(Schott). Originally published in the 1940s, Paul Hindemith's remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician.
Author: Paul Hindemith
Publisher: Schott & Company Limited
Michael Friedmann's Ear Training for Twentieth-Century Music is a skills text; using non-tonal materials, students are asked to improvise at the keyboard, sing at sight, take dictation, memorize melodies by rote, and identify selected set classes by eye and ear.
Author: Michael L. Friedmann
Publisher: Yale University Press
Author: Paul Hindemith
Category: Composition (Music)
(Musicians Institute Press). Starting at the elementary level and progressing to advanced techniques, this comprehensive method is like a complete two-year guitar course in book form. It includes over 450 songs and examples, and covers: notes, rhythms, keys, positions, dynamics, syncopation, chord charts, duets, scale forms, phrasing, odd time, and much more. Designed from an Musicians Institute core curriculum program.
Publisher: Hal Leonard Corporation
Alfred's 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), and test your knowledge with a review that completes each unit. The Student Complete Book includes Books 1-3 in a spiral-bound format. Book 1 (Lessons 1-25): Staff, Notes and Pitches * Treble & Bass Clefs * Grand Staff & Ledger Lines * Note Values * Measure, Bar Line and Double Bar * 2/4, 3/4 & 4/4 Time Signatures * Whole, Half & Quarter Notes/Rests * Dotted Half & Quarter Notes * Ties & Slurs * Repeat Sign, 1st & 2nd Endings * Eighth Notes & Rests * Dynamic Signs, Tempo Marks & Articulation * D.C., D.S., Coda & Fine * Flats, Sharps & Naturals * Whole & Half Step, Enharmonic Notes. Book 2 (Lessons 25-50): Tetrachords & Major Scales * Key Signatures * Chromatic Scale * Intervals, Circle of Fifths * Perfect, Major & Minor Intervals * Augmented & Diminished Intervals * Solf�ge & Transposition * Sixteenth Notes & Rests * Dotted Eighth Notes & Eighth Note Triplets * Common Time & Cut Time * 3/8 & 6/8 Time Signatures * Pick-up Notes & Syncopation * Primary & Major Triads * Scale Degree Names * Dominant 7th Chord. Book 3 (Lessons 51-75): 1st & 2nd Inversions of Triads * Inversions of V7 Chords * Figured Bass * Major Chord Progressions * Minor Scales, Minor Triads * Augmented & Diminished Triads * Primary Triads in Minor Keys * Minor Chord Progressions * Modes * Harmonizing a Melody in Major and Minor Keys * Broken Chords & Arpeggiated Accompaniments * Passing and Neighboring Tones * Composing a Melody in Major and Minor Keys * 12-Bar Blues Chord Progression & Blues Scale * Basic Forms of Music. The complete line of Alf
Lessons, Ear Training, Workbook
Author: Andrew Surmani,Karen Farnum Surmani,Morton Manus
Publisher: Alfred Music Publishing
Professional Training for Today's Musician
Author: Ron Gorow
Publisher: SCB Distributors
A treatise of Common Practice Harmony. This document covers everything from the very basics to the most advanced figured bass and analytic techniques.
Author: Kendall Durelle Briggs
This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique andthe exhaustive tables of melodic and rhythmic possibilities.It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation.Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing twosimultaneous tempos. The book concludes with a study of polyrhythm, playingone rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to beinclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else?s. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma,method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.
Author: MILES OKAZAKI
Publisher: Mel Bay Publications
Originally published in the 1940s, Paul Hindemith's remarkable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost any kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician.
With Emphasis on Exercises and a Minimum of Rules
Author: Paul Hindemith
This easy-to-use audio course for self or small group study is a step-by-step introduction to music reading skills. From the creator of The Jenson Sight Singing Course, this resource will be an effective tool for building student confidence and skill. Includes exercises on reading note and rest values, meter, echo drills, reading pitch from syllable letters and notes on the staff, movement by step and skip, key signatures, and clef signs. Available: Book, Cassette, CD, Book/CST Pak, Book/CD Pak, Book/CST Intro Pak (5 Books, 1 Cassette), Book/CD Intro Pak (5 Books, 1 CD). For Gr. 4-9.
An Audio Course for Group Or Self Study
Author: David Bauguess
Publisher: Hal Leonard Publishing Corporation
Musician-Teacher Collaborations: Altering the Chord explores the dynamics between musicians and teachers within educational settings, illustrating how new musical worlds are discovered and accessed through music-in-education initiatives. An international array of scholars from ten countries present leading debates and issues—both theoretical and empirical—in order to identify and expand upon key questions: How are visiting musicians perceived by various stakeholders? What opportunities and challenges do musicians bring to educational spaces? Why are such initiatives often seen as "saving" children, music, and education? The text is organized into three parts: Critical Insights presents new theoretical frameworks and concepts, providing alternative perspectives on musician-teacher collaboration. Crossing Boundaries addresses the challenges faced by visiting musicians and teaching artists in educational contexts while discussing the contributions of such music-in-education initiatives. Working Towards Partnership tackles some dominant narratives and perspectives in the field through a series of empirically-based chapters discussing musician-teacher collaboration as a field of tension. In twenty chapters, Musician-Teacher Collaborations offers critical insights into the pedagogical role music plays within educational frameworks. The geographical diversity of its contributors ensures varied and context-specific arguments while also speaking to the larger issues at play. When musicians and teachers collaborate, one is in the space of the other and vice versa. Musician-Teacher Collaborations analyzes the complex ways in which these spaces are inevitably altered.
Altering the Chord
Author: Catharina Christophersen,Ailbhe Kenny
This fifth edition of Harmony marks the forty-fifth year of its successful use.
Author: Walter Piston,Mark DeVoto
Publisher: W. W. Norton
In The Musician's Way, veteran performer and educator Gerald Klickstein combines the latest research with his 30 years of professional experience to provide aspiring musicians with a roadmap to artistic excellence. Part I, Artful Practice, describes strategies to interpret and memorize compositions, fuel motivation, collaborate, and more. Part II, Fearless Performance, lifts the lid on the hidden causes of nervousness and shows how musicians can become confident performers. Part III, Lifelong Creativity, surveys tactics to prevent music-related injuries and equips musicians to tap their own innate creativity. Written in a conversational style, The Musician's Way presents an inclusive system for all instrumentalists and vocalists to advance their musical abilities and succeed as performing artists.
A Guide to Practice, Performance, and Wellness
Author: Gerald Klickstein
Publisher: Oxford University Press, USA
Author: Lars Edlund
Publisher: Beekman Books Incorporated