TEXTBOOK: Level 7B

How To Blitz! Sight Reading Book 1 presents five sight reading concepts and a test in each of its 10 levels. Suitable for ABRSM and Trinity College London Piano Grades 1 & 2 by the end of Level 10 studentswill be well on the way to 'blitzing' the sight reading section of their piano exam but most importantly they'll be having lots of fun along the way! Written by leading piano educator Samantha Coates and the director ofAustralian Music Schools Michelle Madder  How To Blitz! Sight Reading features ten levels with tests brilliant exam hints as well as key stickers and self rating systems - never before has there beensuch a fun sight reading book that actually makes students want to sight read. The BlitzBooks series has inspired thousands of young musicians to master music theory and sight reading. SamanthaCoates created BlitzBooks to be easy to teach and engaging for students. First published in November 2000 it has become the bestselling music textbook series in Australia and is now available inspecially designed versions for the main UK exam boards. Michelle Madder is the founder and director of Australian Music Schools where she has developed and published highly successful music courses for pre-schoolersthrough to adults. Samantha and Michelle have worked together for over 25 years and are both passionate about teaching the best way to develop sight reading skills.

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Practical help for teachers and students of pop music at all levels from GCSE to undergraduate. (Companion book to Pop Music The Textbook (EP 7690) / Livre

A Manual That Transforms a Choir's Warm-Up Time into Meaningful Voice-Building. Choral Cantabile is a manual that transforms a choir's warm-up time into meaningful voice-building. Dr. Katharin Rundus is a renowned singer, voice instructor and choral conductor who has authored three vocal pedagogy textbooks. The first, Cantabile (P5023), is a comprehensive college level text now used the world over. Cantabile: Voice Class (P5026), is single semester text with equal acclaim. Choral Cantabile is the final book in the series and is specifically for the choral conductor. Organized in the same unique, easy-read format, with clarifying icons and duplicatable exercises, this will be a required resource in the classroom and an aid for choral conductors everywhere.

Media Type : Book Level : Beginning-Intermediate Musical Genre : Classic Number of pages : 76 Traditionally the classic guitar has been either excluded or inadequately represented in orchestration textbooks, resulting in much misinformation about its technique, its practicality in various performance contexts, and its character. The guitar's unique tuning, broad timbral variety and intimate nature pose a formidable challenge to non-guitarist composers, for whom an extensive amount of time would be required to gain even a minimal hands-on acquaintance. For most composers this is an unrealistic expectation, leading to time-consuming consultations and extensive drafting or rewriting. The purpose of this book is to provide the non-guitarist composer with the fundamental tools needed to write idiomatically for the guitar. The first of its kind for the guitar, the reference was written in consultation with dozens of composers and conceived with three types of end users in mind: - Experienced composers with a concern for writing idiomatically for the guitar. - Guitarists who are commissioning a work from a composer who has never written for the instrument. - Libraries that wish to add this essential sourcebook to their music reference section. The very structure of the book reflects the composer's own intuition by addressing such questions as: - How is the guitar constructed? - What does successful guitar music look like? - How is the guitar played? - How does the guitarist interpret music and express emotion? - Which musical elements and gestures are most effective? - How do these elements combine to create an effective pacing of idioms? By examining the parameters of successfully written pieces, The Composer's Desk Reference for the Classic Guitar provides an expedient resource of ideas and illustrations contributing to the fluency of both first-time and seasoned guitar composers.