I am an award-winning composer, author, and educator. Since 1990 I have had the privilege of teaching others about music through my concerts, children’s books, academic books, lessons, and online courses.
This book is from a series of books entitled Getting to Know the World’s Greatest Composers, which features many different composers. The books are easy to read and will be enjoyed by both younger readers and older readers alike. The cartoon-style artwork may look silly, but the material is informative. Music education would not be complete without some information on the composers who wrote the music. A great series!
As a self-taught guitarist at age 18, I was limited to certain styles I could do justice. I began listening to artists that were more schooled, such as Steely Dan, Weather Report, and Yes. I became obsessed with getting the background musical knowledge to expand into these styles. Easier said than done! The difficulty was in blending my “street” knowledge with the more legit “college” knowledge. As I began to write books, I realized my claim to expertise was not that I was overly schooled, but that I was “just like you,” and somehow developed these shortcuts that brought the higher concepts within reach, unifying all musicians.
I found his book to show a great comparison of chord construction to chemistry. For example, if I asked you for H2O, you could really only give me water. The naming of a molecule tells you all you need to know about what’s in it. In the case of a chord, if I said play me a G13b9, even if you had never played one, you could construct it from the name only, knowing that a letter name followed by an odd number implies dominant, and that in this particular dominant you will be adding two other elements: a 6 and a flat 9. Brilliant!
Ted Greene's Chord Chemistry was originally published in 1971 and has become the classic chord reference book for two generations of guitarists. Whether you are just beginning to search beyond basic barre chords or are already an advanced player looking for new sounds and ideas this is the book that will get you there. Designed to inspire creativity this book is a musical treasure chest filled with exciting new ideas and sounds.
Laurie grew up in a rural community and had the good fortune of working with kind and dedicated teachers who were both skillful pedagogues and encouraging mentors. Their passion for quality teaching and high-level musicianship instilled in Laurie the powerful relationship between teaching and artistic performance. Cornelia dreamed of playing the cello beautifully but didn’t have a real teacher until she was twenty. While the work required relearning almost everything she thought she knew, she was old enough to observe her own transformation, guided by a thoughtful and dedicated teacher, and teaching and performing became the inseparable “two sides of the same coin.”They've worked together ever since, writing, teaching, presenting, and sharing great ideas.
Booth wrote this book to be a complete guide for musicians seeking to expand their careers by offering educational concerts and in-school residencies, but the unusual title is likely a subtle reference to “lessons” that challenge widely accepted assumptions in the world…of music performance.
Open to any chapter to read important, focused information on designing a compelling educational concert, but it doesn’t take long to come shocking statements like “being a teaching artist makes you a better artist” (is it possible?) or a demand that we answer the question “why an inner-city fifth grader should give a damn about Mozart” (you mean they don’t?).
Whether Booth is astutely defining the difference between entertainment and art, exploring the importance of good questioning, or reminding us how play is essential to learning and growth, the nuggets of teaching wisdom embedded in these pages are worth their weight in gold.
When the artist moves into the classroom or community to educate and inspire students and audience members, this is Teaching Artistry. It is a proven means for practicing professional musicians to create a successful career in music, providing not only necessary income but deep and lasting satisfaction through engaging people in learning experiences about the arts. Filled with practical advice on the most critical issues facing the music teaching artist today-from economic and time-management issues of being a musician and teacher to communicating effectively with students-The Music Teaching Artist's Bible uncovers the essentials that every musician needs in order to…
The heroes and heroines in the Seven Kingdoms Fairy Tales face challenges inspired by my own fears, like giving a presentation in the front of the class, getting lost in an unfamiliar place, finding my place in a new school, or working out how to be fair to my friends when we disagree about the rules. Fears tell us a boring life is “safe.” They hide our extraordinary life behind their backs. I write books for and about kids attempting things that are absolutely positively “not for them”. Because kids are the bravest people around. That’s why they’re so magical.
Another hilarious tale about trying something new!
Ten-year-old Zoe Elias sets out to find fame when she starts piano lessons, but the road to Carnegie Hall isn’t as straightforward as she expects. Then her Dad accidentally purchases an electric Hammond organ at the local shopping mall, Zoe is propelled into a whole new world.
I love the way her ambition gradually grows into compassion for others, and making music for the joy of it.
Ten-year-old Zoe Elias dreams of playing a baby grand piano at Carnegie Hall. But when Dad ventures to the music store and ends up with a wheezy organ instead of a piano, Zoe's dreams hit a sour note. Learning the organ versions of old TV theme songs just isn't the same as mastering Beethoven on the piano. And the organ isn't the only part of Zoe's life that's off-kilter, what with Mum constantly at work, Dad afraid to leave the house, and that odd boy, Wheeler Diggs, following her home from school every day. Yet when Zoe enters the annual…
Paul Harris is one of the UK’s most influential music educationalists. He studied the clarinet at the Royal Academy of Music, where he won the August Manns Prize for outstanding performance in clarinet playing and where he now teaches. He is in great demand as a teacher, composer, and writer (he has written over 600 books); and his inspirational masterclasses and workshops continue to influence thousands of young musicians and teachers all over the world in both the principles and practice of musical performance and education.
For anyone who is performing at any level really, this book will help them enhance their performance and manage the stress that sometimes seems to appear in the performance situation. The book looks at ways to approach the music that we have decided to perform a variety of practice strategies and some particularly interesting techniques for all-around improvement taking in both the physical side of playing and the musical side. It’s a serious and quite academic book but well worth the effort.
Musical Excellence offers performers, teachers, and researchers, new perspectives and practical guidance for enhancing performance and managing the stress that typically accompanies performance situations. It draws together, for the first time in a single collection, the findings of pioneering initiatives from across the arts and sciences. Specific recommendations are provided alongside comprehensive reviews of existing theory and research, enabling the practitioner to place the strategies and techniques within the broader context of human performance and encouraging novel ways of conceptualizing music making and teaching.
Part I, Prospects and Limits, sets out ground rules for achieving musical excellence. What roles do…
I am the former Principal bassist with the Cincinnati Symphony and am currently active as a soloist, educator, and author of three books on the mind, body, and spirit of music. My first book is about the mind, The Inner Game of Music, followed by The Mastery of Music on the human spirit of over 120 great musicians and Bringing Music to Life exploring physical skills of communication of all artists, actors, and dancers. I hope to inspire artists of all disciplines, that our performances come from our hearts and souls and not the technical form of dance, music, or words. Performers express feelings and use this gift to spread inspiration and joy to the world.
The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds of music, nature, and one’s own breathing, we can awaken and release our full creative powers. Mathieu guides the reader to hearing the connections between all sounds of music and everyday life. It is insightful and surprising to notice what is around us at any moment of the day and apply this heightened awareness to understanding and connecting with music listening or performance. This awareness can be neglected but applicable to connecting our inner soul with the outside world and to life. Brilliant illuminations from a genius composer, musician and teacher W.A. Mathieu.
The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds and for making music, we can awaken and release our full creative powers. Mathieu offers suggestions and encouragement on many aspects of music-making, and provides playful exercises to help readers appreciate the connection between sound, music, and everyday life.
Paul Harris is one of the UK’s most influential music educationalists. He studied the clarinet at the Royal Academy of Music, where he won the August Manns Prize for outstanding performance in clarinet playing and where he now teaches. He is in great demand as a teacher, composer, and writer (he has written over 600 books); and his inspirational masterclasses and workshops continue to influence thousands of young musicians and teachers all over the world in both the principles and practice of musical performance and education.
Whether you’re a learner or a teacher, developing an interest in what goes on behind the scenes will naturally reap many benefits. This fascinating book deals with many issues that need to be considered whether music is a hobby or a profession. Susan considers how music is processed in the brain, what musical ability actually is, the psychological side of learning to play an instrument and sing, what feeds into our motivation, and generally the extraordinary impact that music has on our lives.
The book will be of particular interest to those training to be instrumental and class teachers, and teachers wishing to further their understanding of teaching and learning. It addresses the psychological underpinnings of all elements of music education and provides a short introduction to the field of music psychology.
It’s not that I actually love this book, it’s more that it raises enormously important questions.
Those of us who believe in the power of music well know that without art and culture the future of humanity surely is in question. There are so many issues to consider and this book raises a good number of them.
Regrettably, we live in an increasingly philistine society, sadly too evident in the kind of politicians who seem to be making the rules today. It would also do them an enormous amount of good to read this book and consider what they seem not to consider.
Seminal lectures on music education since the 1990s.
There is no question that music education is in crisis today. The place of music in the national curriculum is controversial; there have been cuts in the provision of individual lessons; and there have been severe reductions in government funding, with more planned. This book, containing the first five Bernarr Rainbow Lectures, makes an important and timely contribution to the debate on music education. Baroness Warnock brings the perspective of a distinguished philosopher to bear on issues about the nature of music and its study; Lord Moser urges us to maintain and…
Paul Harris is one of the UK’s most influential music educationalists. He studied the clarinet at the Royal Academy of Music, where he won the August Manns Prize for outstanding performance in clarinet playing and where he now teaches. He is in great demand as a teacher, composer, and writer (he has written over 600 books); and his inspirational masterclasses and workshops continue to influence thousands of young musicians and teachers all over the world in both the principles and practice of musical performance and education.
Should you decide to work through my book, I’m sure you’ll find reading music a very attainable skill. And having attained this skill, you may now be considering the possibility of writing music. There are quite a number of books on the subject to recommend but a very comprehensive and thorough approach is Anna Butterworth’s Harmony in Practice. She takes you through the process of understanding musical harmony which will form the background of the melody and rhythm you may wish to impose and in a short amount of time you may find yourself writing your first simple pieces.
Harmony in Practice explores the main elements of tonal harmony. Students using this book will acquire a secure knowledge of the basics of harmonic practice. Singing, playing and completing the exercises, and studying the music examples, will provide essential experience of the 'tools of the trade'. More than 280 music examples illustrate the author's clear and direct exposition of the history and practice of harmony while the student will be able to work through over 180 exercises. The practical workbook format will enable students to prepare for a variety of musical examinations - for the Associated Board's Grade 6 to…
As a self-taught guitarist at age 18, I was limited to certain styles I could do justice. I began listening to artists that were more schooled, such as Steely Dan, Weather Report, and Yes. I became obsessed with getting the background musical knowledge to expand into these styles. Easier said than done! The difficulty was in blending my “street” knowledge with the more legit “college” knowledge. As I began to write books, I realized my claim to expertise was not that I was overly schooled, but that I was “just like you,” and somehow developed these shortcuts that brought the higher concepts within reach, unifying all musicians.
This was the first book I ever read about jazz. If you’re studying jazz, it won’t be the only book you’ll ever want, but I found it to be an essential one. It lays out all the chord types, discusses the elusive topic of “swing,” and has a list of common jazz song forms at the end of the book. My copy has pencil marks all the way through it, because the book involves you by having you write things out on the staff. For me, being self-taught on guitar, this repetition really jump-started my understanding of the basics of the staff.
Improvising Jazz gives the beginning performer and the curious listener alike insights into the art of jazz improvisation. Jerry Coker, teacher and noted jazz saxophonist, explains the major concepts of jazz, including blues, harmony, swing, and the characteristic chord progressions. An easy-to-follow self-teaching guide, Improvising Jazz contains practical exercises and musical examples. Its step-by-step presentation shows the aspiring jazz improviser how to employ fundamental musical and theoretical tools, such as melody, rhythm, and superimposed chords, to develop an individual melodic style.
