By Hal Crook

Huge paperback approximately jazz improvisation, contains 2 CDs.

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Additional info for Ready, Aim, Improvise!

Sample text

Serly: No, it’s typical of each of the movements. There are certain markings, and certain signs, and arrows which indicate that he would skip from one page to another. That was the most difficult part. Sometimes he didn’t even mark where it was done. It took many, many hours and sometimes many, many days to try to decipher that. Far too long a time has passed for me to be able to give you details of such things. The signs weren’t really many, but he did make skips. Rather than write in, he would skip on to another page.

In the case of the Piano Concerto No. 3, he assumed that this was not a matter for the estate to deal with as, under his father’s general agreement with Boosey & Hawkes, he was obliged to turn over for publication any work he wrote and completed and there was no thought of there being any reason not to allow the publication of the Piano Concerto. Peter recalls that the completed Piano Concerto was given to Boosey & Hawkes promptly, probably by Serly, and assumed that the business end of it was attended to by the executors.

The only way I could consider myself his student was that during the time I was still young and frequently together with him, I certainly asked him questions about musical matters. While he lived in New York, we often played scores together. We played Bach chorales and organ works, four hand, and discussed them. But, of course, that was more—if I may be permitted to say—as colleagues than as student and professor. 4 serly: Yes, and as pointed out, for the first time that I know of, he worked simultaneously on two major works.

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