500 Polyphonic Sight-Reading Exercises PDF Download
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Author: Michael Kravchuk
Publisher:
ISBN: 9781949440225
Category :
Languages : en
Pages :
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Book Description
500 Sight-reading exercises for piano. The exercises stay within the CDEFG range in both hands in attempt to limit the difficulty of reading multiple lines and range in style from simple diatonic melodies to unusual atonal counterpoints.
Author: Michael Kravchuk
Publisher:
ISBN: 9781949440225
Category :
Languages : en
Pages :
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Book Description
500 Sight-reading exercises for piano. The exercises stay within the CDEFG range in both hands in attempt to limit the difficulty of reading multiple lines and range in style from simple diatonic melodies to unusual atonal counterpoints.
Author: Michael Kravchuk
Publisher: Createspace Independent Pub
ISBN: 9781490370255
Category : Music
Languages : en
Pages : 90
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Book Description
This is the economic perfect binding edition of this book. For coil bound edition go to lulu.com/shop. This book contains 354 sight reading exercises written for the piano. Each exercise is six measures long and stays within the five finger range of CDEFG in both the right hand and the left hand. The exercises go from simple diatonic melodies to unusual atonal counterpoints. These exercises were not written to be studied, but to be played through without stopping or practicing. The greatest benefit these exercises offer to sight-readers is practice reading two clefs at at time and practice reading counterpoint. Because the exercises remain within a five finger pattern, they are not too difficult to read and provide a good start before sight-reading more difficult materials.
Author: Harold Colombatti
Publisher:
ISBN:
Category : Sight-reading (Music)
Languages : en
Pages : 0
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Book Description
Author: Boris Berlin
Publisher: Alfred Music Publishing
ISBN: 9780757998249
Category : Music
Languages : en
Pages : 0
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Book Description
Progressively teaches the student to sight read through observation and study of phrase shape, melodic outline, harmonic structure and overall rhythmic feeling of the music.
Author:
Publisher:
ISBN:
Category : Sight-singing
Languages : en
Pages :
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Book Description
Author: H. B. Murdoch
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
Author: William J. Watson
Publisher: Taplinger Publishing Company
ISBN: 9780800826475
Category : Music
Languages : en
Pages : 32
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Book Description
Author: H. B. Murdoch
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
Author: Robert Anthony
Publisher: CreateSpace
ISBN: 9781507802113
Category : Music
Languages : en
Pages : 162
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Book Description
THIS IS THE LARGE PRINT VERSION OF THIS BOOK: It was designed to be easy to SEE on a Kindle or for the vision impaired. The print is VERY LARGE on purpose. For the Large Print Version, the 300 exercises are broken down into two books. Part One contains exercises 1-150 and Part Two contains exercises 151-300. 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 train reading skills for both hands equally: Half of the pieces emphasize the right hand, the other half emphasize the left. The first 32 exercises isolate the hands while the remaining exercises combine them. For most of the exercises, the de-emphasized hand stays within a single five-finger position. Time signatures include 4/4 (Common Time), 3/4, 2/4, 6/8, and 2/2 (Cut Time). This entire first volume is in C Major or its relative modes. Key signatures, accidentals, dynamics, tempo, and expressive markings will be covered in future volumes. All of the exercises are eight measures long. 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 play every fourth exercise or so - 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. If you want to work at your "break point" (the point in the book where you can no longer play musically), work on consecutive exercises. You should be reading different material from the book each practice. "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.
Author: William J. Watson
Publisher:
ISBN:
Category : Sight-singing
Languages : en
Pages : 40
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Book Description
