Guide Original Compositions for Four Hands, Volume II: Piano Duo/Duet (1 Piano, 4 Hands): 2 (Kalmus Edition)

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  1. Slavonic Dances, Op.46 (Dvořák, Antonín)
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More featuring music. See more. Franz Schubert.

Slavonic Dances, Op.46 (Dvořák, Antonín)

Twenty-five Preludes, Op. Chopin's 24 Preludes, Op. The Prelude in C-sharp minor, Op. Although the term "prelude" is generally used to describe an introductory piece, Chopin's preludes stand as self-contained units, each conveying a specific idea or emotion. Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available.

Works by Mozart, Wolfgang Amadeus

They are a must for students, teachers, and performers. Four Impromptus, Op. Josef Low. Hungarian Rhapsodies, Nos. Franz Liszt. We've combined two popular Hungarian Rhapsodies by Liszt under a single cover.

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George Gershwin. Willard A. Alfred's Basic Adult All-in-One Course is designed for use with a piano instructor for the beginning student looking for a truly complete piano course. It is a greatly expanded version of Alfred's Basic Adult Piano Course that will include lesson, theory, technic and additional repertoire in a convenient, "all-in-one" format. This comprehensive course adds such features as isometric hand exercises, finger strengthening drills, and written assignments that reinforce each lesson's concepts.

There is a smooth, logical progression between each lesson, a thorough explanation of chord theory and playing styles, and outstanding extra songs, including folk, classical, and contemporary selections. At the completion of this course, the student will have learned to play some of the most popular music ever written and will have gained a good understanding of basic musical concepts and styles.

John Williams. What were those unusual notes in the melody? At other times I feel the opposite, that the music cannot and should not be analyzed and that to do so would violate its essence. These tendencies are contradictory, I know, but I have had to acknowledge them both and accept them as equally valid, for I cannot predict or control how I react. One thing is for sure, though: my tendency to analyze has the advantage of helping me understand and communicate my reactions to the music that is so dear to me. In a general sense, this analytical perspective is what music theory is all about.

Music theory is the study of the structure behind the music, the building blocks upon which each piece relies.

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A certain piece may suggest itself for analysis, or a whole body of music can move me to study the building blocks as abstractions. Each approach has its own rewards. As I study a score, I feel that I am in the presence of a composer I respect. I feel privileged to be able to glimpse his or her musical decisions and to observe how a creative mind works.

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On the other hand, studying music in the abstract — the scales, chords, and key relations used over time — gives me an appreciation for the beauty of the Western music tonal system that developed over many centuries. To me there is nothing more elegant than the circle of fifths. The relationships within it are countless, and I would be tempted to teach it even if it had nothing to do with our perception of music — which, as a bonus, it absolutely does. To be more specific about the content of music theory, it is useful to take a historical perspective.

What music theory is, after all, changes over time, as does any discipline. The traditional approach, popular in the mid-twentieth century, was to look at music vertically. Professors would use masterpieces of Western art music as examples, occasionally playing the examples on the piano, and students would diligently copy the chords the professor had written on the blackboard.

To be sure, some chords were deemed more important than others, and chord progressions were touched on, but by and large the analysis of music was a vertical affair. Nowadays there is an appreciation for the relationship between the analysis of written music, which is generally knowledge-based and intellectual, and the analysis of music presented aurally a skill acquired through much practice and more dependent on innate ability.

To reinforce the learning of theoretical concepts, students may be asked to sing illustrative examples or play them on their instruments. As a result, many schools have integrated the teaching of aural 1 Chapter 1 skills, sight-singing, and keyboard skills into their theory classes. It should be mentioned that the developers of the AP Music Theory Exam have been in the forefront of these innovations.

Almost half of the exam has been dedicated to aural skills ever since its inception in , jazz and world music have been included for the last 15 years, and a sight-singing component was added in So what of the future? The theories of Heinrich Schenker are little known to undergraduates but have been enthusiastically embraced by their professors over the past few decades. Schenker devised a more linear approach to tonal theory than that taught in the traditional model of the mid-twentieth century. The voice leading is very smooth, and the moving voices are essentially neighbor notes ornamenting the overriding tonic harmony.

Similarly, for melodic interest, a composer might substitute momentarily the soprano B in measure 2 of the reduction for a C, resulting in the suspension in the elaboration. These procedures frequently lead to rewarding discussions about how prominently an inserted chord or note is heard and about background and foreground levels of analysis. For many years undergraduate texts inspired by Schenker were hard to come by.

This linear approach, though, seems to be an idea whose time has come. See the bibliography in chapter 6 for information on works referenced here. One purpose of teaching AP Music Theory is to give our students an appreciation for how music is composed, thereby helping them to perform more musically. If music theory is the study of the structure behind the music, as suggested in the previous section, then knowledge of this structure helps our students to study what they are to play or sing.

The study and understanding of their music, in turn, results in intelligent and sensitive performances from our young musicians. In addition, music theory can be studied for its intrinsic value. There can be a fascination with understanding how music can move us so deeply, as suggested at the outset of this chapter. What is it doing, and how does it do it? Why do I feel such powerful reactions to it? These are the questions that music theory can begin to explain.

Furthermore, as students take AP courses and get advanced standing in college, the reputation of the high school and the district will be enhanced. This Course Description provides an outline of what most colleges and universities teach in their first-year curricula, and the topics covered are the basis for the development of the AP Music Theory Exam. The Course Description does not refer to any specific school, methodology, or textbook, so AP teachers reviewing it can feel free to use any approach that adequately covers the material.

Sample questions that show the range of difficulty of the questions on the exam are also provided. Kathlyn Y. New York: College Board, : It is the foundation for the study of the composition of European art music during the Common Practice period, and of Western folk and popular music.

Historically, this time period in art music begins with the Baroque and includes all of the Classical and most of the Romantic eras. Despite this traditional focus, many relevant concepts can still be illustrated by nontonal, non-European, and popular music. Accordingly, twentieth-century art music, world music, and popular music are often included on the AP Music Theory Exam.

As well as delimiting the time period involved, there are also bounds on the sophistication of what is studied in the first year at most colleges. There is little time to cover music fundamentals in the standard first-semester music theory course required for music majors.