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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles
Developed to increase the speed and ease of getting around the
drumset using rudiments as the foundation. The cross sticking and
drum-to-drum patterns used in this book will increase the student's
coordination skills, familiarity of the drumset, and soloing
vocabulary. An exceptional way to incorporate rudiments into the
drumset performer's practice routine.
This is a collection of 76 popular compositions of the masters,
including themes f from concertos and symphonies by Ravel,
Prokofiev, Shostakovich, and others. It is suitable for all grades.
These easy-to-read, progressive exercises by Joanne Martin develop
a student's reading skills one stage at a time, with many
repetitions at each stage. I Can Read Music is designed as a first
note-reading book for students of string instruments who have
learned to play using an aural approach such as the Suzuki
MethodA(R), or for traditionally taught students who need extra
note reading practice. Its presentation of new ideas is clear
enough that it can be used daily at home by quite young children
and their parents, with the teacher checking progress every week or
two.
Titles: Concerto in C Major, Hob. VIIb 1 (Moderato, Adagio, Allegro
molto) (J. Haydn). This volume contains a few smaller pieces that
could be used as warm-up exercises, but the majority of the edition
is devoted to the entire Concerto in C Major, Hob. VIIb. 1, by
Franz Joseph Haydn. This work is perfect for students at the
intermediate/advanced level, and is a vital link to the unique
teaching philosophy that is Suzuki Volume 9 contains both the cello
score and the piano accompaniment.
This title is available in SmartMusic.
Originally published in 2003, Charles Edward Horn's Memoirs of His
Father and Himself is an annotated collection of the memoirs of
Charles Edward Horn. They include an account of Horn's father,
Charles Frederick Horn, who arrived penniless in London in 1782 and
rose to become music master to Queen Charlotte. Today he is most
remembered for his pioneering publications of J.S. Bach's music in
England. Charles Edward Horn's memoir covers his activities in
England and Ireland and provide numerous details of English musical
life in the Georgian era not previously known to scholars. They are
supplemented in this book by transcripts of four other
autobiographical accounts of the Horns, a summary of their extant
correspondence and a chronology of their activities.
Designed to coordinate page-by-page with the Lesson Books. Contains
enjoyable games and quizzes that reinforce the principles presented
in the Lesson Books. Students can increase their musical
understanding while they are away from the keyboard.
This book assesses the influence and reception of many different
forms of guitar playing upon the classical guitar and more
specifically through the prism of John Williams. Beginning with an
examination of Andres Segovia and his influence upon Williams'
life's work, a further three incisive chapters cover key areas such
as performance, perception, education and construction, considering
social and cultural contexts of the guitar over the past century. A
final chapter on new directions in classical guitar examines the
change in reception of the instrument from the mid-1970s to the
present day, and Williams' impact upon what might be termed
'standard classical guitar repertoire'. With in-depth discussion of
the cultural and perceptual impact of Williams' more daring
crossover projects and numerous musical examples, this is an
informative reference for all classical guitar practitioners, as
well as scholars and researchers of guitar studies, reception
studies, cultural musicology and performance studies. An online
lecture by the author and a transcript of the author's interview
with John Williams are also available as e-resources.
Short, clear chapters each focus on a single topic, presenting
necessary information thoroughly and clearly, in a manner that's
easy for students to grasp Large number of musical examples allows
students to better understand techniques by seeing them in multiple
contexts Companion website provides video demonstrations that help
students understand techniques in action
This new volume in Schirmer's Library of Musical Classics brings
together Books I and II of Bach's classic repertoire at an
affordable price.
This easy step-by-step method emphasizes correct playing habits and
note reading through interval recognition. Lesson Book 3 introduces
"overlapping pedal"; new time signatures 3/8 and 6/8; and the
primary triads in Major and Minor keys. Concepts include: passing
one under two and one under three; playing major scales in contrary
motion; the chromatic scale; the minor scale.
For reinforcement of each principle as it is introduced,
supplementary material is carefully coordinated, page for page, at
each level of instruction. Coordinating supplemental books for
Level 3 include: Classic Themes * Composition * Duet * Ear Training
* Ensemble * Fun * Hymn * Merry Christmas * Merry Christmas
Ensemble * Musical Concepts * Notespeller * Patriotic Solo *
Recital * Repertoire * Sight Reading * Technic * Theory and Top
Hits! Solo, Christmas and Duet Book.
(Percussion). The most in-depth study of breakbeat drumming in
print The style is divided into thirteen essential elements, with
each element discussed in its own chapter. Hundreds of exercises
and beats give the reader ample opportunity to practice the
elements, which, when assembled, will give the drummer the ability
to integrate a complete language of incredibly funky concepts into
his or her playing. Over 90 transcriptions of beats and breaks
provide the reader with a window into hip-hop/breakbeat drumming.
Included are some of the most sampled beats in music history
including information about the original song and later songs that
used the sample. Also included is a historical overview of hip-hop
and breakbeat drumming, as well as biographies of many of the
"architects" that helped design the culture. The "Click Track
Loops" chapter provides an incredibly challenging system for
practicing the breakbeat/hip-hop elements and other grooves against
various patterns programmed into a drum machine. These will help
the reader attain new levels of tightness, precision, and groove in
their drumming. The CD features MP3 files with examples of select
exercises, beats, and eight-bar phrases from the book. It also
contains five play-along instrumental tracks (with and without
drums). There is also a bonus sample library featuring 30
individual drum/cymbal sounds. Bonus Sections include Beats With
Drops, Fills, and Dubstep.
This beginner's method for the alto ("F") recorder presents
carefully written examples, studies, and a wealth of songs to teach
important concepts. This method is suited for either individual or
classroom instruction. It may be used in class with the companion
for the soprano recorder, Fun with the Recorder.
This comprehensive study of the piano music of award-winning
American composer Samuel Adler will interest pianists, teachers,
and anyone interested in the musical art of our day. American
composer Samuel Adler has composed a huge and multi-faceted body of
works ranging from symphonies, concertos, and oratorios to solos
for every standard Western instrument, to a rich trove of vocal and
choral music, to pieces for students. Among them, encompassing his
compositional life of some seventy years, is an array of works for
the piano: three concertos; fifteen solo pieces and sets of pieces;
a sonata for two pianos; and four volumes of music for beginning
and intermediate players. Bradford Gowen writes about each of these
works with the knowledge of one who has studied, performed, and
recorded Adler's piano music and has previously written about it.
He begins with an overview of stylistic and pianistic traits found
throughout these pieces and then examines each work chronologically
according to genre, in a two-part format. The first part is an
essay on the work's style, emotional content, and unique features,
which at the same time places the work in the context of other
music by Adler and by additional composers from the present and
past eras. The second part, informal and practical, is directed to
a pianist interested in getting to know this music. As a "lesson"
on the piece, it offers specific suggestions for practicing and
interpretation and many solutions to technical challenges. Rounding
out the book are an in-depth interview with the composer plus six
invaluable appendices.
Tatjana Goldberg reveals the extent to which gender and socially
constructed identity influenced female violinists' 'separate but
unequal' status in a great male-dominated virtuoso lineage by
focussing on the few that stood out: the American Maud Powell
(1867-1920), Australian-born Alma Moodie (1898-1943), and the
British Marie Hall (1884-1956). Despite breaking down traditional
gender-based patriarchal social and cultural norms, becoming
celebrated soloists, and greatly contributing towards violin works
and the early recording industry (Powell and Hall), they received
little historical recognition. Goldberg provides a more complete
picture of their artistic achievements and the impact they had on
audiences.
When aspiring violinist Jessica Chiccehitto Hindman lands a job
with a professional ensemble in New York City, she imagines she has
achieved her lifelong dream. But the ensemble proves to be a sham.
When the group "performs", the microphones are never on. Instead,
the music blares from a CD. The mastermind behind this scheme is a
peculiar and mysterious figure known as The Composer, who is
gaslighting his audiences with music that sounds suspiciously like
the Titanic movie soundtrack. On tour with his chaotic ensemble,
Hindman spirals into crises of identity and disillusionment as she
"plays" for audiences genuinely moved by the performance, unable to
differentiate real from fake. Sounds Like Titanic is a surreal,
often hilarious coming-of-age story. Hindman writes with precise,
candid prose and sharp insight into ambition and gender, especially
when it comes to the difficulties young women face in a world that
views them as silly, shallow and stupid. As the story swells to a
crescendo, it gives voice to the anxieties and illusions of a
generation of women, and reveals the failed promises of a nation
that takes comfort in false realities.
Neuhaus taught at the Moscow Conservatory and his pupils included
some of the greatest pianists of the twentieth century: Emil
Gilels, Sviatoslav Richter, Nina Svetlanova, Alexei Lubimov and
Radu Lupu. His legacy continues today and many teachers around the
world regard this book as the most authoritative on the subject of
piano playing.
Recent scholarship has vanquished the traditional perception of
nineteenth-century Britain as a musical wasteland. In addition to
attempting more balanced assessments of the achievements of British
composers of this period, scholars have begun to explore the web of
reciprocal relationships between the societal, economic and
cultural dynamics arising from the industrial revolution, the
Napoleonic wars, and the ever-changing contours of British music
publishing, music consumption, concert life, instrument design,
performance practice, pedagogy and composition. Muzio Clementi
(1752-1832) provides an ideal case-study for continued exploration
of this web of relationships. Based in London for much of his life,
whilst still maintaining contact with continental developments,
Clementi achieved notable success in a diversity of activities that
centred mainly on the piano. The present book explores Clementi's
multivalent contribution to piano performance, pedagogy,
composition and manufacture in relation to British musical life and
its international dimensions. An overriding purpose is to
interrogate when, how and to what extent a distinctive British
musical culture emerged in the early nineteenth century. Much
recent work on Clementi has centred on the Italian National Edition
of his complete works (MiBACT); several chapters report on this
project, whilst continuing to pursue the book's broader themes.
The garamut is a log idiophone that is found in many of the coastal
and island areas of Papua New Guinea. The instrument's primary use
is as a speech surrogate and in some regions the garamut is also
used in large ensembles to play complex music for dancing. In
Baluan Island, within the Manus Province, this style of garamut
playing is comparatively highly developed. This book follows the
author's processes and methods in learning to play the music of the
garamut, to the level at which he became accepted as a garamut
player by the people of Baluan. Lewis argues that analysis is
essential in learning to play the rapid tempi and complex rhythms
of Baluan garamut music, in a cultural context where there is no
formal teaching process for the music. The transcription and
analysis of the Baluan garamut repertoire is the centrepiece of
this study, reflecting the cognitive structures of the learning
process, and revealing the inner workings of the music's complexity
as well as a striking beauty of form and structure. The book
concludes with reflections on the process of a 'cultural outsider'
becoming a garamut player in Baluan and on the role of musical
analysis in that process, on the ethnomusicologist's role in
transmission of the music, and on the nature of continuity and
change in a musical society such as Baluan.
Studies in English Organ Music is a collection of essays by expert
authors that examines key areas of the repertoire in the history of
organ music in England. The essays on repertoire are placed
alongside supporting studies in organ building and liturgical
practice in order to provide a comprehensive contextualization. An
analysis of the symbiotic relationship between the organ, liturgy,
and composers reveals how the repertoire has been shaped by these
complementary areas and developed through history. This volume is
the first collection of specialist studies related to the field of
English organ music.
This book contains valuable material to help players strengthen
their sight-reading skills in preparation for the ABRSM Grade 6
exam. Featuring preparatory exercises that gradually introduce key
new elements encountered at Grade 6, along with a comprehensive
selection of sample sight-reading pieces, More Piano Sight-Reading
supports students with the transition between grades, and
encourages them to integrate sight-reading into their daily
practice. More Piano Sight-Reading is available for ABRSM Grades 1
to 8, offering additional support for the sight-reading
requirements of the current syllabus.
Thomas Ravenscroft is best-known as a composer of rounds owing to
his three published collections: Pammelia and Deuteromelia (both
1609), and Melismata (1611), in addition to his harmonizations of
the Whole Booke of Psalmes (1621) and his original sacred works. A
theorist as well as a composer and editor, Ravenscroft wrote two
treatises on music theory: the well-known A Briefe Discourse
(1614), and 'A Treatise of Practicall Musicke' (c.1607), which
remains in manuscript. This is the first book to bring together
both theoretical works by this important Jacobean musician and to
provide critical studies and transcriptions of these treatises. A
Briefe Discourse furthermore introduces an anthology of music by
Ravenscroft, John Bennet, and Ravenscroft's mentor, Edward Pearce,
illustrating some of the precepts in the treatise. The critical
discussion provided by Duffin will help explain Ravenscroft's
complicated consideration of mensuration, in particular.
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