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Books > Arts & Architecture > Music > Techniques of music > General
"How to Play Guitar" contains everything the new or intermediate
guitar player needs to know to really get to grips with making
music on this most popular of instruments. Highly practical, it
leads you from the basics of how to strum, pick and play simple
chords, through the various elements of playing rhythm and
melodies, to more complicated chords and tunings. It includes
further techniques from slurs to harmonics, and a section on
performing. The clear text is accompanied by illustrative photos
and diagrams, and the guide is complemented by a useful chord
finder, examples of scales and modes, a glossary and further
reading.
Violin Star is a three-book series offering beginner violinists a
refreshing and inspirational choice of pieces to help build
confidence and musical skills. The repertoire is imaginatively
tailored to develop specific techniques through an exciting range
of musical styles. This Student's book contains the solo violin
parts, along with colourful illustrations, activities and a
playalong CD. The Accompaniment book, available separately,
includes piano and violin accompaniments for every piece. Key
features of the series include: an approachable progression from
beginner level to Grade 2; playalong CDs with each Student's book,
which contain specially created instrumental arrangements to convey
style and mood; and original compositions and arrangements by
Edward Huws Jones.
Bastien Piano Basics is suitable for children aged 7 upwards.
The course uses a gradual multi-key approach, with reading beginning in the C five-finger position.
This method with an ideal pacing ensures success for young beginners.
(Educational Piano Library). 120 color-coded cards to learn basic
musical symbols, all notes from low ledger C to high ledger C, and
rhythm patterns in 4/4 and 3/4. Also includes cards that focus on
recognition of steps and skips on the staff.
Specimen Aural Tests provide teachers and students with many
practice examples of the tests to use as part of a music lesson or
when preparing for an exam. This volume covers Grades 4 & 5 and
includes all new practice examples for each test in a range of
musical styles including answers where appropriate, and the
examiner rubrics (the exact words that will be used by the examiner
to deliver the tests), so that candidates can be fully prepared for
what will happen on the day. The Specimen Aural Tests volumes are
each available in versions with or without practice CDs.
This is the ideal guide for those who wish to get to grips with
music to a greater depth, to learn to play faster, more complicated
scores, to compose and arrange music - the possibilities are
endless. This guide provides everything you need to know,
explaining pitch, the treble clef, the bass clef, rhythm,
accidentals, key signatures, scales and chords, along with a
compendium of additional information. Then practise what you have
learnt with the 'Play Along' sections containing simple, well-known
examples of music, from 'Scarborough Fair' to 'Jerusalem'. With
helpful diagrams, clear accessible text and a practical ringbound
format.
(Essential Elements). (Essential Elements for Strings and Essential
Elements Interactive are fully compatible with Essential Elements
2000 for Strings ) Essential Elements for Strings offers beginning
students sound pedagogy and engaging music, all carefully paced to
successfully start young players on their musical journey. EE
features both familiar songs and specially designed exercises,
created and arranged for the classroom in a unison-learning
environment, as well as instrument-specific exercises to focus each
student on the unique characteristics of their own instrument. EE
provides both teachers and students with a wealth of materials to
develop total musicianship, even at the beginning stages. Books 1
and 2 also include access to Essential Elements Interactive (EEi),
the ultimate online music education resource - anywhere, anytime,
and on any device. Go to www.essentialelementsinteractive.com to
learn more Book 2 features: * New keys and rhythms * Sequential or
flexible format * Rhythm Raps, sight-reading and improvisation *
Theory, history and multicultural music * Mixed meter studies *
Comprehensive scale and arpeggio pages * Double stops and shifting
* Performance Spotlights Book also includes My EE Library*
(www.myeelibrary.com) - Instant Stream/Download/CD* ...with
Play-along mp3 tracks for ALL exercises, featuring a professional
orchestra * Internet access required for My EE Library (book
includes instructions to order free opt. CD)
Developing Expression in Brass Performance and Teaching helps
university music teachers, high school band directors, private
teachers, and students develop a vibrant and flexible approach to
brass teaching and performance that keeps musical expression
central to the learning process. Strategies for teaching both group
and applied lessons will help instructors develop more expressive
use of articulation, flexibility in sound production, and how to
play with better intonation. The author shares strategies from
today's best brass instrument performers and teachers for
developing creativity and making musical expression central to
practicing and performing. These concepts presented are taken from
over thirty years of experience with musicians like Wynton
Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard
Candelaria, John Haynie, Bryan Goff, members of the Chicago
Symphony and New York Philharmonic and from leading music schools
such as the Eastman School of Music, The University of North Texas
and The Florida State University. The combination of philosophy,
pedagogy, and common sense methods for learning will ignite both
musicians and budding musicians to inspired teaching and playing.
Developing Expression in Brass Performance and Teaching helps
university music teachers, high school band directors, private
teachers, and students develop a vibrant and flexible approach to
brass teaching and performance that keeps musical expression
central to the learning process. Strategies for teaching both group
and applied lessons will help instructors develop more expressive
use of articulation, flexibility in sound production, and how to
play with better intonation. The author shares strategies from
today's best brass instrument performers and teachers for
developing creativity and making musical expression central to
practicing and performing. These concepts presented are taken from
over thirty years of experience with musicians like Wynton
Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard
Candelaria, John Haynie, Bryan Goff, members of the Chicago
Symphony and New York Philharmonic and from leading music schools
such as the Eastman School of Music, The University of North Texas
and The Florida State University. The combination of philosophy,
pedagogy, and common sense methods for learning will ignite both
musicians and budding musicians to inspired teaching and playing.
It is undeniable that technology has made a tangible impact on the
nature of musical listening. The new media have changed our
relationship with music in a myriad of ways, not least because the
experience of listening can now be prolonged at will and repeated
at any time and in any space. Moreover, among the more striking
social phenomena ushered in by the technological revolution, one
cannot fail to mention music's current status as a commodity and
popular music's unprecedented global reach. In response to these
new social and perceptual conditions, the act of listening has
diversified into a wide range of patterns of behaviour which seem
to resist any attempt at unification. Concentrated listening, the
form of musical reception fostered by Western art music, now
appears to be but one of the many ways in which audiences respond
to organized sound. Cinema, for example, has developed specific
ways of combining images and sounds; and, more recently, digital
technology has redefined the standard forms of mass communication.
Information is aestheticized, and music in turn is incorporated
into pre-existing symbolic fields. This volume - the first in the
series Musical Cultures of the Twentieth Century - offers a
wide-ranging exploration of the relations between sound, technology
and listening practices, considered from the complementary
perspectives of art music and popular music, music theatre and
multimedia, composition and performance, ethnographic and
anthropological research.
Expanding the Space for Improvisation Pedagogy in Music is a
critical, research-based anthology exploring improvisation in music
pedagogy. The book broadens the understanding of the potentials and
possibilities for improvisation in a variety of music education
contexts and stimulates the development of knowledge and reflection
on improvisation. The book critically examines the challenges,
cultural values, aims and methods involved in improvisation
pedagogy. Written by international contributors representing a
variety of musical genres and research methodologies, it takes a
transdisciplinary approach and outlines a way ahead for
improvisation pedagogy and research, by providing a space for the
exchange of knowledge and critique. This book will be of great
interest to scholars, researchers, and postgraduate students in the
fields of arts education, music education, improvisation, music
psychology, musicology, ethnomusicology, artistic research and
community music. It will also appeal to music educators on all
levels in the field of music education and music psychology.
In the course of a decades-spanning career as a filmmaker, Terrence
Malick has carved out a distinctive cinematic aesthetic. Central to
this style is the use of sound. James Wierzbicki offers the first
comprehensive study of Malick's soundtracks, arguing that they
create a distinctive sonic style throughout his oeuvre and
exploring how that style functions. Considering voice, noise, and
music as elements in the soundtrack, this concise book enriches our
understanding of one of our most philosophical filmmakers, and of
the interplay between the sonic and visual elements in film.
This new edition contains all the scales and arpeggios required for
ABRSM's Grade 1 Violin exam. Includes all Grade 1 scales and
arpeggios for the revised syllabus from 2012, with bowing patterns,
along with a helpful introduction including advice on preparing for
the exam.
One of the finest books available on jazz guitar chords. Joe covers
all the bases with two sections on chord forms and chord passages.
Chords are divided into six categories: Major, Seventh, Augmented,
Minor, Diminished, and Minor Seventh Flat Fifth, each showing
substitutions and inversions that Joe would play when confronted
with "basic" chord symbols. The chord passage section is divided
into nine categories, including such topics as Major Sounds,
Diminished Sounds, Augmented Sounds, Standard Patter Chord
Substitutions, and other chord progression - related topics.
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