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Author: Carrie Adelaide Alchin
Publisher:
ISBN:
Category : Ear training
Languages : en
Pages : 160
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Book Description
Author: Carrie Adelaide Alchin
Publisher:
ISBN:
Category : Ear training
Languages : en
Pages : 160
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Book Description
Author: C. A. ALCHIN
Publisher:
ISBN: 9781033220573
Category :
Languages : en
Pages : 0
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Book Description
Author: C a 1857-1921 Alchin
Publisher: Palala Press
ISBN: 9781355171843
Category :
Languages : en
Pages : 156
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Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Carrie Adelaide Alchin
Publisher:
ISBN:
Category : Ear training
Languages : en
Pages : 136
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Book Description
Author: Arthur Edward Heacox
Publisher: Forgotten Books
ISBN: 9780282904432
Category : Music
Languages : en
Pages : 196
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Book Description
Excerpt from For Ear, Eye and Keyboard: First Year The choice of sight-singing material is left to the teacher. It should be planned in such a way that it will correlate with the ear-training, each new problem being sung before it is written. The ear-training course may be considered flexible, the outline merely giving helpful suggestions along the way. The ear should be appealed to with the entrance of each new subject; that is, throughout the course there should be some correlation between the harmony and the ear training. But there should always be sufficient review drill on each point to enable the students to master that point before going on to a new-one. The amount of time to be spent on any one problem can not be determined outside of the class room itself. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Harlow D. Curtis
Publisher: Forgotten Books
ISBN: 9780267917891
Category : Music
Languages : en
Pages : 54
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Book Description
Excerpt from Transformation: A Brochure on the Teaching of Music to Children See illustration on page 47performers on the piano are eternally smoothing music with their foot! Why not play with your pupil and run the pedal yourself and thus make him smooth it with his fingers? It is a wonderful way to lay a foundation for a musician; much better than the umbilical strangulation of your pupil's nascent talent with the groundwork of the prestidigitator's art. Many a musician can be developed at the pianoforte to whom the major piano solos are and always will be a closed book, and many a pianist there is who never was and never will be a musician. Let us have more musicians. Everybody gains. Nobody gets a stone for bread. Real pianists get a broader and more finely adjusted technic at the sacrifice of precocity only, and teachers will retain many more pupils and will take real delight in playing good music wit H them all the time. Such would be the immediate gain, if all teachers who under stand and love the works of the master composers would play nothing but their works with their pupils until the fifth or sixth year of piano study. The ultimate gain, on the other hand, would be to confer upon the art of music teaching the greatest boon possible - the elimination of the quack. The quack does not fatten on the masterworks of genius; except for a few pieces, usually very well known by the public at large, which she has acquired by imitation, these master composers are a closed book to her. To put her hors de combat it is only necessary for all her opponents to use this music which is Greek to her and use nothing else. She can teach scales, and old sonatinas (not the splendid new ones of Sibelius and X. Scharwenka) and the transparent Czerny and his ilk; theory, ear training and rhythm exercises are her delight. I do not mean to imply that all teachers who use this material are quacks but that many quaclm are quite adept in using this material. If all teachers would play with their pupils nothing but the works of the great masters, they themselves would see less use for this material and they would put the quack out of business. They would discover the nearest thing to a panacea that I know of. I speak with the conviction of years of experience with young children when I say that if you will start your own pupils yourself at seven to eight years of age and play nothing but the greatest music with them for five or six years, you will discover that there is only one thing left to do, viz. Lead them to play the same composers' works for two hands. You can burn your scale books, throw away your Czerny, forget about ear training, rhythm, etc., and your pupilsin toto will be superior in musical intelligence and appreciation to the pupils of any other teacher. With such material such a result stands to reason. That they will be able to sit down and play from memory a more brilliant piano solo than certain few pupils of other teachers is very doubtful, as you will learn from the article Transformation. However, you will discover the profound truth that it is not necessary to study technic so as to have good music, but it is necessary to study good music so as to have a technic. You will easily establish a correct technic and you will never have to correct an established technic. The refinement of advanced technic should be left to the initiative of the mature player. It should be his delight to discover etudes by the great composers that appeal to his mind and at the same time improve his means of self-expression. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
Author: Frederick G. Shinn
Publisher: Forgotten Books
ISBN: 9780267774456
Category : Music
Languages : en
Pages : 160
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Book Description
Excerpt from A Method of Teaching Harmony, Vol. 1: Based Upon Systematic Ear-Training and Upon the Harmonization of Unfigured Basses, Figured Basses and Melodies, and the Construction of Harmonic Progressions by the Pupil; Diatonic Harmony Two of the chief objectives which this method has in view, then, are, (i) the imparting of a knowledge of chords based primarily upon their sound, and (2) a study of their nature and function, first, individually, and then, joined with others to form progressions. If, however, we claim to teach these aspects of the various chords, it is necessary that the exercrses given upon each chord Should test the pupil's knowledge, and exercise his powers in these special directions. That is, the working of the Exercises, given in connection with the various chords, must reveal, at least to some extent, how far the pupil can hear, mentally, the sound of the chords he has written down, and, by his ability to frame satisfactory progressions of them, how far be under stands their individual nature and function. Hitherto, in most Harmony text books, the Exercises employed have been principally, if not entirely, in the form of Figured basses, but it only requires a brief consideration of the nature of such exercises, and of the directions in which they furnish no test whatever, to Show, that, for the above mentioned purposes, exercises of this kind are quite useless. First of all, the filling up of Figured basses cannot test the pupil's power of hearing. Mentally, what he is writing down, for it is quite possible to correctly fill up the parts of an exercise in accordance with the figures, without having any idea of the musical effect of the resulting harmonic progressions. Secondly, the filling up of Figured basses neither exercises nor tests in the slightest degree the pupil's knowledge of the function of the individual chords, nor his power of selecting chords, which shall be suitable to join with others, for the formation of satisfactory harmonic progressions, for all such matters are decided for him. In these two most essential matters, exercises in the form of Figured basses supply no test whatever, and, therefore, although the Figured bass has hitherto been the time-honoured servant, or back, of every harmony teacher, yet in this book such exercises have been relegated to a position, more, we think, in accordance with the small intrinsic value which they possess as instruments for the teaching of Harmony, than they have hitherto held. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Mary Elizabeth Clark
Publisher: Alfred Music
ISBN: 1470631695
Category : Music
Languages : en
Pages : 34
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Book Description
This is a student workbook which is part of Mary Elizabeth Clark's excellent ear training course for music students of all ages, all levels of advancement, and all instruments -- including voice. It is meant to be used along with the Teacher's Book One of "Now Hear This" in which all the instructions and dictation are given. This student book does not stand alone.
Author: George A. Wedge
Publisher: Forgotten Books
ISBN: 9780266443391
Category : Music
Languages : en
Pages : 350
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Book Description
Excerpt from Advanced Ear Training and Sight Singing The study of Harmony generally consists of writing notes, mathematically calculated from a figured bass, without hearing their sound or understanding their use and bearing upon playing or singing. A musician must be able to read and hear written music as readily as he reads his mother tongue. The purpose of this book is to show the pupil how to study and apply Har mony, to develop the ability to hear what is written and to furnish exercises for study. Each Lesson is divided into three Sections: Section A contains the exercises for written work, applying Harmony to Melodic Construction and Harmoniza tion, and the study of Form; Section B, the exercises for Harmonic, Interval and Melodic Dictation; Section C, the exercises in Singing Intervals, Rhythms, Chords and sight-reading. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Boris Berlin
Publisher: Alfred Music
ISBN: 9781457496363
Category : Music
Languages : en
Pages : 28
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Book Description
A series of graded workbooks which contain daily exercises and complete tests from grade 1 to ARCT. Each grade covers five days of study.
