Improve your sight-reading by practicing it with a partner, a partner who helps keep the pulse moving. Of course, we learn to keep our eyes on the page and always look ahead. We know to scan for surprises of meter, accidentals or key change. We know, too, that setting reasonable tempos based on the fastest note values ensures a successful performance. But in the final analysis, we must learn not to stop for mistakes, the wayward flat, a dangling mordent or what-in-the-world-kind-of-scale was that anyway. It would be rude to abandon a partner in search of the aforementioned, so it is the duty of each to keep the other on track. Designed for partners of equal skill, this volume includes all 14 fugues and four canons in Bach's original work, the one he was working on at the time of his death. Only number 17 is omitted, as it requires two keyboards. I have also included solo versions of some of the two-part canons to be enjoyed while waiting for the partner to arrive.
About the Author: Unlike life, playing the piano is easy and doesn't hurt. This mantra has carried Neil Stannard through what might seem to others like several lifetimes-performing as a collaborative pianist, soloist, symphony bassist and, through it all, a dedicated teacher. He took part in the first Taubman Institute at Rensselaerville, NY, and though he does not represent the Institute, he has participated in many more at Amherst, studying privately in New York with Edna Golandsky for many years. He has performed internationally with such artists as David Shifrin, Hermann Baumann, Leona Mitchell, Eugenia Zukerman, Clamma Dale and Christiane Edinger in venues from London to Moscow, including Carnegie Hall, the Kennedy Center, the White house, Vienna's Muiskverein, Berlin's Hocshschule and Tchaikovsky Hall in Moscow. He has taken part in the Great Performers at Lincoln Center series, the Berlin Festival, the Vienna Festival, Tage Neue Musik, Marlboro and the New Port Festival. And yes, he has taught continuously through all that. After graduating cum laude from the University of Southern California, a scholarship student of Muriel Kerr, John Crown and Jacob Gimpel, he received a Naumberg scholarship for double bass to the Juilliard School (MS), during which time he performed in the American Symphony with Leopold Stokowski and in the Marlboro Festival Orchestra with Pablo Casals (Columbia Records). It was during this time that he made his New York recital debut at Carnegie Recital Hall as a pianist with violinist Christiane Edinger. Later, he studied piano on a German government grant with Gerhard Puchelt in Berlin, completed a doctorate in piano at the University of Arizona with Nicholas Zumbro and for 13 years taught graduate and under graduate piano at the University of Texas at El Paso, where he was a tenured professor. He now lives and teaches in Los Angeles, where he writes, paints, captures life in photos, plays the cello and, oh yes, still plays the piano with abandon.