The understanding of the musical techniques of composition cannot be reduced to a handbook of simplified rules. Music is complex and ever changing. It is the purpose of this book to trace the path of musical growth from the late Romantic period to the serial techniques of the contemporary composer. Through the detailed analysis of the musical characteristics that dominate a specific style of writing, a graduated plan is organized and presented here in the form of explanations and exercises. A new analytical method substitutes for the diatonic figured bass and makes exercises and the analysis of non-diatonic literature more manageable. The explanations describing each technique are thorough. They are designed to help the teacher and the student see the many extenuating circumstances that affect a particular analytical decision. More important than a dogmatic decision on a particular key center or a root tone, for example, is the understanding of why such an underdeterminate condition may exist.
'What do I do when I want to produce this sound and am unable to?' The book 'Grundlagen der Kontrabass-Technik' by Michael B. Wolf provides detailed answers to such questions. With the help of a detailed programme, the pupil will quickly learn the purely technical elements which are indispensable for artistic expression. Topics such as bowing technique, change of position, vibrato, right-left coordination, intonation or performance preparation condense into an increasingly complex system that always takes all technical and intellectual aspects of sound generation into account. Although many techniques of this method represent a radical breach of tradition, they can be easily used for all double-bass methods and playing techniques. Michael Barry Wolf, born in 1954 in the USA, is professor of double bass at the Berlin Universitat der Künste. He studied music at the CaliforniaStateUniversity and was member of the San Diego Symphony Orchestra. His radio and disc recordings as well as numerous concert activities and master classes at home and abroad have always received great critical acclaim.
Following the very successful piano method published in two volumes between 1958 and 1962, the three-volume 'European Piano Method' represents a new textbook which takes into account the development of modern piano pedagogy. 7 Winning Features of the Emonts Method: 1 Songs from many European countries 2 Pupils begin to play without music notation 3 Improvisation and playing on the black keys 4 Development of listening skills and aural awareness 5 Simple and logical learning structure 6 Lots of duets 7 Attractive full-colour illustrations Volume 3 The third volume of 'The European Piano Method' is not strictly speaking a piano method, but rather a collection of meterial and suggestions for the advanced tution of now slightly older players. The author has therefore concentrated on selecting pieces from the vast wealth of the piano repertoire and grouping them according to specific structural criteria. With this approach, technical aspects (playing chord, thirds, sixths and other intervals) go hand in hand with musical themes (expressive touch, extending rhythmic awareness, cantabile playing with pedal). These developmental processes should suffuse each other: in the technical procedures, on the one hand, control over quality of tone, clarity and articulation should not falter; the pieces from the piano repertoire, on the other hand, should gain creative power through ever-increasing technical skills. The appendix of Volume 3 contains further 'yellow pages' with ideas for improvisation. the subjects are: Ostinato Bass Patterns, Song Accompaniement, Completing Melodies, Improvising over Chord Progressions, Seventh Chords, Introduction to Jazz Harmony. Instrumentation: piano
There is no standard method for determining basic voice classification (soprano, alto, tenor, bass) of high school choir students. Most practices seem to be based on tradition rather than research, and there are conflicting opinions about which criteria should or should not be considered, as well as which are the most important. This book compiles those opinions on voice classification (often hidden in the vast expanses of a comprehensive choral methods textbook) for comparison and analysis. In addition to the examination of scholarly literature, results of a survey of high school choir directors from across the state of Texas are included. This book focuses on the high school singer and would be particularly useful to high school choir directors and those in music teacher preparation classes.
Margaret Brandman's 'Contemporary Piano Method' is designed to equip the student with the necessary skills to play both Classical and Modern music with ease and understanding. The methodology incorporates a variety of progressive learning modalities, including the interval approach, harmonic understanding and multi-key performance. Book 4 is the most advanced level of the method. The material in this book expand students' musical knowledge and playing skills into the realm of extended chord structures, chord voicings and jazz progressions, plus chord figuring and how to realise a figured bass at the keyboard. This level of the Contemporary Piano Method continues the study of polyphonic music including a three-part invention and a Prelude and Fugue by J.S.Bach. The book explores the various compositional resources of Western music of the Twentieth Century and beyond. The scope of the book covers the structure of music along with the topic of Root Progressions, tools for improvisation and much more. Throughout the book these tools are applied to help students successfully learn advanced pieces in a variety of both classical and contemporary styles, plus understand and perform jazz chord progressions and learn about music outside of the western music tradition, for instance the sound of Indonesian or Japanese music. It also features original compositions by the author who is also an established contemporary composer of works for orchestra, chamber ensembles, choir and solo voice, and piano.
A comprehensive guide for mastering the drumset. Loaded with descriptions and photos of important techniques, tons of solos and examples to play, effective practice tips for good musical development, and progressive skill-building exercises. The perfect launching pad for a lifetime of great drumming. 96 pages. Beginning Drumset is perfect for beginning drummers, this book starts with an introduction to the parts of the drumset, sticking techniques, snare drum rudiments, accents, dynamics and reading drumset music. Techiniques that develop ideal coordination for playing drumbeats are explained in a fun, step-by-step manner, so that by the end of the book, the student can play drum fills, cymbal crashes, sixteenth-note bass drum beats and dotted eighth-note rhythms. Students, teachers and self-taught players alike will enjoy this thorough, easy-to-use method.
A first of its kind approach to the learning of double bass, incorporating traditional classical studies with practical jazz and popular music applications. Michael Moore, who has been at the top of the jazz bass scene since his arrival in New York in the 1960s, and pioneer of jazz education Clem DeRosa, combine to produce an easy to follow method designed for individual or classroom application. Instrumentation: Double Bass
Volume one is for the absolute beginning jazz student who knows his/her major scales. Subjects covered in this book include. VOCABULARY: Intervals, Roman Numerals, Scales, Modes, Diatonic Seventh Chords, Major, Minor, Dominant, and Suspended Chords, Chord/Scale Relationships, The Blues Progression, Using Pentatonic Scales with Blues, Pentatonic Chord/Scale Relationships, The II-V-I Progression, Rhythm Changes, The Circle of Fifths, and The Circle of Fourths, and Steps for Playing on Changes. STYLE: Swing Eighth Notes, Use of the Metronome, Scale Practice, and Scat-Singing Solos. EAR TRAINING: Specific examples and suggestions with recorded tracks for practice. REPERTOIRE: A suggested basic repertoire. This improvisation method is more than just another play-along. It is a series of books and CDs that progress step by step, offering concrete suggestions and advise that shows you how and what to practice. Drawing on twenty-five years of teaching experience at the Eastman School of Music, Ramon Ricker uses text, recorded demonstrations by him and his students, and practice and play-along tracks that present the material in a clear and concise manner. Most of the play-along tracks feature the rhythm section of the 1980 Thad Jones/Mel Lewis Big Band with Harold Danko on piano, Rufus Reid on bass and the late, great Mel Lewis on drums. Since they performed and recorded together consistently over a period of several years, they played as a unit - a true jazz rhythm section. The recordings were brought up to meet todays higher CD standards and served as an inspiration for Ramon Ricker to write three entirely new books. In addition, new demonstration, ear training, and play-along tracks were added. Instrumentation: all instruments