Building an Award-Winning Guitar Program
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.
Three-Octave Scales for the Cello, Book One
Three-Octave Scales for Cello Book One teaches the major and minor scales on the cello along with shifting exercises and studies to increase speed. The book is helpful in preparing students for auditions and for teaching precision in scale shifting. Teachers can use this book as a complete scale manual after The Two Octaves Book for Cello. This book, along with companion books Scale Studies for the Third Octave for the Cello and Arpeggio Studies in Three Octaves for the Cello, is a great staple in any intermediate or advanced cellist's practice routine.
If I Were Famous, You’d Read This
These songs represent a token, a vibration of what I have gone through in my life. Right and wrong, wrong and right, I always told the truth. What's great is we can always grow and change to evolve our souls. I learned to reach out to people more and I'm such a better person for it. God bless you on your journey. May you strive to be abundantly abundant and be happy in all you do.
If I Were Famous, You’d Read This
These songs represent a token, a vibration of what I have gone through in my life. Right and wrong, wrong and right, I always told the truth. What's great is we can always grow and change to evolve our souls. I learned to reach out to people more and I'm such a better person for it. God bless you on your journey. May you strive to be abundantly abundant and be happy in all you do.
Practical Musicology
Practical Musicology outlines a theoretical framework for studying a broad range of current musical practices and aims to provoke discussion about key issues in the rapidly expanding area of practical musicology: the study of how music is made. The book explores various forms of practice ranging from performance and composition to listening and dancing, from historically informed performances of Bach in the USA to Indonesian Dubstep or Australian musical theatre, and from Irish traditional music played by French musicians from Toulouse to Brazilian thrash metal or K-Pop. Drawing on neuroscience, cognitive psychology, ecological approaches in anthropology, and the social construction of technology and creativity, Zagorski-Thomas uses a series of case studies and examples to investigate how practice is already being studied and to suggest a principle for how it might continue to develop, based around the assertion that musickingcannot be treated as a culturally or ideologically neutral phenomenon.
The Imagination of Experiences
Aimed at lay, student, and academic readers alike, this book concerns the imagination and, specifically, imagination in music. It opens with a discussion of the invalidity of the idea of the creative genius and the connected view that ideas originate just in the individual mind. An alternative view of the imaginative process is then presented, that ideas spring from a subconscious dialogue activated by engagement in the world around. Ideas are therefore never just of our own making. This view is supported by evidence from many studies and corresponds with descriptions by artists of their experience of imagining. The third subject is how imaginations can be shared when musicians work with other artists, and the way the constraints imposed by trying to share subconscious imagining result in clearly distinct forms of joint working. The final chapter covers the use of the musical imagination in making meanings from music. The evidence is that music does not communicate meanings directly, and so composers or performers cannot be looked to as authorities on its meaning. Instead, music is commonly heard as analogous to human experience, and listeners who perceive such analogies may then imagine their own meanings from the music.
Drum Practice Planner
Welcome to the Total Drummer practice planner. If this makes drum practice feel like school homework then I would say.....GET OVER IT! Because using this planner properly will mean you get infinitely better results from your practice and you will become a better drummer. You can spend all the hours in the world aimlessly practising and still feel like you're not progressing. Create clearly defined goals, break down what you need to do to reach those goals, and commit time every week to work towards that goal. And then you will reach them much more quickly. And by tracking your progress you will stay motivated, practice more often and understand your weaknesses so that you can tackle them and make them your strengths. So here we have some reference guides for rudiments, note values and a notation key. Then you have practice planners for a whole year. And finally there are some empty staves for you to keep musical notes and create your own music. Let's get started!
The History of Orchestration
2022 Reprint of the 1925 Edition. Includes illustrations. Exact facsimile of the original edition and not reproduced with Optical Recognition Software. This well-known study by an eminent musicologist constitutes one of the best mid-level explorations of the nature and function of the orchestra. Tracing the beginnings of modern music from the seventeenth through early twentieth centuries, the survey presents forty-four musical excerpts and thirteen sketches of instruments, plus appendices and quotations related to conducting methods. Featured composers include Purcell, Scarlatti, Bach, Handel, Gluck, Haydn, Mozart, Beethoven, Schubert, Berlioz, Wagner, Debussy, Elgar, and many others. The author examines the evolution of individual musical instruments along with varying performance techniques and concepts of instrumental color. He further explores the recognition of major instrumental groups and their musical distinctions, decisions regarding volume and balance of tone, the influence of musical subject matter upon orchestration, and many similar topics. This volume represents a splendid resource for music students, enthusiasts of musical history and classical music, and music lovers of all ages.Contents: Orchestral instruments in the seventeenth century -- Sixteenth century. Early works -- Seventeenth century. The initial period -- Seventeenth century. The initial period (continued) -- Purcell-Scarlatti: the four-part string orchestra -- -- Bach and Handel -- Transition: Gluck -- The period of Haydn and Mozart -- Orchestral instruments in the nineteenth century -- Nineteenth century, first quarter. Beethoven; Schubert; Weber; Rossini -- Nineteenth century, second quarter. Meyerbeer; Berlioz; Mendelssohn; Glinka -- The period of Wagner -- The period of Brahms-Tschaikovsky -- Strauss; Debussy; Elgar - Conclusion.
The Music Producer’s Guide To Polymeter and Polyrhythm
Effective music production can be a challenge.This is where The Music Producer's Guide comes in. Each book is designed to demystify a music production concept, bringing professional results to your tracks.In The Music Producer's Guide to Polymeter and Polyrhythm, you will learn: ⦁ The music theory that underpins the Western system of meter.⦁ The simple mathematics that govern polymeter and polyrhythm.⦁ Easy techniques to create polymeters and polyrhythms in your DAW software.⦁ How to use polymeter and polyrhythm to great effect in your music.If you're stuck in a rhythmic rut, The Music Producer's Guide to Polymeter and Polyrhythm will help you break out of it.Designed particularly with electronic music producers in mind, this book will provide you with the knowledge and skills to apply these effective, yet underutilised techniques to your own work.
A More Promising Musical Future: Leading Transformational Change in Music Higher Education
Today's higher education music faculty and administrators are faced with extraordinary pressure to adapt, innovate, and change. But what change is most critical to pursue - and how can it be brought about effectively? This concise volume brings together four seasoned thought leaders with distinct voices, each providing a complementary glimpse into how music faculty and administrators can help lead changes that truly matter. Making the case for transformations to better align music training in higher education with our culturally diverse society and the actual marketplace facing graduates, the perspectives collected here provide essential change management leadership strategies for music departments in the 21st century. Covering topics such as diversity and inclusion, institutional transformation, and preparing students for contemporary music careers, each chapter includes an outline of specific steps that can be taken individually and collectively towards needed change. Illuminating issues and providing practical suggestions, this book will enable both music faculty and administrators to confidently navigate change together with their communities.
Choro Maranhense
The term choro is a complex expression of a genre, a style and a cast. This diversity is complemented by regionality and forms a special appearance with the choro tradition in the Brazilian state of Maranh瓊o. This work represents the first attempt to systematically explore this choro and to open it as a contribution to the basic research aboutthe music in Maranh瓊o. This Choro Maranhense is a living tradition that is very receptive to neighboring styles of music and sets itself apart from other choro styles in Brazil in its musical practice. The practice of this music of the Northeast has a long history and was influential for the entire music of the country. Notwithstanding the dispute of domination between the centers of Rio de Janeiro and S瓊o Paulo in the southeast and the centers of the northeast, such as S瓊o Lu穩s and Maranh瓊o, the studies show that this choro has many variations and imitations of the folklore of Maranh瓊o, such as Bumba-meu-Boi or Lel礙, which give this choro tradition a completely different picture in comparison to the classical models of Pixinguinha. This work is intended as a basis for further research and as a contribution to the study of music in northeastern Brazil.
Tango of Death: The Creation of a Holocaust Legend
A legend that captures the imagination of audiences and shapes representations of the Holocaust is that in Nazi concentration camps Jewish musicians were forced to play a Tango of Death as men, women and children made their way to the gas chambers. This book traces the origins of this legend to a little known concentration camp in Ukraine where musicians were forced to perform a Jewish tango at executions before they themselves were murdered. By reconstructing the creation of this legend, the book shows how the actual history is hidden, distorted, or even lost altogether.
The Stronger Musician
- Unleash your inner artist - Master essential skills and rock-star technique - Learn to read music like a pro Become a stronger musician today and hone your talent with this must-have guide that every artist will want at their side. Want a music tutor who has really been there, out on that stage, and has experience performing from Nashville to Perth? Meet your instructor, Frank Cianfagna... In this masterwork of music, your new teacher will cover everything from the essential basics to theory that will make you a stronger musician, including, but not limited to, the following topics: - Understanding subdivision and its practice - Taking your reading skills to the next level- The relationship between timing and note placement- Executing accurate, creative patterns and how to apply them to the drum setFrom a young age Frank knew playing music was what he wanted to do, learning the drums at the age of twelve, inspired by a relative's drum kit hidden in the garage. Frank played in his first band at the age of sixteen and since then hasn't looked back. In 2014, Frank moved to America, completing a Bachelor of Music degree at the prestigious Berklee College of Music. After graduating in 2018 and earning his stripes as a musician, he moved to Nashville where he landed a gig performing with up-and-coming country artist Tyler Resch. In late 2019, Frank returned to Perth, Australia, where he continues to freelance and teach music.
Chords and Rhythm
This surpasses a guitar lesson book. The price of this book includes access to audio tracks for download using the unique link here https: //thomasinawinslow.com/book-audio for examples demonstrated by the author. You will go beyond learning how to make chords and the ups and downs of strumming and rhythm patterns. What Chords and Rhythm: Next Level Techniques will demonstrate to you is the way that you can capture the attention of an audience by embellishing those chords and rhythms to be captivating!
Experiencing Music Technology
Experiencing Music Technology is a comprehensive introduction to the broad topic of music technology as it exists in contemporary practice across music making, music production, and music teaching and learning. Unlike other music technology books, EMT is designed not only as a major text for a course of study but also as a resource and reference guide for a wide audience of amateur, student, or professional musicians both inside and outside the academic setting. Although it is introductory in scope, it provides considerable depth of coverage anchored around a thread of ten core music technology competences integrated throughout the book. The newest edition of EMT enters the world at a time of real change in education that favors independent and creative thinking by learners. Our fervent hope is that the book meets the need of newer trends in music curriculum design to integrate technology understanding into specific courses within the discipline and to serve the needs of more modular course design in creative ways. The exciting development of the e-Book edition with its many links to internal and external resources helps to support multiple courses, curricula, and interdisciplinary connections.
Stringstastic Level 2 - Cello
Ensemble series provides students (ages 6-11) with a solid foundation in music theory through the eyes of a violin, viola or cello player.This series is designed so that they can be used hand in hand with each other in a beginner ensemble or group lesson.These interactive books use a variation of different methods (traditional, Suzuki, Kodaly, orff, etc) which allows the students to decide which method best suits the lesson. They also contain a combination of fun, friendly characters (as well as exciting written exercises) that help and capture the interest of the students to learn in an enjoyable way.Level 2 workbook features these concepts and more!NOTE & REST VALUES - Quaver note(s) and rest. PATTERNS - Note movement (step and skip), finger patterns, semitone, and toneSCALES - Major scales and arpeggiosANALYSIS - Simple Musical Concepts, Terms, Symbols, Signs (tempo, dynamics, etc)EXTRA - lowered 2nd finger and 4th finger (viola & viola), and 2nd finger and backward extension (cello)
Stringstastic Level 2 - Viola
Ensemble series provides students (ages 6-11) with a solid foundation in music theory through the eyes of a violin, viola or cello player.This series is designed so that they can be used hand in hand with each other in a beginner ensemble or group lesson.These interactive books use a variation of different methods (traditional, Suzuki, Kodaly, orff, etc) which allows the students to decide which method best suits the lesson. They also contain a combination of fun, friendly characters (as well as exciting written exercises) that helps and capture the interest of the students to learn in an enjoyable way.Level 2 workbook features these concepts and more!NOTE & REST VALUES - Quaver note(s) and rest. PATTERNS - Note movement (step and skip), finger patterns, semitone, and toneSCALES - Major scales and arpeggiosANALYSIS - Simple Musical Concepts, Terms, Symbols, Signs (tempo, dynamics, etc)EXTRA - lowered 2nd finger and 4th finger (viola & viola), and 2nd finger and backward extension (cello)
King Arthur in Music
A survey of the influence of the Arthurian legends on musical works. King Arthur in Music is the first book to be devoted to the subject. The range of musical material is too wide for a single author to tackle satisfactorily, and the nine contributors to this volume are experts in the very different fields involved. The first essay, by Robert Shay, deals with the late seventeenth century semi-opera King Arthur, while the final essay by William Everitt looks at the appearances of Arthur on stage and screen and the scores that have accompanied these. Between these two extremes, the main body of the book deals largely with opera as we now understand it, from Wagner's 'Tristan' and 'Parsifal' to Harrison Birtwistle's 'Sir Gawain and the GreenKnight'. Some works have never been performed, such as Hubert Parry's 'Guenever' and Rutland Boughton's Arthurian cycle, while others have only recently been staged or revived, such as Isaac Alben穩z's 'Merlin' and Ernest Chausson's 'Le roi Artus', both striking post-Wagnerian works in very different styles: 'Merlin', for instance, begins with a passage based on Gregorian chant. The range of music is therefore wider than one might at first suspect, and other aspects of Arthurian music are brought out in the introduction, which is a general survey of the field, and in Jerome V.Reel's comprehensive listing of Arthurian musical items which is printed as an appendix. Contributors ROBERT ADLINGTON, RICHARD BARBER, WALTER A. CLARK, JEREMY DIBBLE, WILLIAM A. EVERITT, TONY HUNT, MICHAEL HURD, JEROME V. REEL, NIGEL SIMEONE, ROBERT SHAY, DEREK WATSON.
Ralph Vaughan Williams and Adrian Boult
The first detailed study of the working relationship and productive friendship between Ralph Vaughan Williams (1872-1958) and Adrian Boult (1889-1983). From 1918 onwards, Boult became one of Vaughan Williams's most important interpreters, giving the world premieres of the Pastoral, Fourth and Sixth Symphonies, performing almost all his major works (not only at home but with some of the world's greatest orchestras), and working in close collaboration with the composer on major projects including the first complete recording of Vaughan Williams's symphonies. Boult continued to be the most devoted advocate of Vaughan Williams's music to the end of his long career. As this book shows, Boult's scores include numerous annotations derived from conversations and correspondence with Vaughan Williams and these provide important evidence of the composer's wishes including adjustments to orchestration, comments on interpretation, dynamics, phrasing and revisions to Vaughan Williams's notoriously unreliable metronome marks. The evidence of these scores is considered alongside the extensive correspondence between Vaughan Williams and Boult, Boult's private diaries and other relevant documents including contemporary press reports. The book includes three substantial supplements: a detailed description of Boult's marked scores, a comprehensive list of Boult's Vaughan Williams performances and a discography including surviving recordings of unpublished broadcasts. It will be indispensable reading for scholars and students of Vaughan Williams and historical conducting, Vaughan Williams enthusiasts and those interested in the history of recorded music.
Education, Music, and the Lives of Undergraduates
The undergraduate years are a special time of life for many students. They are a time for study, yes, but also a time for making independent decisions over what to do beyond formal education. This book is based on a nine-year study of collegiate a cappella - a socio-musical practice that has exploded on college campuses since the 1990s. A defining feature of collegiate a cappella is that it is a student-run leisure activity undertaken by undergraduate students at institutions both large and small, prestigious and lower-status. With rare exceptions, participants are not music majors yet many participants interviewed had previous musical experience both in and out of school settings. Motivations for staying musically involved varied considerably - from those who felt they could not imagine life without a musical outlet to those who joined on a whim. Collegiate a cappella is about much more than singing cover songs. It sustains multiple forms of inequality through its audition practices and its performative enactment of gender and heteronormativity. This book sheds light on how undergraduates conceptualize vocation and avocation within the context of formal education, holding implications for educators at all levels.
Stringstastic Level 2 - Violin
Ensemble series provides students (ages 6-11) with a solid foundation in music theory through the eyes of a violin, viola or cello player.This series is designed so that they can be used hand in hand with each other in a beginner ensemble or group lesson.These interactive books use a variation of different methods (traditional, Suzuki, Kodaly, orff, etc) which allows the students to decide which method best suits the lesson. They also contain a combination of fun, friendly characters (as well as exciting written exercises) that helps and capture the interest of the students to learn in an enjoyable way.Level 2 workbook features these concepts and more!NOTE & REST VALUES - Quaver note(s) and rest. PATTERNS - Note movement (step and skip), finger patterns, semitone, and toneSCALES - Major scales and arpeggiosANALYSIS - Simple Musical Concepts, Terms, Symbols, Signs (tempo, dynamics, etc)EXTRA - lowered 2nd finger and 4th finger (viola & viola), and 2nd finger and backward extension (cello)
The Parametrical Bass
The Parametrical Bass is an electric bass book of studies. Its purpose is to give the player a sense of fingerings without using tab.
The Violin, How It Works
This book provides violin students with a comprehensive overview of the instrument from its origin to its use and all other facts not covered in traditional violin method books.
Perfect Italian Diction for Singers
Perfect Italian Diction for Singers is an authoritative resource for the aspiring and professional singer, vocal coach, and conductor. Cheek and Toccafondi build on traditional approaches while introducing successful innovative techniques, providing many musical examples and exercises. Also included are audio and video samples from native speakers.
Jazz Is Elementary: Creativity Development Through Music Activities, Movement Games, and Dances for K-5 - Book with Online Video & Downloadable Teaching Materials
(Berklee Guide). Use jazz to develop children's creativity! This book is a collection of 60 jazz-based teaching strategies designed to foster music making, creative movement, and improvisation in the K-5 music classroom. The innovative strategies are grounded in the best practices in elementary music education and partner with a curated playlist of jazz music that is available via streaming audio platforms. These strategies represent the music of nearly 80 iconic jazz artists of yesterday and today (e.g. Louis Armstrong, John Coltrane, Ella Fitzgerald, Dizzy Gillespie, Quincy Jones, Wynton Marsalis, Sarah Vaughan). All teaching strategy concepts were extensively field-tested with children in the elementary music classroom and with teachers around the world. Designed with music teachers, parents/caregivers, traditional school, home-school, and arts-based community organizations in mind, the strategies in this book can be used to engage children and prompt their creative and original expressions. Strategies include singing, instrument play, body percussion, games, chants, and dances that support both individual and group assessment. Companion materials are offered online to support the strategies including instructional videos for dances; printable resources such as visual aids, notation cards, movement directives, and color sheets; and artist profiles that provide brief biographies and put each musician in historical and musical context. Foreword by bassist Victor Wooten!
Groove Breathing
Many musicians often breathe very tensely and physically tense up while playing their instrument in a concentrated way. This phenomenon occurs especially during difficult passages or in cases of stage fright. Groove Breathing is a breathing technique that brings the body into harmony with the music and makes it an anchor for solid timing. Playing an instrument is thus audibly and tangibly accompanied by an inner calm. The method is primarily aimed at musicians with instruments where the breath is not used to produce sound, for example guitar, bass, drums, or keyboards.
How to Read Music in 30 Days
Do you want to learn how to read music notation with easy-to-follow, step-by-step lessons? Did you ever try to learn music theory but got frustrated with complicated jargon and mysterious terms? If so, this book is perfect for you!This best-selling book offers a unique 30-day program that makes learning how to read music simple and fun. Imagine how, in just about a month, you'll be able to look at sheet music and know exactly what every symbol, sign, and term means. You'll know the fundamental theory behind the how, why, and what of the music that's in front of you!With over 150 music examples, over 100 written exercises, 10 listening experiences, expert tips, lesson summaries, a final test, and online access to the audio examples, you will steadily progress towards learning: - The absolute essentials of music theory, - How rhythm really works, - The complete system behind musical notes, - The crucial details of music notation, - How specific musical symbols give life to written music.A strong foundation in the basics is essential if you want to read music, play an instrument for your friends and fans, sing in a choir or as a solo, record in a studio, compose music, write songs, or anything else in music. This book is your practical, step-by-step guide to building that foundation.Finally, you can stop searching the web endlessly in hopes of finding the right information. With this comprehensive but practical approach, your music theory questions are answered in full. And thanks to the valuable feedback of hundreds of students of all ages and backgrounds, "How to Read Music in 30 days" is now in its 3rd edition, revised and expanded to suit all types of beginner musicians. Thousands of students have successfully gone through this practical system to master musical notation and fundamental music theory. Now, it's your turn!Can I really learn how to read music in 30 days?Absolutely! In fact, we start reading our most basic symbols as from day 1. You will not become an expert sight-reader in 30 days: no book, no teacher, and no program can replace the practice it takes to become a professional. But you can significantly cut down on the time it takes to get there by learning the foundations in the right way and in the right order. This is what this book is for.Is this book for guitarists, pianists, singers, and other instrumentalists?Since the basics are the same for all instruments, this book will benefit anyone who is a beginner no matter which instruments they play. If you're looking to refresh your music theory basics, fill any gaps in your knowledge of musical notation, or start from absolute scratch in reading music, this book is for you.Can I skip through lessons?The author suggests going through the program as it is presented. The comprehensive curriculum is designed to: progress in small steps, fill any knowledge gaps for those returning to music after a long pause, and build a foundation for any exams, tests, or diplomas you might someday want to sit for.
Commercial and Popular Music in Higher Education
Commercial and Popular Music in Higher Education brings together working examples of pedagogy in emerging areas of popular and commercial music to offer practical insights and provide a theoretical framework for today's music educators. Written by a diverse group of experts, the eight chapters address a range of contemporary contexts, including digital instrument ensembles, digital audio workstations, hip hop courses, pop vocal performance, rock bands, studio production, and more. Considering both the challenges and the benefits of integrating commercial and popular music into teaching, the contributors explore how doing so can enhance student learning. The authors show how a constructivist approach to music pedagogy enables student-led, real-world learning in higher education, and consider how diversity, equity, and inclusion intersect with teaching popular music performance. Compiling experiences and expert resources, this book provides a vital framework for all instructors teaching commercial and popular music.
The Listening Conductor
The Listening Conductor explores one of the most important aspects of choral training and development - the power of listening. Why do we need to listen in rehearsals? How do we develop and improve our listening? How does focussed listening impact on choral development? How does actively listening to a choir provide conductors with creative opportunities to improve ensemble?Written in response to choral training and workshop events and as part of a highly competitive assistant conductor development programme, The Listening Conductor is full of unique exercises, hints and tips for vocal coaches and conductors. It aims not only to be a reference support to conductors of singing ensembles of all ages, sizes, genders and affiliations but to be the 'go to' book on the one discipline that all conductors of voices explore and use at every rehearsal.Coupled with a companion podcast.
90 Day Musician’s Diary
It's time to start smashing those goals you always dream about. New years resolutions are great but always end up as cloudy memories within a month. 90 days is the perfect amount of time to make real and meaningful progress and the finish line is always in sight.The diary breaks down the three main aspects that are required when learning any musical instrument: learning, practicing, and playing. The user can easily identify areas in need of improvement and record the amount of time spent in each area.The 90-day concept is fast being adopted by business professionals, athletes and musicians who want that edge to get ahead of the game.Mastering anything (especially playing the guitar) requires time, consistency, resilience, and patience. The long journey to success won't be a never ending drag if you make small, time focused goals that pave the way to your destination.The most effective way to do this is to write down your goals, record your progress and hold yourself to account.You got this!
Performing at Your Best
What makes it possible to perform at your best? From being able to handle nervousness or stage fright to making the music you play absolutely solid and reliable (by using practice techniques and multiple challenges), this book gives you both specific strategies and overarching concepts that set the stage for you to give your very best performances.It's all presented to you in a clear and easy-to-read (or skim) format. Multiple mini-stories from the author's own experiences illustrate important points. Effective memorization techniques and tips for auditioning well are also included.
Stringstastic Level 1 - Cello
Ensemble series provides students (ages 6-11) with a solid foundation in music theory through the eyes of a violin, viola or cello player.This series is designed so that they can be used hand in hand with each other in a beginner ensemble or group lesson.These interactive books use a variation of different methods (traditional, Suzuki, Kodaly, orff, etc) which allows the students to decide which method best suits the lesson. They also contain a combination of fun, friendly characters (as well as exciting written exercises) that help and capture the interest of the students to learn in an enjoyable way.Level 1 workbook features these concepts and more!INTRODUCTION - String instrumentsNOTATION - Using the open strings as the main reference, all the notes on the stave and each string, and accidentalsPATTERNS - Fingering of each stringNOTE & REST VALUES - Crotchet, minim, dotted minim, semibreve notes and rests (stem direction)TIME SIGNATURE - 2/4, 3/4, and 4/4 timeCOMPOSE
How Sonata Forms
Traditional approaches to musical form have always adopted a top-down perspective whereby a work's form organizes and unifies the individual parts of the work through an overarching logic. How Sonata Forms turns this view on its head, proposing instead that it was the parts that conditioned and enabled the whole. Relying on a corpus of over a thousand works, author Yoel Greenberg illustrates how the elements of sonata form arose independently of one another, with an overarching idea of form only emerging at the tail end of its formative period during the eighteenth century. Appreciation of the bottom-up nature of sonata form's evolution reveals it not as a stable package of features that all serve a common aesthetic or formal goal, but rather as an unstable collection of disparate and sometimes even contradictory common practices. The resolution of these contradictions presents a challenge to composers, rendering form a creative catalyst in itself, rather than as a compositional convenience. More generally, the deeply diachronic perspective of How Sonata Forms offers an alternative to the traditional synchronic outlook that pervades music theory in general and the study of form in particular. Rather than focus on definitions and taxonomies, How Sonata Forms proposes a focus on the motion of the system of form as a whole, suggesting that it is often more productive to appreciate the dynamics of a system than it is to rigorously define its parts.
Selected Exercises for Flute
(Woodwind). A selection of Moyse's best etudes and exercises for flute, exploring a variety of techniques. All exercises are freshly engraved. Compiled by Sonora Slocum, principal flute of the Milwaukee Symphony.
Upcycle
Bree collects her complete catalog of song lyrics with a personal essay about using poetry and songwriting to break cycles of trauma, and create something valuable, and empowering. Writing, art, music- all forms of art-making require utter focus. That focus, mindfulness, excludes worries about the past or future. It is the same concentration people use meditation and yoga to achieve. While we create, or listen to music or see art- our bodies and minds naturally begin to heal themselves, bolstering our immunity, releasing dopamine while reducing cortisol, lowering the blood pressure and more. Art is the one thing a person can control, in a world of chaos. It boosts self-esteem and motivates us to improve ourselves, and strive always for better health, and peace of mind. Finding and using our own singular voices helps us know ourselves better, and can help us make better choices. Songwriting, like most creative endeavors, is usually a lone one, but once written, a song can reach innumerable people. During the act of writing a song, or making art, the body and mind are become vehicles for something greater than our endless stream of thoughts. Something inimitable which may only be sensed or intimated, such as a path towards our true selves. This book collects 44 songs, one for each year of the author's life, complete with anecdotal remarks about how, when, and why she wrote each song. It effectively illustrates art-making can motivate a person with anxiety, insomnia and very little freedom to break through hardships in order not only to survive, but thrive.
On the Performance of the Music of Mozart
Dr Whitwell's studies of Mozart began with his Ph.D. dissertation (1963) on the early symphonies of Mozart, which included an extensive study of pre-Classical composers and the early development of the sonata form. He was employed by Universal Edition in Vienna in 1968 to help prepare their Urtext edition of the first seven Mozart sonatas. He held private discussions at this time with Christa Landon, a Schubert authority; Alexander Weinmann in Vienna, the authority on early Viennese music prints; Ludwig Finscher, the authority on the Classical string quartet; and Fran癟oise Lesure, Director of the Music Division of the National Library of Paris. While living in Vienna in 1968 Dr. Whitwell was credited as the discoverer of the vast body of eighteenth-century Harmoniemusik repertoire for eight winds, introducing this music with members of several professional octets, including those from the Stuttgart Radio Orchestra, the Vienna Symphony, the Brabant Orchestra, as well as the National Orchestra of Peru in Lima, and the Los Angeles Philharmonic. Dr. Whitwell has given workshops on Mozart performance practice at the Royal College of Music in London, the Conservatory of Music in Milano, in addition to clinics in Korea, Taiwan, Portugal, Germany, Austria, Switzerland, Hungary, Belgium and Spain. He has given a public address on Mozart's K. 375 at the University of Wisconsin and public lectures in Boston and in Buenos Aires, Argentina. He was the master teacher for a Chamber Music Festival in Santa Fe dedicated to the performance of Mozart's music. David Whitwell has authored articles on Mozart manuscripts in leading journals, including Music & Letters, the Mozart Jahrbuch and the London Musical Times, which concerned the date of K. 361 and which was honored by its inclusion in the Garland Library of the History of Western Music, a 1985 collection of the most outstanding articles of musicology. Whitwell's work on the ''Gran Partita, '' K. 361, is acknowledged in the preface of the Library of Congress' publication of the facsimile of the autograph score (1976). He is credited with having discovered the proof that this partita has always been one single work and not two separate works, as suspected by many earlier scholars, and for discovering the measure to be omitted before the coda of the ''Romance'' movement. This book discusses the basic idioms of central European performance in the music of the late Baroque through early Beethoven, which Dr. Whitwell considers fundamental to proper stylistic performance of Mozart's music.
Stringstastic Level 1 - Viola
Ensemble series provides students (ages 6-11) with a solid foundation in music theory through the eyes of a violin, viola or cello player.This series is designed so that they can be used hand in hand with each other in a beginner ensemble or group lesson.These interactive books use a variation of different methods (traditional, Suzuki, Kodaly, orff, etc) which allows the students to decide which method best suits the lesson. They also contain a combination of fun, friendly characters (as well as exciting written exercises) that help and capture the interest of the students to learn in an enjoyable way.Level 1 workbook features these concepts and more!INTRODUCTION - String instrumentsNOTATION - Using the open strings as the main reference, all the notes on the stave and each string, and accidentalsPATTERNS - Fingering of each stringNOTE & REST VALUES - crotchet, minim, dotted minim, semibreve notes and rests (stem direction)TIME SIGNATURE - 2/4, 3/4, and 4/4 timeCOMPOSE
Perfect Italian Diction for Singers
Perfect Italian Diction for Singers is an authoritative resource for the aspiring and professional singer, vocal coach, and conductor. Cheek and Toccafondi build on traditional approaches while introducing successful innovative techniques, providing many musical examples and exercises. Also included are audio and video samples from native speakers.
Serial Composition and Atonality
Widely recognized as the definitive work in its field ever since its original publication in 1962, Serial Composition and Atonality remains an unsurpassed introduction to the technical features of what is probably the most revolutionary body of work since the beginnings of polyphony. In the analysis of specific compositions there is first and last of all a concern with the musical surface--an attempt to trace connections and distinctions there before offering any deeper-level constructions, and to offer none where their effects are not obvious on more immediate levels of musical experience. In this sixth edition of the book, George Perle employs the new and more consistent terminology for the identification of transpositional levels of twelve-tone sets that he first proposed in Twelve-Tone Tonality (1977).
Extended Harmonic Techniques
From the classical violinist to the hip hop producer, creating music pays homage to principles of harmony. It is not just the sum of the musical parts that makes a song come alive, but how every part interacts with others to create more harmonies, enriched melodies, dynamic rhythms, and more interaction. Composers, engineers, producers and performing musicians constantly use the harmonic principles derived from basic acoustics every time they work through a piece. This book offers a deep analytical dive into the theories of harmonics. It explores many nontraditional approaches such as extended and hyperextended chords and it includes an explanation for the consonance of the elusive minor triad. The book also covers voicing and arranging from a vertical or harmonic perspective, a system of classifying the sonority of each chord, how extended chords impact the listener, and how the composer applies these principles.
Arban’s Complete Conservatory Method for Trumpet
Hailed the Trumpet Bible for over 150 years, this complete pedagogical method contains hundreds of exercises for brass instruments, beginning with basics and progressing to advanced compositions, including the author's famous arrangement of "The Carnival in Venice."Sharing the knowledge he acquired from many years of experience as a performer and teacher, Arban discusses every aspect of playing with emphasis on articulation, tonguing, slurs, tone, and range. He offers an appreciation of all the instrument's inherent difficulties as well as instructive points that touch upon all possible musical questions.Whether you are a beginner or an old master, this is an essential asset to trumpet, French horn, and cornet players.
Timbre
Timbre is among the most important and the most elusive aspects of music. Visceral and immediate in its sonic properties, yet also considered sublime and ineffable, timbre finds itself caught up in metaphors: tone "color", "wet" acoustics, or in Schoenberg's words, "the illusory stuff of our dreams." This multi-disciplinary approach to timbre assesses the acoustic, corporeal, performative, and aesthetic dimensions of tone color in Western music practice and philosophy. It develops a new theorization of timbre and its crucial role in the epistemology of musical materialism through a vital materialist aesthetics in which conventional binaries and dualisms are superseded by a vibrant continuum. As the aesthetic and epistemological questions foregrounded by timbre are not restricted to isolated periods in music history or individual genres, but have pervaded Western musical aesthetics since early Modernity, the book discusses musical examples taken from both "classical" and "popular" music. These range, in "classical" music, from the Middle Ages through the Baroque, the belcanto opera and electronic music to saturated music; and, in "popular" music, from indie through soul and ballad to dark industrial.
Concepts of Time in Post-War European Music
Concepts of Time in Post-War European Music gives a historical and philosophical account of the discussions of the nature of time and music during the mid-twentieth century. The nature of time was a persistent topic among composers in Paris and Darmstadt in the decades after World War II, one which influenced their musical practice and historical relevance. Based on the author's specialized knowledge of the relevant philosophical discourses, this volume offers a balanced critique of these composers' attempts at philosophizing about time. Touching on familiar topics such as Adorno's philosophy of music, the writings of Boulez and Stockhausen, and Messiaen's theology, this volume uncovers specific relationships among varied intellectual traditions that have not previously been described. Each chapter provides a philosophical explanation of specific problems that are relevant for interpreting the composer's own essays or lectures, followed by a musical analysis of a piece of music which illustrates central theoretical concepts. This is a valuable study for scholars and researchers of music theory, music history, and the philosophy of music.
Hey! That’s My Song!
Every songwriter and music publisher wants their music placed in a film, a TV show, acommercial, or other visual media. This guide provides the important steps to making this happen.
Remixing Music Studies
This edited volume brings together some of today's most exciting music scholars to engage with the multifaceted body of work produced by Nicholas Cook over the last thirty years.
Small Town Big Dreams
I make my own history. I have written for everybody, but I have worked with nobody. I and to stop waiting for other people's approval or permission to pursue my dreams. I had to get up and just figure it out. I bet on myself. I can and I will do it. And I did.
Sound Work
The practices and perception of music creation have evolved with the cultural, social and technological contexts of music and musicians. But musical authorship, in its many technical and aesthetic modes, remains an important component of music culture. Musicians are increasingly called on to share their experience in writing. However, cultural imperatives to account for composition as knowledge production and to make claims for its uniqueness inhibit the development of discourse in both expert and public spheres. Internet pioneer Philip Agre observed a discourse deficit in artificial intelligence research and proposed a critical technical practice, a single disciplinary field with "one foot planted in the craft work of design and the other foot planted in the reflexive work of critique. A critical technical practice rethinks its own premises, re-evaluates its own methods, and reconsiders its own concepts as a routine part of its daily work."This volume considers the potential for critical technical practice in the evolving situation of composition across a wide range of current practices. In seeking to tell more honest, useful stories of composition, it hopes to contribute to a new discourse around the creation of music.Contributors: Patricia Alessandrini (Stanford University), Alan Blackwell (University of Cambridge), Nicholas Brown (Trinity College Dublin), Marko Ciciliani (University of Music and Performing Arts Graz, Austria), Nicolas Collins (The School of the Art Institute of Chicago), Agostino Di Scipio (Music Conservatory of L'Aquila / "Arts, 矇cologies, transitions" Research Team, Paris), Daniela Fantechi (Orpheus Institute / University of Antwerp), Ambrose Field (University of York), Karim Haddad (IRCAM - Centre Georges Pompidou), Jonathan Impett (Orpheus Institute), Thor Magnusson (University of Sussex / Iceland University of the Arts), Scott McLaughlin (University of Leeds), Lula Romero (composer), David Rosenboom (composer), Ann Warde (independent scholar), Laura Zattra (IRCAM / Rovigo Conservatories of Music), Julie Zhu (Stanford University)
Music Teacher as Music Producer
Never has there been such an exciting time to be a music teacher. Band, choir, and orchestra are ubiquitous in schools and have come to be known as the primary mode that students experience music at the secondary level. Similarly, elementary school classrooms feature approaches by Orff, Kodaly, Dalcroze, and Music Learning Theory, among a host of others. But, what is next? In this enlightening guide, author Clint A. Randles provides music educators with the practical tools to turn their classrooms into student production studios. Addressing everything from a new conceptualization of the physical classroom space to the cables and other audio equipment no music educator should be without, Randles puts creativity, technology, recording arts, songwriting, music production, and live performance at the center of music classrooms.
