Play at First Sight is a unique and comprehensive approach to help improve sight-reading skills. It will strengthen your ability to recognize rhythms quickly and perform them as confidently as possible. The more you practice the exercises and variation possibilities on each page, the more at ease you will become at sight-reading rhythms. The enclosed play-along CD incorporates a variety of musical styles and can be used with many of the exercises throughout the book. Play at First Sight will be an invaluable tool in helping you to become a better sight-reader!
Having spent years looking after her younger sisters when their parents died, Valentina felt like the moment to take control of her own life had finally come. She wanted to see the world, have some fun and finally turn all the plans she’d thought would never be more than dreams into a reality. She had to take a deep breath and force herself to actually go online and book a flight and somewhere to stay. After all, she’d spent years surrounded by her younger sisters, and travelling to another state where she didn’t know anyone all on her own was pretty daring for her. What she didn’t know was that this trip would change her life forever...
Sight-reading is a skill which offers a student access to all music literature; a skill through which he can acquaint himself with any composition, unaided by a teacher. Nor can the ability to sight-read be lost. Once musical notation has become a living picture for the student, it will remain so, and he will at any time afterward be able to perform any music whether he practices regularly or not. Sight-reading does not conflict with repertoire study. On the contrary, a good sight-reader has no trouble in perfecting a piece, and is all the more stimulated to do so. After a student has developed adequate facility in sight-reading, he is ready for unrehearsed or little rehearsed performance; this is especially important for chamber musicians and accompanists. Also, to musicians in other fields who take piano lessons as an additional subject, sight-reading will be very welcome. Thus it is suitable for every piano pupil. For the amateur student, however, the sight-reading method is imperative. Not only does it direct him to an appropriate goal-developing musicianship-but it also helps him to attain it. It is not the privilege of especially talented persons. To play a piano piece correctly at sight implies nothing more than a coordination of the player's ears, eyes, and hands. Every normal person can develop that coordination, though it may mean hard work for some. The efficacy of sight-reading has been proven by my own teaching experience and by that of my co-workers over a period of a great many years with numerous students of all ages and types. Most of our students would have failed under traditional instruction. Many actually had failed, but they resumed their piano studies with our new approach and then succeeded.
In 2012, SABR named F.C. Lane as an honoree of the Chadwick Award, given to baseball's greatest researchers. Lane (1896-1984) was the editor and a prolific writer for Baseball Magazine from 1912 through 1937, and then served as editor of the Little Red Book of Major League baseball through 1948. The author of hundreds of editorials, interviews and articles about how the game was or should be played, Lane wrote forward-thinking pieces about, for example, how batting average could be misleading, opining that different batting outcomes should have different weights. It would be a few more generations before his wisdom began to win the day. Lane authored several books in his day but Batting was the only one on baseball. First published in 1925, Batting collects the wisdom and insights of over 250 hitters and baseball figures. Lane interviewed extensively and compiled tips and advice on everything from batting stances to beanballs. Legendary baseball figures such as Ty Cobb, Casey Stengel, Cy Young, Walter Johnson, Rogers Hornsby, and Babe Ruth reveal the secrets of such integral and interesting parts of the game as how to choose a bat, the ways to beat a slump, common baseball player superstitions, how to outguess the pitcher, even the best way to deal with unhappy fans and the press. The ebook edition includes all the text of the original classic (along with accompanying advertisements), and the biographical introduction written by Frederick Ivor-Campbell for the 2001 paperback edition. The index of names by Leverett T. Smith Jr. is also included in the ebook edition, though sans page numbers of course (ebooks do not have fixed page lengths).
Mihai Spariosu here explores the significance of the closely linked concepts of play and aestheticism in philosophical and scientific discourse since the end of the eighteenth century. Spariosu points out that since its birth in archaic and classical Hellenic thought the concept of play has always been subject to the influences of various rational and prerational sets of values. Spariosu maintains that there have been not one but two major modern concepts of aestheticism: artistic aestheticism, related to a prerational mentality and introduced in modern thought by Schopenhauer and Nietzsche; and philosophicalscientific aestheticism, initiated by Kant and Schiller and shaped by rationalism. According to Spariosu, the first has often arisen in response to the attempts of philosophy and science to impose their standards on art, and the second has often been called on to deal with the epistemological crises that periodically shake these disciplines. Spariosu also looks closely at some of the play concepts that surface in modern science in connection with the Darwinian theory of evolution and the play of scientific discourse itself, as exemplified by the new physics and the contemporary philosophy of science. A penetrating and cogently argued book, Dionysus Reborn will be welcomed by readers interested in Continental philosophy, scientific discourse, and the aesthetics of play, including literary theorists, comparatists, philosophers, intellectual historians, and social scientists.
Written in a supportive, easy-to-follow style, this big book covers just about everything of interest to harpers, beginning through advanced, and is recommended by players and teachers as an excellent tool to better understand your instrument. It combines a reference on such topics as types of harps, maintenance, harmony and chords, ear playing, arranging, singing, improvising, instructions on how to simplify and personalize the music to suit your playing level and much more with a full range of harp arrangements from Celtic to Classic, including a special emphasis on Renaissance music. The 46 titles include Ash Grove, Greensleeves, Danny Boy, Gymnopedie No.3, Cielito Lindo, Amazing Grace, and more, with complete lyrics