Sight-reading is an important aspect of making music and should in some form become a regular part of a student's routine each time they play their instrument.
'Guitar Sight-Reading 2' aims to build on the sight-reading skills learnt in book 1 and provides a wealth of more challenging examples so that the pupil may gain even greater confidence when approaching any new piece of music for the first time.
- 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
- 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
- An approach based on self-learning and recognition of rhythmic and melodic patterns - Original tunes rather than abstract sight-reading exercises - 195 carefully graded pieces in a range of musical styles - Eight sections related to the technical development of the oboist, with tunes using three notes to tunes with a range of nearly two octaves, from low D to high C - 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 two sharps and flats - Preliminary towards grade 5
- An approach based upon self-learning and recognition of rhythmic and melodic patterns - Original tunes not abstract sight-reading exercises- 149 carefully graduated pieces in a range of musical styles- Five sections related to the technical development of the violinist- Tunes progress to eventually include all key signatures up to five sharps and flates; whole-tone, chromatic, modal and atonal elements are also incorporated- Each section concludes with duets and accompanied pieces for practice of ensemble sight-reading- Tunes range from Grade 4 to advanced
Die Kunst des Sprechens bildete ursprünglich den "sprachlichen Teil" eines groß angelegten Werks, das Julius Hey um 1900 unter dem Titel Deutscher Gesangsunterricht veröffentlichte.
"Wildes Lernen": Ist dieses nur im autodidaktischen Lernen der Popmusiker oder im urwüchsigen Lernen in der musikalischen Praxisgemeinschaft der Volksmusiker zu finden?
Gerhard Mantel geht in diesem Buch der Frage nach, über welche Mittel und Werkzeuge ein Interpret verfügen sollte, um einen Notentext zu dem vom Komponisten intendierten geistig-emotionalen Erlebnis zu machen.
Solmisationsgestützter Unterricht - uralt nach seiner Geschichte und aktuell in seiner Methodik - ist belebend und abwechslungsreich, kleinschrittig und umfassend, intensiv und packend.
