SKU: YM.GTP01100466
ISBN 9784636103175. 8.5 x 12 inches.
Yoshiko Kurokawa's new proposal of piano technique. The author, Yoshiko Kurokawa, explains that you can easily and effectively learn the basic techniques that are important for piano performance, as described in Chopin's Draft of Technique, Brahms' Practice Book, and Hummel's Theory of Piano Technique. In addition to warm-up and exercise pieces by the auther Kurokawa herself, the book includes works by composers such as Hummel, Clementi, and Mozart, as well as exercise-specific exercises by Japanese composer Yasuhisa Tohma. The book is full of essential elements for piano playing and techniques, such as control of tone and volume balance in accompaniment form, awareness of palm strength essential for playing heavy notes, various ways of playing ornamented notes, tone and joint training depending on how the arms are placed when crossing, and important future techniques using the wrists and arms.
SKU: BR.EB-8029
ISBN 9790004174326. 9 x 12 inches.
This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extent, since it is more stimulating for children to change the teaching material frequently. There are four existing harpsichord books with a total of 226 compositions by Francois Couperin le Grand (1668 -1733). His works are as unknown to pianists as they are famous among harpsichord players. The grace and imaginativeness of his works lend themselves especially well to the sound of the harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the haipsichord and clavichord, and no one would dare question their intetpretation on the pianoforte. In order to introduce these lmpressionists of the Baroque Era to piano instruction, the editor has added to this series a folio of both Couperin's and Rameau's (EB 8033) music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. The Butterflies and the Windmills are both especially typical of masterful character pieces. The demands made on technique certainly correspond to a level of moderate difficulty. The simplifications made are restricted to the artistically realized twopart accompaniment (eg. p. 4 f. and p. 8 f.) with regard to finger stretch and to the profuse ornamentation of the original. The indications for phrasing and articulation are those of the editor. The first two pieces have been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series; what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the respective footnotes; these directions, however, are not obligatory. lndications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case be used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realization of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.
SKU: BR.EB-8033
ISBN 9790004174364. 9 x 12 inches.
This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extant, since it is more stimulating for children to change the teaching material frequently. Jean-Philippe Rameau (1683-1764) is the second great keyboard master of the Baroque Age next to Couperin. His works are as unknown to pianists, with few exceptions, as they are famous among harpsichord players. The virtuosity and imaginativeness of his works lend themselves especially well to the sound of harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the harpsichord and clavichord, and no one would dare question their interpretation on the pianoforte. In order to introduce these Impressionists of the Baroque Era to piano instructions, the editor has added to this series a folio of both Couperin's (EB 8029) and Rameau's music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. Baroque dance forms and graceful character pieces (LaJoyeuse, L'Indifferente) are typical ofRameau's work. Simplifications to a small extent of the harpsichord setting and also of the omamentation in the original version were required, based on the teaching experience of the editor. The indications for phrasing and articulation are those of the editor. The Minuet on page 6 has been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series: what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the espective footnotes; these directions, however, are not obligatory. Indications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case by used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realisation of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.
SKU: HL.14010573
ISBN 9780711987463. UPC: 884088426101. 9.0x12.0x0.335 inches. English.
The 2nd, 4th and 5th positions are introduced, also trills, double stopping, chords, spiccato and sautille bowings. Each new technique is demonstrated in a short study. The difficulties of each hand are isolated and only one point intouduced at a time. A separate piano accompaniment section is included within this volume.
