Note Grouping
| Author | : | |
| Rating | : | 4.52 (940 Votes) |
| Asin | : | 0942782003 |
| Format Type | : | paperback |
| Number of Pages | : | 144 Pages |
| Publish Date | : | 0000-00-00 |
| Language | : | English |
DESCRIPTION:
CPTScott said Excellent Approach For Creating Forward Motion. Despite my reviewer name (CPT Scott, my other career is as a Certified Personal Trainer), I have actually been a full time piano teacher since 1981 and teach about Excellent Approach For Creating Forward Motion CPTScott Despite my reviewer name (CPT Scott, my other career is as a Certified Personal Trainer), I have actually been a full time piano teacher since 1981 and teach about 45 lessons a week. While I am passionate about playing and teaching classical music I also studied jazz quite intensely at Berklee College of music and took some lessons with Jazz pianist Hal Galper. The reason I mention Hal, is because the approach to note grouping in this book is very similar in concept to Hals approach to creating melodic lines with forward motion. He would actually have you practice scales in a way that had forward motion by u. 5 lessons a week. While I am passionate about playing and teaching classical music I also studied jazz quite intensely at Berklee College of music and took some lessons with Jazz pianist Hal Galper. The reason I mention Hal, is because the approach to note grouping in this book is very similar in concept to Hals approach to creating melodic lines with forward motion. He would actually have you practice scales in a way that had forward motion by u. A guide to expressive playing/singing Tobin Sparfeld This book was loaned to me by a colleague. At first I thought the title was rather unexciting, and that this may be a dull, uninformative book. This has proved to be very incorrect.Thurmond's main point is that musicians can be taught to play/sing expressively, specifically with respect to rhythm.Most amateur musicians have a tendency to play to the downbeat too forcefully and the preceding upbeat without proper emphasis, Thurmond theorizes. This postulate slowly is applied to larger and larger parts of the music, from the inner pulse to the common beat, back again to strong and weak measures, and even perha. it almost captures the genius of the man himself I was a student of Dr. Thurmond's, so I'm a bit biased by the enormous respect I have for the man. I did not work as hard as I should have when I had him as a teacher, and now that he's gone I'm grateful to have this book in my library; it's sort of like I get a second chance. Yes, it's dry and pedantic and formal, but he was too; he was a product of his time, and I couldn't help but smile when I read the stiffly worded explanations, because he really did talk like that. I was not able to hear him play in his prime, but on the rare occasions when he would demonstrate something for me, the sound he produced w
(Meredith Music Resource). Fully explains through musical example, the concept of expressive musicianship as taught by Anton Horner, William Kincaid and Marcel Tabuteau. This book clearly illustrates how to teach students to play or sing with expression, musicianship and style and will help to make your performances "come alive".