Five Centuries of Keyboard Music [Paperback] Review

Gillespie was professor of Music at the Indiana University. He endeavored to satisfy a wide range of interests. From the clavier literature student to the musical gourmet , he presents the different phases of keyboard development . Beware about the organ music . He prevents the organ music has its own niche and requires a separate volume .
Individual chapters and articles will be helpful in quickly locating information about particular composers , even the most unknown and sometimes neglected composers of the different countries and periods . Footnotes and bibliographies will be important for the professional , student , performer or simply casual investigator .
As result of the final reading you will obtain a precise scope about the developmentof the works for the solo keyboard , traditions , interconnections from the first works of the sixteenth century to the new composers of today.
A real must for the music lovers and every person sincerely interested in the evolution of the instrument.

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Practicing musician and professor of music discusses 350 composers and their works for harpsichord and piano. Includes 116 musical examples.

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Music by the Masters [Paperback] Review

I used this book about 20 years ago as a student.Now, I use this book with my students. It is a great book full of short classical studies by prolific composers of the Baroque-Romantic Eras.This book contains a wide variety of music selections that teach various and sundry musical techniques and articulations.Great for the young pianist who is trying to bridge the gap into the Classical literature.

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This consistent top-seller includes 65 works by these famous composers: C. P. E. Bach, J. S. Bach, Beethoven, Chopin, Grieg, Handel, Haydn, Mendelssohn, Schubert , Schumann and Tchaikovsky. Excellent, motivating literature for the intermediate pianist.

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The School of Velocity, Opus 299: Complete (Alfred Masterwork Edition) [Paperback] Review

If this is too intimidating for you, I would start with Czerny -- Practical Method, Op. 599 (Complete) (Alfred Masterwork Edition), which is thinner and simpler than this.

If THAT'S too difficult for you, I would fall back to Preliminary School of Dexterity, Op. 636, which is about as low as you can go and still be playing authentic Czerny that hasn't been watered down.(I don't know why Amazon doesn't have a picture of it:it's certainly not rare or out of print.)

Only after finishing that should you go for the mother lode, the School of Velocity.

All of these Alfred editions are the best:carefully edited and handsomely presented.Palmer didn't simply run those old galleys again:everything's been recomposited and -- importantly for me -- the notes have been made larger where possible.At any rate, it's certainly more readable than that old yellow version everyone seems to own.

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This popular volume offers practical training in well-articulated pianistic passage work, particularly in playing the virtuoso music of the romantic period. In addition to this, each study is a complete music composition, demanding attention to dynamics and phrasing. Students who master Opus 299 have indeed progressed a long way in the "school of velocity." Available in a 112-page complete volume or in two separate books.

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Technique for the Advancing Pianist (Alfred Masterwork Editions) [Paperback] Review

I use this book for all my students who wish to pursue piano studies at a higher level, particularly those who will become piano performance majors in college. It truly is essential for the advancing pianist because many technical difficulties one encounters throughout Mozart, Beethoven, and some Chopin (and of course, many more composers) is learned here, such as scales in double thirds, rotation, and velocity. Work through every single page and you're well on your way to starting more advanced work in college.

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This practical resource provides foundational tools for scale, chord and arpeggio playing; exercises for developing precision, speed, agility and clarity of tone; and exercises and etudes that focus on a variety of technical challenges.

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371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass [Paperback] Review

This is a nice edition to have. Playing two Bach chorales every morning is kind of like doing some jumping jacks and eating a spoonful of codliver oil...which is to say, good for you. After playing the first 120 you can expect some chorale fatigue to set in, but all the while you'll be absorbing good voice-leading and voice-doubling technique as though by osmosis. What's more, Bach will still surprise you- there are chords so jarring and dissonant that their sudden, logical resolution is like watching a rabbit being pulled out of a hat.
On the downside, the notes are small (this edition really packs 'em in) and it can be easy to get lost on the page. No texts are provided, either, aside from the opening words, so you have to accept on faith that some of the more contorted harmonizations are justified by the text. It's still nice to have, though, and looks nice and musicological sitting on the piano.

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The great Baroque master composer Johann Sebastian Bach (1685-1750) wrote music for every combination of instruments and voices. His simplest and purest work are four-part chorale compositions and settings, so perfectly constructed that they evoke meditative spirituality. "Figured bass" was a Baroque system of notating harmony. In addition 371 chorales, this collection includes 69 melodies with figured bass. This classic Schirmer edition, edited by Albert Riemenschneider, has sold over 1,000,000 copies since its release in the early 20th century. Primarily for keyboard, the chorales can also be played by other instruments.

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FastTrack Keyboard Songbook 1 - Level 1 (Fasttrack Series) [Paperback] Review

This book is great.Just remember to shift your hands as indicated by the finger numbers and be sure to master those notes as they teach you before moving on too fast.But you'll be surprised how fast you learn.But everything in this book is on playing notes and scales on Treble Clef.There is no bass clef in this book or the second (Keyboard Chords & Scales)... I just bought it 3 weeks ago and am loving it.The book does teach you music notes.It just gets confusing when it renumbers the notes (not explaining that your hand is moving over a key for a while and then back again.They make it sound like you just reach your finger while keeping your hand in place.This is not true after the first page of learning A and B notes in Middle C.)But I am wonderfully surprised at how fast you pick up and start playing.I never read music before and now I am.That in itself is amazing.

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A supplement to the FastTrack instruction books, this great songbook/CD pack features 8 great songs in rock score format: Brown Eyed Girl * Great Balls of Fire * I Want to Hold Your Hand * Oh, Pretty Woman * Wild Thing * Wonderful Tonight * You Really Got Me * Your Song.

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Great Contemporary Pianists Speak for Themselves (Dover Books on Music, Music History) [Paperback] Review

It gives us a cross section of the views of the great ( some not so great ) artists as to how they see the piano, pianist(s) and piano music.
So Gilels never quite recognised Neuhaus as his teacher; Bolet had high esteem for Moiseiwitsch other than Rachmaninoff; Arrau was an admirer of Edwin Fischer; Kocsis upholding Richter while despising ( and he is not alone) Horowitz for he made use of music and composers instead of serving them, he also refers us to the music of Bartok; Pogorelich telling us the fixing of the piano competitions result; Ashkenazy touching on the Russian artists' soft spot and a lot more... Amusing as well as instructive. Almost a must for all serious pianist.

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Fascinating interviews with 25 renowned pianists: Ashkenazy, Badura-Skoda, Bolet, Brendel, de Larrocha, Gould, Horowitz, Ohlsson, Tureck, Watts, 15 more. Revealing, candid thoughts about themselves, their careers, music they play, life of a concert pianist. "Mach's interviews will enhance the pleasure of any concertgoer."-People. Introduction by Sir Georg Solti. 51 black-and-white photographs.

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Perfect Wrong Note - Learning to Trust Your Musical Self (Softcover) (Amadeus) [Paperback] Review

I am a professional musician, a retired piano teacher of 25 years. In October of 2004, I produced my first cd of pre-Baroque pieces into an album called, "Carry the Light."Recently, I found out about "The Perfect Wrong Note" by William Westney from a friend. The book is stunning, progressive and suffice it to say, it will rub some traditionalist the wrong way.Westney totally challenges traditional teaching methods and rightly so. There is a revealing "Question and Answer" section in the book on pp. 95-97 which provides an astute summary of Westney's teaching philosophy. I found the following Q and A challenging to some very traditionalist teachings on using the metronome; "Is it a good idea to use a metronome?"Westney's replies, "Only for short periods, as a check of tempo consistency.If we use it too much we become passive slaves to it, and our inner rhythm stays dormant."Westney emphasizes that playing the piano is a "whole body, whole brain" experience.In terms of Westney's approach being a "feel good" philosophy, nothing could be further from the truth. When asked (p. 97), "Can your approach be simply stated as, "Just don't fret about wrong notes, after all nobody's perfect.?"Westney's response is clearly direct; "No.This isn't a feel good philosophy: it's a pragmatic problem-solving plan along the road to artistry.Control, accuracy, and refinement are still the goals."Westney takes a groundbreaking approach to teaching piano without killing the hope and aspirations of the student.That is to be herald and this work will be deeply respected by teachers willing to take on new and exciting challenges that take heed to an important ethos Westney holds for anyone practicing the piano."As you practice sense that you are taking care of yourself at every moment.Expect musical performing to be fun and feel good.Question any part of it that doesn't feel that way.Think of yourself as a healty athlete. Relax frequently and take stock." (p.227) I can't think of any performing philosophy that is more hope filled than that.

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In this groundbreaking book, prize-winning pianist and noted educator William Westney helps readers discover their own path to the natural, transcendent fulfillment of making music. Drawing on experience, psychological insight, and wisdom ancient and modern, Westney shows how to trust yourself and set your own musicality free. He offers healthy alternatives for lifelong learning and suggests significant change in the way music is taught. For example, playing a wrong note can be constructive, useful, even enlightening. The creator of the acclaimed Un-Master Class workshop also explores the special potential of group work, outlining the basics of his revelatory workshop that has transformed the music experience for participants the world over. Practicing, in Westney's view, is a lively, honest, adventurous, and spiritually rewarding enterprise, and it can (and should) meet with daily success, which empowers us to grow even more. Teachers, professionals, and students of any instrument will benefit from this unique guide, which brings artistic vitality, freedom, and confidence within everyone's reach.

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