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📒Keyboard Musicianship ✍ James Lyke
✏Keyboard Musicianship Book Summary :
📒Keyboard Musicianship ✍ Guy Duckworth
✏Keyboard musicianship Book Summary :
📒Keyboard Musicianship ✍ David Bray
✏Keyboard Musicianship Book Summary :
📒Personal Trainer ✍ Paul Sheftel
✏Personal Trainer Book Summary : Volume 4 of "Personal Trainer" is the fourth book in a training program offering musical workouts and enrichment activities for piano students of many ages and skill levels. The overall structure consists of five books, each containing four sections dealing with specific issues. These four sections are entitled: Explorations Eye-So-Metrics Foundations Repertoire The authors believe the development of technique, sight playing and analytical skills are part of an integrated approach to total musicianship; all are stepping-stones to aesthetic expression and musical understanding. They want their students to feel comfortable as they learn to hear what they see, see what they hear, and grow in their understanding of the building blocks of music. Those, simply stated, are fundamental goals of "Personal Trainer." This book was created to work well by itself. It works even better when used with "Home Concert Xtreme, " an interactive software environment for learning, practicing, and performing music.
📒Creative Keyboard Musicianship ✍ Ruth Lloyd
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📒Graded Keyboard Musicianship ✍ Frederick Stocken
✏Graded Keyboard Musicianship Book Summary : Graded Keyboard Musicianship provides graded and integrated exercises for developing five core skills at the keyboard: figured bass, score-reading, transposition, harmonization, and improvisation. Book 1 assumes keyboard ability of Grade 1 ABRSM standard and covers up to Grade 5, while Book 2 covers Grades 6 to 8.
✏Essential Keyboard Repertoire Volume 6 to Develop Technique and Musicianship Book Summary : Much care was given to grading, editing and most of all, student appeal in the Essential Keyboard Repertoire Series. Each volume includes selections from the Baroque to Modern periods, each in its original form. Standard favorites are included, along with a sampling of works which were infrequently performed prior to the introduction of these collections. Editing is based on sound teaching principles to facilitate performance and study. This edition includes 75 early to late intermediate selections designed to help advancing students develop technique and musicianship.
📒Getting Started With Keyboard Musicianship ✍ Nicholas Keyworth
✏Getting Started with Keyboard Musicianship Book Summary : The 'Getting Started' series are step-by-step guides introducing key skills to the beginner musician. In turn they enable teachers to cover all aspects of music in a time-limited lesson. 'Getting Started with Keyboard Musicianship' is an enjoyable and practical introduction to basic keyboard harmony that teaches young musicians the fundamentals that will aid their musical progression. Designed to be used alongside instrumental/singing lessons, this book is packed with activities to do at home as part of practice time.
📒Classroom Keyboard ✍ Patricia Melcher Bissell
✏Classroom Keyboard Book Summary : This book will facilitate meeting the Core Music Standards for grades 5 through 8, and the novice/intermediate Harmonizing Instruments Strand.
📒Teaching Approaches In Music Theory ✍ Michael R. Rogers
✏Teaching Approaches in Music Theory Book Summary : Drawing on decades of teaching experience and the collective wisdom of dozens of the most creative theorists in the country, Michael R. Rogers’s diverse survey of music theory—one of the first to comprehensively survey and evaluate the teaching styles, techniques, and materials used in theory courses—is a unique reference and research tool for teachers, theorists, secondary and postsecondary students, and for private study. This revised edition of Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies features an extensive updated bibliography encompassing the years since the volume was first published in 1984. In a new preface to this edition, Rogers references advancements in the field over the past two decades, from the appearance of the first scholarly journal devoted entirely to aspects of music theory education to the emergence of electronic advances and devices that will provide a supporting, if not central, role in the teaching of music theory in the foreseeable future. With the updated information, the text continues to provide an excellent starting point for the study of music theory pedagogy. Rogers has organized the book very much like a sonata. Part one, “Background,” delineates principal ideas and themes, acquaints readers with the author’s views of contemporary musical theory, and includes an orientation to an eclectic range of philosophical thinking on the subject; part two, “Thinking and Listening,” develops these ideas in the specific areas of mindtraining and analysis, including a chapter on ear training; and part three, “Achieving Teaching Success,” recapitulates main points in alternate contexts and surroundings and discusses how they can be applied to teaching and the evaluation of design and curriculum. Teaching Approaches in Music Theory emphasizes thoughtful examination and critique of the underlying and often tacit assumptions behind textbooks, materials, and technologies. Consistently combining general methods with specific examples and both philosophical and practical reasoning, Rogers compares and contrasts pairs of concepts and teaching approaches, some mutually exclusive and some overlapping. The volume is enhanced by extensive suggested reading lists for each chapter.