Search

Your search keyword '"Kramer, Ernest J."' showing total 14 results
Start Over Author "Kramer, Ernest J."
14 results on '"Kramer, Ernest J."'

2. THREE HUMORESQUES, OP. 31.

Author

Kramer, Ernest J.

Subjects
*MODULATION (Music theory), *PIANO music, *CONDUCTORS (Musicians), *OPERA
Abstract

This article from Piano Magazine: Clavier Companion discusses Samuel Coleridge-Taylor's Three Humoresques, Op. 31. Coleridge-Taylor, an Anglo-African composer born in London in 1875, attended the Royal College of Music and became a renowned composer and conductor. Despite facing racism and prejudice, his music gained popularity during his short life. The Three Humoresques are characterized by traditional harmonic progressions of the mid-Romantic era, with homophonic textures and melodies in the right hand accompanied by arpeggios or blocked chords in the left hand. Each humoresque has its own unique features, such as ambiguous rhythms, unexpected modulations, and unusual tonalities. The pieces are accessible for competent pianists, with repeated patterns and few difficult stretches. [Extracted from the article]

Published
2024

5. Scampering Skeletons

Author

Kramer, Ernest J. and Kramer, Ernest J.

Subjects
Piano music--Teaching pieces
Abstract

Students will enjoy the scampering sound depicted in this late elementary solo written in A minor. Staccatos are used throughout the piece but are contrasted with some two-note slurs. There are a number of register changes, allowing the hands to'scamper'up and down the keyboard using different major and minor five-finger patterns.

Published
2014

6. Contest Winners for Two, Book 5: 10 Original Piano Duets (1 Piano, 4 Hands) From the Alfred, Belwin, and Myklas Libraries for Late Intermediate Pianists

Author

Rollin, Catherine, Clarke, Lucia, Kramer, Ernest J., Vandall, Robert D., Shott, Michael, Rollin, Catherine, Clarke, Lucia, Kramer, Ernest J., Vandall, Robert D., and Shott, Michael

Abstract

Contest Winners for Two is a series of five graded collections of original, time-tested piano duets. Over the years Alfred, Belwin, and Myklas produced an extensive catalogue of quality elementary and intermediate supplementary piano duets. The pieces that are included in this volume represent the three companies'most popular and effective duets drawn from festival and contest lists. Book 5 consists of late intermediate pieces, placed in approximate order of difficulty. Titles:• The Grand Finale (Catherine Rollin)• Jazz Duets Nos. 1-3 (Carol Wickham)• Kansas City Rag (Ernest J. Kramer)• Ostinato (Michael Shott)• Remember When (Robert D. Vandall)• Three Waltzes (Robert D. Vandall)

Published
2014

7. EVOCATIONS: 25 STUDIES IN ALL KEYS SET 1 (NOS. 1-13, C TO G-FLAT) SET 2 (NOS. 14-25, F-SHARP TO C).

Author

Kramer, Ernest J.

Abstract

The article informs about "Evocations: 25 Studies in All Keys" by Scott Price, praising its unique and approachable piano pieces exploring various technical demands. Topics include the structure of the compositions mirroring Bach's Well-Tempered Clavier, the freedom of interpretation suggested by the composer, and the suitability of the pieces for a broad range of piano students from different skill levels.

Published
2024

9. The Ballad Collectors of North America: How Gathering Folksongs Transformed Academic Thought and American Identity

Author

Kramer, Ernest J.

Subjects
The Ballad Collectors of North America: How Gathering Folksongs Transformed Academic Thought and American Identity (Nonfiction work) -- Spencer, Scott B. -- Book reviews, Books -- Book reviews, Education, Music
Abstract

[mouse] The Ballad Collectors of North America: How Gathering Folksongs Transformed Academic Thought and American Identity, edited by Scott B. Spencer. Scarecrow Press, 2012. www.rlpgbooks.com; 246 pp., $65.00. The Ballad [...]

Published
2012

10. THREE FANTASIES FOR PIANO.

Author

Kramer, Ernest J.

Subjects
*PIANO
Abstract

The article evaluates "The Three Fantasies" from Carlos Gardels, featuring a delightful set of three short pieces described as a tonal and traditional escape from reality.

Published
2023

11. JOHANNES BRAHMS AND HIS FRIENDS.

Author

Kramer, Ernest J.

Subjects
*WOMEN composers, *ANTHOLOGIES
Abstract

book review DREAMS AND IMAGINATION: 10 ORIGINAL PIANO SOLOSDREAMS AND IMAGINATION: 10 ORIGINAL PIANO SOLOSDREAMS AND IMAGINATION: 10 ORIGINAL PIANO SOLOSDREAMS AND IMAGINATION: 10 ORIGINAL PIANO SOLOSDREAMS AND IMAGINATION: 10 ORIGINAL PIANO SOLOSDREAMS AND IMAGINATION: 10 ORIGINAL PIANO SOLOSlllllllll.

Published
2022

14. Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120

Author

Kramer, Ernest J. (Ernest Joachim)

Subjects
Beethoven, Ludwig van, 1770-1827. -- Variations, piano., Variations -- History and criticism, Variations (Piano) -- Analysis, appreciation., transcendence, additive tendency, opus, internal unity
Abstract

The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. Chapter I contains a discussion of the role of the variation set in Beethoven's overall output. The teachers, composers, and works which may have influenced him are also discussed as well as his training in variation composition. Finally, those factors which Beethoven employed to unify his sets are listed and explained. Chapters II-V are devoted to detailed analyses of four striking variation sets: Opus 34, Opus 35, WoO 80, and Opus 120. Chapter VI presents a summary of the findings. It suggests that each of the sets investigated has a unique form and that each variation has a distinct place and purpose.

Published
1989

Catalog

Books, media, physical & digital resources
See catalog results