Two volumes containing well-crafted arrangements and original compositions, presented in chronological order, from the 16th century right up to the present day. Includes contrasting styles, from Louis Couperin to Giles Swayne and William Byrd to Gavin Bryars.
Mastering the Bass is a thorough method for both electric and upright bass designed to guide bassists to mastery. It begins with building strong time and rhythmic skills, a firm foundation upon which all bass playing must be rooted. Following this, students learn a wide range of grooves and practice reading all styles of music: Blues, Rock, Funk, Reggae, Fusion (including odd meters), Jazz, Latin, Baroque, Classical and more. Ear training incorporated into the method improves the students' listening skills, teaching students to hear chord progressions, melodies and rhythms. Theory lessons help students understand how the bass functions in music. Students also study improvisation of both bass parts and solos on chord changes, articulation (finger and bowing technique), performance goals, visualization, and more. Each volume moves logically to the next level Even seasoned players can fill holes in their technique by going through the method from Book I and moving on to greater technique as well as a deeper understanding in later volumes.Also available in Japanese from ATN, Inc.
This set of tutors is designed for teaching mixed string instruments in groups. It is a systematic program developed over many years. The tutors are aimed at the upper primary / lower secondary school age group, but are also suitable for older beginners. The children learn 'tricks' for their fingers or bows, which are fun when done in a group. Reading skills are developed at the same time. Each page represents a small step in musical and technical development based on reading music from the very first lessons. Theory homework is included at the end of most sections. Book 1 is intended to cover one year of group tuition, based on a school year of forty weeks, although progress will vary according to the age of the age of the children, the size of the group and the extent of their previous musical experience. Book 1 progresses in steps from a single open string to the scale of D major. One divergence from the usual approach is that the note G is taught after E but before F#. This better develops the left hand position. The tunes in this section of the tutor are based on the minor 3rd interval and correlate with the Kodaly method in classroom music. All tunes until late in Book 1 are in common time to establish a strong sense of basic rhythm and a solid understanding of beat before adding other variations. Additional repertoire at the end of the books provides: extension work for pupils who reach the end of the book before the rest of their group; additional work for those who want it; and end of year concert pieces. Most importantly, these tutors make playing music fun, as it should be!
John Tyrrell's biography of the Leos Jancek is the culmination of a life's work in the field. It stands upon his existing documentary studies of Jancek's operas and translations of other key sources and his examination of thousands of still unpublished letters and other documents in the Jancek archive in Brno. Altogether it provides the most detailed account of Jancek's life in any language and offers new views of Jancek as composer, writer, thinker and human being. Volume 1, which goes up to the outbreak of the First World War and Jancek's sixtieth birthday in the summer of 1914, consists of chronological chapters providing a straightforward account of Jancek's life year by year and another forty contextual chapters. Topics include on-going sequences ('Music as autobiography I', etc.; 'Jancek's knowledge of opera I', etc.) and individual chapters on Jancek as a teacher, as a theorist, as an music ethnographer, on his speech-melody theory, his relationship to particularly influential operas (Tchaikovsky's Queen of Spades, Charpentier's Louise), on his mentors (such as Antonn Dvork) and his btes noires (such as Karel Kovarovic). A particular feature are the specially commissioned chapters on Jancek's health by Dr Stephen Lock (one of the editors of the Oxford Illustrated Companion to Medicine, OUP 1994 and 2001, editor of the British Medical Journal, 1975-91, and a Jancek enthusiast since the early postwar broadasts on the Third Programme), and on Jancek's earnings and finances by Dr Jir Zahrdka (curator of the Jancek archive in Brno, and editor of authentic editions of Srka and The Excursions of Mr Broucek).
In the nineteenth century, use of the violone, a bass instrument with many sizes and variations, was nearly eliminated from musical repertoires, and its traditional parts were parceled out to other instruments such as the violoncello. The following phases of revival of the double-bass have been hampered by a lack of physical evidence and diligent research into the historical uses of the instrument. The Baroque Double Bass Violone is a comprehensive study that examines a cross-section of standard works to enhance contemporary violone research, and provide information for musicologists, music publishers, ensemble leaders, and revivalists, all of whom have been unable to reconstruct an essential part of Baroque music. This translation finally makes the most exhaustive study of the double bass violone accessible to English-speaking musical enthusiasts. The book includes lists of terminology, the most comprehensive bibliography to date, and 48 illustrations that make this a compendium of string bass research.
In this 4th and fi nal volume of a series that includes more than 800 composers and over 30,000 compositions Stephen traces the history and development of Classical music in Australia. From obscure and forgotten composers to those who attained an international reputation this volume reveals their output, unique experiences and travails. The foundation and demise of music ensembles, institutions, venues and festivals is part of the story and included in the narrative are performers, conductors, entrepreneurs, educators, administrators, instrument makers, musicologists, music critics and philanthropists. A concise yet comprehensive picture of Australian music making can be found in any given year.
(Educational Piano Library). Piano Practice Games present imaginative ways to introduce pieces in Piano Lessons by coordinating technique, concepts, and creativity with the actual music in the lessons book. These preparation activites help focus learning, by 'playing with' each lesson piece aurally, visually, and physically. Whether used in individual or group lessons, Piano Practice Games are designed to make music.
Alfred and Highland/Etling are taking a brand-new approach to string instruction that promises to grab and hold every student's attention---String Explorer! Join the adventures of Arco Dakota and Rosalyn Le Bow as they guide your students along the path to successful string playing with the most exciting, yet systematic and logically sequenced instruction of its kind.
First and foremost: THIS IS NOT A METHOD BOOK. It is precisely what it says it is: 300 Progressive Sight Reading Exercises! Volume One is comprised of 300 progressive eight-bar exercises that cover the keys of C Major, F Major, G Major, A Minor, D Minor and E Minor. Time signatures include 4/4 (Common Time), 3/4, 2/4, 6/8, and 2/2 (Cut Time). The remaining key signatures, additional time signatures, tempo markings and dynamics markings will be covered in future volumes. All of the exercises are eight measures long. If one has done any study of formal analysis, they will find that eight measures is a typical 'period' of music and usually contains two, four-bar phrases (also typical in length). For example, many sonatinas, jazz standards, and pop songs use "32 Bar Form" (A A B A), "Binary Form" (A B), and "Ternary Form" (A B A), with each section often being eight bars. Thus, eight measures (one period of music) makes the perfect length for sight-reading studies in my opinion. How to use this book: Start where the exercises begin and work across the book - from exercise 1, 5, 9, 13 and so on until you get to a point where the music challenges you and then mark your ending point. The next practice, play exercises 2, 6, 10, 14, and so on... The next: 3, 7, 11, 15 and so on, and finally 4, 8, 12, 16, and so on. If you want to work at your "break point" (the point in the book where you can no longer play musically), work DOWN the page instead of across the pages. Note: This book is also available in a LARGE PRINT version that for printing purposes had to be divided into two books. If you have poor vision or want this book to be easy to SEE on an electronic device, you might prefer the Large Print Version. "These books differ from conventional 'methods' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student." - Bela Bartok, Mikrokosmos. I whole-heartedly agree with Bartok's sentiment and if music teachers would ask their students what they like least (or hate the most) about typical lessons, it is the method books that win this contest EVERY TIME. I have completely eliminated method books from my own teaching practice and have much happier and more productive students than ever. While this book is intended to train sight-reading skills, it may also be used by beginners or those new to reading to acquire basic reading skills, but it assumes one either has a teacher or can at least find C on their instrument. It starts at a very basic level (only three notes) and adds a new note, rhythm, or concept every four exercises and thoroughly reinforces them throughout the rest of the book. Next, the music's composition is a slave to its function: The purpose of the books is to train reading skill, and the exercises keep challenging the range that has been established by previous exercises as well as less-than-convenient intervalic skips. They are composed from a 'music-first' perspective, as opposed to an 'instrument-first' perspective, and are purposely composed to be difficult to memorize. For example, the first exercises begin on C because they are in the key of C, and then go on to sometimes start and end on different scale degrees of the same key. Those familiar with the Fundamental Modes will likely recognize what they are hearing, but those unfamiliar with these modes will likely be hearing something that sounds a bit different, or odd, until their ears acclimate to these sounds. I see many students go through this process with altered dominants and augmented triads as well. Additionally, a 20th-century composition technique (Bartok, Stravinsky) - Serial Composition - has also been used on several of the pieces, so if your ears are unfamiliar with this type of music, you might at first be uncomfortable with what you are hearing.
Accent on Achievement is a revolutionary, best-selling band method that will excite and stimulate your students through full-color pages and the most complete collection of classics and world music in any band method. The comprehensive review cycle in books 1 & 2 will ensure that students remember what they learn and progress quickly. Also included are rhythm and rest exercises, chorales, scale exercises, and 11 full band arrangements among the first two books. Book 3 includes progressive technical, rhythmic studies and chorales in all 12 major and minor keys. Also included are lip slur exercises for increasing brass instrument range and flexibility. Accent on Achievement meets and exceeds the USA National Standards for music education, grades five through eight. This title is available in SmartMusic.
String Festival Solos are economical collections of transcriptions by Samuel Applebaum. In two volumes for each instrument, the solos are in progressive order of difficulty. Each volume contains nine pieces -- all classic titles in the Applebaum teaching repertoire. Some of these have been hard to find. Volume 1 progresses from Level 1 to Level 2, Volume 2 progresses from Level 2 to Level 3. The solos are useful for teaching technique, dynamics, phrasing, and overall musicianship. String Festival Solos are excellent for recitals, auditions and performances for assemblies, concerts or festivals. Titles: * Two Austrian Folk Tunes (Kohler) * Rigaudon (Lee) * First Sonatina (Drew) * Minuet (Pleyel) * March (Clarke) * Second Sonatina (Drew) * The Strange Man (Schumann) * Two Classical Pieces (Reinagle) * Adagio and Allegro (Galliard)
So finally here it is! A definitive handbook to ALL your questions about rare (gut/silk) three-string double basses. Where do they come from? Who made them? Who played them? How much are they worth? Should you go ahead and restore? How should you play one? What is their relevance in today's modern age?The gut three-string double bass first appeared in the late 18th century.They were distinctly different to other "bass" role instruments at their time. The size dimensions of the three-string instrument resembled what appears in the modern day full size 3⁄4 and 4/4 orchestral instruments. This book will give descriptive information about makers of the three-string double bass. It will provide an explanation regarding its pivotal role in promoting and establishing the standardized orchestral double bass and it will discuss the soloists, repertoire and composers of the instrument.The gut three-string double bass is usually considered to be a rare piece of antiquity, the original instrument that solo double bassists performed on. It is henceforth suggested that these pioneering soloists were responsible in creating the turning point for the resemblance of what we have come to see and hear in the modern double basses. Finally, this book will provide advice on treatises and methods for Baroque/Classical ensemble and string performers regarding correct period performance practice and technique. A composer's influences regarding period sonorities will be briefly mentioned.The gut three-string double bass had an extremely brief circulation in history! This book can also be seen as an introduction and an equally rare historical description of one of the "last rare relicts" of an instrument that may have otherwise "sneaked" its way past historical records completely...
This book is volume 2 of a 4 volume series, the first 3 of which have been published by Xlibris and the 4th almost complete for imminent delivery. In its entirety this work is the most comprehensive and accurate account of Australian Classical Music making ever undertaken. Its scope is from 1901-2012 and includes more than 800 composers, famous and obscure, with more than 30,000 compositions including details of their premieres (where, when and by whom). Individual performers, ensembles, orchestras, opera and ballet companies, music educators, instrument makers, academics, entrepreneurs, philanthropists and critics are included as part of the story. The foundation and demise of music institutions, venues and festivals is recorded chronologically. Altogether an extensive picture of Australian Classical Music production and performance can be gleaned in any given year. This book is distinct insofar as it can be read conventionally (from cover to cover); or one may choose a composer/performer and follow his/her career year by year; or one may open the book at random and delight in the unusual and esoteric information therein. This book, and its companion volumes, are valuable and indispensable works for the serious music student, professional musician, performing amateur, cultural aficionado and inquisitive lay person.