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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles
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Piano Lessons Book 2
(Paperback)
Hal Leonard Publishing Corporation; Fred Kern, Mona Rejino
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R247
R191
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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.
Winner of the Nicholas Bessaraboff Prize Musical repertory of great
importance and quality was performed on viols in sixteenth- and
early seventeenth-century England. This is reported by Thomas Mace
(1676) who says that 'Your Best Provision' for playing such music
is a chest of old English viols, and he names five early English
viol makers than which 'there are no Better in the World'.
Enlightened scholars and performers (both professional and amateur)
who aim to understand and play this music require reliable
historical information and need suitable viols, but so little is
known about the instruments and their makers that we cannot specify
appropriate instruments with much precision. Our ignorance cannot
be remedied exclusively by the scrutiny or use of surviving antique
viols because they are extremely rare, they are not accessible to
performers and the information they embody is crucially compromised
by degradation and alteration. Drawing on a wide variety of
evidence including the surviving instruments, music composed for
those instruments, and the documentary evidence surrounding the
trade of instrument making, Fleming and Bryan draw significant
conclusions about the changing nature and varieties of viol in
early modern England.
Updated 2021/2, this is a step-by-step guide to playing the
electric guitar, shown in over 600 photographs, illustrations and
exercises. It shows you how to master a range of diverse musical
styles, such as funk and disco, heavy rock, indie rock, electric
blues, country guitar, jazz, lounge and reggae. It includes a
beautifully illustrated directory of over 250 electric guitars from
the 1930s up to the modern day. It discusses the complete history
of the electric guitar, from the early archtops and lap steels up
to the latest developments, including the Fender stratocaster, the
Gibson Les Paul, the electric bass and the superstrats. It contains
boxed features on influential electric heroes, such as Eric
Clapton, Mark Knopfler, George Harrison, Allan Holdsworth, B. B.
King, Jimmy Page, and many more. The electric guitar is arguably
the most important musical instrument of the modern age. This book
explains how to buy the right instrument and set it up, and how to
play. It demonstrates basic techniques and chords, and introduces
genres such as rock 'n' roll, jazz, heavy rock, metal and blues. A
history section explores the first electric guitars, and how the
great rivalry between Fender and Gibson led to an explosion in the
popularity of the instrument. With expert step-by-step
instructions, an illustrated directory of over 250 guitars, and
over 600 photographs and musical exercises, this comprehensive
manual is an essential guide for all electric guitarists.
Teaching Strings in Today's Classroom: A Guide for Group
Instruction assists music education students, in-service teachers,
and performers to realize their goals of becoming effective string
educators. It introduces readers to the school orchestra
environment, presents the foundational concepts needed to teach
strings, and provides opportunities for the reader to apply this
information. The author describes how becoming an effective string
teacher requires three things of equal importance: content
knowledge, performance skills, and opportunities to apply the
content knowledge and performance skills in a teaching situation.
In two parts, the text addresses the unique context that is
teaching strings, a practice with its own objectives and related
teaching strategies. Part I (Foundations of Teaching and Learning
String Instruments) first presents an overview of the string
teaching environment, encouraging the reader to consider how
context impacts teaching, followed by practical discussions of
instrument sizing and position, chapters on the development of each
hand, and instruction for best practices concerning tone
production, articulation, and bowing guidelines. Part II
(Understanding Fingerings) provides clear guidance for
understanding basic finger patterns, positions, and the creation of
logical fingerings. String fingerings are abstract and thus
difficult to negotiate without years of playing experience-these
chapters (and their corresponding interactive online tutorials)
distill the content knowledge required to understand string
fingerings in a way that non-string players can understand and use.
Teaching Strings in Today's Classroom contains pedagogical
information, performance activities, and an online virtual teaching
environment with twelve interactive tutorials, three for each of
the four string instruments. ACCOMPANYING VIDEOS CAN BE ACCESSED
VIA THE AUTHOR'S WEBSITE: www.teachingstrings.online
(Faber Piano Adventures ). The 2nd Edition Primer Lesson Book
introduces the keyboard, note values, and the grand staff. Students
play in C 5-finger scale patterns, develop recognition of steps and
skips, and learn letter names independent of finger number.
Musicianship is built through the use of dynamics and coloristic
experimentation with the pedal. The book is organized into units
which represent the major concepts and skills. As new units are
introduced, earlier concepts and skills are constantly reviewed.
Whether they're self-taught bashers or technical wizards, drummers
are the thrashing, crashing heart of our favorite punk bands. In
Forbidden Beat, some of today's most respected writers and
musicians explore the history of punk percussion with personal
essays, interviews and lists featuring their favorite players and
biggest influences. From 60s garage rock and proto-punk to 70s New
York and London, 80s hardcore and D-beat to 90s pop punk and
beyond, Forbidden Beat is an uptempo ode to six decades of punk
rock drumming. Featuring Tre Cool, Ira Elliot, Curt Weiss, John
Robb, Hudley Flipside, Bon Von Wheelie, Joey Shithead, Matt Diehl,
D.H. Peligro, Mike Watt, Lynn Perko-Truell, Pete Finestone, Laura
Bethita Neptuna, Jan Radder, Jim Ruland, Eric Beetner, Jon Wurster,
Lori Barbero, Joey Cape, Marko DeSantis, Mindy Abovitz, Steven
McDonald, Kye Smith, Ian Winwood, Phanie Diaz, Benny Horowitz,
Shari Page, Urian Hackney, and Rat Scabies.
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.
From the former editor of Guitar One magazine, here is a daily dose
of vitamins to keep your chops fine tuned! Musical styles include
rock, blues, jazz, metal, country, and funk. Techniques taught
include alternate picking, arpeggios, sweep picking, string
skipping, legato, string bending, and rhythm guitar. These
exercises will increase speed, and improve dexterity and pick- and
fret-hand accuracy. The accompanying CD includes all 365 workout
licks plus play-along grooves in every style at eight different
metronome settings.
In this book, Julian Hellaby presents a detailed study of English
piano playing and career management as it was in the middle years
of the twentieth century. Making regular comparisons with early
twenty-first-century practice, the author examines career-launching
mechanisms, such as auditions and competitions, and investigates
available means of career sustenance, including artist management,
publicity outlets, recital and concerto work, broadcasts,
recordings and media reviews. Additionally, Hellaby considers
whether a mid-twentieth-century school of English piano playing may
be identified and, if so, whether it has lasted into the early
decades of the twenty-first century. The author concludes with an
appraisal of the state of English pianism in recent years and
raises questions about its future. Drawing on extensive research
from a wide variety of primary and secondary sources, this book is
structured around case-studies of six pianists who were commencing
and then developing their careers between approximately 1935 and
1970. The professional lives and playing styles of Malcolm Binns,
Peter Katin, Moura Lympany, Denis Matthews, Valerie Tryon and David
Wilde are examined, and telling comparisons are made between the
state of affairs then and that of more recent times. Engagingly
written, the book is likely to appeal to professional and amateur
pianists, piano teachers, undergraduate and postgraduate music
students, academics and anyone with an interest in the history of
pianists, piano performance and music performance history in
general.
The revised edition for Suzuki Violin School, Volume 6 is now
available. Like the other revised violin books, the music has been
edited by the International Violin Committee. Titles: La Folia (A.
Corelli/S. Suzuki), Sonata No. 3 in F Major, HWV 370 (G. F.
Handel), Allegro (J.-H. Fiocco), Gavotte (J. Ph. Rameau), Sonata
No. 4 in D Major, HWV 371 (G. F. Handel) Other features include: *
New engravings in a more easily readable 9 x 12 format * New
editing of pieces, including bowings and fingerings * Available
together with the newly recorded CD for $19.99 * CD by William
Preucil, Concertmaster of the Cleveland Orchestra * Piano
accompaniments recorded by Linda Perry.
This companion volume to The Courtly Consort Suite in
German-Speaking Europe surveys an area of music neglected by modern
scholars: the consort suites and dance music by musicians working
in the seventeenth-century German towns. Conditions of work in the
German towns are examined in detail, as are the problems posed by
the many untrained travelling players who were often little more
than beggars. The central part of the book explores the
organisation, content and assembly of town suites into carefully
ordered printed collections, which refutes the concept of the
so-called 'classical' suite. The differences between court and town
suites are dealt with alongside the often-ignored variation suite
from the later decades of the seventeenth century and the separate
suite-writing traditions of Leipzig and Hamburg. While the
seventeenth-century keyboard suite has received a good deal of
attention from modern scholars, its often symbiotic relationship
with the consort suite has been ignored. This book aims to redress
the balance and to deal with one very important but often ignored
aspect of seventeenth-century notation: the use of blackened notes,
which are rarely notated in a meaningful way in modern editions,
with important implications for performance.
(Book). So you want to write songs, and you want to write them on
guitar. This is the book that shows you exactly how. Taking tips
and tricks from classic songwriters, from Bob Dylan to the Beatles
to Tori Amos, How to Write Songs on Guitar takes you through the
four main elements of a song rhythm, melody, lyrics, and harmony
and inspires you to combine them in exciting new ways. Now with
updated songs and tips on writing trends, it's packed with wisdom
and practical advice culled from over 1,500 songs, How to Write
Songs on Guitar 2nd edition will soon have you producing better,
more memorable songs.
Beautifully presented and intelligently paced, the Lesson Books
combine unusually attractive music and lyrics. The books feature
note reading, rhythm reading, sight-reading and technical workouts.
Each piece on the CD was recorded at a performance tempo and a
slower practice tempo.
The viola da gamba was a central instrument in European music from
the late 15th century well into the late 18th. In this
comprehensive study, Bettina Hoffmann offers both an introduction
to the instrument -- its construction, technique and history -- for
the non-specialist, interweaving this information with a wealth of
original archival scholarship that experts will relish. The book
begins with a description of the instrument, and here Hoffmann
grapples with the complexity of various names applied to this and
related instruments. Following two chapters on the instrument's
construction and ancestry, the core of the book is given to a
historical and geographical survey of the instrument from its
origins into the classical period. The book closes with a look at
the revival of interest in the 19th and 20th centuries.
This book takes as its historical point of departure the radical
appearance in 1779 of technically difficult keyboard music in a set
of six sonatas (Op. 2) by Muzio Clementi. The difficult passages
contained in this opus are unique amongst keyboard music published
for a market that was understood at the time to consist almost
entirely of female amateur keyboardists. Previously actively
discouraged from practicing or improving their skills due to the
restrictive ideologies in place, Clementi's music increasingly
affords female pianists a new kind of musical expression. Clementi
and the woman at the piano: Virtuosity and the market for music in
eighteenth-century London maps the social, musical, and gendered
implications of technically difficult music and helps to underline
important changes in Enlightenment culture and keyboard practice.
Clementi's activities initiated the now familiar and modern
concepts of repetitive musical practice, the work-concept,
virtuosity itself, and the division between amateur and
professional. Additionally, Clementi promotes a radical new mode of
expression for female pianists that is at first highly
controversial but slowly gains acceptance due to a widespread
promotion of his music, instruments, and methods. Clementi's career
is in many respects a perfect case study for the tensions between
Enlightenment thinking and new Romantic ideologies.
Originally published in 1966, this was the first book on this
subject to be published for over a hundred years. It covers all
facets including little-known types of Gaelic song, the bagpipes
and their music, including the esoteric subject of pibroch, the
Ceol Mor or 'Great Music' of the pipes. It gives a comprehensive
review of the fiddle composers and their music, and of the Clarsach
and its revival, with an example of all-but-extinct Scottish harp
music. A chapter is devoted to the music of Orkney and Shetland and
the book contains over 100 examples of music many of which were
from the author's own collection and published here for the first
time.
This book brings together selected exam pieces, scales and
arpeggios, sight-reading and audio downloads, to support ABRSM's
Grade 1 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 1 Flute
exam, as well as providing an excellent toolkit for the general
development of technical skills at this level.
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