Download A Natural History of the Piano: The Instrument, the Music, by Stuart Isacoff PDF

By Stuart Isacoff

A desirable social gathering of the piano, together with stories of its masters from Mozart and Beethoven to Oscar Peterson and Jerry Lee Lewis, informed with the services of composer and writer of Temperament, Stuart Isacoff.
 
This historical past takes us again to the piano's humble genesis as an easy keyboard, and indicates how every person from Ferdinando de’ Medici to Herbie Hancock affected its evolution of sound and impact in well known track. proposing the device that has been on the center of musical improvement over the centuries in all its good looks and complexity, this explores the piano’s features and the diversity of emotional expression it conveys in several artists’ fingers. A common historical past of the Piano is fast moving and interesting, with attractive illustrations and pictures, a must-read for song fanatics and pianists of each level. 

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Additional resources for A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between

Example text

This coincided with the emergence of key consciousness in music. By the end of the baroque period, the church modes had generally ceased to have any influence in music. The major and minor keys were the basis of music in the classical period. Chromaticism was decorative for the most part, and shifts from one key to another (see Chapter 15) were used to create formal divisions (see Chapters 16 and 17). During the romantic period, chromaticism increased to the point that the major-minor key system began to be threatened.

1 3. 15. 5 w 6. _____ w _____ 1. 5. w _____ 13. √ w PART A Simple or Compound? Duple, Triple, or Quadruple? 6 Following are five melodies without meter signatures. Indicate the meter signature or, in some cases, the two meter signatures that render the notation correct. # 1. ___________________ 2. ___________________ 3. ___________________ 4. ___________________ 5. 7 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ & œ. #œ j J nœ bœ. œ œ œ J J #œ #œ j J nœ œ. œ. œ J œ œ #œ œ. œ #œ œ nœ œ œ #œ œ œ œ œ œ œ b œœœœœ œ œ œ œ b œ œ œ & œ œ œ # œ œ œ œœ # # >œ œ >œ œ >œ >œ œ >œ œ >œ >œ >œ > œ œ bœ œ œ œ œ j J & J J > > œ > On the staff below each melody, write the pulse in single note values on the top space and the division of the pulse on the bottom space of the staff (see example).

4–9. œ nœ œ bœ œ œ œ œ œ œ œ œ œ ? 42 ‰ œ œ œ œ œ œ œ b œ œ # œ œ J __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ œ Œ __ 4. Bach: Prelude in C Major (“Leipzig”), BWV 547, mm. 68–72. bœ œ œ œ b œ œj ? 98 œ Jœ œ b Jœ œ œ b œ b Jœ b œ Jœ œ œ œ œ J J n œ J J b œ J J bœ J œ ˙. œ. 3 1. 2. w & w _____ 11. _____ 12. w Write the letter name for each note and indicate the octave identification. 3. 4. w _____ w 14. 4 _____ 5. 7. 9. _____ 16. _____ 2 #w 3 #w 4 w 10. w _____ 18. _____ 19.

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