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"The Hinson" has been indispensable for performers, teachers, and students. Now updated and expanded, it's better than ever, with 120 more composers, expertly guiding pianists to solo literature and answering the vital questions: What's available? How difficult is it? What are its special features? How does one reach the publisher? The "new Hinson" includes solo compositions of nearly 2,000 composers, with biographical sketches of major composers. Every entry offers description, publisher, number of pages, performance time, style and characteristics, and level of difficulty. Extensively revised, this new edition is destined to become a trusted guide for years to come.
This book discusses what both early and modern sources say about French performance practice and offers solutions to performance problems in Francois Chauvon's Premierre Suitte (taken from Tibiades, 1717). Part one discusses relevant issues of historical performance practice and establishes a conte
A most impressive 220-page edition of the first volume of "The Well-Tempered Clavier," these 24 preludes and 24 fugues were painstakingly researched over a period of 10 years, using the most important original manuscript sources. Baroque scholar Willard A. Palmer's thorough introduction discusses fugal construction, articulation and other aspects of performance interpretation. Volume I of "The Well-Tempered Clavier" has been updated with a new "look" to match Volume II. This essential masterpiece is a "must-have" for all pianists.
This collection of Debussy's popular intermediate pieces includes "Clair de lune," "Reverie," "La petit nègre," the complete "Children's Corner Suite" and other works. The introductory pages discuss symbolist poetry, French Impressionist painters and Debussy's musical style. A variety of photographs taken throughout the composer's life are also included.
This guide to understanding ornamentation in each era of music includes information on how to understand and remain faithful to the composer's intention, how many and which notes to use in each ornament, how to integrate ornaments smoothly into a performance and simple strategies and systems for realizing and practicing ornaments. A synthesis of years of scholarly research resulting in a logical, easy to follow and accurate volume.
These short, pleasing pieces assist early-intermediate pianists in developing overall musicianship and technique. The collection contains sonatas, minuets, an "Aria" and a "Pastoral" written in binary form. Halford provides suggestions for style and interpretation in a foreword, and includes fingering, phrasing and notated ornaments in light print within each composition. This is an important volume for students new to Scarlatti's brilliant and lyrical keyboard styles.
This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect toda...
An important 18th-century instruction book, Couperin's The Art of Playing the Harpsichord contains valuable information on technique, fingering, phrasing, ornamentation and keyboard performance style. Halford's scholarly introduction includes a biographical sketch of the composer, a thorough discussion of French Baroque ornamentation and a useful summary of Couperin's style. The eight preludes used by Couperin to illustrate his approach are musical gems rarely found in other collections.
This carefully edited volume contains 19 of Scarlatti's easiest pieces, including minuets, sonatas and assorted other works. Suggestions for interpretation and a discussion of the original editions are provided. Unique to this collection is a consideration of figured bass as used in several of Scarlatti's sonatas.