Creative Keyboard Presents Opus One

(Keyboard Presents). From its roots in 1970s New York disco and '80s Detroit techno to today's international, mainstream explosion of such genres as house, trance & dubstep, electronic dance music has reshaped the popular musical landscape. This book digs deep through the archives of Keyboard magazine to unearth the insider history of the art and technology of the EDM movement, written as it happened. We hear from the artists who defined the genre (Jean Michel Jarre, Depeche Mode, Deadmau5, BT, Kraftwerk and more). Revisit the most significant synths, beatboxes, and musical tools that made the music possible, through the eyes of those who first played them. Learn the history, then the expert techniques behind the music, so you can apply the same craft to your own music and mixes.

KEYBOARD PRESENTS THE EVOLUTION OF ELECTRONIC DANCE MUSIC

This book gives an account of the individual works of one of the greatest composers. The first volume of a two-volume study of the music of J. S. Bach covers the earlier part of his composing career, 1695-1717. By studying the music chronologically a coherent picture of the composer's creative development emerges, drawing together all the strands of the individual repertoires (e.g. the cantatas, the organ music, the keyboard music). The volume is divided into two parts, coveringthe early works and the mature Weimar compositions respectively. Each part deals with four categories of composition in turn: large-scale keyboard works; preludes, fantasias, and fugues; organ chorales; and cantatas. Within each category, the discussion is prefaced by a list of the works to beconsidered, together with details of their original titles, catalogue numbers, and earliest sources. The study is thus usable as a handbook on Bach's works as well as a connected study of his creative development.As indicated by the subtitle Music to Delight the Spirit,, borrowed from Bach's own title-pages, Richard Jones draws attention to another important aspect of the book: not only is it a study of style and technique but a work of criticism, an analytical evaluation of Bach's music and an appreciation of its extraordinary qualities. It also takes account of the remarkable advances in Bach scholarship that have been made over the last 50 years, including the many studies that have appearedrelating to various aspects of Bach's early music, such as the varied influences to which he was subjected and the problematic issues of dating and authenticity that arise. In doing so, it attempts to build up a coherent picture of his development as a creative artist, helping us to understand whatdistinguishes Bach's mature music from his early works and from the music of his predecessors and contemporaries. Hence we learn why it is that his later works are instantly recognizable as 'Bachian'.

Gillespie discusses 350 composers and their works for harpsichord and piano, including Bach, Handel, Mozart, Beethoven, and Debussy. Includes 116 musical examples, illustrations, and a glossary of musical terms.

This book gives an account of the individual works of one of the greatest composers. The first volume of a two-volume study of the music of J. S. Bach covers the earlier part of his composing career, 1695-1717. By studying the music chronologically a coherent picture of the composer's creative development emerges, drawing together all the strands of the individual repertoires (e.g. the cantatas, the organ music, the keyboard music). The volume is divided into two parts, covering the early works and the mature Weimar compositions respectively. Each part deals with four categories of composition in turn: large-scale keyboard works; preludes, fantasias, and fugues; organ chorales; and cantatas. Within each category, the discussion is prefaced by a list of the works to be considered, together with details of their original titles, catalogue numbers, and earliest sources. The study is thus usable as a handbook on Bach's works as well as a connected study of his creative development. As indicated by the subtitle Music to Delight the Spirit,, borrowed from Bach's own title-pages, Richard Jones draws attention to another important aspect of the book: not only is it a study of style and technique but a work of criticism, an analytical evaluation of Bach's music and an appreciation of its extraordinary qualities. It also takes account of the remarkable advances in Bach scholarship that have been made over the last 50 years, including the many studies that have appeared relating to various aspects of Bach's early music, such as the varied influences to which he was subjected and the problematic issues of dating and authenticity that arise. In doing so, it attempts to build up a coherent picture of his development as a creative artist, helping us to understand what distinguishes Bach's mature music from his early works and from the music of his predecessors and contemporaries. Hence we learn why it is that his later works are instantly recognizable as 'Bachian'.

(Faber Piano Adventures ). This collection of 21 authentic keyboard works represents the major periods of music - from Baroque to Contemporary - and serves as an excellent introduction to classical keyboard literature. Contents: VON DER HOFE: Canario * PRAETORIUS: Procession in G * TELEMANN: Gavott in C * MOURET: The Highlander * HOOK: Bagatelle * Minuet * TURK: Little Dance * DIABELLI: Morning * HAYDN: Quadrille * ATTWOOD: Sonatina in G * J.C. BACH: Adagio and Allegro * SCHYTTE: Little Prelude * Melody for Left Hand * SPINDLER: Two Preludes * WOHLFAHRT: Waltz for Four Hands * GURLITT: The Hunt * LYNES: Tarantella * ALT: On the Ocean Floor * DUBLIANSKY: The Busy Machine * SALUTRINSKAYA: Shepherd Pipes * FABER: Pantomime