Method in Theory and Practice - Part 6

From best-selling author, John O'Neill, The Saxophone Method is a complete course for the beginner to intermediate saxophonist. Start by mastering the essential foundation techniques of breathing, embouchure, tone production, and tonguing required to be a great player in any style. With a wide range of tunes from all over the world you will be exposed to a great variety of musical styles to motivate and inspire.The mp3 backing tracks, available as free downloads, feature top professional musicians and will give you the feeling of playing in a great band from the very beginning.The Saxophone Method is supplemented by two Repertoire Books to give you even more music to practice and enjoy, and perfectly complements the Jazz Method for Saxophone. By the end of the method you will be able to:understand the fundamentals of good playing techniquehave explored the full range of the instrumentbe familiar with the most common rhythmshave a solid grounding in music theoryhave the confidence to play with a real band in many different styles / Alto Saxophone

870 direct modulations is designed to be a phenomenal resource for: organists and/or pianists- an easy way to execute a transition from_x000D_any chord to the opening measure of a hymn or anthem or any other_x000D_service material._x000D_For composers and arrangers- a handy manual an instant guide for a_x000D_solution to some musical problem in a original composition or in an_x000D_arrangement._x000D_For theory instructors- a practical method for teaching keyboard_x000D_harmony and analysis.Section I: Major To MajorSection Ii: Major To MinorSection Iii: Minor To MajorSection Iv: Minor To Minor

Par OKAZAKI MILES. 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 and the 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 method based 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 two simultaneous tempos. The book concludes with a study of polyrhythm, playing one 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 be inclusive 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. 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 and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe 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 symmetricalscales. 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 triadicsyntax. 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 againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations 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 be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

Drums easy 2 is the sequal to the succesful teaching method Drums Easy. Directly putting theory into practice motivates students and this is the main emphasis of Drums easy. Intensive work on practisepad and drumsetis of course a necessary condition for every successful method. What will particularly help the teacher and the student here is the systematic treatment of the different themes and figures.

The Most Popular Method for Learning How to Play-Recognized for over 50 years as the best-paced and most comprehensive guitar method available Alfred's Basic Guitar Method has introduced over five million beginners to the joy of playing guitar. Now included are blues country folk jazz and rock styles plus more pop songs! DVDs are available for the visual learner and correlating theory chord and pop books provide everything you need from one complete method. Learning to play has never been easier or more fun than with Alfred's Basic Guitar Method---the first and best choice for today's beginning guitar students.Book 1 introduces you to the foundations of guitar playing. Learn notes songs techniques and many other important topics for a lifetime of musical enjoyment.For the first time companion audio tracks that can be downloaded or streamed online are included with the book so you'll have everything you need in one place. The available DVD is newly updated and features video lessons MP3 audio tracks as well as TNT 2 software which lets you slow down tracks isolate and loop parts and change tempos and keys for customized practice.

Composer conductor and educator Anthony Milner taught music theory at Morley College in London (Gustav Holst and Sir Michael Tippett have been Directors of Music there among others) followed by positions at London University King’s College London Goldsmith’s College and the Royal College of Music. His music Voice has been described as ‘orderly but impassioned’ which can also be said of his pedagogy.This short 54 pages book studies music of the eighteenth and early nineteenth centuries from Bach to Beethoven as an easy starting point for understanding of theory and harmony. Milner believed that the best method of teaching harmony was one-on-one at the Keyboard butdevised this book for an academic year’s class work as the next best option. The teaching is unassailable though it is Milner’s own Voice that seasons the text with sound advice and gives the book is personable flavour. Of eccentrically personal music notation he says ‘Writing [music] is a means of communication not of character portrayal. Write clearly.’Of the narrowness of the material covered ‘Let the knowledge of one small part of music be…a gateway to the love and understanding of the rest.’ Milner is a practical characterful colleague in the teaching of music theory.

This exciting new teaching method by the renowned piano pedagogue Hans-Günter Heumann is ideal for adults and young people looking to learn the piano from scratch or for those returning to the piano after a break from playing. Using classical music as a basis for learning this method introduces interesting varied and well-known pieces right from the outset. The two method books have been carefully designed to progress in small manageable steps beginning with simple fingering patterns and exercises onto some of the most beautiful melodies and pieces from the baroque classical and romantic eras such as the Ode to Joy Für Elise and the Blue Danube Waltz.Leading the student through a range of exercises repertoire pieces theory checks tips on practicing playing and technique and composer biographies the process of learning is made interesting informed and fun. The four supplementary volumes present further material to help learning at each stage of the students? development as well as offering up a wider range of beautiful pieces for the solo pianist or piano duet.The method books and duet collections are accompanied by a CD recording of all pieces performed on a grand piano by a professional concert pianist as well as some additional accompanying parts which can be used as play-along tracks.

Par HEUMANN HANS-GUNTER. This exciting new teaching method, by the renowned piano pedagogue Hans-Günter Heumann is ideal for adults and young people looking to learn the piano from scratch, or for those returning to the piano after a break from playing. Using classical music as a basis for learning, this method introduces interesting, varied and well-known pieces right from the outset. The two method books have been carefully designed to progress in small manageable steps, beginning with simple fingering patterns and exercises, onto some of the most beautiful melodies and pieces from the baroque, classical and romantic eras, such as the Ode to Joy, Für Elise and the Blue Danube Waltz. Leading the student through a range of exercises, repertoire pieces, theory checks, tips on practicing, playing and technique, and composer biographies, the process of learning is made interesting, informed and fun. The four supplementary volumes present further material to help learning at each stage of the students? development, as well as offering up a wider range of beautiful pieces, for the solo pianist, or piano duet. The method books and duet collections are accompanied by recordings of all pieces performed on a grand piano by a professional concert pianist, as well as some additional accompanying parts, which can be used as play-along tracks. / Date parution : 2021-12-09/ Méthode / Piano

A collection of studies and compositions written to provide a creative approach to a common problem. Most guitar students have not worked through a methodical approach to reading music notation which limits their personalprogress and sometimes their career development. The author has approached the studies from two directions: horizontal or up the fingerboard on individual strings and positional. The first two parts of the book are extensivelyfingered and designed to make intervals and melodic patterns more visually apparent by repetition of similar ideas in different locations on the neck. The third part contains five extended compositions which draw from theauthor’s jazz background. The first four include chord changes for duo practice as well as challenging melodic lines in a variety of meters that may be used for the study of improvisation. The fifth piece is written in the IndianRaga style. Basic music theory and rhythmic studies are included in the appendices.

A piano method to please students teachers and parents! The Hal Leonard Student Piano Library is clear concise and carefully graded. Perfect for private and group tuition.Piano Ensembles Level 1 is a set offour-part student ensembles (for two or more pianos) with conductor's score and optional accompaniment. The ensembles are arrangements of student favourites from Piano Lessons Book 1. Accompaniment CD also available. Aboutthis series: When music excites our interest and imagination we eagerly put our hearts into learning it. The music in the Hal Leonard Student Piano Library encourages practise progress confidence and success. Theseries offers: a variety of styles and moods; natural rhythmic flow singable melodies and lyrics; teacher accompaniments; improvisation; instrumental accompaniments through CD or MIDI files; realistic pacing which is challengingwithout being overwhelming; clear and concise presentation of concepts which allows room for a teacher's individual approach; uncluttered page layout; basic theory and technique covered. There are five stages to the HalLeonard Student Piano Library each of which is associated with a Piano Lessons Book (and accompanying CD) a Piano Solos Book (and accompanying CD) a Piano Practice Games Book a Piano Theory Workbook and a set of MusicFlash Cards. Practice Record and Teacher's Planner are also available.

'The idea for this set of pieces initially came from writing one as a sixtieth birthday present (I shall not mention which one!). Having written one Baroque-titled piece I gradually added more until a whole suite of Baroque dances was completed.The stimulus of writing a modern set of piano pieces based on Baroque models (in my case a mixture of the English and French Suites of Bach) is nothing new of course. Many twentieth-century composers were inspired by the rigours of devising new ways of looking at Baroque dances and in the process brought new life to the forms (in the case of Schoenberg?s Piano Suite of 1925 actually liberating his new method of 12- notecomposition from theory into practice).For my part the challenge was to write a set of pieces for the piano which would be technically suitable for both young and mature pianists whilst still responding to the compositional demands of creating interesting material mainly organised through contrapuntal means (often just two-part counterpoint as in Bourr?e 1 or the Gigue) but sometimes through harmonic means (as in the Sarabande or Gavotte).In addition the more personal nature of the genesis of the album resulted in each piece or dance being dedicated to a particular friend. Whilst their pianistic skills might vary quite considerably they all share a great love of music - something which unites us all.'???????????? - Edward Gregson1. Paul?s Prelude2. Adam?s Allemande3. Clare?s Courante4. Stefan?s Sarabande5. Gaynor?s Gavotte6. Brian?s Bourr?e (Bour?e 1)7. Bethan?s Bour?e (Bour?e 2)8. Maggie?s Minuet9. Gavin?s Gigue10. Phil?s Postlude

The most favourable qualities of shaping a fine artistic personality are combined in Andrés Batista: vocation sensibility technique and the honest and reserved disposition that has marked his excellent self-taught work. His mastery of the flamenco Guitar as a soloist enabled him to analyse the Guitar technique first intuitively and then with a serious musical background and to translate it in two ways: the tablature and the musical notation so that it is useful for Guitar players with a musical background as well as for those purely intuitive who use the tablature.The main goal of the Metodo De Guitarra Flamenca (Flamenco GuitarManual) is to furnish the pupil with the theoretical and practical knowledge of the different styles in flamenco playing through the adequate explanations and exercises. The method has been divided into three parts: Theory Technique and Practice. Pictures and detailed descriptions are included throughout in Spanish English and French.Even though the final aim of this method is to aid and teach Batista suggests that the advice of a competent teacher will help to avoid mistakes and will also stimulate a better understanding progress and study of the instrument.

Par . Learn your scales! Scale study helps you develop piano technique. This book covers the most essential and widely used scales in jazz, funk, R