Mastery of these pieces will give early intermediate to late Intermediate piano students valuable insight into the style and performance of the music of the Classical period, specifically that of Clementi. Editorial suggestions are in light print to clearly distinguish them from Clementi' indications and include notations for fingering, pedaling and metronome use.

Mastery of these pieces will give students valuable insight into the style and performance of the music of the Classical period, specifically that of Clementi. Editorial suggestions are in light print to clearly distinguish them from Clementi' indications and include notations for fingering, pedaling and metronome use.

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 volume contains 31 pieces from The First Term at the Piano, For Children, 10 Easy Pieces and 7 Sketches. The informative foreword includes Bartók's specific instructions on wrist and finer action, articulations and syncopation. Each piece is prefaced by a brief introduction.

Eighty-three popular piano classics arranged for the beginning student are accompanied by a short history of each piece and advice on playing each arrangement.5NjBwBT

The strict traditions of piano teaching have remained entrenched for generations. The dominant influence of Muzio Clementi (1752-1832), the first composer-pedagogue of the instrument, brought about an explosion of autocratic instruction and bizarre teaching systems, exemplified in the mind-numbing drills of Hanon's "The Virtuoso Pianist." These practices--considered absurd or abusive by many--persist today at all levels of piano education. This book critically examines two centuries of teaching methods and encourages instructors to do away with traditions that disconnect mental and creative skills.

A uniquely illuminating memoir of the making of a musician, in which renowned pianist Jeremy Denk explores what he learned from his teachers about classical music: its forms, its power, its meaning - and what it can teach us about ourselves. In this searching and funny memoir, based on his popular New Yorker article, renowned pianist Jeremy Denk traces an implausible journey. Life is difficult enough as a precocious, temperamental, and insufferable six-year-old piano prodigy in New Jersey. But then a family meltdown forces a move to New Mexico, far from classical music’s nerve centers, and he has to please a new taskmaster while navigating cacti, and the perils of junior high school. Escaping from New Mexico at last, he meets a bewildering cast of college music teachers, ranging from boring to profound, and experiences a series of humiliations and triumphs, to find his way as one of the world’s greatest living pianists, a MacArthur 'Genius,' and a frequent performer at Carnegie Hall. There are few writers working today who are willing to eloquently explore both the joys and miseries of artistic practice. Hours of daily repetition, mystifying early advice, pressure from parents and teachers who drove him on – an ongoing battle of talent against two enemies: boredom and insecurity. As we meet various teachers, with cruel and kind streaks, Denk composes a fraught love letter to the act of teaching. He brings you behind the scenes, to look at what motivates both student and teacher, locked in a complicated and psychologically perilous relationship. In Every Good Boy Does Fine, Denk explores how classical music is relevant to 'real life,' despite its distance in time. He dives into pieces and composers that have shaped him – Bach, Mozart, Schubert, and Brahms, among others – and gives unusual lessons on melody, harmony, and rhythm. Why and how do these fundamental elements have such a visceral effect on us? He tries to sum up many of the lessons he has received, to repay the debt of all his amazing teachers; to remind us that music is our creation, and that we need to keep asking questions about its purpose.

"The five books in this series present the 100 masterworks the editors believe developing pianists should study and perform. Each book contains 20 pieces selected from the for main periods [Baroque, Classical, Romantic, Contemporary] as well as additional suggestions for repertoire from the 20th century."--P. [4] of cover.

The 10 pieces in this book are arranged in approximate order of difficulty and include "Album Leaf," the easiest mazurkas, preludes and more. Each are in their original form and retain the sensitive, expressive character that earned Chopin the title "Poet of the Piano." Derived from "Chopin-an Introduction to His Piano Works," this edition is intended for students in the early grades. Willard Palmer has provided notes on ornamentation, pedaling and fingering.