Cello Sight-Reading 1 PDF Download
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Author: John Kember
Publisher: Schott Music
ISBN: 3795799694
Category : Music
Languages : de
Pages : 84
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Book Description
- An approach based on self-learning and recognition of rhythmic and melodic patterns - Original tunes rather than abstract sight-reading exercises - 237 carefully graded pieces in a range of musical styles - Nine sections ranging from open strings to extensions and slurs - Each section concludes with a set of duets and accompanied pieces for practice of ensemble sight-reading - Tunes progress to all key signatures up to four sharps and three flats - Preliminary towards grade 4
Author: Tanya Lesinsky Carey
Publisher: Careyworks Incorporated
ISBN: 9780979405303
Category : Cello
Languages : en
Pages : 162
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Book Description
"This five book series will guide the emerging or experienced cellist or teacher through concise, organized steps to becoming or producing a fine cellist. It is designed to be an on-the-music-stand companion for a daily journey of cello discovery."--P. [4] de la couv.
Author: Andrew H. Dabczynski
Publisher: Alfred Music
ISBN: 9781457423475
Category : Music
Languages : en
Pages : 36
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Book Description
A comprehensive supplement for classroom or studio in a unique format, Sight-Read It for Strings will develop consistent reading habits and improve sight-reading for violin, viola, cello and bass students. Using a non-sequential unit format, materials are flexible and can be individualized. Sight-Read It for Strings develops consistent reading habits by addressing: -Counting System -Identification of musical and non-musical cues -Identification of musical patterns -Awareness of the music page layout (the "road map") -Special reading issues not necessarily related to notes
Author: John Kember
Publisher: Schott & Company Limited
ISBN: 9781847610232
Category : Music
Languages : en
Pages : 87
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Book Description
(Misc). This method builds on the lessons begun in Book 1 (49016667), continuing in graduated lessons through more keys, ranges and positions.
Author: John Kember
Publisher: Schott Music
ISBN: 3795799694
Category : Music
Languages : de
Pages : 84
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Book Description
- An approach based on self-learning and recognition of rhythmic and melodic patterns - Original tunes rather than abstract sight-reading exercises - 237 carefully graded pieces in a range of musical styles - Nine sections ranging from open strings to extensions and slurs - Each section concludes with a set of duets and accompanied pieces for practice of ensemble sight-reading - Tunes progress to all key signatures up to four sharps and three flats - Preliminary towards grade 4
Author: Brungard
Publisher:
ISBN: 9780991276707
Category :
Languages : en
Pages :
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Book Description
Author: John Kember
Publisher: Schott Music
ISBN: 3795799740
Category : Music
Languages : de
Pages : 88
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Book Description
- Follows on from book 1 - Uses bass, tenor and treble clefs - Uses all positions including the thumb position - Range extended to include high notes - A variety of styles and keys - Preparation for solo, ensemble and orchestral playing - Grade 4 to advanced
Author: Huron College (Huron, S.D.)
Publisher:
ISBN:
Category :
Languages : en
Pages : 522
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Book Description
Author: Joanne Martin
Publisher: Alfred Music Publishing
ISBN: 9780874874297
Category : Juvenile Nonfiction
Languages : en
Pages : 112
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Book Description
A beginning note-reading book designed for Suzuki-trained violoncello students who have learned to play using an aural approach, or for traditionally taught students who need extra note reading practice.
Author: Brungard
Publisher:
ISBN: 9780997677751
Category :
Languages : en
Pages :
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Book Description
Author: Robert Anthony
Publisher: CreateSpace
ISBN: 9781505887426
Category :
Languages : en
Pages : 88
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Book Description
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 cover the keys of C Major, F Major, G Major, A Minor, D Minor and E Minor. Time signatures include 4/4 (Common Time), 3/4, 2/4, 6/8, and 2/2 (Cut Time). The remaining key signatures, additional time signatures, tempo markings and dynamics 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. Additionally, a 20th-century composition technique (Bartok, Stravinsky) - Serial Composition - has also been used on several of the pieces, so if your ears are unfamiliar with this type of music, you might at first be uncomfortable with what you are hearing.
