highly encouraging as one progresses toward new pieces and musical knowledge, not to mention improved piano technique. By removing the stumbling block of reading music (a typical pitfall of conventional notation), the NOTUS learner makes very smooth progress, without added performance stress. With NOTUS, the introductory phase of training offers, in other words, precisely what piano training should: the relaxed enjoyment of lessons, progress and playing, coupled with the appreciation of the value of specific exercises. The NOTUS approach to teaching focuses on stress-free, natural mastery of music notation and piano, not on being able to play a few memorized pieces, as is so often the case in conventional courses targeting young people and adults alike.
VIEW A SELECTION OF PAGES, including contents and index (under the DESCRIPTION tab)

Integrated Music theory:
• octave group, octave group number, octave segment;
• tones and notes C, Cs/Df, D, Ds/Ef, E, F, Fs/Gf, G, Gs/Af, A, As/Bf, B;
• double or half note value relationship, till 1/8 note and rest, beam;
• time value rest sign;
• dotted whole, half and quarter note;
• finger numbers and theit use and interpretation;
• tempo and metronome, metronome value;
• the concepts beat, pulse, accent, measure, measure line;
• the time signatures four-four, three-four and two-four, and main accent and weak accent;
• tie;
• slur and phrase mark;
• basic dynamics with abbreviations and NOTUS restyled wedges;
• basic concepts of intervals: melodic, harmonic, ascending, descending, prime, second, third, fourth, fifth, sixth, seventh, octave and their visual relationship through notes on the staff and between the piano keys;
• some basic information about chords: consonant, dissonant, tertian triad, tonic, broken chord and of naming chords;
• NOTUS signs for immediate repeat, repeat of a whole measure, repeat of a rhythmic unit;
• fermata;
• staccato sign, marcato sign and accent sign;
• notation by hand of NOTUS;
• chromatic and diatonic division of the octave;;
• FLAT- and SHARPnotehead;
• the concept ‘enharmonic’;
• ostinato;
• informative: damper pedal.

Composers in PIANO FOUNDATION Textbook:
Barók, Gurlitt, Rövenstrunck, Kirby-Mason, Sartorio, Burgmüller, Wilton, Hook, Baumfelder, Beethoven, Köhler, Stravinsky, Strauss, Oesten.

Análisis, documentación, recepción y recuperación del catálogo de Ricardo Castro, uno de los más imponentes de la composición hispanoamericana del siglo XIX. El autor no se centra únicamente en una catalogación explicativa de la obra del compositor, sino que nos ofrece una metodología que parte de la triple dimensión de Nattiez, y que amplía su horizonte hacia nuevas formas de comprender la creación latinoamericana, mexicana en este caso, en Europa, y los flujos de influencia e hibridaciones que se conforman en el estilo de Castro; Sin duda, es un libro que se torna básico para conocer y comprender en profundidad una figura relevante de la historia de la música mexicana del SXIX.

[Official presentation from the publisher]

Is there such a thing as the ideal technique? The past and present of musical performance constantly provide evidence that, among the multiple different ways available of using our body, plenty might prove equally efficient and musically convincing. Among all the possible options, however, one merits special attention: the technique employed by composers themselves while creating their works.

In this book, Italian-born pianist and scholar LUCA CHIANTORE sets out to examine the transformations undergone by piano technique, and how this overall history relates to the performative customs of those pianist-composers whose works we today consider the core repertoire of so-called Western classical music. The author illustrates the diversity of their bodily approaches to the keyboard, exploring their respective biomechanical inquiries amidst increasing hand and arm involvement in piano playing and the emergence of often contrasting pedagogical theories.

The result of intense, rigorous research, Tone Moves contains an impressive amount of documentation, including a vast number of theoretical works which had never before been studied thoroughly. Forty-five images, eight original drawings, and 161 musical examples illustrate the 755 pages of this unique book, whose bibliography spans 710 different references, thus enabling the reader to follow the progressive incorporation of anatomical resources involved in keyboard instrument technique from the 16th century onwards, as well as its relation with construction innovations and changes in musical taste.

Through all this, the author narrates a "history" that uncovers crucial parallels with the past three century's aesthetic revolutions. Chiantore spins a tale of widespread, lasting changes, a searching narrative brimming with strong personalities often steering in opposite directions, all in all an avowal of the stunning diversity of options available when expressing ourselves through an instrument.

Analysis of the third movement of L. v. Beethoven's Piano Sonata No 30, Op 109, focusing on the ideas of the features of regularities, of duality, of intervallic third, and of chromatic alterations, shows how the foreground materials and the background or overall structure are related.

This dissertation introduces the ‘Edna Iles’s Medtner Collection’ (EIMC), held by the
British Library in London, and provides a detailed analysis of her ‘Notes on the
Interpretation of Medtner’s Works’. Nikolay Medtner (1880–1951) was one of Russia’s
leading, early-20th-century composers, who spent the latter part of his life in the UK.
He wrote mainly for the piano, composing 14 piano sonatas, three piano concertos, 108
songs, three violin sonatas, a piano quintet and more than 90 pieces for solo piano.
Although he performed and recorded, and was considered a prominent composer while
he was resident in the UK, his wider renown in the West was limited.
Edna Iles (1905–2003) was an English pianist and Medtner’s last pupil. She took
numerous notes during and immediately following her lessons and, in 1997, donated all
of her Medtner-related materials to the British Library. I am the fourth person to
consult it. The scope of the EIMC is impressive: Medtner manuscripts, newspaper
cuttings, photographs and letters, all of which she carefully organized before donating.
Importantly, her ‘Notes on the Interpretation of Medtner’s Works’ contain unique
information about how he taught and thought his music should be interpreted. She was,
in fact, the only Medtner student to leave systematic written evidence of his pedagogy;
the recordings she made of his music further demonstrate her mastery of his principles.
She became, in effect, his disciple. This dissertation assesses the new light her ‘Notes’
shed on our knowledge of his methods and pianism.
The Introduction provides details of Medtner reception history and introduces all
available sources on Medtner performance practice. Chapter 1 summarizes the lives of
Medtner and Iles, and elucidates the nature of their relationship. Chapters 2 through to
4 discuss the disciplines of Medtner’s approach to playing – basic piano technique,
articulation, practicing, pedaling and memorization – corroborated elsewhere. Chapters
5 and 6 unravel the more intellectual concepts of fil rouge, tempo, phrasing, voicing and
his distinction between energetic and rounded music that form the core of Iles’s ‘Notes’
and represent the EIMC’s most original contribution to Medtner performance practice.
Chapter 7 provides the opportunity to observe and apply Medtner’s interpretive
philosophy to a single work (Sonate-Idylle, Op. 56) by blending the advice conveyed in
his printed scores with the methodology and insights he communicated to Iles. The
Conclusions affirm the importance of the EIMC as a uniquely detailed primary source
on Medtnerian performance practice.
An inventory of the Edna Iles Medtner Collection and transcript of her ‘Notes on
Interpretation of Medtner’s Works’ can be found in Appendices One and Two.
Appendix Three offers a facsimile of exercises Medtner gave to Iles, preserved in her
own handwriting. Appendices Four and Five provide a discography of Medtner piano
works and pertinent contextual photographic evidence.

Despite most pianists' claims of historical deference and creative agency, their performances of Brahms's piano works are nothing like the early-recorded performances of the composer and his students: gaps that are mediated by understandings of Brahms's Classical canonic identity, the performance norms that protect that identity, and those norms' underlying aesthetic ideology of control. This predication of Brahmsian identity on restraint leaves the composer and his students in a precarious situation, as their recordings evidence an approach that is governed by the inhibitions typically associated with Romanticism. This volume seeks to problematize understandings of Brahms's identity: by investigating the origins and vestiges of the aesthetic ideology of control; by analysing and copying the recordings of pianists in the composer's inner circle; and by applying these pianists' styles in ways that are just as disruptive to modern notions of Brahmsian identity as their early-recorded models. In so doing, a thoroughly Romantic performance style emerges that catalyses a fundamental shift in understanding as related to Brahms's identity; thereby opening up a new palette of expressive and technical resources, and both elucidating and narrowing persistent gaps between modern and early-recorded Brahms style, as well as between what performers believe, know, and ultimately do.

Ningún compositor español, incluido Manuel de Falla, ha conseguido expresar la esencia de su país de forma tan completa y elocuente como lo hizo un extranjero como Scarlatti. Supo captar como pocos el percutir de las castañuelas, el sordo sonido de los tambores, el lamento amargo y ronco de los gitanos, la alegría contagiosa de la orquesta del pueblo y, sobre todo, el nervio contenido en las danzas españolas 1 .

Indice e Introduzione della Tesi triennale in musicologia, sulle influenze chopiniane nella musica del giovane Alexander Scrjabin, con analisi del suo primo linguaggio pianistico, sull'esempio dei Preludi op. 11. | [EN] "The Russian piano miniature and the influence of Chopin in the early Scriabin, especially in his 24 Preludes opus 11" — The Index and the Introduction of my Bachelor Dissertation in musicology, about Chopin's influences on the piano output of the young Alexander Scriabin, with analysis of his early piano style, using the Preludes opus 11 as an example.

Restoring classical tuning to the classical musical repertoire of the Fortepiano and 19th century piano reveals dimension of emotion unheard in 150 years.

There was a legend that music conveyed different emotions granted by the use of particular keys. Einstein was not the first to notice Mozart's specialised use of keys, and likewise Beethoven, Schubert, Chopin and Liszt were all careful in their choice of key to match different moods. This paper examines that legend and shows with musical examples how the 18th and 19th century solutions to the scale problem gave rise to those experiences, only to be swept away in the 20th century.

The paper examines works by Bach, presenting them in a manner unthinkable for 150 years, and how the purity of scales with pure thirds in Meantone, or perfect fifths in other systems, leads to different playing and pedalling techniques through Beethoven to Chopin. The paper examines the Piano Sonatas by Haydn and Mozart in the tuning known to be used in the 18th century, and find surprising revelations relevant capable of bringing rebirth of interest in both Music and Religion in the 21st century, even their survival in the light of possible cultural collapse.

Works examined include Mozart Fantasias K594 and K608 for Mechanical Clock, Bach's Well Tempered Clavier, Beethoven Prelude 2 Op. 39, Mozart Piano Sonatas - in particular No 2 K280 F major and F minor, No 12 K322 F major, and Fantasia K475 C minor

The music of Tōru Takemitsu is often stated to be essentially Japanese. However, previous studies on Takemitsu tend to highlight the composer’s reception of Japanese aesthetics and philosophy rather than his preoccupation with Japan’s various musical traditions. This study traces the influence of these traditions in a particular segment of Takemitsu’s oeuvre, namely, the piano works. Analyses of selected pieces from this repertoire will show how tradition and innovation (the provenance of which is not always apparent) have merged into Takemitsu’s highly distinctive musical language.

Easy Method For Teaching Piano, Learn To Play Famous & Fun Easy Piano Pieces.

You can Colored Piano Keys Up On The all pages With RainbowTonic Method.


This Book with Online Video & Audio was designed to help the beginning student learn to play the piano or keyboard. This step by step course is designed for elementary school-aged children (ages 5-11) and quickly teaches the student to play songs they will know and love. These lessons start by playing with both hands and gradually build to adding the notes on staff.


Song arrangements were carefully selected to provide an easy transition from learning the basics to covering more interesting rhythms, techniques, and musical ideas. The book features standard music notation for each song and exercise along with fingering notation and hand shifts to make the course easier to learn. also have fun, simple, popular and familiar songs and tunes which helps the player feel more comfortable as they learn the easy to play pieces.


This method includes Piano Keys up the pages With Colorful Keyboard Based on RainbowTonic Style in C Major, and upbeat learning style enables the young beginner student to learn music notation, symbols and play piano in no time!


(RainbowTonic Method Piano Songbook)

No Music Reading Required. Learn how to play the piano and read music through playing famous and beautiful songs and pieces with this book!

Songlist:

Hey, hey look at me
Au Clair De La Lune
Good King Wenceslas
Cuckoo where are you
Twinkle, Twinkle
Old MacDonald
Lightly Row
Ode To Joy
Mary had a little lamb
London Bridge
The Chimes
Rock A Bye Baby
Cat Walking On Piano
Rain, Rain, Go Away
The Sound of Music
Hot Cross Buns
Dodo L’enfant Do
Ode To Joy
Brother John
Go Tell Aunt Rhody
Hush Little Baby
Sweetly Sings the Donkey
Jingle Bells
The Muffin Man
Ring Around The Rosie
I Am Here
Good Morning Honey
New World Symphony Largo
Alouette
The Farmer In The Dell
The Wheels On The Bus
Itsy Bitsy Spider
Yankee Doodle
Hickory Dickory Dock
Minuet NO.3 JS.Bach
Lullaby and Goodnight
Happy Birthday
Minuet - Bach
I’m A Little Teapot
Along the way, there are illustrations, and characters that make learning exciting and engaging. Does your child want to start playing the piano, but you’re not sure where to begin?

In the beginning notes have their letters printed above them in a large easy-to read font, to help those who are yet to learn how to read music. Also included are some blank music sheets, so you can have fun creating your own compositions. !

An original Compendium of baroque and classical voice-leading patterns offers a wealth of historically informed teaching materials for today's pedagogues. Drawing from recent scholarly trends in the German-language music-theoretical community, the historical approach offered here is at odds with many aspects of current Anglo-American music theory pedagogy. Chief among these is the absence of any reference to Roman numerals, chordal roots, or chordal inversion in the Compendium. Instead, a thoroughbass-centered approach is favored, in which the scale degree of the bassline is the primary analytical annotation. This encourages contrapuntal, rather than harmonic, considerations to come to the fore. The voice-leading patterns are divided into three categories: cadences, rules of the octave, and sequences. Each patterns is given in C-major and A-minor in a variety of upper-voice spacings. The student internalizes these patterns by playing, singing, and transposing them at the keyboard. Thus, the Compendium takes a decidedly practical, and less discursive approach than many current textbooks on baroque music.

In the nineteenth century, listening to a symphony was a rare and precious treat. Few could afford to attend the symphony regularly, and even those who could would be lucky to hear a favourite work once every few years. There was, however, one way for nineteenth-century music lovers to hear their favourite symphonies anytime on demand: by playing arrangements. Arrangements of symphonies, particularly those for piano four-hands, were phenomenally popular. Amateur musicians would play through arrangements before a concert to familiarise themselves with unknown works and after to re-experience the music they enjoyed. In the twentieth century, recordings took over this function. Today, it is not the sonic magnificence of the orchestra that is rare and precious; it is the act of music-making.

This paper examines the roles that four-hand piano transcriptions played in the reception of symphonic repertoire during the nineteenth century and, by way of conclusion, suggests some pedagogical applications of the findings. The history of four-hand piano transcriptions demonstrates the crucial role that active participation in music-making plays in the understanding and enjoyment of symphonic repertoire.

Edición corregida y aumentada de la Sonata en mi menor del compositor venezolano Redescal Uzcátegui (1871-1943). Esta versión incluye un Scherzo que no apareció en la publicación de la obra que hizo la Fundación Vicente Emilio Sojo en 1997. El caso es discutido en mi trabajo "Un Scherzo en busca de su autor".

Ludwig van Beethoven Concerto n. 1 per pianoforte e orchestra in do maggiore, op. 15 1. Allegro con brio 2. Largo (la bemolle maggiore) 3. Rondò. Allegro scherzando La forma del concerto interessa Beethoven per circa un ventennio, tra il 1790 e il 1809, periodo nel quale vengono scritti i cinque concerti per pianoforte e orchestra. I primi due concerti, peraltro, subiscono nel corso degli anni numerose rielaborazioni in occasione delle esecuzioni pubbliche. Il concerto in do maggiore op. 15 n. 1 fu in realtà scritto successivamente al secondo concerto, ma venne pubblicato per primo. I primi due concerti furono accomunati da un giudizio non pienamente positivo dello stesso Beethoven che, in una lettera all'editore Britkopf & Haertel del 22 Aprile 1801, scrive: "vorrei aggiungere che uno dei miei primi concerti, e pertanto non una delle mie migliori composizioni, sta per essere pubblicata da Hoffmeister, e che Mollo sta per pubblicare un concerto che, veramente, è stato scritto dopo, ma che allo stesso modo, non conta fra i migliori mie lavori in questo genere." Nonostante ciò nel 1809 Beethoven scriverà ben tre cadenze per questo concerto in do maggiore, segno forse di una revisione del giudizio così severo espresso? Il concerto è dedicato a "Babette" una delle allieve più care di Beethoven, la principessa Anne Luise Barbara d'erba Odescalchi, a cui nel 1797, quando, ancora nubile portava il cognome ungherese di Keglevics von Buzin, aveva dedicato la bellissima sonata per pianoforte op. 7. Fu con questo concerto che Beethoven si fece conoscere al pubblico della capitale di quello che, ancora per pochi anni, sarebbe stato il Sacro Romano Impero. Nella primavera del 1795 la Tonkünstlergesellschaft (Società dei musicisti) aveva organizzato tre serate consecutive in onore delle vedove e degli orfani dei musicisti all'Hofburgtheater (lo stesso teatro dove Mozart rappresentò per la prima volta Ratto dal serraglio, Così fan tutte e Nozze di Figaro).