By Stuart Isacoff
A desirable party 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 body from Ferdinando de’ Medici to Herbie Hancock affected its evolution of sound and effect in well known tune. offering the software that has been on the middle of musical improvement over the centuries in all its good looks and complexity, this explores the piano’s functions and the variety of emotional expression it conveys in several artists’ palms. A average heritage of the Piano is fast moving and fascinating, with attractive illustrations and pictures, a must-read for tune enthusiasts and pianists of each level.
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Extra resources for A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between
Listen carefully to each of the sequences and indicate in the numbered spaces below the examples whether the second note is higher in pitch (H ) or lower in pitch (L) than the first. Remember, these examples are being played in random order. 1. _______ 2. _______ 3. _______ 5. _______ 6. _______ 7. _______ 9. _______ 10. _______ 11. _______ 4. _______ 8. _______ 12. _______ MUSIC IN Action Ear Training Your instructor will randomly select and play various three- and four-note sequences from those given below.
Two clef signs are used the most: treble clef and bass clef. The Treble Clef The treble clef, or G clef, identifies the second line of the staff as the location for the note G that is five notes above middle C (the C approximately in the middle of the piano keyboard). Notice that the lower part of the treble clef sign encircles the second line: CLASS WORK Practice drawing the treble clef sign. First, draw a vertical line; then, draw the remainder of the clef, starting at the top of the vertical line.
In simple meters, for instance, there are three ways that the combination of one eighth note and two sixteenth notes can be written. Notice that in each case the combination of notes is equal to one beat in simple meter. Notice also that the beaming (one beam for eighth notes, two for sixteenth notes) clearly indicates the beginning of each beat. The beaming of dotted notes in simple meter is simply an extension of this same principle. Because a dotted eighth note is the equivalent of three sixteenth notes, the dotted-eighth-and-sixteenth pattern is frequently found and can be written one of two ways: Notice that, in both cases, a complete beat is combined under one beam.