Music Minus One Piano-Twenty great Dixieland classics presented here in complete versions and then as backgrounds to your own performance with the Dixieland All-stars. Contains printed music score and compact disc with accompaniments. Accompaniment: Dixieland All-Stars: Nat Pierce piano Jim Dahl trombone Hal McCusick clarinet Russ Saunders bass Ted Sommer drums

Collected piano works-Collected together for the first time: the piano works of Kurt Schwertsik. Albumblätter – 14 short works for friends plus Cinque Nocturnes (Op 10b) Fantasia & Fuga (Op 105) Am Morgen vor der Reise (Op 119) and Eden-Bar Seefeld (Op 6). Includes contextual notes by the composer.Kurt Schwertsik's music is mercurial and idiosyncratic with a refreshing lightness of touch. Though a pupil of Stockhausen the composer rejected serialism in favour of new forms of tonality. His search for an 'alternative' modern culture draws inspiration from Satie and the Dada movement. His wide-ranging output includesoperas ballets the Irdische Klänge orchestral cycle concertos for violin alphorn guitar double bass timpani flute and trombone numerous song cycles and Nachtmusiken – a nocturnal orchestral journey through wartime Vienna.

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

For each song you will hear the full version, featuring the Pianist accompanied by an Orchestra, as well as a playback version for you to play along to. There are three different versions for each piece: 1)Keyboard/Organ 2)Piano (medium difficulty) 3)Piano (simple for beginners) The pieces in Tubes Du Jazz Claviers are great for playing as part of a group. The included harmonic grids will help Bass and Keyboard players to get their bearings, and all of the featured pieces can be sung. Lyrics are included at the back of this book./ Recueil / Clavier

'REALTIME MOVIE STANDARDS', das sind acht bekannte Kino-Soundtracks - live und in 'realtime', in absoluter Studioqualität eingespielt! Die Profimusiker um Bernd Kiltz (Gitarre), Daniel Prandl (Piano), Christian Kussmann (Bass) und Florian Alexandru-Zorn (Drums) gewähren einen tiefen Einblick in die Interpretations- und Begleittechniken für Filmmusik und lassen teilhaben an ihren Erfahrungen, Tipps und Tricks. Für Pianisten und Keyboarder sind Play-alongs eine geradezu unverzichtbare Grundlage für die tägliche Übepraxis. Die vorliegenden Bearbeitungen von Klassikern der Filmmusik bieten in diesem Zusammenhang ein ideales Spielfeld: Denn hier wird der Pianist nicht nur auf EINE Rolle als Solist einerseits oder als 'bloßer' Begleiter andererseits reduziert, sondern kann beide Funktionen mit aller stilistischen Freiheit übernehmen. Ihm wird Raum für solistische Improvisation UND Band dienliches Comping gegeben. Er kann den Freiraum nutzen, seine eigene Persönlichkeit und seine Fähigkeiten am Instrument einzubringen, kurz: für eine möglichst eigenständige Interpretation zu sorgen. Wie dieser Freiraum genutzt werden kann, zeigt dir Daniel Prandl in der Pianoausgabe von 'REALTIME MOVIE STANDARDS'! / Piano

Anyone with basic keyboard skills (equivalent to Alfred's Basic Piano, Lesson Book 2) can dig right in and begin learning blues right away. Learn what it takes to create the distinctive sound of the blues, including basic chords and scales, blues melodies, improvisation, turnarounds and intros. Other topics include the 12-bar blues form, walking bass and playing in a band. Full of fun blues tunes to play, Beginning Blues Keyboard provides a step-by-step enjoyable way to learn the blues. 96 pages. / Piano (Ou Clavier)

This collection presents nineteen hymns in arrangements for the progressing beginning piano student. The left hand uses block chords broken chords and Alberti bass and the right hand introduces two-note chords and sixteenthnotes. The pieces are in the keys of C F and G. Lyrics are included. Most of the selections in this book are the same as in Book 1 but the arrangements are more difficult. Recommended for hymn playing by the Federation of MusicClubs.

This is a hands-on course to get you started playing traditional blues piano! Progressing from the elementary theory needed to understand chord progressions to setting up a solid left-hand rhythm in the bass to create a bedrock for the right hand improvisations to come this is a comprehensive and systematic course with a CD include that builds a solid bed-rock on which to build more complex techniques.

'It's never right to play Ragtime fast.?(Scott Joplin)Most listeners associate 'ragtime? with the music of Scott Joplin, one of the earliest African-American composers to straddle the divide between classical and popular music. It was Joplin who brought this musical style to the pinnacle of perfection.The term 'ragtime? stems from 'ragged time? and describes the contrast between the sprightly syncopated melodies in the right hand and the accentuated 'oom-pah? bass in the left. This collection offers deeper insight into Joplin's art, a combination of folk music, African rhythms and classical piano music. Jean Kleeb has simplified the works and added fingering. - Edition in celebration of Joplins' 150th anniversary in 2018 - 7 typical and well-known pieces in their entirety - Difficult passages are simplified - With fingering / Piano

The tunes in the New Orleans Jazz Styles series are written for piano students of intermediate level. Gillock believed that every student's musical education should include experiences in a variety of popular stylings, including jazz, as a recurring phase of their study. Students should be encouraged to deviate from the written notes with their own improvisations, for spontaneity is an essential ingredient of the jazz idiom. TITLES: New Orleans Nightfall · The Constant Bass · Mardi Gras · Dixieland Combo · Frankie and Johnny (Theme and Variations). / Piano

From The Associated Board of the Royal Schools of Music a complete aural guide to the jazz piano syllabus Grade 4. This CD kicks off with superb trio takes of three of the pieces for the grade. Contains performances of all the pieces for the grade with sample improvisations at the level. Includes minus one tracks of three of the graded pieces for you to play along with Bass and Drums. Shows how the aural tests and quick study work in the exam with an examiner and candidate.

Par ROSENBLATT ALEXANDER. 'Toccata-Boogie' is another piano piece by Alexander Rosenblatt for small hands. It is a virtuoso toccata with the most important and effective boogie-woogie elements (bass and melody lines, rhythms, harmonies). / Date parution : 2023-10-31/ Répertoire / Piano

Piano solo arrangements of twenty top pop hits, including: All About That Bass (Meghan Trainor) - All of Me (John Legend) - Can't Feel My Face (The Weeknd) - Cheerleader (OMI) - Love Me like You Do (Ellie Goulding) - Love Somebody (Maroon 5) - Rude (Magic) - Shut up and Dance (Walk the Moon) - Stay with Me (Sam Smith) - Style (Taylor Swift) - Thinking Out Loud (Ed Sheeran) - and more. / Piano