Joining The Dots

Author: Alan Bullard
Publisher:
ISBN: 9781860969775
File Size: 12,83 MB
Format: PDF, ePub, Mobi
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Joining the Dots offers pianists lots of material to help build confidence and skill in sight-reading. The series helps students improve their sense of keyboard geography, helping them to read new music more quickly and easily. The five books cover the requirements for ABRSM's sight-reading tests at each of Grades 1 to 5.

Joining The Dots

Author: Alan Bullard
Publisher:
ISBN: 9781860969782
File Size: 52,77 MB
Format: PDF, ePub, Docs
Read: 4775
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Joining the Dots offers pianists lots of material to help build confidence and skill in sight-reading. The series helps students improve their sense of keyboard geography, helping them to read new music more quickly and easily. The five books cover the requirements for ABRSM's sight-reading tests at each of Grades 1 to 5.

Joining The Dots Book 7 Piano

Author: Alan Bullard
Publisher:
ISBN: 9781848495753
File Size: 80,88 MB
Format: PDF, ePub
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Sight Reading Made Easy A Complete Graded Course For The Pianoforte

Author: Dorothy Bradley
Publisher: Read Books Ltd
ISBN: 1473358108
File Size: 12,97 MB
Format: PDF
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Many of the earliest books, particularly those dating back to the 1900's and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Joining The Dots Singing

Author:
Publisher:
ISBN: 9781848497405
File Size: 34,21 MB
Format: PDF, ePub
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Specimen Sight Singing Tests

Author: ABRSM
Publisher:
ISBN: 9781860969584
File Size: 80,60 MB
Format: PDF
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This volume contains valuable practice material for candidates preparing for the Grades 15 ABRSM Singing exams. Contains specimen tests for the new sight-singing requirements from 2009, representative of the technical level expected in the exam.

Joining The Dots For Guitar Grade 3

Author: Alan Bullard
Publisher:
ISBN: 9781848494350
File Size: 53,56 MB
Format: PDF
Read: 9110
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Joining the Dots offers guitarists lots of material to help build confidence and skill in sight-reading. The series brings together a range of activities to help students improve their sense of fingerboard geography, helping them to read new music more quickly and easily.

Time Pieces For Guitar

Author: Peter Batchelar
Publisher:
ISBN: 9781860967405
File Size: 55,79 MB
Format: PDF, Docs
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Time Pieces for Guitar is a two-volume anthology of well-crafted and idiomatic arrangements of music from the 13th century to the present day. The pieces are presented chronologically within each volume and include the year in which they were written, so you get a sense of the different styles of music through time.

300 Progressive Sight Reading Exercises For Piano

Author: Robert Anthony
Publisher: CreateSpace
ISBN: 9781507759912
File Size: 66,66 MB
Format: PDF
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First and foremost: THIS IS NOT A METHOD BOOK. It is precisely what it says it is: 300 Progressive Sight Reading Exercises! Volume One is comprised of 300 progressive eight-bar exercises that train reading skills for both hands equally: Half of the pieces emphasize the right hand, the other half emphasize the left. The first 32 exercises isolate the hands while the remaining exercises combine them. For most of the exercises, the de-emphasized hand stays within a single five-finger position. Time signatures include 4/4 (Common Time), 3/4, 2/4, 6/8, and 2/2 (Cut Time). This entire first volume is in C Major or its relative modes. Key signatures, accidentals, dynamics, tempo, and expressive markings will be covered in future volumes. All of the exercises are eight measures long. If one has done any study of formal analysis, they will find that eight measures is a typical 'period' of music and usually contains two, four-bar phrases (also typical in length). For example, many sonatinas, jazz standards, and pop songs use "32 Bar Form" (A A B A), "Binary Form" (A B), and "Ternary Form" (A B A), with each section often being eight bars. Thus, eight measures (one period of music) makes the perfect length for sight-reading studies in my opinion. How to use this book: Start where the exercises begin and work across the book - from exercise 1, 5, 9, 13 and so on until you get to a point where the music challenges you and then mark your ending point. The next practice, play exercises 2, 6, 10, 14, and so on... The next: 3, 7, 11, 15 and so on, and finally 4, 8, 12, 16, and so on. If you want to work at your "break point" (the point in the book where you can no longer play musically), work DOWN the page instead of across the pages. Note: This book is also available in a LARGE PRINT version that for printing purposes had to be divided into two books. If you have poor vision or want this book to be easy to SEE on an electronic device, you might prefer the Large Print Version. "These books differ from conventional 'methods' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student." - Bela Bartok, Mikrokosmos. I whole-heartedly agree with Bartok's sentiment and if music teachers would ask their students what they like least (or hate the most) about typical lessons, it is the method books that win this contest EVERY TIME. I have completely eliminated method books from my own teaching practice and have much happier and more productive students than ever. While this book is intended to train sight-reading skills, it may also be used by beginners or those new to reading to acquire basic reading skills, but it assumes one either has a teacher or can at least find C on their instrument. It starts at a very basic level (only three notes) and adds a new note, rhythm, or concept every four exercises and thoroughly reinforces them throughout the rest of the book. Next, the music's composition is a slave to its function: The purpose of the books is to train reading skill, and the exercises keep challenging the range that has been established by previous exercises as well as less-than-convenient intervalic skips. They are composed from a 'music-first' perspective, as opposed to an 'instrument-first' perspective, and are purposely composed to be difficult to memorize. For example, the first exercises begin on C because they are in the key of C, and then go on to sometimes start and end on different scale degrees of the same key. Those familiar with the Fundamental Modes will likely recognize what they are hearing, but those unfamiliar with these modes will likely be hearing something that sounds a bit different, or odd, until their ears acclimate to these sounds. I see many students go through this process with altered dominants and augmented triads as well.

Improve Your Sight Reading Piano

Author: Paul Harris
Publisher: Faber Music Limited
ISBN: 9780571533084
File Size: 12,49 MB
Format: PDF, Mobi
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Helps the player overcome problems, by building up a picture of each piece, through rhythmic and melodic exercises related to specific technical issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of sight-reading pieces.