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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles
All the key chords, in every key, organised as a chord per page,
this is a flexible, comprehensive solution for anyone learning or
playing the guitar at any level. This no-nonsense, easy to carry,
concealed spiral book will fit into a gig bag, flight case or hand
bag with the minimum of fuss.
Thirty-four of the best songs, all chosen from Rolling Stone
magazine's 500 Greatest Songs of All Time list. Fingering, lyrics,
and chord symbols are included in these easy piano arrangements by
Dan Coates. Titles: All I Have to Do Is Dream (The Everly Brothers)
* Billie Jean (Michael Jackson) * Blueberry Hill (Fats Domino) *
Born to Run (Bruce Springsteen) * The Boxer (Simon and Garfunkel) *
Desperado (Eagles) * Earth Angel (The Penguins) * Fake Plastic
Trees (Radiohead) * Great Balls of Fire (Jerry Lee Lewis) * I Can
See for Miles (The Who) * I Got You Babe (Sonny and Cher) * I Wanna
Be Sedated (Ramones) * I Want to Hold Your Hand (The Beatles) * In
My Room (The Beach Boys) * Knocking on Heaven's Door (Bob Dylan) *
Like a Rolling Stone (Bob Dylan) * Love Me Tender (Elvis Presley) *
Maggie May (Rod Stewart) * O-o-h Child (The Five Stairsteps) *
Paint It, Black (The Rolling Stones) * People Get Ready (The
Impressions) * (We're Gonna) Rock Around the Clock (Bill Haley and
His Comets) * Sail Away (Randy Newman) * Save the Last Dance for Me
(The Drifters) * Sh-Boom (The Chords) * The Sound of Silence (Simon
and Garfunkel) * Stairway to Heaven (Led Zeppelin) * Stand by Me
(Ben E. King) * Stayin' Alive (Bee Gees) * Wake Up Little Susie
(The Everly Brothers) * The Weight (The Band) * White Room (Cream)
* A Whiter Shade of Pale (Procol Harum) * Will You Love Me Tomorrow
(The Shirelles).
The double bass - the preferred bass instrument in popular music
during the 1960s - was challenged and subsequently superseded by
the advent of a new electric bass instrument. From the mid-1960s
and throughout the 1970s, a melismatic and inconsistent approach
towards the bass role ensued, which contributed to a major change
in how the electric bass was used in performance and perceived in
the sonic landscape of mainstream popular music. Investigating the
performance practice of the new, melodic role of the electric bass
as it appeared (and disappeared) in the 1960s and 1970s, the book
turns to the number one songs of the American Billboard Hot 100
charts between 1951 and 1982 as a prime source. Through interviews
with players from this era, numerous transcriptions - elaborations
of twenty bass related features - are presented. These are
juxtaposed with a critical study of four key players, who provide
the case-studies for examining the performance practice of the
melodic electric bass. This highly original book will be of
interest not only to bass players, but also to popular
musicologists looking for a way to instigate methodological and
theoretical discussions on how to develop popular music analysis.
EThe Guitar Amp Handbook: Understanding Tube Amplifiers and Getting
Great Sounds Updated EditionE brings fresh information to the table
to help guitarists understand everything about what makes their
amps tick and how to use them to sound better than ever. It builds
on the popular original edition of the book first published in
2005.THCentral to the book's success is the way it walks musicians
through the significance of each crucial circuit stage and
component of a great number of classic and modern tube amp designs
helping guitarists get the most from the amps they already own or
choose new amps that are best suited to their needs.THEThe Guitar
Amp HandbookE reveals many of the tips and tricks used by today's
top designers and builders and it debunks the hype used by the
marketing departments at large manufacturers keen on selling
specific amps that might not be right for particular players. The
book is designed to help guitarists understand what really goes on
inside tube amps and where the tone comes from. This new updated
and expanded edition adds further knowledge to the foundation
ensuring it continues as the most thorough and authoritative
publication on the subject to be found anywhere.
The Faber Music Christmas Piano Anthology is an essential
collection of the greatest Christmas songs and carols, specially
arranged for solo piano, for the intermediate pianist. The perfect
gift for Christmas, this beautiful anthology includes favourites
such as O Holy Night, Sleigh Ride and It's Beginning To Look A Lot
Like Christmas alongside arrangements of Winter (from the Four
Seasons), Troika (from Lieutenant Kije), and more.
Students of all ages will delight in these 26 simple piano
arrangements of familiar melodies such as "Jesu, Joy of Man's
Desiring" and "Wachet Auf," plus other fun-to-play pieces.
This book brings together selected exam pieces, scales and
arpeggios, sight-reading and audio downloads, to support ABRSM's
Grade 2 Flute syllabus from 2022. Key features: Nine pieces in a
range of styles, chosen from Lists A, B and C - Classic repertoire
and newly commissioned pieces and arrangements - Scales and
arpeggios, and sample sight-reading tests, for requirements from
the current syllabus.- Audio performances of the nine pieces by
expert musicians, plus accompaniment-only tracks for use when
practising (download code included in the book) The Exam Pack is an
ideal resource for preparation for ABRSM's Practical Grade 2 Flute
exam, as well as providing an excellent toolkit for the general
development of technical skills at this level.
This book brings together selected exam pieces, scales and
arpeggios, sight-reading and audio downloads, to support ABRSM's
Grade 5 Flute syllabus from 2022. Key features: Nine pieces in a
range of styles, chosen from Lists A, B and C - Classic repertoire
and newly commissioned pieces and arrangements - Scales and
arpeggios, and sample sight-reading tests, for requirements from
the current syllabus.- Audio performances of the nine pieces by
expert musicians, plus accompaniment-only tracks for use when
practising (download code included in the book) The Exam Pack is an
ideal resource for preparation for ABRSM's Practical Grade 5 Flute
exam, as well as providing an excellent toolkit for the general
development of technical skills at this level.
This book contains nine pieces selected from ABRSM's Grade 7 Flute
syllabus from 2022. Key features: Nine pieces in a range of styles,
chosen from Lists A, B and C - ideal for both Practical and
Performance Grade exams. -Classic repertoire and newly commissioned
pieces and arrangements.- Audio performances of the nine pieces by
expert musicians, plus accompaniment-only tracks for use when
practising (download code included in the book) Contents: Allegro
moderato (first movement from Sonata in D, Op. 1 No. 4) [Anna Bon
di Venezia] Moderato (from Cavatina from Rossini's The Barber of
Seville) [Anton Diabelli] Insects' Dance (No. 19 from 25
romantische Etuden, Op.66) [Ernesto Koehler] Nocturne [Lili
Boulanger] Monody for a Lost Faun [Adrian Connell] Offertoire, Op.
12 [Donjon] Etude No. 1 (from Six etudes pour 3e cycle) [Sergio
Arriagada] Tumbling Bay [Anthony Hedges] Allegretto Grazioso &
Allegretto Scherzando [Paul Taffanel]
The guitar has adapted to every musical evolution. Few musical
instruments have experienced such a wide variety of models, shapes,
colours and materials. This book features more than 160
instruments, spanning more than four centuries of guitar history.
They are the works of the great Italian and French craftsmen from
the 17th century to modern times. From the signature models such as
Les Paul and Stratocaster to the most surprising creations
(harp-guitars and Lap steel guitars), this book describes the
musical trends and features the favourite instruments of the great
masters.
(String). The Wohlfahrt Op. 45 Studies are a mainstay of violin
study. Book 1 (50256580) and Book 2 (50256590) are bestsellers in
the Schirmer Library. The entire set, Books 1 and 2 combined, is
available in this new complete publication, value priced at only
$7.95
English keyboard music reached an unsurpassed level of
sophistication in the late sixteenth and early seventeenth
centuries as organists such as William Byrd and his students took a
genre associated with domestic, amateur performance and treated it
as seriously as vocal music. This book draws together important
research on the music, its sources and the instruments on which it
was played. There are two chapters on instruments: John Koster on
the use of harpsichord during the period, and Dominic Gwynn on the
construction of Tudor-style organs based on the surviving evidence
we have for them. This leads to a section devoted to organ
performance practice in a liturgical context, in which John Harper
discusses what the use of organs pitched in F may imply about their
use in alternation with vocal polyphony, and Magnus Williamson
explores improvisational practice in the Tudor period. The next
section is on sources and repertoire, beginning with Frauke
Jurgensen and Rachelle Taylor's chapter on Clarifica me Pater
settings, which grows naturally out of the consideration of
improvisation in the previous chapter. The next two contributions
focus on two of the most important individual manuscript sources:
Tihomir Popovic challenges assumptions about My Ladye Nevells Booke
by reflecting on what the manuscript can tell us about aristocratic
culture, and David J. Smith provides a detailed study of the famous
Fitzwilliam Virginal Book. The discussion then broadens out into
Pieter Dirksen's consideration of a wider selection of sources
relating to John Bull, which in turn connects closely to David
Leadbetter's work on Gibbons, lute sources and questions of style.
This book contains nine pieces from ABRSM's Grade 1 Piano syllabus
for 2021 & 2022, three pieces chosen from each of Lists A, B
and C. The pieces have been carefully selected to offer an
attractive and varied range of styles, creating a collection that
provides an excellent source of repertoire to suit every performer.
The book also contains helpful footnotes and, for those preparing
for exams, useful syllabus information. The enclosed CD features
inspiring recordings of all 30 pieces on the Grade 1 syllabus,
performed by Nikki Iles, Dinara Klinton, Robert Thompson and
Anthony Williams.
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.
Digital technology is transforming the musical score as a broad
array of innovative score systems have become available to
musicians. From attempts to mimic the print score, to animated and
graphical scores, to artificial intelligence-based options, digital
scoring affects the musical process by opening up new possibilities
for dynamic interaction between the performer and the music,
changing how we understand the boundaries between composition,
score, improvisation and performance. The Digital Score:
Musicianship, Creativity and Innovation offers a guide into this
new landscape, reflecting on what these changes mean for
music-making from both theoretical and applied perspectives.
Drawing on findings from over a decade's worth of practice-based
experimentation in the field, author Craig Vear builds a framework
for understanding how digital scores create meaning. He considers
the interactions between affect, embodiment and digital scores,
offering the first comprehensive and critical consideration of an
exciting field with no agreed-upon borders. Featuring insights from
interviews with over fifty musicians and composers from across four
continents, this book is a valuable resource for music researchers
and practitioners alike.
1) This is the only book that is written as a coursebook for
Improv, and directed to the college classroom. 2) Brings various
aspects of the jazz learning process together -- practicing scales,
chord arpeggios and melodic motives in 12 keys, along with the
assimilation of the rhythmic nature of jazz and its related forms
of (primarily African American) music -- in one systematic,
organized and easy-to-assimilate manner. 3) Chapters are organized
with: - a paragraph or two explaining a particular scale/harmonic
basis or a common form used in jazz repertoire - suggested
exercises, from basic scales to advanced melodic motives taken
directly from recordings - a repertoire list that employs the
harmonic, melodic or formal aspects being discussed in each chapter
- concludes with a transcription of an improvised solo by a jazz
master which illustrates how theory is put into practice. 4)
Includes supplementary materials such as recordings of the
transcribed solos, relevant Aebersold Play-Along recordings, and
fake books
The evolution of the mixed chamber ensemble of Schoenberg's Pierrot
lunaire and the growth of the Fires of London, one of the most
galvanizing groups in modern music. 2012 marked the centenary of
the first performance of Arnold Schoenberg's Pierrot lunaire, Op.
21, and over the last hundred years its mixed chamber ensemble has
become, in all its protean forms, a principal line-up for modern
music. This book, the first of its kind, chronicles the ensemble's
evolution from Pierrot's earliest performances, monitoring its
influence on the Continent as well as upon Walton, Britten, Lutyens
and Searle in Britain. In particular, it watches the growth of The
Pierrot Players [later The Fires of London] one of the most
galvanizing groups in post-war British music, and looks carefully
at the social dynamics among its players and composers, notably
Peter Maxwell Davies and Harrison Birtwistle. With photos, and
drawings by Milein Cosman and David Hockney. CHRISTOPHER DROMEY
took his PhD at King's College London and is now Senior Lecturer in
Music at Middlesex University.
What does it mean to talk about musical coherence at the end of a
century characterised by fragmentation and discontinuity? How can
the diverse influences which stand behind the works of many late
twentieth-century composers be reconciled with the singular
immediacy of the experiences that they can create? How might an
awareness of the distinctive ways in which these experiences are
generated and controlled affect the way we listen to, reflect upon
and write about this music? Mark Hutchinson outlines a novel
concept of coherence within Western art music from the 1980s to the
turn of the millennium as a means of understanding the work of a
number of contemporary composers, including Thomas Ades, Kaija
Saariaho, Toru Takemitsu and Gyoergy Kurtag, whose music cannot be
fitted easily into a particular compositional school or analytical
framework. Coherence is understood as a multi-layered phenomenon
experienced, above all, in the act of listening, but reliant upon a
variety of other aspects of musical experience, including
compositional statements, analysis, and connections of aesthetic,
as well as listeners' own, imaginative conceptualisations.
Accordingly, the approach taken here is similarly multi-faceted:
close analytical readings of a number of specific works are
combined with insights drawn from philosophy and aesthetics, music
perception, and critical theory, with a particular openness to
novel metaphorical presentations of basic musical ideas about form,
language and time.
Music has long been a way in which visually impaired people could
gain financial independence, excel at a highly-valued skill, or
simply enjoy musical participation. Existing literature on visual
impairment and music includes perspectives from the social history
of music, ethnomusicology, child development and areas of music
psychology, music therapy, special educational needs, and music
education, as well as more popular biographical texts on famous
musicians. But there has been relatively little sociological
research bringing together the views and experiences of visually
impaired musicians themselves across the life course. Insights in
Sound: Visually Impaired Musicians' Lives and Learning aims to
increase knowledge and understanding both within and beyond this
multifaceted group. Through an international survey combined with
life-history interviews, a vivid picture is drawn of how visually
impaired musicians approach and conceive their musical activities,
with detailed illustrations of the particular opportunities and
challenges faced by a variety of individuals. Baker and Green look
beyond affiliation with particular musical styles, genres,
instruments or practices. All 'levels' are included: from adult
beginners to those who have returned to music-making after a gap;
and from 'regular' amateur and professional musicians, to some who
are extraordinarily 'elite' or 'successful'. Themes surrounding
education, training, and informal learning; notation and ear
playing; digital technologies; and issues around disability,
identity, opportunity, marginality, discrimination, despair,
fulfilment, and joy surfaced, as the authors set out to discover,
analyse, and share insights into the worlds of these musicians.
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Piano Lessons Book 2
(Paperback)
Hal Leonard Publishing Corporation; Fred Kern, Mona Rejino
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Book 2 opens with a new My Own Song improvisation on CDEFG. Unit 1
introduces phrasing and legato touch, and also presents harmonic
2nds and 3rds with staccato touch. The following two units are
dedicated to the introduction of 4ths and 5ths. Also in Unit 3,
sharps are introduced in a diatonic setting starting on D, and
flats are introduced as blues notes. Most pieces in the second half
of Book 2 coordinate hands playing together. This book works very
well for transfer students.
In recent years, scholars and musicians have become increasingly
interested in the revival of musical improvisation as it was known
in the Renaissance and Baroque periods. This historically informed
practice is now supplanting the late Romantic view of improvised
music as a rhapsodic endeavour-a musical blossoming out of the
capricious genius of the player-that dominated throughout the
twentieth century. In the Renaissance and Baroque eras, composing
in the mind (alla mente) had an important didactic function. For
several categories of musicians, the teaching of counterpoint
happened almost entirely through practice on their own instruments.
This volume offers the first systematic exploration of the close
relationship among improvisation, music theory, and practical
musicianship from late Renaissance into the Baroque era. It is not
a historical survey per se, but rather aims to re-establish the
importance of such a combination as a pedagogical tool for a better
understanding of the musical idioms of these periods. The authors
are concerned with the transferral of historical practices to the
modern classroom, discussing new ways of revitalising the study and
appreciation of early music. The relevance and utility of such an
improvisation-based approach also changes our understanding of the
balance between theoretical and practical sources in the primary
literature, as well as the concept of music theory itself.
Alongside a word-centred theoretical tradition, in which rules are
described in verbiage and enriched by musical examples, we are
rediscovering the importance of a music-centred tradition,
especially in Spain and Italy, where the music stands alone and the
learner must distil the rules by learning and playing the music.
Throughout its various sections, the volume explores the path of
improvisation from theory to practice and back again.
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