This arrangement slightly more difficult than the version for piano four-hands is fuller yet delicate and flowing.

This is one of four Preparatory-level books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book.Preparatory Level: For students in their first year of study- Middle C position treble and bass clef grand staff- Whole note half note quarter note dotted half note- pp p mp mf f- 3/4 and 4/4 time signatures- Key signatures up to one sharp- Repeat 8ve tie fermata ritardando accentAbout the American Popular Piano series:?Why can?t I play more musiclike this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? · develop traditional pianistic and musical skills through music in contemporary popular styles;· be motivated to practice by working on music that is familiar fun and that they can?t wait to play; · nurture their creativity and spontaneity through a user-friendly modular approach to improvisation; · enjoy regular ensemble playing; ? and find pleasure in a lifelong relationship with music!Written entirely by Christopher Norton and Scott McBride Smith American Popular Piano is an educational piano course which comprises 44 books clearly divided into 11 difficulty levels. With 4 resources in each level from which people can pick and choose the series provides a fuller curriculum including important skills such as improvisation.The integrated comprehensive course of study provided by American Popular

Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of the best of these pre-Baroque masterpieces. Carefully graded.It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the DeadSea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbled miraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the

It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major