Keyboard Skills for Music Educators: Score Reading is the first textbook that provides the depth of material and insight of seasoned music educators necessary to equip future educators with the ability to play from an open score at the keyboard. Score reading can be a daunting prospect for even the most accomplished pianist, but it is a skill required of all choral and instrumental music instructors. Although most music education curricula include requirements to achieve a certain level of proficiency in open score reading, standard textbooks contain very little material devoted to developing this skill.

This textbook provides a gradual and graded approach, progressing from two-part reading to four or more parts in a variety of clefs. Each chapter focuses on one grouping of voices and provides many musical examples from a broad sampling of choral and instrumental repertoire ranging from Renaissance to contemporary works.

This edition of Improve your sight-reading! Horn Grades 1-5 has been revised to support the ABRSM syllabus from 2022. It also includes online audio of the 'going solo' pieces for students to check their performances against. The ability to sight-read fluently is a vital skill, enabling students to learn new pieces more quickly and play with other musicians. The best-selling Improve your sight-reading! series, by renowned educationalist Paul Harris, is designed to develop sight-reading skills and improve confidence. Step by step you build up a complete picture of each piece, firstly through rhythmic and melodic exercises related to specific technical issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of meticulously graded sight-reading pieces.

Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era. Scores for eleven works, many reproduced in facsimile to illustrate the conventions of 17th and 18th century notation, are included for close study. Readers will find new material on continuo playing, as well as extensive treatment of singing and French music. The book is also a concise guide to reference materials in the field of baroque performance practice with extensive annotated bibliographies of modern and baroque sources that guide the reader toward further study. First published by Ashgate (at that time known as Scolar Press) in 1992 and having been out of print for some years, this title is now available as a print on demand title.

Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-SaA"ns lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration. It closes with a section on the musicological challenges to the ideology of the early music movement mounted (principally) in the 1990s. Leading writers on historical performance practice are represented. Recognizing that significant developments in historically-inspired performance have been led by instrument makers and performers, the volume also contains representative essays by key practitioners.

This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire. In so doing, it provides a wide range of subject-based scholarship. It also reveals a fascinating window upon the historical performance debate of the last few decades in music where such matters still stimulate controversy.

The book that started the Essential Elements Band Method features music history right in the book, band arrangements, Dr. Tim parent letter, quizzes, and a rhythm-based sequence. Effective pedagogy, a logical sequence of skills, innovative parental communication tools, multicultural songs, duets and full band arrangements, and much more, create a method designed to help kids succeed.

(Transcribed). 20 studies for the classical guitar written by Beethoven's contemporary, Fernando Sor. Revised, edited and fingered by the great classical guitarist Andres Segovia. These essential repertoire pieces continue to be used by teachers and students to build solid classical technique.

A complete guide for beginning and advanced banjo players! From Ken Perlman, here is a brilliant teaching guide that is destined to become the handbook on how to play the banjo. The style is easy to learn, and covers the instruction itself, basic right and left-hand positions, simple chords, and fundamental clawhammer techniques; the brush, the 'bumm-titty' strum, pull-offs, and slides. For the advanced player, there is instruction on more complicated picking, double thumbing, quick slides, fretted pull-offs, harmonics, improvisation, and more. The book includes more than 40 fun-to-play banjo tunes.

Titles: Lullaby (Tonalization) (F. Schubert); Lullaby (Tonalization) (J. Brahms); Concerto No. 2 in G Major, Op. 13, 3rd Movement (F. Seitz); Concerto No. 5 in D Major, Op. 22, 1st Movement (F.Seitz); Concerto No. 5 in D Major, Op. 22, 3rd Movement (F. Seitz); Concerto in A Minor, 1st Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Concerto in A Minor, 3rd Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Perpetual Motion, "Little Suite No. 6" (K. Bohm); Concerto for Two Violins in D Minor, BWV 1043, 1st Movement, Violin II (J. S. Bach)
This title is available in SmartMusic.

No band would be complete without a bass element giving depth and unity. "How to Play Bass Guitar" contains everything the new or intermediate bass player needs to perfect their playing of this vital instrument. Highly practical, the book leads you from the basics of how to hold, fret, pluck and play scales through to playing chord-framing patterns and muted percussive rhythms - understanding how the bass underpins the harmonies of a band. The clear text is accompanied by illustrative photos and diagrams, and the guide is complemented by a chord finder, scales and modes finder, a glossary and further reading.

The best-selling Improve your sight-reading! series, by renowned educationalist Paul Harris, has now been extended to offer a series of editions supporting the Trinity College London sight-reading criteria. Improve your sight-reading! Trinity Edition Initial Piano has been specifically written to reflect Trinity's parameters for beginner, sight-reading pianists and contains new material throughout. Improve your sight-reading! series is designed to help you overcome all your sight-reading problems. These books follow the same progressive format as previous editions, where technical aspects are introduced step-by-step firstly through rhythmic and melodic exercises, then by studying prepared pieces with associated questions, and finally by 'going solo' with a series of meticulously graded sight-reading pieces.

Lesson Book 1 is pre-reading. Concepts taught are: How to sit at the piano; Correct hand position; High and low; Loud and soft (forte and piano); Keyboard topography; Bar line and measure, Quarter, half, whole notes and rests; and Repeat signs. The first pieces in the book are played on the black keys. Later in the book, C D E for the RH and C B A for the LH (Middle C position) are taught with letter notes (the name of the note is written inside the note head).

This book brings together, for the first time, nine pieces from ABRSM's Grade 2 Guitar syllabus from 2019. The pieces - two solos and one duet chosen from each of lists A, B and C - have been carefully selected to offer an attractive and varied range of styles, creating an excellent source of repertoire to suit every performer. The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information. Recordings of all 30 pieces on the Grade 2 syllabus are available. These can be purchased as part of the Guitar Exam Pieces with CD package or as audio downloads (see www.abrsmdownloads.org for more details). ABRSM also offers a range of apps to support musical learning, available from www.abrsm.org/apps. Support material for ABRSM Guitar exams [GEPs with CD] [Scales] [Specimen sight-reading] [Specimen aural tests]

Leavitt's practical, comprehensive method is used as the basic text for Berklee's guitar program. After mastering the fundamentals from Volumes 1 and 2, guitarists will be ready to take their skills to a more challenging level. This book teaches: techniques relating to scales, arpeggios, rhythm guitar, chord/scale relationships, chord construction and voicings, tips for advanced playing, and more.

Writing great song lyrics requires practice and discipline. "Songwriting Without Boundaries" helps songwriters commit to routine practice through fun writing exercises. This unique collection of sense-bound prompt challenges helps songwriters develop the skills they need to:

tap into their senses and inject their writing with vivid details
effectively use metaphor and comparative language
add rhythm to their writing and manage phrasing

Divided into four sections, this guide features four different fourteen-day challenges with timed writing exercises, along with examples from other songwriters, poets and prose writers. Contributing writers will include: multiple Grammy winning songwriter Gillian Welch; professional songwriter Mike Reid (?I Can?t Make You Love Me? [performed by Bonnie Raitt]); professional poet Caroline Harvey, who was featured on HBO's Def Poetry Jam; a host of songwriters from the Berklee College of Music faculty; and more.

Paul Harris's brilliant series of workbooks contains finger fitness exercises, scale and arpeggio studies, key pieces, simple improvisations and composition to help you play scales and arpeggios with real confidence. An invaluable resource for students, Improve your scales! Clarinet Grades 1-3 covers all the keys and ranges required for the Associated Board syllabus, helping you pick up valuable extra marks in exams. This new edition has been devised to support the revised criteria from the ABRSM from 2018.

Rising out of the American art music movement of the late 1950s and 1960s, minimalism shook the foundations of the traditional constructs of classical music, becoming one of the most important and influential trends of the twentieth century. The emergence of minimalism sparked an active writing culture around the controversies, philosophies, and forms represented in the music’s style and performance, and its defenders faced a relentless struggle within the music establishment and beyond. Focusing on how facts about music are constructed, negotiated, and continually remodeled, We Have Always Been Minimalist retraces the story of these battles that—from pure fiction to proven truth—led to the triumph of minimalism. Christophe Levaux’s critical analysis of literature surrounding the origins and transformations of the stylistic movement offers radical insights and a unique new history.