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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles
Wail on your harmonica! The harmonica is one of the most popular
and versatile instruments in the world. There are several reasons
harmonicas are awesome--you can play them anywhere, they're
inexpensive, and you can show off in dozens of musical styles. The
friendly and pleasingly tuneful Harmonica For Dummies is the
fastest and best way to learn for yourself! You'll find an
easy-to-follow format that takes you from the basics to specialized
techniques, with accompanying audio and video content included to
make learning even more simple and fun. Before you know it, you'll
be playing jazz in your living room and the blues on your way to
work or school--and that's just the prelude to mastering classical
riffs. That's right, the humble harmonica has graced some of the
grandest concert halls on planet Earth! Choose the right harmonica
Enhance your sound with tongue technique Develop your own style
Perfect your live performance The harmonica is awesome to learn,
but even more awesome to&nlearn well, and Harmonica For Dummies
will get you on the road from being an occasional entertainer to
becoming an accomplished live performer. P.S. If you think this
book seems familiar, you're probably right. The Dummies team
updated the cover and design to give the book a fresh feel, but the
content is the same as the previous release of Harmonica For
Dummies (9781118880760). The book you see here shouldn't be
considered a new or updated product. But if you're in the mood to
learn something new, check out some of our other books. We're
always writing about new topics!
The New International Edition of Suzuki Piano School, Volume 5,
includes French, German and Spanish translations as well as a newly
recorded CD performed by internationally renowned recording artist
Seizo Azuma. Now the book and CD can be purchased together or
separately.
The contents have changed to include Romantic pieces: Schumann's
"About Foreign Lands and People" and Chopin's "Waltz in A Minor."
Daquin's "The Cuckoo" has been moved here from Book 6. Schumann's
"First Loss" and "Siciliana" as well as J. S. Bach's "Prelude in C"
have been permanently removed.
Titles: F?r Elise, WoO 59 (Beethoven) * Old French Song, from the
Album for the Young, Op. 39, No. 16 (Tchaikovsky) * Invention No. 1
in C Major, BWV 772, from 15 Two-Part Inventions (J. S. Bach) *
Sonatina in F Major, Anh. 5, No. 2 (Beethoven) * About Foreign
Lands and People, from Scenes from Childhood (Schumann) * Sonata in
C Major (Allegro con brio; Adagio; Allegro), Hob. XVI/35 (Haydn) *
Waltz in A Minor, Op. posthumous (Chopin) * The Cuckoo (Daquin).
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Rhapsody
(Book)
David Bednall
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R424
Discovery Miles 4 240
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Ships in 12 - 19 working days
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This powerful piece, dating from 2010, shows off the full resources
of any organ it is played on. Its driving rhythms and exhilarating,
often bitonal, harmonies recall such French organist-composers as
Langlais and Messiaen, and while there is often an improvisatory
feel, the music is far from formless, and its carefully planned
structure contributes crucially to its success.
Schoenberg's Op.23 for solo piano, written between 1920 and 1923,
represented a move from his atonal music of the preceding twelve
years to 12-note music. In this analysis of the five pieces which
make up Op.23, Kathryn Bailey discusses the ways in which
Schoenberg clearly explores new ideas in these pieces in the
context of his old style. Op.23 marked the development of a new way
of organizing pitches and establishing centres of gravity in the
absence of tonality; but it was also an extension of what had gone
before. While moving on from Op.23 was not a big step for
Schoenberg, it represented a climacteric in the history of musical
composition. It was a long time before anyone outside of
Schoenberg's circle would be able to see past the revolutionary
idea of composing from a single pre-determined arrangement of the
12 notes of the chromatic scale to notice that in most ways this
New Music answered the same conditions and fulfilled the same
expectations that music had for generations.
Sun Dance is a slightly modified version of the fifth movement from
the composer's Organ Dances, originally conceived for organ solo,
strings, and percussion. The music is for the most part celebratory
in character, its spiky rhythms driven along by the pervasive
alternation of 3/8 and 4/4 metrical groupings, although the
composer also has fun with 7/8 and 5/8 patterns.
The comprehensive go-to guide for building keyboard skills Being
able to play a tune on the piano can bring you a lifetime of sheer
aesthetic pleasure and put you in serious demand at parties!
Whatever your motivation for tinkling the ivories, the latest
edition of Piano & Keyboard All-In-One For Dummies gives you
the essentials you need both to build your playing skills and
expand your knowledge of music theory, from deciding what keyboard
suits you best to musing on the science of what makes music so
emotionally compelling. This indispensable resource combines the
best of Piano For Dummies, Keyboard For Dummies, Music Theory For
Dummies, and Piano Exercises For Dummies and includes practice
strategies, as well as access to streaming and downloadable audio
to help guide your progress. In addition to becoming acquainted
with the latest in music theory, you ll learn to develop your
sight-reading skills and performance techniques until you can
reproduce pieces flawlessly on request! Choose and care for your
keyboard Practice until perfect Compose your own songs Hook up to
speakers, computers, and more Learning to play the keys is a
never-ending journey of new discoveries and joy, and there s no
better companion on your voyage than this friendly, erudite, and
comprehensive guide. P.S. If you think this book seems familiar,
you re probably right. The Dummies team updated the cover and
design to give the book a fresh feel, but the content is the same
as the previous release of Piano and Keyboard AIO For Dummies
(9781118837429). The book you see here shouldn t be considered a
new or updated product. But if you re in the mood to learn
something new, check out some of our other books. We re always
writing about new topics!
Maestros in America: Conductors in the 21st Century provides short
biographical and critical essays of over 100 American
conductors-and conductors in America-in the twenty-first century.
Roderick L. Sharpe and Jeanne Koekkoek Stierman made their
selections based on three categories of persons: American-born;
naturalized US citizens; and foreign conductors holding a permanent
appointment in the US. In addition, all individuals included had to
have been active as conductors at the start of the new millennium.
These criteria allowed the authors to incorporate up-and-comers as
well as those more established, offering an extensive cross-section
of the upper echelons of the conducting profession focused on the
present, recent past, and future. Each entry is a biographical
essay containing essential facts of the conductor's life and work,
as well as assessment and commentary gleaned from articles,
interviews, reviews, and, in some cases, personal observation. The
entries conclude with the conductor's website, a list of further
reading, and selected recordings. These sketches of currently or
recently practicing conductors provide insight into the state of
orchestral music-making in the US as it is, has been, and may
become, highlighting the efforts these conductors made to ensure
its survival. Complete with two appendixes and an index, this
important reference will be beneficial to music students and
faculty, reference librarians, orchestral administrators, and music
lovers alike.
This easy step-by-step method emphasizes correct playing habits and
note reading through interval recognition. Lesson Book 4 concepts
include: tarantellas; eighth note triplets; arpeggiated chords;
first and second inversion triads in C; triads in all positions;
major scales in parallel motion; two-part writing; seventh chords
and inversions of seventh chords; E harmonic minor scale in
contrary motion; primary chords in E minor; sixteenth notes; dotted
eighth notes; primary chords in B-flat Major and G Minor;
repeated-note warm-ups; and harmonic minor scales in parallel
motion.
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 4 include: Classic Themes * Duet * Ear Training * Merry
Christmas * Musical Concepts * Recital * Repertoire * Sight Reading
* Technic * Theory and Top Hits! Solo, Christmas and Duet books.
The renaissance flute, with its rich history, stunning repertoire,
and mellow tone, has attracted a significant following among
flutists, whether they specialize in modern flute or historical
instruments. Yet, actually delving into the study of renaissance
flute has proven a challenge - there exists a confusing array of
editions of renaissance music, specialized (and often expensive)
facsimiles of manuscripts and early prints, and in unfamiliar
notations, while at the same time there is a dearth of resources
for beginners. Confronting this challenge with the first ever
practitioners' handbook for renaissance flute, Kate Clark and
Amanda Markwick offer flutists of all levels a clear and accessible
introduction to the world and repertoire of the instrument. In The
Renaissance Flute: A Contemporary Guide, Clark and Markwick cover
all aspects, from practicalities such as buying and maintaining the
instrument, to actual music for solo and group performance, to
theory designed to improve the understanding and playing of
renaissance polyphony. This approach enables students to immerse
themselves at their own pace and build on their skills with each
chapter. With nearly 40 full pages of exercises, and a companion
website with recorded examples and filmed instructions from the
authors, The Renaissance Flute provides professionals and newcomers
alike a new entryway into the world and practice of renaissance
music.
Commissioned for the 40th birthday of the organist Paul Walton,
Walton's Paean is a work of great verve, with compelling rhythms,
exciting harmonies, and catchy melodies propelling the celebratory
music forward. Through the boisterous excitement, legato passages
emerge as the piece hurtles towards the resounding finale. There is
also a little joke in the occasional references to the music of
Paul Walton's namesake, William.
How can the studio teacher teach a lesson so as to instill refined
artistic sensibilities, ones often thought to elude language? How
can the applied lesson be a form of aesthetic education? How can
teaching performance be an artistic endeavor in its own right?
These are some of the questions Teaching Performance attempts to
answer, drawing on the author's several decades of experience as a
studio teacher and music scholar. The architects of absolute music
(Hanslick, Schopenhauer, and others) held that it is precisely
because instrumental music lacks language and thus any overt
connection to the non-musical world that it is able to expose
essential elements of that world. More particularly, for these
philosophers, it is the density of musical structure-the intricate
interplay among purely musical elements-that allows music to
capture the essences behind appearances. By analogy, the author
contends that the more structurally intricate and aesthetically
nuanced a pedagogical system is, the greater its ability to
illuminate music and facilitate musical skills. The author terms
this phenomenon relational autonomy. Eight chapters unfold a
piano-pedagogical system pivoting on the principle of relational
autonomy. In grounding piano pedagogy in the aesthetics of absolute
music, each domain works on the other. On the one hand, Romantic
aesthetics affords pedagogy a source of artistic value in its own
right. On the other hand, pedagogy concretizes Romantic aesthetics,
deflating its transcendental pretentions and showing the dichotomy
of absolute/utilitarian to be specious.
(Unlocking the Masters). From Mozart to Debussy to Olivier
Messiaen, the works of 50 composers are closely examined in The
Great Instrumental Works . It is a book for anyone who enjoys the
lively arts of opera, drama, film, literature, and popular song and
who wants to find out what is really going on in the symphonies of
Mozart, the string quartets of Beethoven, the orchestral works of
Debussy and Ravel, and the contemporary pieces of Olivier Messiaen
and Arvo Part. The author, Father Owen Lee, is an internationally
known commentator on music and the arts, and writes with a style
that has been called "rich, dense, and profound" (Citizen's
Weekly), "highly readable" (Choice), and "often irreverently
amusing" (Opera News). With Father Lee as a guide, the intricacies
of classical forms and key relationships are rendered not only
intelligible but meaningful, the music itself becomes
life-enhancing, and its great composers come vividly to life.
This title includes a Book, 1 DVD & 1 CD. Learning to play the
keyboard is fun with this carefully designed method for the young
beginner. The key features include: easy to follow lesson-by-lesson
format for the absolute beginner; incorporates a repertoire of
well-known children's songs; introduces 5 notes with the right hand
& 3 one-fingered chords with the left hand; teaches music
theory in an interesting and practical way; full colour
illustrations throughout the whole book; the student can continue
on to "Keyboard Method for Young Beginners" Book 2 and Book 3; and
a must-have for any child with an interest in playing a musical
instrument. This method for Young Beginners also comes with a CD
and DVD with recordings of all examples and exercises contained in
the book.
Francis James Child's English and Scottish Popular Ballads,
published in ten parts from 1882 to 1898, contained the texts and
variants of 305 extant themes written down between the thirteenth
and nineteenth centuries. Unsurpassed in its presentation of texts,
this exhaustive collection devoted little attention to the ballad
music, a want that was filled by Bertrand Harris Bronson in his
four-volume Traditional Tunes of the Child Ballads. The present
book is an abridged, one-volume edition of that work, setting forth
music and text for proven examples of oral tradition, with a new
comprehensive introduction. Its convenient format makes readily
available to students and scholars the materials for a study of the
Child ballads as they have been preserved in the British-American
singing tradition.
The romantic musical comedy-drama film La La Land is the winner of
six Oscars, seven Golden Globes and five BAFTAs. This
artist-approved selection of 10 songs from the Oscar-winning music
by Justin Hurwitz, Benj Pasek and Justin Paul has been expertly
arranged for intermediate solo piano, including the Oscar winning
City of Stars.
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Steinway & Sons
(Paperback)
Laura Lee Smith; Foreword by Michael Feinstein
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R586
R529
Discovery Miles 5 290
Save R57 (10%)
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Ships in 10 - 15 working days
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Georges Barrere (1876-1944) holds a preeminent place in the history
of American flute playing. Best known for two of the landmark works
that were written for him--the Poem of Charles Tomlinson Griffes
and Density 21.5 by Edgard Varese--he was the most prominent early
exemplar of the Paris Conservatoire tradition in the United States
and set a new standard for American woodwind performance.
Barrere's story is a musical tale of two cities, and this book
uses his life as a window onto musical life in Belle Epoque Paris
and twentieth-century New York. Recurrent themes are the
interactions of composers and performers; the promotion of new
music; the management, personnel, and repertoire of symphony
orchestras; the economic and social status of the orchestral and
solo musician, including the increasing power of musicians' unions;
the role of patronage, particularly women patrons; and the growth
of chamber music as a professional performance medium.
A student of Paul Taffanel at the Paris Conservatoire, by age
eighteen Barrere premiered the landmark Prelude to the Afternoon of
a Faun. He went on to become solo flutist of the Concerts Colonne
and to found the Societe Moderne d'Instruments a Vent, a pioneering
woodwind ensemble that premiered 61 works for 40 composers in its
first ten years. Invited by Walter Damrosch to become principal
flute of the New York Symphony in 1905, he founded the woodwind
department at the Institute of Musical Art (later Juilliard). His
many ensembles toured the United States, building new audiences for
chamber music and promoting French repertoire as well as new
American music. Toff narrates Barrere's relationships with the
finest musicians and artists ofhis day, among them Isadora Duncan,
Yvette Guilbert, Andre Caplet, Paul Hindemith, Albert Roussel,
Wallingford Riegger, and Henry Brant. The appendices of the book,
which list his 170 premieres and the 50 works dedicated to Barrere,
are a resource for a new generation of performers.
Based on extensive archival research and oral histories in both
France and the United States, this is the first biography of
Barrere. It is being published in conjunction with the centennial
of his arrival in the United States in May 1905.
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