Pianist magazine is adored internationally by those who love to play the piano. From Bach to Billy Joel, the magazine offers a wide range of music styles to learn from, as you don’t just read it – you play it too! With every issue, you’ll find 40 pages of selected sheet music (suitable for players of all levels) accompanied by specially recorded sound files. The sound files act as the perfect learning tool, so you can listen to a piece of music before you learn it. All you need to do is click on the ‘sound’ icon and turn the Scores pages with a light swipe of your finger. With Pianist magazine you can expect nothing less than the very best when it comes to playing the instrument you love. You’ll have everything you need to play like an expert, including notes on technique, pedalling and interpretation, sheet music reviews, Q&As, teaching tips, in-depth ‘How to Play’ masterclasses, readers’ letters, piano news, interviews with top concert pianists and so much more! And guess what? If you opt for the digital issue, you get FREE EXTRA Scores! From the basics of scale playing to the difficult stretches and fast runs, Pianist magazine is your top piano playing guide – giving you the confidence and expertise you need to play like a pro!

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6 Edições

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2 minutos
away from the page

A decade or so ago I was invited to a private performance given by this month’s cover artist, Gabriela Montero. Sitting at the piano without a score in sight, she asked the audience for melodies on which to improvise. As someone who has played with my eyes glued to the page for most of my life, I was in awe. How did she do it? Where did she learn to improvise? Was it a gift, a talent or a carefully honed skill? It had me thinking about organists in the French tradition – running from Marcel Dupré to Jeanne Demessieux to Olivier Latry – who continue to improvise every week: it is part of their craft. Why then, as Warwick Th ompson puts it in his feature on the subject, do…

10 minutos
the natural gabriela montero

‘Iwas in the shower just now, listening to what was in my head. I realised that my inner world is not words. It’s always music. It’s almost as though nothing exists except thoughts through music.’ Gabriela Montero is reflecting on the latest twist in her musical life, which has also not been short of a surprise or two in the past. Th is time, it’s a change of focus – brought about not least by the pandemic lockdown – which has turned the pianist, long celebrated for her astonishing improvisations, into a composer. She had already recorded her own Latin Concerto, but now she is preparing her debut publication of a book of solo compositions and it sounds as if there will be much more ahead. ‘Everyone tells me that I’ve…

1 minutos
endless possibilities

1 Pedalling for colour requires sensitivity, but in particular, good listening skills.2 Experiment with your instrument to find the optimum range of pedal movement for achieving particular shades of colour.3 Try half pedalling and flutter pedalling to achieve more complex sound textures and colours, especially in 19th century repertoire onwards.4 Have fun with ‘hand pedalling’ to add a frisson of colour to your impressionistic playing.5 Used in combination, the three pedals open up myriad possibilities. First, become confident using each pedal in isolation; next combine the sustain and una corda pedals, then try transferring sounds between sostenuto and sustain, and in time progress to more ingenious exchanges and combinations.…

1 minutos
cecile chaminade (1857-1944)

Paris-born Cecile Chaminade was a prolific composer. Not only that, but her music was hugely popular in its day, especially in France, England and the United States. Readers of Pianist may remember a different, more challenging version of this piece – Aubade Op 140 – appearing inside issue 118. We have since received requests for the simpler version to be featured: so here it is – the Aubade from Chaminade’s Album for the Young Op 126. Playing tips: How nice that the LH carries the melody for a change! Use your sweetest cantabile and keep the RH accompaniment quiet. The RH takes over with a new melody at bar 17, though not for long, as the opening material appears again at bar 25. From bar 29 to the end, try to…

1 minutos
piotr ilyich tchaikovsky (1840-1893)

Tchaikovsky composed his Album for the Young in 1878, exactly 30 years after Schumann composed his volume of works which bears the same title. The German composer wrote a prolific 43 small works in his album, whereas Tchaikovsky decided on a more modest 24. Playing tips: The short and solemn Morning Prayer, which opens the set, is basically a chorale for four ‘voices’. The technical difficulty here is the ability to highlight the differences in the voices, especially the RH upper voice which is usually played by the ‘weaker’ fingers. Lean the hand slightly to the right, so that there is more arm-weight over those fingers, and keep the alto line quiet. Marked Lento, the piece might have the tendency to drag, so follow the musical line and be aware of…

1 minutos
william mason (1829-1908)

Son of American choral composer Lowell Mason and brother of a co-founder of the Mason & Hamlin piano company, William Mason studied piano with Moscheles, Dreyschock and Liszt in Europe. Back in the US, he enjoyed a long career as a performer and composer, writing many pieces for piano. Playing tips: ‘Impassioned and restless’, yes. But the melody is everything, so shape it well, think in long phrases and don’t rush. Notice the variety of articulations and all the quick dynamic changes; there’s lots to absorb so practise slowly. Follow the many shifts of tempo, too. At bar 17, and again at bar 37, the LH takes over the melody, which has a calmer feel. There is a fair bit of repetition in this piece, so use your imagination! Pedal tips: Keep…