Piano The Books

I was immediately attracted to the era Ms. Campbell was portraying in her story. Post World War II romance was something I'd never seen before. This story is beautiful and true to the time it depicts.
Cassie and Scott are real characters and their love story is told with a gentle touch that had me turning page after page. The relationship between Cassie and her mother was a source of both conflict and poignancy. I was extremely impressed with L.K. Campbell's ability to keep the characters true to the time period. She is a talented author with a new fan.
Don't be put off by the fact that this is self published. It is clear that this book was brilliantly crafted and given strict attention to detail.
I loved this book. If you're looking for a sweet romance, this is the one.

This is probably the fastest that I've EVER received any online order!! Within days, my product arrived in pristine condition, sealed, and as good as new!!! I'm SO satisfied. I've been searching for this book for ages and now I finally have it, and such AMAZING SERVICE!!! Thank you! Thank you! Thank you!

Songs included:

Once Upon a Time in the West * Romeo & Juliet * Love Over Gold * Two Young Lovers * Expresso Love * Private Investigations * Sultans of Swing * Tunnel of Love * Telegraph Road * Solid Rock * Going Home - Theme from 'Local Hero'

Part of the Lee Evans Jazz Piano Method Series, 'Discovering Blues Improv' will convince anyone doubtful that yes, they CAN improvise! Throughout the book there are opportunities to compose short pieces, write riffs, and learn by example. The introduction includes the basics of the blues scale, scale modes, rhythmic interpretation, and a very brief history of the blues.

Usually I am not a huge fan of easy piano books. They tend to be watered-down far too much, to the point that the pieces sound nothing like the original. This book, however, is NOT the case. It features a version of "Beauty and the Beast" which I originally had a single piece of sheet music back in the mid-90's, in addition to tons of other great songs as well. The notes are written large on the pages, there's a great variety of both old and new Disney songs, and they're great for kids who are taking piano lessons. The best thing about these renditions is that they sound so much like the original pieces that when one of my students is learning the piece, they want to keep on playing it, causing them to further grow as musicians and most importantly, ENJOY playing music! It's a really great investment!

This is a great book. I learned keyboard from it years ago (using the 1982 edition). I'm now back to order some more for my kids who are learning keyboard now. This is not your traditional approach to learning piano----much better. However, I'd rather it not assume so much that you know musical notation already. I had some knowledge of notation starting out so book was good for me. However, I think you can learn keyboard (playing popular music) without starting with traditional notation (which initally can be so frustrating).

my son is in middle school, and he sings this thing a ma bob in choir. he thinks its one of the better songs, although he does profer the barney's "i love you" better. well anyways, if u want a wedding song, this is the perfect one!!

this dates from Carter's Middle period; the works after the massive "Concerto for Orchestra"and the upcoming :Third String Quartet:; this "Duo" for Violin and Piano reveals that you need to locate a new context if you want the genre itself to speak to you, otherwise you resort to nefarious predictable approaches as engaging the styles of Neo this or Neo that, and when you think of the countless Violin modern Sonatas that have been written,idly boring stuff. I would think you would want the genre not to be a deadend, and it has certainly the Beo-Romantic literature pummeled the Sonata genre into the ground,with Hindemith,Poulenc,Milhaud,Rorem.
Carter here directly wants a situation where he is dealing with timbre,timbre exposed in and by-itself rather than utilizing the already given expressive shapes of this genre,and to manipulate and explore the unique characteristics of the two instruments and set up a situation where the two can be developed along fairly interesting lines of complexity, opacity and communication if possible. He allows only certain intervals to appear in each part,as a way of fixing the field of play, giving the instruments like a shape of unique colour; for example the Violin is dominated,saturated with the intervals m2,M3,tritones,P5,M6 and m7th fairly resonant producing materials,with double stops; the piano is burdened with M2,m3,P4,also tritone,m6 and M7th, there is also a Fixed Octave scheme established in the first 83 measures of the work, the tones(beginning on the g below Middle C),g,a,c,d,eb,f,ab,b,c3,e,f#,g,a,c,d,eb,f,ab,b. The rhythmic utilizations as well plays a role in defining the characteristics of the instrument, so the Violin has more a soloistic demeanor,anarchic, free with tied over the bar tones, more asymmetrical units displayed, against the sometimes more predictable percussive piano.The piano is utilized very much as in the earlier :Sonata for Violoncello and Piano:,like a time keeper/retainer, a walking bass or Baroque Trio basso continuo. You really cannot say there is accompaniment here merely another part. Carter also morvelously utilizes differign arrays of articulations in the piano, something you will find later in his "Night Fantasies", and "90+" for piano solo.
The genre of the Violin and Piano is a well trodden, well reserfed for serious discourse in some respects, with Arnold Schoenberg's "Fantasy for Violin and Piano, one of the last works he wrote in the early Fifties.Also Milton Babbitt's "Joy of Sextetts", and "More Joy".The solo Violin genre as we travel past these times has not faired much better with Boulez's disappointing "Anthemes" utilzing antiphonal dimensions with very little to exploit or reveal or say, and Nono's weakest work of his innovative late period, the "Lontano. . . for two violins with also antiphonal handlings.

This collection came into being because of the small amount of early American piano music available in performing edition. The United States has a rich musical heritage and yet it has not received the kind of attention it deserves. This material also enriches the historical studies that many young people are encountering in their schools today.

Some of the songs:

Columbus

Ladies Choice

Fitzjames

March in Rob Roy Country

Gavotte

Minuetto, NO 1

Allegro. No. 4

Allegretto. No 17

Little Fugue

Washintons march

The maid of Lodi

March from Melange

Waltz from Melange

Hornpipe from Melange

Gavotte from Melange

The story of Raynor Taylor

March

Rondo

The important thing here is the "Lee Evans arranges" bit.

The arrangements *are* easy, there are no tenths in the left hand or lightning fast runs in the right and they fit the hand nicely.

The harmonies are not extreme, they are simple but not "simplistic". In other words everything is standard but carefully harmonized for maximum effect with minimum notes.

Here's an example from Nightingale sang in Berkerly Square: the cadence of the title phrase: bars 9 and 10:

1Maj7 V1 11 1V-V7 1

(followed by a single bar of sort of AMaj-BMaj-Ab-Bb magic that links back to the start of the theme (in Eb) - all done with single notes in the base and single or double notes in the RH)

Then it takes off with "classic-melodic-standard" Lee Evans development that any professional would be glad to play in a cocktail bar (meant in a good sense - I like this sort of thing) before finally returning to the last cadence in from 5th bar from the end but this time he *varies* the left hand to this:-

RH (same as above)

LH

bar (end - 5) all quater notes in block chords
G,Ab,G,Gb
Bb,B#,C,Gb

next bar first two beats 8th notes, last beat 8th notes (Bb is last note)
C,G#,F#,Eb,D,Eb
F,,,,,,Bb

next (last three) bar(s)
Eb arpeggio etc to end.

Pure Magic.