Playing with Style - Piano Accompaniment

Evergreens. Par CORNICK MIKE. Play with style using Mike Cornick's Style Collection. Thirteen old favourites - all with everlasting appeal and in a variety of styles, have been arranged for the middle-grade pianist to play and enjoy. Includes Summertime, Give my Regards to Broadway, Maple Leaf Rag, Plaisir D'Amour. The CD provides the option of playing along as part of an ensemble which is both confidence-building and fun, while the demonstration tracks for listening are not only inspiring but hugely entertaining. • Old favourites that have stood the test of time arranged for the intermediate-level pianist • An enjoyable and rewarding way to become acquainted with a variety of styles and extend your pianistic skills • Play along in your own ensemble using the CD minus-one tracks - a pleasure on your own and when entertaining others / Evergreen / Etude / Piano

Play with style using Mike Cornick's Style Collection- be it jazz, Afro-Caribbean favourites or the evergreens we all enjoy. Each book with CD focuses on a particular genre and includes well-known pieces in arrangements suitable for the middle-grade player as 'The Darktown Strutters' Ball', 'Won't You Come Home Bill Bailey', 'Ja Da' and more. The CD provides the option of playing along as part of an ensemble which is both confidence-building and fun, while the demonstration tracks for listening are not only inspiring but hugely entertaining. / Piano

16 Easy Piano Duets Instrument : piano (4 hands) Nombre de Pages : 40 For pianists, making music can often be a lonely pleasure. Duets provide a great way for the pianist to enjoy the benefits of ensemble - playing with other musicians - and the chance to share the enjoyment of music making. This set of original works brings together a wide variety of styles, Waltzes and Lullabies, to Jazz to Latin and Folk. The pieces are progressive in order of difficulty, and may be played by the teacher and pupil together, or provide a challenge for two players of equal ability. Content : Petite Valse - Berceuse - Barcarolle - Running Wild - Cantabile - Habanera - Folk Song - Adagio - Song Without Words - Jazz Waltz - Blues for Two - Drive Time - Tropic Nights - Romanza - Cake Walk - Bossa Nova

Pianoworks Duets 2 is the perfect resource for developing pianists to explore duet-playing. They'll develop balance playing in time and sight-reading while learning attractive and accessible arrangements in a huge variety of styles and genres including 'Spring' from Vivaldi's The Four Seasons Joplin's exuberant rag 'The Easy Winners' and the traditional Scottish song 'Afton Water'. In addition the collection contains several new and original gems by Alan Bullard the co-author of this celebrated series. 21 duets with parts of equal standard compiled and arranged for beginner to intermediate pianists (approx.Grades 3-5) Wide range of styles including Classical Romantic jazz folk and contemporary CD contains backing tracks of each part to allow solo practice Useful tips on style and technique and background information on every piece Perfect companion to Pianoworks Book 2 and Pianoworks Collection 2

The 30 pieces contained within this tutorial are aimed exclusively at piano beginners. All pieces are easy to play and will enable you to rapidly gain substantial experience in piano playing and, since they are adapted versions of real musical pieces, you will at no time lose your pleasure of playing. In order not to overwhelm you, the level of difficulty of the pieces to be performed increases progressively, allowing you to work in a fluent and coherent manner. The piano pieces put together in this tutorial will also allow you to discover musical styles which are totally different from one another, forming a large panorama of contemporary and classic music. You will get a taste of popular music, jazz, ragtime, blues and rock. So you can rest assured, there's something for everyone in here(!) The CD attached to the book will make your study even more enjoyable. Every musical piece appears twice: the first time for demonstration purposes (with the piano) and the second in the form of a backing track (without the piano), in order to give you the opportunity to play the piano and enjoy the accompaniment of other musicians. / Piano

DVD Three: Boogie Woogie and Slow Blues-David Cohen takes beginning and intermediate pianists beyond the basics and into the colorful flavors foot-stomping syncopation and old-time funky feeling of the real blues style. The emphasis is on helping you achieve solid technique and improvisational ideas for both slow blues and the more up-tempo boogie-woogie styles. David covers a wide range of musical concepts that will bring your playing to a whole new level. He starts with the driving bass patterns that give boogie-woogie its recognizable groove then adds chords riffs bass lines classic turnarounds and arpeggios that will give your playing style and distinction. Moving from the key of C toE (necessary if you’re going to be playing with a guitarist) David explores slow blues using progressions that will expand your harmonic sense and allow you to improvise easily and effectively in major and minor keys. You’ll learn to play the rollicking Pinetop’s Boogie (in two keys) the sophisticated Blues For A Summer’s Dream and the seemingly endless variations on the 8-bar Slow Blues in E.

Keyboard players pay attention! To follow the foundation volume ROCK PIANO 1 (ED 7029) this volume goes into greater detail. Pieces in a wide variety of styles bring you into contact with a broad spectrum of methods used in playing rock with solo studies to extend your improvisational skills. Rhythmic and harmonic exercises will help you to develop striking keyboard parts out of simple chord sequences so that you can distinguish yourself when playing with other musicians as well. All the pieces and solos (improvisations) in the book also feature on the accompanying CD played by the author.ROCK PIANO 2 is designed so that by working through compositions that arewritten out in full you learn to develop your own style and to adopt a creative approach to the material in front of you.

This book ideal for beginners includes 30 easy pieces for pianists. Each track has been carefully chosen to acquire a strong level of experience on the Piano while also having fun playing enjoyably short pieces.  Each piece in the book is progressive meaning the pieces start off at a lower level of difficulty then get harder meaning your abilities will evolve gradually with the book. The book is also a great way for the beginning pianist to get a taste of a number of different styles from contemporary to classical including jazz ragtime blues rock there is something for everyone here.  Withthe accompanying CD every piece is presented twice once with the Piano as a demonstration and another time with the Piano part removed to get the player used to playing with other musicians.

Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ? a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy?he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book?encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

Gregory Stone has transcribed these three selected preludes for one piano-four hands. For much of his life George Gershwin sought to integrate the worlds of jazz and classical music. These pieces are not jazz improvisations but they do show something of the style of his own playing. Gershwin had intended to compose a set of twelve a sort of jazz Wohltemperierte Clavier but his unexpected death from a brain tumour at the age of 38 prevented this. At least seven survive (others may have ended up as songs) and this set of three as published form a satisfying unit. The first opens with a blue-note riff which forms the basis of the first theme.Contrasting material follows making use of a distinctive repeated note figure then the first idea reappears in a quasi-orchestral climax. The second prelude shows a curious kinship with Chopin???s A minor Prelude with its eerie accompaniment and hypnotic melody. The third exploits a similar major/minor ambivalence but dextrous syncopation gives it driving rhythmic energy.

Arr Stephen Duro. A great series of piano solos which offers players the opportunity to try out a number of less conventional styles, using carefully selected musical favourites. Each volume contains pieces which are authentically arranged and fingered with helpful playing and style notes and chord symbols for accompaniment or improvisation. / Stephen Duro / Partition /

a collection of 30 pieces. Relax at the piano with this exceptional collection of satisfying and profoundly beautiful pieces to play. Some pieces have been transposed and simplified for ease of playing. 30 songs have been arranged for solo piano, in a relaxing style, including: 'All of Me', 'Despacito', 'Perfect', 'Someone Like You', 'Yesterday' and 'Your Song'.