Discussion

SKU: HL.49045798

ISBN 9783795711177.

Prob ably anyone who has dealt with contemporary music intensively has consulted the Darmstadter Beitrage zur Neuen Musik more than once. Published since 1958, the volumes have clearly contributed to the fact that the Darmstadt Summer Courses could establish themselves as a major theory and discussion forum. Vol. 23 contains lectures, texts and discussions of the 47th Summer Course of 2014.

SKU: MB.99802M

ISBN 9781513466941. 8.75 x 11.75 inches.

In this series for the intermediate guitarist, John Fahey teaches a wide variety of instrumental solos. Critics have called Johns style American Primitive Guitar. The book includes tablature and notation with three compact discs featuring note-by-note, phrase-by-phrase instruction. LESSON ONE: A general discussion of pattern picking and the use of the alternate bass. In Christ There Is No East Or West, Take A Look At That Baby and Some Summer Day. LESSON TWO: One of Johns most requested multi-sectioned composition is Indian Pacific Railroad Blues, also known as Beverley. This tune demonstrates how John composes in the fingerpicking idiom. Also taught is another very requested and imitated instrumental, Johns The Last Steam Engine Train. LESSON THREE: When The Springtime Comes Again and The Approaching Of The Disco Void. A discussion of improvisational ideas in relationship to fingerstyle compositions concludes this lesson.

SKU: GI.G-9987

ISBN 9781622773985.

Coor dinate Movement for Pianists explores the art and science of playing piano from a fundamental yet often overlooked perspective: sound is the result of movement. What movements, then, produce the most desirable sounds at the piano? Drawing from experience in the fields of piano instruction, medicine, and Body Mapping, author Lisa Marsh presents a detailed discussion—complete with anatomical drawings and music examples—about the types of movement that contribute to a healthy, fluid, and versatile piano technique. This resource is divided into three parts. In the first, Marsh establishes several foundational concepts, including the relationship between sound and movement, sensory awareness, and the practice of inclusive awareness. This section also introduces the key anatomical structures involved in playing piano. Part II focuses on the development of a piano technique based on relaxed, efficient, and anatomically accurate movements. Technical skills addressed include: tremolos, trills, leaps, scales, navigating black and white keys, octaves, chords, voicing, articulation, pedaling, fingerings, repeated notes, and tone production, among others. The dozens of music examples included in Part II, excerpted from the standard piano literature, offer an opportunity for pianists to practice healthy movements in context. This section also includes several chapters that offer practical tips for practicing, learning, and memorizing music. Part III rounds out this resource with a thoughtful discussion about musicians’ physical, mental, and emotional wellness. Topics covered include finding community and employment, combating performance anxiety, preventing injury, and rehabilitating after injury. Coordinate Movement for Pianists is a brilliant reminder that healthy movement is the basis for a fulfilling and lifelong enjoyment of piano. Regardless of experience or level, students and teachers alike are certain to gain new inspiration and reap the benefits from applying these ideas to their own craft. Lisa Marsh is Director of the Coordinate Movement Program at Portland State University, where she specializes in wellness for musicians. Her work as an educator, performer, and composer is informed by years of experience in the fields of medicine, piano study, Body Mapping, and Alexander Technique.