This book contains nine pieces from ABRSM's Grade 2 Piano syllabus for 2023 & 2024, three pieces chosen from each of Lists A, B and C - ideal for both Practical and Performance Grade exams. 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. A version of this book with audio download is also available.

The flageolet occupies a unique niche in musical history, and this book traces its history from its beginnings to its peak of popularity in the nineteenth century.. The flageolet is a recorder-like instrument whose history may be traced back to the seventeenth century. Predominantly an instrument of the amateur, the flageolet seldom featured in the orchestra but nevertheless occupied a smallbut unique niche in musical history. MacMillan traces the history of the instrument from its origin through to its heyday in England in the nineteenth century. The book is centred on an organological study of the flageolet, coupled with discussion of its repertoire, pedagogy, and place in musical society. It will be of interest to woodwind organologists, players of the flute and recorder, and to those who study the integration of musical instruments and their repertoire in relation to societal aspects of musical practice.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Musicians' Migratory Patterns: The African Drum as Symbol in Early America questions the ban that was placed on the African drum in early America. It shows the functional use of the drum for celebrations, weddings, funerals, religious ceremonies, and nonviolent communication. The assumption that "drums and horns" were used to communicate in slave revolts is undone in this study. Rather, this volume seeks to consider the "social place" of the drum for both blacks and whites of the time, using the writings of Europeans and colonial-era Americans, the accounts of African American free persons and slaves, the period instruments, and numerous illustrations of paintings and sculpture. The image of the drum was effectively appropriated by Europeans and Americans who wrote about African American culture, particularly in the nineteenth century, and re-appropriated by African American poets and painters in the early twentieth century who recreated a positive nationalist view of their African past. Throughout human history, cultural objects have been banned by one group to be used another, objects that include books, religious artifacts, and ways of dress. This study unlocks a metaphor that is at the root of racial bias-the idea of what is primitive-while offering a fresh approach by promoting the construct of multiple-points-of-view for this social-historical presentation.

The Unorthodox Guitar: A Guide to Alternative Performance Practice is a comprehensive resource for experimentally minded guitarists and composers wishing to write for or perform on the instrument in new ways. The book focuses primarily on unconventional approaches to guitar performance, which include alternative tunings, extended techniques, instrumental preparations, electronic augmentations, and issues related to performing and recording with a computer. Embracing all guitar types-nylon, steel-string acoustic, and electric-techniques and examples are culled from a broad range of musical genres, including blues, contemporary classical, country, folk, jazz, rock, and non-Western idioms. While the writing offers a treasure trove of possibilities for experimental improvisation, it is oriented towards formal composition, and to that end details the controllable dimensions of the techniques and preparations at hand, along with strategies that might be adopted to notate them. Conventional guitar amplifiers, effect pedals, and pedalboards are examined, along with a discussion of analog signal chains, rig design, and best practices for the preservation of tone. In addition, possibilities afforded by the addition of a computer to the guitar rig are explored, including signal processing, sensor augmentation, and score following. The writing is paired with a companion website that contains an abundance of audio, video, and software materials to supplement the ideas presented. This information is intended to serve as a guide, reference, and source of inspiration for those wishing to compose and/or perform on the instrument in innovative ways.

Building an Award-Winning Guitar Program is a practical guide to assist secondary and post-secondary music educators with the tasks involved in establishing a successful music program. With the rising interest in guitar, Mariachi, rock band, handbells, bluegrass, music technology, and so on, more and more music educators are being asked to teach innovative music classes. Author Bill Swick has crafted this book to help these educators build such innovative music programs from the ground floor, based on his years of experience as a music educator specialized in guitar. The book will assist music educators with classroom management, scheduling, structure, organization, fund raising, festivals, travel, and other subjects related to teaching guitar in the classroom, but its principles are broadly relevant to any and all music educators hoping to create a unique program that stands out within their school district and state, attracting students, parents, educators and administrators alike.

This set of six pieces is based on folk song melodies and dance forms from Transylvania which was annexed to Romania in 1920. The contrasting melodies were originally for violin or shepherd's flute, but the unusual harmonies are original with Bart?k. The performance time for the complete set of dances is approximately 4 minutes, 15 seconds.

The first part of the book outlines the historical background of the taegum. The author illuminates the potential future of the Korean flute in a globalised world through the analyses of three musical works for taegum. The second part of the book draws on approaches of Practice Research within musicology and sociology to examine the ways in which the taegum tradition interacts with, and responds to, different genres in performance. Documenting collaborative encounters with musicians from three musical cultures: jazz, Western art and electroacoustic music, the result is an innovative exploration of the musical and social relationships between composers, performers and audiences in intercultural performances, contrasting traditional uses of the taegum with perspectives on its use today.

This volume makes available Rodrigo's writings to English-speaking readers throughout the world. The generous selection reveals an outstanding critical mind, equally illuminating on the main developments in the history of classical music and its most important composers, from Bach and Mozart to Verdi and Puccini, as well as Rodrigo's contemporaries. Rodrigo's writings also cover many aspects of the culture and music of Spain and the country's major composers, as well as being an invaluable guide to an understanding and appreciation of Rodrigo's own works. The composer's style of writing is extremely varied: by turns incisive, eloquent, poetic, or delightfully humorous. Given the world-wide fame and popularity of his music, the availability in English of a large number of the composer's many articles and critical reviews will be of the greatest interest to musicians, scholars, music critics, and music-lovers alike.

The pieces in this anthology capture the characteristic simplicity and sincerity of all of Whitlock's music. His rare facility as an organist shines through in his ingenious use of the instrument's resources and his instinctive feeling for colour and sound. Whitlock's style is personal and intimate and the pieces charming and melodious.

No band would be complete without some kick-ass electric guitar. "How to Play Electric Guitar" contains everything the new or intermediate electric player needs to perfect their playing of this vital instrument. More than a simple how-to-play guitar book, this great new addition to a best-selling series also shows you how to use effects, how to adapt to stage and rehearsal amps, how to record the electric guitar at home on your computer and how to cope with cables, feedback and dodgy microphones while playing live on stage. The clear text is accompanied by illustrative photos and diagrams, and is complemented by some how-to-play basics, selected scales and modes and useful barre and power chords.

* Describes the creative energy of two highly respected 20th century artists, Iannis Xenakis both as engineer and composer, and Roger Reynolds, Pulitzer prize winning musician in 1989 * Will appeal to the professional sector of musicians and architects, and students in both of these disciplines * Connects the creative path of architecture and music, i.e., Xenakis' treatment of "light" in an architectural context parallels his use of varying textural density in his music. * Analyzes chamber works Achorripsis, Thallein, and his string quartet, Tetras, which pertain to the interactive house design

* Describes the creative energy of two highly respected 20th century artists, Iannis Xenakis both as engineer and composer, and Roger Reynolds, Pulitzer prize winning musician in 1989 * Will appeal to the professional sector of musicians and architects, and students in both of these disciplines * Connects the creative path of architecture and music, i.e., Xenakis' treatment of "light" in an architectural context parallels his use of varying textural density in his music. * Analyzes chamber works Achorripsis, Thallein, and his string quartet, Tetras, which pertain to the interactive house design

In this ground-breaking study, Paul Laird examines the process and effect of orchestration in West Side Story and Gypsy, two musicals that were among the most significant Broadway shows of the 1950s, and remain important in the modern repertory. Drawing on extensive archival research with original manuscripts, Laird provides a detailed account of the process of orchestration for these musicals, and their context in the history of Broadway orchestration. He argues that the orchestration plays a vital role in the characterization and plot development in each major musical number, opening a new avenue for analysis that deepens our understanding of the musical as an art form. The orchestration of the score in Broadway musicals deeply shapes their final soundscapes, but only recently has it begun to receive real attention. Linked by a shared orchestrator, in other ways West Side Story and Gypsy offer a study in contrasts. Breaking down how the two composers, Leonard Bernstein and Jules Styne, collaborated with orchestrators Sid Ramin, Irwin Kostal, and Robert Ginzler, Laird's study enables us to better understand both of these two iconic shows, and the importance of orchestration within musical theatre in general.

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.

The London firm of Gray (later Gray & Davison) was one of Britain's leading organ-makers between the 1790s and the 1880s. Established for the building of keyboard instruments, by the mid-1790s the workshop of brothers Robert and William Gray had become one of the leading organ-makers in London, with instruments in St Paul's, Covent Garden and St Martin-in-the-Fields. Under William's son John Gray, the firm built some of the largest English organs of the 1820s and 1830s, as well as exporting major instruments to Boston and Charleston in the United States. In the early 1840s, with the marriage of John Gray's daughter to Frederick Davison - a member of the circle of Bach-enthusiasts around the composer Samuel Wesley - the firm became 'Gray & Davison'. Davison was a progressive figure who reformed workshop practices, commissioned a purpose-built organ factory in Euston Road and opened a branch workshop in Liverpool to exploit the booming market for church organs in Lancashire and the north-west. Under Davison's management,the firm was responsible for significant mechanical and musical innovations, especially in the design of concert organs. Instruments such as those built in the 1850s for Glasgow City Hall, the Crystal Palace and Leeds Town Hall were heavily influenced by contemporary French practice; they were designed to perform a repertoire dominated by orchestral transcriptions. Many of the instruments made by the firm have been lost or altered; but the surviving organs in St Anne, Limehouse (1851), Usk Parish Church (1861) and Clumber Chapel (1889) testify to the quality and importance of Gray & Davison's work. This book charts the firm's history from its foundation in 1772 to Frederick Davison's death in 1889. At the same time, it describes changes in musical taste and liturgical use and explores such topics as provincial music festivals, the town hall organ, domestic music-making and popular entertainment, the building of churches and the impact on church music of the Evangelical and Tractarian movements. It will appeal to organ aficionados interested in the evolution of the English organ in the later Georgian and Victorian eras, as well as other music scholars and cultural historians.

This book presents a novel method of grafting musical wind instruments by exchanging an instrument's standard mouthpiece with different tone generators. Using the concrete example of the soprano saxophone, it describes how, with six other tone generators, including brass, double reed, and free reed mechanisms, the saxophone can be extended to nearly every wind instrument category in the von Hornbostel and Sachs classification system. The book demonstrates how it is possible to play these instrument variations with high proficiency, and describes the method of hyper-specialization, including acoustical insights, conservatory training methods and the underlying philosophy. The latter is based on the cultural traditions of the different wind instrument prototypes and the Deep Listening philosophy of cultivating internal diversity, and approach that leads to a new level of wind instrument virtuosity that offers great timbral variety combined with the flexibility of a regular acoustic wind instrument.

Originally published in 1975, and written by an authority on Scottish music, this book traces the evolution of the bagpipe whilst also narrating the fortunes of the 'Great Highland Bagpipe' itself. Exploring history and archaeology of civilizations as far removed from the Scottish Highlands as Egypt and Mesopotamia, Greece and Rome this book offers a unique full-length history of one of the world's most interesting and ancient musical instruments. Appendices list the bagpipes of other countries and the materials used in the instrument's manufacture as well as a comprehensive bibliography.

Learn the secrets to achieving your ultimate sound Whether amateur or pro, guitarists live for the ultimate sound. Guitar Amps & Effects For Dummies provides the information and instruction you need to discover that sound and make it your own! Written in the characteristically easy-to-read Dummies style, this book is ideal for beginners and experienced musicians alike, and can help all players expand their skill set with effects. Guitarists tend to be gearheads when it comes to sound, and this book provides guidance on topics ranging from the guitar itself to amps, pedals, and other sound technology. Amps and effects are the unsung heroes of guitar music. While most people recognize the more psychedelic effects, many don't realize that effects are often responsible for the unique quality of tone that can become a musician's trademark. Certain effects work on the volume or signal level, others work on the environment, and still others work on the bass and treble content. Guitar Amps & Effects For Dummies covers them all, and shows how effects can not only add something extra, but also "fix" problematic areas. Topics include: * Gain-based effects, like distortion, compression, volume pedals, and gates * Tone-based effects, including graphic and parametric EQ, and the wah-wah pedal * Modulation effects, like the flanger, phase shifter, and tremolo * Ambience effects, including reverb and delay The journey to incredible guitar music never ends. No matter how experienced you are with a guitar, there is always room for improvement to your tone and sound. Whether you're looking for the sound of angels or thunder, Guitar Amps & Effects For Dummies will help you achieve the music you hear in your dreams.

Opera in Performance elucidates the performative dimension of contemporary opera productions. What are the most striking and decisive moments in a performance? Why do we respond so strongly to stagings that transform familiar scenes, to performers' bodily presence, and to virtuosic voices as well as ill-disposed ones? Drawing on phenomenology and performance theory, Clemens Risi explains how these moments arise out of a dialogue between performers and the audience, representation and presence, the familiar and the new. He then applies these insights in critical descriptions of his own experiences of various singers, stagings, and performances at opera houses and festivals from across the German-speaking world over the last twenty years. As the first book to focus on what happens in performance as such, this study shifts our attention to moments that have eluded articulation and provides tools for describing our own experiences when we go to the opera. This book will particularly interest scholars and students in theater and performance studies, musicology, and the humanities, and may also appeal to operagoers and theater professionals.

The work of French musicologist, ethnologist, curator, and critic Andre Schaeffner (1895 - 1980) grew naturally out of his first organological studies of the history of Western classical instruments in the late 1920s and came to be encapsulated in his monumental and wide-ranging Origine des instruments de musique, the fruit of labour in Paris and in the field between 1931 and 1936. Almost 80 years after its first publication, the scientific relevance and influence of Schaeffner's primary hypothesis - that the origins of music can be traced to the human body through gesture, dance, and the movements involved in the use of musical instruments and their ancestor tools - remains pertinent in fields which have returned to informed speculative and empirical research on the origins of music. This first English edition is accompanied by editorial footnotes and introductory texts, and the influence of Schaeffner's thought on several generations of musicologists makes his work an essential piece of reading for ethnomusicologists, music psychologists, organologists and musicologists interested in the history of their field. Schaeffner's text is an intellectual link between the studies of Hornbostel and Sachs and the contrasting research of later generations, notably figures with which he had direct contact, such as John Blacking and Simha Arom. More than a simple field guide and system of classification, the Origin of Musical Instruments is also a profound reflection on the nature and origins of music and musical activity, as well as the place of that activity in human society.

Beginning pianists of all ages will cherish this excellent compilation of beloved piano classics. Selections include Bach's Jesu, Joy of Man's Desiring, Chopin's Funeral March, Tchaikovsky's Dance of the Sugar Plum Fairy, Mozart's Rondo alla Turca and Beethoven's Emperor Concerto, plus compositions by Schubert, Debussy, Handel, Mendelssohn, and others.

The cross-genre approach of this volume attempts to build a dialogue and synergies between communities of artists. The proposed monograph would appeal to academic readerships and postgraduate students in music and/or sound studies in a broad sense, with particular appeal to specialists in contemporary art music and or as music technology.