This comprehensive method of music instruction enables the beginner to progress to an advanced stage of technical skill.

Perfect Italian Diction for Singers: An Authoritative Guide provides the steps and tools for singing beautifully and expressively in this language. Timothy Cheek and Anna Toccafondi systematically home in on the essential features of the most beautiful Italian, pitfalls of non-native singers, and how to overcome those issues. In addition to delving to the heart of Italian sounds and inflection, they present controversies, misconceptions, and various approaches--often conflicting--that have arisen throughout the last century. Chapters also address: -Italian style and legato -Best use of supplemental resources and dictionaries -Recitative with suggested, short Mozart excerpts -Working with text -Singing diphthongs, triphthongs, and hiatus Also included are a plethora of audio and video examples and exercises (over seventy QR codes), exercises for group or self-study, and self-assessment summaries. This book will help singers and students lay a solid foundation in beautiful, lyric Italian.

Sets out everything that female singers will need to understand in order to perform safely and effectively in musical theatre. Aimed at trainee singers at undergraduate level in MT degrees, as well as early career professionals. No other book sets out the requirements and capacities of the female voice in this level of detail.

Ted Greene's Chord Chemistry was originally published in 1971 and has become the classic chord reference book for two generations of guitarists. Whether you are just beginning to search beyond basic barre chords or are already an advanced player looking for new sounds and ideas this is the book that will get you there. Designed to inspire creativity this book is a musical treasure chest filled with exciting new ideas and sounds.

Getting Great Sounds: The Microphone Book imparts microphone tips and tricks of the pros to make them available to any sound engineer or home studio enthusiast. It explains aspects of all kinds of microphones, how they work, and how to use them in session recording. A well-known recording engineer with decades of industry experience, Tom Lubin presents technical information in a friendly, straightforward, and easy-to-grasp way, based on real-life experiences. This third edition includes a review of key practices at the end of chapters and a new section that provides an overview of microphone manufacturers you may not have heard of. There are now over one hundred and fifty companies making microphones for studio applications of one form or another, and most are small companies owned by people who are passionate about good sound. These companies feature high quality microphones, and many use classic designs with more affordable prices. How to choose and use microphones was once a skill passed down from senior sound engineers to their assistants as they would listen and learn by observation. Today, few large studios have assistant engineers, and an overwhelming number of studios are operated by their owners who are often self-taught and lack the benefit of the big-studio tutelage. This book is your guide to understanding the ins and outs of microphones and music studio production.

With Chinese art forms gaining notoriety worldwide, it is only natural for there to be an uptick in interest in Chinese classical music. The expanding market in Chinese classical music, as well as the growing fame of Chinese composers, pave way for a new lucrative career in Mandarin-language vocalism. Singing in Mandarin: A Guide to Chinese Lyric Diction is a comprehensive guide to mastering vocal repertoire in Mandarin. In part one, Katherine Chu and Juliet Petrus focus on diction and language, providing detailed descriptions on how to create the exact sounds and pronunciations through International Phonetic Alphabet (IPA) and 'Pinyin'. Part two outlines the historical context of Mandarin vocal tradition, chronicling the development of the language and Chinese vocal repertoire over the last 100 years. Audio files narrated by native speakers demonstrating the sounds are also included. Singing in Mandarin provides guidance for both novices and those with previous experience singing or speaking in Mandarin and is the first book of its kind to help bring the rich, previously inaccessible heritage of Chinese vocal music to Western audiences.

Alfredas Essentials of Music Theory is designed for students of any age, whether listeners or performers, who want to have a better understanding of the language of music. In this all-in-one theory course, you will learn the essentials of music through concise lessons, practice your music reading and writing skills in the exercises, improve your listening skills with the available ear-training CDs (included with this item), and test your knowledge with a review that completes each unit.
The Teacheras Answer Key is a spiral-bound book that includes answers for the Lesson and Review pages as well as music for the Ear-Training pages in Volumes 1-3 of the Student Books.
The complete line of Alfredas Essentials of Music Theory includes Student Books, a Teacheras Answer Key, Ear-Training CDs, Double Bingo games, Flash Cards, Reproducible Teacheras Activity Kits, and interactive software for students and teachers in private study, studio and network environments.

Learning About the Violin: A Practical Supplemental Handbook is designed to enrich the learning experience of students who are using a traditional violin method lesson book. Method books only teach one how to play an instrument. This Supplemental Handbook teaches everything else about the instrument, including: 1. the parts of the violin and how they work 2. how to care for a violin outfit 3. how to plan a practice session 4. what items (accessories) are needed to help one play the violin. 5. how violins are made 6. the history of the violin 7. how violin bows are made 8. the history of violin bows The book also contains a dictionary for violin terms and a comprehensive index to facilitate topic location. With this book included in a curriculum, a student will also have greater insight into the violin's relationship to the viola, cello, and double bass with which they will be working. Being exposed to this expanded enrichment will result in a well-rounded musician in place of one who can just play an instrument.

The Modern Course series provides a clear and complete foundation in the study of the piano that enables the student to think and feel musically. It may be preceded by the Teaching Little Fingers to Play series. Follows uninterruptedly and in progressive sequence the musical foundation developed in Book 1.

The Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this fascinating collection of 14 songs from seven pivotal early blues guitarists from the Mississippi Delta. In addition to Stefan's expert transcriptions, the book includes a CD containing the original artist's recordings so you can hear and feel the music, as it was originally performed. Artists featured: WILLIE BROWN: (Future Blues; M&O Blues; Ragged and Dirty); SON HOUSE: (Dry Spell Blues; My Black Mama); SKIP JAMES: (Devil Got My Woman; Hard Time Killin' Floor; Special Rider); HAMBONE WILLIE NEWBERN: (Roll and Tumble Blues); CHARLIE PATTON: (Screamin' and Hollerin' the Blues; Stone Pony Blues; 34 Blues); ARTHUR PETTIS: (Good Boy Blues); ROBERT WILKINS: (That's No Way to Get Along).

The authors' new approach to learning two playing techniques offers a systematic method for mastering the modern, legato technique needed for organ music composed after 1750, as well as an articulated technique for earlier works. The authors also present useful information on accompanying anthems and solos and on adapting piano and orchestral accompaniments to the organ.

The Latin American centennial celebrations of independence (ca.1909-1925) constituted a key moment in the consolidation of national symbols and emblems, while also producing a renewed focus on transnational affinities that generated a series of discourses about continental unity. At the same time, a boom in archaeological explorations, within a general climate of scientific positivism provided Latin Americans with new information about their "grandiose" former civilizations, such as the Inca and the Aztec, which some argued were comparable to ancient Greek and Egyptian cultures. These discourses were at first political, before transitioning to the cultural sphere. As a result, artists and particularly musicians began to move away from European techniques and themes, to produce a distinctive and self-consciously Latin American art. In Inca Music Reimagined author Vera Wolkowicz explores Inca discourses in particular as a source for the creation of "national" and "continental" art music during the first decades of the twentieth century, concentrating on operas by composers from Peru, Ecuador and Argentina. To understand this process, Wolkowicz analyzes early twentieth-century writings on Inca music and its origins and describes how certain composers transposed "Inca" techniques into their own works, and how this music was perceived by local audiences. Ultimately, she argues that the turn to Inca culture and music in the hopes of constructing a sense of national unity could only succeed within particular intellectual circles, and that the idea that the inspiration of the Inca could produce a "music of America" would remain utopian.

Tailored to beginning students, Essential Elements for Strings Book 1 covers techniques such as instrument position, fingerings, and bowings while incorporating theory and history lessons throughout. Features a broad scope, comprehensive detail, great pacing, thorough reinforcement, and much more!

Choral Treatises and Singing Societies in the Romantic Age charts the interrelated beginning and development of choral methods and community choruses beginning in the early nineteenth century. Using more than one-hundred musical examples, illustrations, tables, and photographs to document this phenomenon, author David Friddle writes persuasively about this unusual tandem expansion. Beginning in 1781, with the establishment of the first secular singing group in Germany, Friddle shows how as more and more choral ensembles were founded throughout Germany, then Europe, Scandinavia, and North America, the need for singing treatises quickly became apparent. Music pedagogues Hans Georg Nageli, Michael Traugott Pfeiffer, and Johann Heinrich Pestalozzi invented the genre that became modern choral methods; initially these books were combinations of music fundamental primers, with frequent inclusion of choral works intended for performance. Eventually authors branched out into choral conducting textbooks, detailed instructions on how to found such a community-based organization, and eventually classroom music instruction. The author argues that one of the greatest legacies of this movement was the introduction of vocal music education into public schools, which led to greater musical literacy as well as the proliferation of volunteer choirs. All modern choral professionals can find the roots their career during this century.

There is a paucity of material regarding how choral music specifically was performed in the 1800s. The Historically Informed Performance (HIP) movement has made remarkable advancements in choral music of the Renaissance, Baroque, and Classical periods, with modest forays into the music of Beethoven, Schubert, Mendelssohn, and other early nineteenth-century composers; however, there are no sources with a comprehensive examination of how choral music was performed. Using more than one-hundred musical examples, illustrations, tables, and photographs and relying on influential, contemporaneous sources, David Friddle details the performance practices of the time, including expressive devices such as articulation, ornamentation, phrasing, tempo, and vibrato, along with an in-depth discussion of period pronunciation, instruments, and orchestral/choral placement. Sing Romantic Music Romantically: Nineteenth-Century Choral Performance Practices fills a gap in choral scholarship and moves forward our knowledge of how choral music sounded and was performed in the nineteenth century. The depth of research and abundance of source material makes this work a must-have for choral professionals everywhere.

Over the last decade, musical theatre has become part of mainstream American culture. From television shows like Glee and Smash, to the cultural phenomenon of the Broadway show Hamilton, musical theatre has never been more popular. Singers of all ages and backgrounds are drawn to the artform. In So You Want to Sing Musical Theatre, Updated and Expanded Edition, Broadway vocal coach, voice teacher, and voice researcher Amanda Flynn provides the skills singers need to successfully sing musical theatre repertoire. Including a foreword by George Salazar, the book is updated for musical theatre performance in the current era, covering a broader array of topics with deeper discussion than the original edition: musical theatre history a basic understanding of singing voice science vocal health as it pertains to the grueling demands of musical theatre musical genres seen and heard in musical theatre productions vocal production of various musical theatre sounds musical theatre repertoire, including how to find repertoire and developmental concerns acting, dancing, and other movement for singers of musical theatre working with kids in musical theatre productions auditioning for musical theatre at all levels profiles of Broadway singers, exploring their training, their methods of vocal upkeep, and their advice for aspiring musical theatre singers. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Musical Theatre, Revised and Expanded Edition features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-eurhythmics-is a practical guide for college-level teachers and students interested in integrating the moving body into the traditional aural skills classroom. What distinguishes this book from other texts is its central concern with movement-to-music as a tool for developing musical perception and the kinesthetic aspects humans experience as performers. Moving to music and watching others move cultivates an active, multi-sensory learning experience, in which students learn by discovery and from each other. Improvisatory and expressive elements are built into exercises to encourage a dynamic link between musical training and artistic performance. Designed for a three- to four-semester undergraduate curriculum, the book contains a wealth of exercises that teach rhythmic, melodic, harmonic and formal concepts. Exercises not only develop the ear, but also awaken the muscular and nervous system, foster mind-body connections, strengthen the powers of concentration (being in the "musical now "), develop inner-hearing, short- and long-term memory, multi-tasking skills, limb autonomy, and expressive freedom. Exercises are presented in a graded, though flexible order allowing you to select individual exercises in any sequence. Activities involve movement through space (traveling movement) as well as movement in place (stationary movement) for those teaching in small classrooms. The text can be used as a teacher's manual, a supplementary aural-skills textbook, or as a stand-alone reference in a course dedicated to eurhythmics. Movement exercises are designed to enhance and work in conjunction with musical examples presented in other texts. Many exercises also provide an effective aural/sensory tool in the music theory classroom to complement verbal explanations. The approach integrates easily into any traditional college or conservatory classroom and is compatible with the following systems: fixed do, moveable do, and scale degrees. A companion website accompanies the text featuring undergraduate students performing select exercises.

Queering Vocal Pedagogy presents a new vision of gender-affirming vocal music education and richly explores the experiences, perspectives, and vocal training of trans(gender) and genderqueer singers. This groundbreaking text weaves together singers' narratives with the practices and pedagogies of their teachers to provide a model for training gender expansive vocalists. William Sauerland promotes a two-fold action: first, cultivating gender-affirming practices for teaching trans and genderqueer singers, and second, disentangling vocal pedagogy from practices and traditions that have historically promoted cisgender narratives. Through case studies representing various identities within the gender expansive population, this book provides an insider's view to lesson pacing, vocal exercises, repertoire, and processes toward vocal development. Sauerland provides a wealth of practical and theoretical knowledge for teachers, choral directors, and music educators, including: -Impacts of gender and identity in teaching singers -Inclusive language especially for voice classifications -Strategies for teaching -Repertoire considerations -Professional responsibility and socio-emotional support in the studio