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Eighteen Pieces for Piano – Richard Clayderman

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Richard Clayderman

Richard Clayderman, originally named Philippe Page, was born in December 1953 in Paris. The French pianist whose works include the restoration of popular songs, the rearrangement of film music, the music of nations, and simple arrangements of classical works. He became acquainted with the piano as a child, his father, who was a piano teacher, taught him the basics of playing the piano and how to play the piano at an early age, and at the age of 12 he was admitted to the Conservatory of Music. At the age of 16, he won the first place in the Conservatory. For some time he had to play as an accompanist in bands due to financial problems and illness and living his life.

In 1976, he got a good future by calling Clavier Toussain T, a well-known French recording company, and being invited to play the ballad and being selected from 20 other pianists. Pour Adeline ballad played by Richard Clayderman on the occasion of the birth of Paul de Senneville’s daughter. It was a huge success for him alone, selling about 22 million copies in 38 countries.

This was the beginning of another great achievement for him. Since then, he has been able to gain a special place in the world of piano playing with his personal style, creating a new neo-romantic or romantic style by combining classical and pop styles. It can be said that his international success was the result of a difficult period in the past and today he has recorded about 1,200 melodies and nearly 90 million copies of his albums have been sold worldwide.

Book features:
Author: Richard Clayderman
Publisher: Art and Culture

 

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ContentRichard Clayderman Richard Clayderman, originally named Philippe Page, was born in December 1953 in Paris. The French pianist whose works include the restoration of popular songs, the rearrangement of film music, the music of nations, and simple arrangements of classical works. He became acquainted with the piano as a child, his father, who was a piano teacher, taught him the basics of playing the piano and how to play the piano at an early age, and at the age of 12 he was admitted to the Conservatory of Music. At the age of 16, he won the first place in the Conservatory. For some time he had to play as an accompanist in bands due to financial problems and illness and living his life. In 1976, he got a good future by calling Clavier Toussain T, a well-known French recording company, and being invited to play the ballad and being selected from 20 other pianists. Pour Adeline ballad played by Richard Clayderman on the occasion of the birth of Paul de Senneville's daughter. It was a huge success for him alone, selling about 22 million copies in 38 countries. This was the beginning of another great achievement for him. Since then, he has been able to gain a special place in the world of piano playing with his personal style, creating a new neo-romantic or romantic style by combining classical and pop styles. It can be said that his international success was the result of a difficult period in the past and today he has recorded about 1,200 melodies and nearly 90 million copies of his albums have been sold worldwide. Book features: Author: Richard Clayderman Publisher: Art and Culture  
Overview
The present book, entitled Santour Play Method, written by Peshang Kamkar, includes the method of teaching the dulcimer for those who are interested in this instrument. The parts and melodies of the book "Santour" are arranged in such a way that the student does not need to change the tuning instrument to practice them. And it is noteworthy that some parts of the book "Santour playing style" have been written in a simpler way than the original, in order to facilitate the student's training progress in every way and not to face any confusing and complicated problems at the beginning. . Santour is one of the loudest and oldest Iranian instruments. Music is a constantly evolving current in which the infinity of nature and existence is the main driver of its infinite evolution and diversity. But unfortunately, traditional custom limits the subject of music education to only one part of Iranian music, namely the row. As if no other aspect is conceivable. The important point is that in this model, not only the master's lesson, but also his tastes and even his individual movements and habits are imitated. In the new educational method, the principle is to strengthen the motivations of innovation and to cultivate dynamic tastes and to promote the creative spirit. This is especially important in music. Because one of the outstanding features of music is the possibility of its unlimited creativity. Ignoring this important principle is neither theoretically correct nor useful in terms of results. Imposing some form of music, especially for the novice and novice generation, has always had disappointing results.
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