View
219
Download
2
Category
Preview:
Citation preview
20 Short Piano Pieces of Pedagogic Intent, Using Aspects of Traditional Persian Sources
Azadeh Atri Student Number: U2576433
This thesis is submitted to the School of Music of the Australian National University in fulfillment of the Honours Degree in Music.
June 2009
Declaration
I, Azadeh Atri, declare that this work is my own and that I have properly referenced the use of other materials.
Signed:
Date:
i
ii
Acknowledgements Grateful acknowledgement is made to the following people for their assistance during the course of
this project.
My particular gratefulness to my supervisor, Professor Larry Sitsky, for his support and direction
throughout the year. His constant encouragement, enthusiasm, perceptive comments, and guidance
kept me motivated.
My deep gratitude to Jim Cotter who generously gave so much of his time and support.
Many thanks to Dr. Geoffrey Lancaster and Arnan Wiesel. Their time and knowledge have been
invaluable.
Special appreciation is held for Yeganeh Atri and Paul V. Flottman for their “care-ful” and coherent
translation of Sepehri's poem.
I would also like to thank my family and friends, for their continual support and encouragement.
iii
Table of Contents
Declaration .................................................................................................................. i
Acknowledgements .......................................................................................................... ii
Table of Contents ............................................................................................................ iii
Preface ……………………………………………………………………………….1
Meditation with Tenths ………………………………………………………………….5
A Persian Melody in Unison …………………………………………………………...6
The Broken Chords ……………………………………………………………………...8
The Happy Fourths ……………………………………………………………………..9
9:2 in Chahargah ……………………………………………………………………….10
The Fixed Thumb Position ……………………………………………………………..12
Solitude: Clusters and Free Durations in Chahargah …………………………………..13
A Piece for the Left Hand ……………………………………………………………...15
Seconds and Doubles …………………………………………………………………..16
Melody with Accompaniment: The Unspeakable Pain ………………………………...18
Story of the Bats and the Old Cave: A Haiku for Boornik Cave ……………………...19
Study for the Repeated Notes: Longing ……………………………………………….20
Clashing Sounds ………………………………………………………………………22
Awkward Sevenths in Homayun ……………………………………………………...24
Octaves and Bimodal Study …………………………………………………………...25
Study in Sixths …………………………………………………………………………27
Rosella, the Australian Bird …………………………………………………………..28
iv
Canon …………………………………………………………………………………32
Fantasie for Five Pitches ……………………………………………………………..34
Ghoghnus …………………………………………………………………………….40
Bibliography ………………………………………………………………………….45
1
Preface
The history of composition for the keyboard reveals a very diverse musical landscape, as well as
various technical requirements. Friskin and Freundlich, among others, have already surveyed this
large spectrum of keyboard music from 1580 to 1952 by cataloguing “those pieces which have
artistic value” (1973: viii), as opposed to mere finger exercises. Performing and enjoying such a
large repertoire requires a deep understanding of technique and sound. Obtaining such knowledge is
due to the educational systems and pedagogic practices which expose students to the ideas of sound
and finger technique from the early stages of learning. For this reason, not only finger exercises
should be included in teaching methods, but also the artistic aspects of music should be considered.
As many issues are important in shaping the pianist’s skills, numerous piano compositions
(exercises) have been written by composers, performers, and teachers with the focus on velocity,
rhythm, and the finger technique (excluding the musical aspects). For instance, Czerny’s etudes
(1893), Hanon's finger exercises (1929), Pischna’s technical studies (n.d.) have all been composed
with pedagogical purposes regarding the finger technique and velocity. Bach's ‘The Little Clavier
Book of Anna Magdanela’ (Friskin & Freundlich, 1973), Bartok's ‘For Children’1, or his six
volumes of Mikrokosmos2 show, more or less, similar attitude toward finger technique, but most of
them are quite different from mere finger exercises by having artistic values.
For instance, the 153 rather short musical compositions of Mikrokosmos introduce specific
melodies or modes from the folkloric musical traditions, such as eastern European's. This
pedagogical approach introduces the learners to the sound and the musical ideas, as well as velocity
and the finger technique. Such ideas and approaches provide a fertile ground for me to apply 1 These pieces were written between 1908 and 1909 (Friskin & Freundlich, 1973). 2 These pieces were written between 1926 and 1937 (Friskin & Freundlich, 1973).
2
Persian modes in piano compositions with the aim of both artistic value and pedagogical worth.
Since no pedagogical piano composition has been written to date in Persian modes, this project
presents 20 pieces in which the Persian ambience has been created by means of Dastgah(s) (Persian
modes) or non-specific keys. As the Dastgah(s) mostly have quarter-tones and western classical
music does not allow such a system, I have used my own adaptation from the original Dastgah(s).
The project is informed by primary source material as well as a variety of secondary sources
relating to piano performance and education. For example, the piano compositions of Kabalevsky,
Kurtag, Shostakovich, Prokofiev, and Sitsky for children have been studied, as well as studies by
Debussy, and Scriabin which concentrate on a number of advanced technical and tonal problems.
Moreover, two interviews were conducted in 2008 with Dr. Geoffrey Lancaster and Arnan Wiesel,
the piano lecturers at ANU's School of Music, regarding the technical development of the piano
students through the existing repertoire.
Issues to do with architecture, rhythm, muscle tension, and dynamic control were examined through
the interview with Lancaster. The necessity to learn the art of improvisation was raised in an
interview with Wiesel. Therefore, such professional views into colour, finger technique and musical
interpretation and architecture were considered in composing the following set. For instance, the
improvisation section in the ‘Fantasie for Five Pitches’ is a response to the revitalisation of the
fading tradition of improvisation. Furthermore, the broad range of dynamics, extensive use of pedal,
finger agility, and the change of metre in Ghoghnus are examples of exercises demanded by
Lancaster. In addition to the interviews, some of these pieces were performed by the piano students
of ANU's School of Music in April 2009. Six pieces out of 20 were selected for this performance.
What the performers experienced through playing such pieces is of an importance to note.
In general, five out of six university students were not comfortable with the free durations or the
3
consecutive change of time signatures. Although free durations and successive change of metre are
not new ideas in the history of piano composition, it happened to be their first time to see or play
such passages. Furthermore, for most of the students it was one of the very rare occasions in which
they were performing a piano solo piece composed since 1900. For instance, one of the performers
mentioned that he has only played two pieces from the “modern repertoire” (as opposed to the
repertoire of 18th and 19th centuries): one from Prokofiev and one composed by me. Such comments
may cast light on the effective role of the present project in reacquainting students with issues
which seem to be currently missing from a pianist’s training.
To recap, this project sets out to work on some of the principles of the piano technique through a
Persian modal system. Compositions in this project have been arranged in a progressive order,
according to the technical difficulty and tonal control. The metronome marks should only be
considered as an approximate indication, and the use of pedal is optional unless specifically
directed. The titles for the first 16 pieces recommend the main focus of the composition, but other
aspects of piano technique such as change of hand positions, change of metre, crossed hands
technique, use of finger alternations on repeated notes, and dynamic control can also be observed in
each individual piece. The last four pieces of the set (Rosella, Canon, Fantasie for Five Pitches, and
Ghoghnus) require more technical ability in terms of finger agility, dynamic control, and creating
an atmospheric quality. These pieces were performed by both university students and the piano
students of the Girls Grammar School. As a result of these performances, some changes were made
in the scores to ease the process of learning. For instance, the Canon was first written in 2/4, but it
was found that the usual grouping of the semi-quavers (four semi-quavers per beat) is visually
confusing for the learners and it adds to the level of difficulty which is not really necessary since
the learners have to cope with multiple technical challenges such as phrasing of the individual lines
and the even use of fingers without the aid of pedal in the first section of the pieces. Therefore, the
2/4 section was rewritten in 4/8 to avoid the unnecessary challenges.
4
In conclusion, to compose these pieces I have mostly used the two Persian Dastgah(s) of
Chahargah and Homayun3, as well as my own self-invented scales (my adaptations from the
original Dastgahs) to create the Persian mood. The following figures reveal the above mentioned
Dastgah(s), but the ‘self-invented’ scales are introduced at the beginning of each piece.
Chahargah
In the original Chahargah, A, and D are the notes with the quartertones. Since the western classical tuning does not allow such a system, the flats were used instead of koron(s) (the Persian quartertones).
Homayun
Koron(s) were replaced by flats.
The above Dastgah(s) in combination with the pedagogical aspects of piano performance form the
following set of compositions.
3 Other five Dastgah(s) are called Shur, Nava, Segah, Mahoor, and Rast-Panjgah.
Copyright © 2009
Largo q = 60
Meditation with Tenths
Azadeh Atri
8
5
rit.
p
p tenuto
mp
mf p mf
ped. simile
6
A Persian Melody in Unison
The following piece has been composed in Homayun, but it modulates to Chahargah at
the end.
Homayun
Chahargah
Copyright © 2009
Moderate q = 90 Azadeh Atri
A Persian Melody in Unison
rit.
q = 76-80
6
rit.
11
rit.
*
rubato
f
non rubato
martellato
mp dolce
con pedal
senza pedal
Tempo I
mp dolce rubato
* As Homayun and Chahargah have microtones in their system, the harmonic minor seconds in this piece represent the microtones of the above mentioned Dastgahs.
(F) con pedal
7
estinto
Copyright © 2009
Largo
Arpeggiate slowlyrubato
Study in Broken Chords
Azadeh Atri
q= 40-45
e= 150- 155
R.H L.H
R.H
p espress.
L.H
con pedal
(A)
f
Tempo I
p
8
Copyright © 2009
The Happy Fourths
Moderato e = 100 Azadeh Atri
rit.
7
rit.
senza pedal
p
sempre staccato
Tempo I
ff
mf
9
hand cluster on white keys
One bar = 45 ca
9 : 2in Chahargah
Copyright © 2009
Azadeh Atri
accel.
rit.
espress.rubato
tenuto tenuto
hold back
Tempo I
pp
con pedalcon sordino
mp
x= x
p
Tempo I
mf
tenuto
10
Moderato q
Copyright © 2009
Azadeh Atri
The Fixed Thumb Position
rit.
rubato
= 95-100
x =x
mp
con pedal
p dolce
mf
f
5 4 3 2 1 2
(F)
12
ff
(F)5 4 3 2 1
pp
2
Copyright © 2009
Azadeh Atri
Largo q = 60
SolitudeClusters and Free Durations in Chahargah
rit. rit.
loco loco
cluster on the white keys
p
cluster on the black keys
chromatic cluster with hand
cluster on the black keys
mf
13
cluster on the black keys
cluster on the white keys
accel.
( *)
più animato
cresc.
cluster on the white keys
rit. subito
p
( ***)
pp
* Semi quavers are not necessarily equal.** Make your own cluster within this range. You can use black and white keys.*** Accelerate and then slow down.
( **) cluster on the white keys
14
fore-arm cluster
Adagio e = 60
Azadeh Atri
Copyright © 2009
A Piece For the Left Hand
accel.rit.
rit.
rit.
espress.
43
q= 70
con moto
e = 603
legatocon pedal
Tempo I
3
con motorubato
e= 130- 140
pp
3 3 3 33
mf
legato
15
arpeggiate slowly
Azadeh Atri
Copyright © 2008
Seconds and Doubles
8
16
23
senza pedalq =135
l.hpp
f
mf
pp
mf r.h
pp
p
54
mp
espress.
1 2 4 5
2
43 4
5 43
23
5 2-1 45 34
23
(2+3) (8)
(3+2)
(8)
16
Copyright © 2009
Moderato q. = 60- 65molto rubato
( The Unspeakable Pain )
Melody with Accompaniment
Azadeh Atri
6
accel.
9
e =e sempre
Tempo I
p cantabile mp
p legatoespress. rit.
rit.
GEb
mf
q = 115- 120
rit.
mf
ff
18
mysteriousLargo
Azadeh Atri
A Haiku for Boornik Cave
Story of the Bats and the Old Cave
fast e= 180- 200
rit.
presto
pp
q=45-50
*
pp
con pedal
espress.
pp
( **)
pp mpp
mf espress.
f
con pedal
* Boornik Cave is located in Damavand, one of the provinces of Tehran. This piece is a rememberanceof what I experienced when I was caving there.** If a note has no accidental before it, it must be a natural.
19
senza pedal
Copyright © 2009
Moderato q = 90 - 100 Azadeh Atri
Study for the Repeated Notes(Longing)
*3 2
con pedal
3 2
espress.
L.H
L.H
* Notes with double stems should be brought out.
20
L.H
Copyright ©2009
Clashing Sounds
Azadeh Atri
Very slow e= 70
R.H
mp
Fast and Staccato q= 80
p
L.H
rubatoespress.
pp
L.H
rit.
senza pedal
f non rubato
subito rit.
Slow e= 90con moto
mp
Fast q= 90
3
con pedal
22
hand cluster on black keys
mf
rit.
rit.
33
3
hand cluster on black keys
fff
Sad and thoughtfulelegy like
pp
3
con pedalcon sordino
3
p
Very slow e= 85
pp
3 3
23
hand cluster on black keys
3
x = 220-230Molto rubato
Azadeh Atri
Copyright © 2009
Awkward Sevenths in Homayun
accel.
rit.
3
accel. rit.
Andante cantabile
5
rit.
( **)
rubato
( ***)
5
5
44
3
5
( *)
5 4 5 5 4
P
espress.
* The rhythmic pattern in the left hand is an exact imitation of one of the rhythms of Homayun.** The sign means to slow down.*** The sign means to accelerate.
con pedal
24
25
Octaves and Bimodal Study
The following piece is a bimodal study in Dastgah(s) of Chahargah and Homayun. The
treble clef has been written in Chahargah, while the bass clef is in Homayun.
Chahargah
Homayun
q = 100- 120
Copyright © 2009
Azadeh Atri
Octaves and Bimodal Study
accel.
6
11
q = 100
mp
con pedal
hold back
mp espress.
mf
Cantabile e= 90
espress.
q = 110
hold back p
( slow)
mp
26
rit.
Copyright © 2009
Moderato q = 90 - 100
Study in Sixths
Azadeh Atri
18
con pedal
f
rubato
f
(B)
Tempo I
(A) (G)
f
(F)
27
Copyright © 2009
Andantino
Azadeh Atri
( e = 115 )
Rosella the Australian Bird
fast ( = 90 )
accel.
9
p pp
mp pp
pp
mp
q
mf
p
29
( q= 110) ( q= 110)
rit.
rit.
f
e= 95
pp
f
e= 95
pp
senza pedal
senza pedal
f
e= 160
martellato
a tempo
p
e= 75 rubato
pp p
con sordino senza sordino
30
con sordino
( q= 110)( q= 110)
f
p
e= 75
f
senza pedal
e= 75
p con moto
pp
e= 75 rubato
nostalgic
con sordino
p
p
pp
senza sordino
31
senza pedalcon sordino
Moderato = 150-160
Copyright © 2009
Azadeh Atri
Canon
5
9
mp
e
mf
senza pedalmp
mpmf
mf mp
mf Tempo I
mf
rit.
32
mp mf
14
19
22
rit.
mf e=100 -115rubato
Cantabile
espress.p
p mf
rit.
con pedal
mp mf mp
p
poco a3
33
poco
3
34
Fantasie for Five Pitches
Like any other person, I have lived my life punctuated with the highs and lows of joy and
happiness, loss, and pain. Since a very dear friend of mine died in a tragic way in 2004, I
have been deeply mindful of one of Sepehri's (one of the well known Persian poets)
poems in which I found consolation and comfort. After the loss of my friend, I
challenged Rumi's and Sepehri's poetry for a solution to my mystical seeking and, in the
dark time of my grief and loss, I found myself drawn to reading Sepehri's Night of
heavenly Solitude over and over to lighten my days-to convince myself that my bird
though far away, is still singing and that I was still nourished and nurtured by her
everlasting love.
On one of the Canberra's beautiful sunny days, I was immersed in my thoughts, when a
beautiful exotic bird song (exotic to me, as we Persians do not have such a bird in Iran)
suddenly reminded me of the first verse of Sepehri's poem: 'Listen, the bird farthest away
in the world is singing'. After months of grieving for my loss, and seeking answers, it was
this heavenly birdsong, seemingly from nowhere, that came as a sign of relief and
freedom. All at once, my journey with Sepehri's beautiful poem was transformed into a
musical experience.
35
Night of Heavenly Solitude ( shab e tanhai ye khub) Listen, the bird farthest away in the world is singing. Night has fallen, inviting, lucent and still. Geraniums and the season’s rustling branches hush to hear the moon. Stairs in front of a building. A door holding a lantern in the bountiful breeze. Listen, the road is calling your footsteps from afar. Your eyes are not just ornaments in the darkness! Awaken them, put on your shoes and come… come to where the rays of the moon illuminate your fingers and time sits with you on the ground while the melodies of the night become one with your body as a song. There is a sage there to tell you; ‘eyes are there for gazing, wet with the tears of loving’. By Sohrab Sepehri
Copyright © 2009
Azadeh AtriAndantino teneramente e = 80
Fantasie For Five Pitches (B-C-D-F-G#)
9
18
29
Listen! The bird farthest away in the world is singing.
p dolce
rubato con sordinopp
con motoe=120
con sordinopp
p
mp
e=130
cresc. accel.
mf
rit.
più animato
e=130
pp subito espress.p
rit.
e=130
rubato
rit.
36
P
5
36 e= 180
43
50
57
Moderatomelancoliquee= 100
Allegro vivace
f
con ped
f
D
f
4
ff
sf
pp
f
pp
(F)
p rubato
sf
37
rit.
espress.
65
q= 70
e= 180
pp
con sordinoppp
3
Improvise with the five pitches, based on the atmosphere of the piece and your own perception of the poem. Improvisation should be between 1 to 2 minutes. Start from both ends of the piano.
tenutorubato
slowpp
pp
e=epp
f subito
p
p
espress.
p
pedal simile
p
pp
f subito
p subito
pp
38
ff
q= 75
pp
ff
rit.
trem.
tenuto
L.H.
pp
p
pp
rit.
39
Listen, the bird farthest away in the world is singing....
pp
rit.
40
Ghoghnus
In ancient Persian mythology, Ghoghnus is a phoenix that lives on top of Mt. Damavand,
which at a height of 5671 metres, is the highest mountain on the Iranian Plateau. It is
volcanic in nature and Ghoghnus is said to inhabit the mountain’s peak of fire and ash.
The myth holds that this bird lives for 1000 years and then burns itself to death on a pyre,
from the ashes of which another young phoenix arises. It has also been said that before
Ghoghnus dies, it sings a heavenly song in which human beings find their musical
inspirations.
Andantino q= 75 Azadeh Atri
Ghoghnus of Damavand
q= 60
Free and expressive
accel.
mp espress.
p
f
pp
(B)
pp
pp
p
tenuto
41
(hold back then move)
Vivo non rubatocon moto
q= 110
Largo, nostalgic q = 55
e=e
f
q= 90
(A )
cresc.
con pedal
ff
A
con sordinocon prdal
pp
p
tenuto
42
B p
3
q = 90
6
5
p (hold back then move) cresc.
ff
ff
(C )
mf cresc.
5 5
5
5
(C )
ffffpp subito
cresc.
43
sfz
e = 110
q = 105
accel.
e = 110
rit.
Slow, thoughtful, and nostalgic
espress.
palm cluster on the white keys
subitopp
Quasi Cadenza
rubato
f
x=x
p
32 5
1
cresc.sfz
Slow and melancolique
pp
44
con sordino
espress.
45
Bibliography Alizadeh, H 2003, Tar and Setar Teaching Method, Mahoor Institute of Culture and Art Publications, Tehran. Bach, J.S 1933, The Children’s Bach, Allans Music Australia Limited, Melbourne. Bartok, B 1987, Mikrokosmos: 153 Progressive Piano Pieces,Boosey & Hawkes, New York. Bartok, B 1938, Petite Suite for Solo Piano, Universal Edition, Vienna. Bartok, B 1954, Nine Small Piano Pieces, Universal Edition, New York. Bartok, B 1945, Rumanian Christmas Carols, Universal Edition, New York. Berman, B 2000, Notes from the Pianist's Bench, Yale University Press, New Haven. Berman, B 2008, Prokofiev’s Piano Sonatas, Yale University Press, New Haven. Czerny, C 1893, Art of Finger Dexterity: Op. 740, Max Vogrich (ed.), Schirmer, New York. Czerny, C 1986, School of Velocity: Op. 299, Max Vogrich (ed.), Schirmer, New York. Czerny, C (n.d.), Easy studies for the left hand, op. 718, Peters, New York. Debussy, C 1916, Douze Etudes, Editions Durand, Paris. Dobszay, L 1992, After Kodaly: Reflections on Music Education, Zolyán Kodály Pedagogical Institute of Music, Budapest. Friskin, J, & Freundlich, I 1973, Music for the Piano, Dover Publications, New York. Hanon, C.L, 1929, The Virtuoso Pianist, Allans Music Australia Limited, Melbourne. Hejazi, A 1999, Teaching Tar and Setar, Rozaneh Publishers, Tehran. Hinson, M 1979, Guide to the Pianist's Repertoire Supplement,Indiana University Press, Bloomington. Hinson, M 1989, The Hindemith Collection: 10 Piano works by Paul Hindemith, Corey Field (ed.), New York. Horowitz, J 1982, Conversations with Arrau, Limelight (ed.), New York. Hovhaness, A 1961, Shalimar Suite for the Piano: op. 177, C.F. Peters Corporation, New York. Hovhaness, A 1968, Layla for Voice and Piano: op. 29, C.F. Peters Corporation, New York. Hovhaness, A 1968, Two Ghazals for Piano: op. 36, C.F. Peters Corporation, New York. Hovhaness, A 1968, Love Songs of Hafiz for Medium Voice and Piano, C.F. Peters Corporation, New York.
46
Hovhaness, A 1961, Do You Remember the Last Silence? Op.152, C.F. Peters Corporation, New York. Hovhaness, A 1969, Fantasy for Piano, op.16, C.F. Peters Corporation, New York. Kabalevsky, D 1968, 30 Pieces for Children: op. 27, Joseph Prostakoff (ed.), New York. Kabalevsky, D 1971, 24 Piccoli Pezzi: op. 39, Ricordi (ed.), Rome. Khaleghi, R 2007, Tar and Setar Courses, Mahoor Institute of Culture and Art Publications, Tehran. Kurtag, G 1997, Games for Piano in Five Volumes, Edito Musica Budapest, Budapest. Lendvai, E 1983, The Workshop of Bartok and Kodaly, Edito Musica Budapest, Budapest. Lieberson, G 1964, Piano Pieces for Advanced Children or Retarded Adults, Mills Music, New York. Ligeti, G 1998, Etudes pour Piano, Schott (ed.), Mainz. Nancarrow, C 1992, Prelude and Blues for solo Piano, Smith Publications, Baltimore. Nancarrow, C 1990, Tango?, Smith Publications, Baltimore. Pischna, J, Wolff, B (n.d.), The Little Pischna, Willard A. Palmer (ed.), Alfred Music Publishing, New York. Pischna, J (n.d.), Technical Studies: 60 Progressive Exercises, Wolff (ed.), G. Schirmer, New York. Prokofiev, S 1936, Musiques D’Enfants: Op.65, Boosey & Hawkes, New York. Ran, S 1967, Short Piano Pieces, Israel Music Institute, Tel Aviv. Rapoport, P 1994, Sorabji: A Critical Celebration, University Press, Cambridge. Rautavaara, E 1995, Piano Sonata No.2: the Fire Sermon, Warner Music Group Company, Helsinky. Ravel, M 1957, Gaspard de la Nuit: 3 Poems for Piano, Editions Durand & C, Paris. Scriabin, A 1968, Preludes and Poems and other Pieces, C.F. Peters, London. Scriabin, A 1973, The Complete Preludes and Etudes for Pianoforte Solo, Igumnov & Mil'shteyn (ed.), Dover Publications, New York. Scriabin, A 1969, 10 Mazurkas, Edition Peters, Leipzig. Shostakovich, D 1976, Aphorisms: 10 Pieces for Piano, op.13, G. Schirmer, New York. Shostakovich, D 1983, “Children’s Notebook”, (in) Dmitry Shostakovich’s Collected Works, Musikverlag Hans Sikorski, vol.39, pp. 123-134, Hamburg.
47
Sibelius, J 1921, 12 selected Pieces for the Pianoforte, Wilhelm Hansen Edition, London. Sibelius, J 1990, Pensées Lyriques: op. 40, Edition Breitkopf, Wiesbaden. Sitsky, L 1986, Century: 128 Piano Pieces for Young Players in four Volumes, Magpie Music, NSW. Sitsky, L 1995, Folk Songs, Currency Press, Sydney. Sitsky, L 1973, Bagatelles for Petra, Ricordi & Co., Sydney. Sitsky, L 1964, Seven Statements for Piano, unpublished. Sitsky, L 1960, Sonatina Formalis for Piano, Allan & Co. Melbourne. Sorabji, K 1992, Trois Pastiches for Piano solo, Roberge (ed.), Sorabji Music Archive, Sorabji, K 1992, Quasi Habanera for Piano solo, Roberge (ed.), Sorabji Music Archive, Talai, D 2004, The Radif of Persian Traditional Music: Radif of Mirza Abdollah, Pedagogical and Analytical Notation, Karapayam Publishers, Tehran. Talai, D 1993, A New Approach to the Theory of Persian Music, Mahur (ed.), Tehran. Ticciati, N 1966, Pieces to Play: Music for Young Pianists, J. Curwen & Sons Ltd., London.
Recommended