Music Books

Book SynopsisHow to get a good sound, read music, and master a variety of styles-including classical, pop, jazz, and LatinListening to a trumpet trilla series of high notes during a military march or wail longingly during a blues rendition-is a pleasure second to none.Table of ContentsIntroduction 1 Part I: Ta-Da! A Prelude to Trumpet Playing 7 Chapter 1: The Instrument of Royalty 9 Chapter 2: How the Trumpet Works 23 Chapter 3: Choosing Your Weapon 35 Chapter 4: A Primer on Music Notation 51 Part II: The Noble Sound of the Trumpet 69 Chapter 5: Making Buzzing Beautiful 71 Chapter 6: Sound the Trumpet! 83 Chapter 7: Adding More Notes, Making More Music 99 Chapter 8: Becoming Articulate on the Trumpet 113 Chapter 9: Warming Up for Greater Success 125 Part III: Developing Your Technique 139 Chapter 10: Lower! Slower! 141 Chapter 11: Higher! Faster! 153 Chapter 12: Arpeggios: Leaps of Faith 167 Chapter 13: Developing Strength and Endurance 177 Chapter 14: Becoming More Articulate 191 Chapter 15: The Different Characters of the Trumpet 217 Part IV: The Complete Trumpeter: Knowledge and Skills for the Advancing Player 231 Chapter 16: A Practice Routine for Success 233 Chapter 17: Becoming More Versatile 269 Chapter 18: Valves, Slides, and Leadpipes: The Greasy Side of Trumpet Playing 293 Chapter 19: Collecting Stuff for Your Trumpet 309 Chapter 20: Studying with a Teacher 325 Chapter 21: Get ting in the Game 333 Part V: The Par t of Tens 345 Chapter 22: Ten Trumpet Kings and Queens 347 Chapter 23: Ten Bad Habits to Avoid 353 Chapter 24: Ten Ways You Can Be Your Best 357 Appendix: About the CD 361 Index 369

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Book SynopsisPersonally compiled and curated by Yoko Ono, Imagine John Yoko is the definitive inside story told in revelatory detail of the making of the legendary album and all that surrounded it: the locations, the creative team, the artworks and the films, in the words of John & Yoko and the people who were there. Features 80% exclusive, hitherto-unpublished archive photos and footage sequences of all the key players in situ, together with lyric sheets, Yoko's art installations, and exclusive new insights and personal testimonies from Yoko and over forty of the musicians, engineers, staff, celebrities, artists and photographers who were there including Julian Lennon, Klaus Voormann, Alan White, Jim Keltner, David Bailey, Dick Cavett and Sir Michael Parkinson. A lot has been written about the creation of the song, the album and the film of Imagine, mainly by people who weren't there, so I'm very pleased and grateful that now, for the first time, so many of the participants have kindly Trade Review'A luxurious scrapbook … Beatles geeks will salivate over it' - Observer'Gorgeous' - i newspaper'Wonderful' - Choice'Tells their love story like never before' - Rolling Stone'Deeply desirable … especially for [those] who covet the rare and beautiful … to see how this avant-garde duo lived and created art is powerfully inspiring' - Harper's Bazaar Australia'A Lennon fan could hardly ask for more' - Washington Post'Fans will be particularly enchanted' - USA Today'This book is near perfect' - Spill'Here, in a new book of interviews past and present, we see how their love affair, the making of the album and their pacifism intertwined' - Financial TimesTable of ContentsPreface • 1. Tittenhurst • 2. Recording Imagine • 3. Album Artwork • 4. Filming Imagine • 5. This Is Not Here • 6. Legacy

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Book SynopsisLRB BOOKSHOP'S AUTHOR OF THE MONTH ONE OF THE GUARDIAN'S BEST BOOKS OF 2019'If you haven't read Bernhard, you will not know of the most radical advance in fiction since Joyce ...

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Book SynopsisAcclaimed scholar rethinks the nature and meaning of music.

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Book SynopsisTeach yourself the essential piano chords plus many more! Organized as a chord per spread, for the left and right hands, this is a handy, comprehensive reference for jazz, pop, rock and soul musicians playing the piano or keyboard at any level. This no-nonsense, easy to carry, wiro book will fit on a stand and into a music bag or hand bag with the minimum of fuss.Revised and updated version, replaces ISBN-13 9781844517152Trade Review5.0 out of 5 stars | Easy Use Chords | By Roy Eldridge | I am self taught on music and I find this very helpful. It is a lot quicker to find the chords compared to my other chord lists. * Amazon *5.0 out of 5 stars | Piano and Chords Books | By Mr G Honey | BRILLIANT little book showing you all the chords you would ever need! The left page shows you the left hand chord structure, and the right hand page shows you the right hand chord structure like fingering etc. A must for reference and ideal when you forget what a chord is made up of. Every music class should have one and I got it at a bargain price from amazon!! * Amazon *5.0 out of 5 stars | This is just great… | By Wayno | For a budding piano great like myself this is an enormous help. Nice big diagrams and text, ring bound, fab. Have also ordered the guitar version as well, this book that good. * Amazon *

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Book SynopsisHow Music Works is David Byrne''s bestselling, buoyant celebration of a subject he has spent a lifetime thinking about. Drawing on his own work over the years with Talking Heads, Brian Eno, and his myriad collaborators - along with journeys to Wagnerian opera houses, African villages, and anywhere music exists - Byrne shows how music emerges from cultural circumstance as much as individual creativity. It is his magnum opus, and an impassioned argument about music''s liberating, life-affirming power.Trade ReviewIt was wildly ambitious to try and turn this galaxy of theory into a readable work of scholarship but Byrne has done it, and done it with style. Brian Eno might as well cancel that book deal now -- Mark Ellen * * The Observer * *As well as being an investigation into the context in which music is made, How Music Works is an accomplished celebration of an ever-evolving art form that can alter how we look at ourselves and the world -- Fiona Sturges * * Independent * *Brilliantly original * * New York Times Book Review * *As accessible as pop yet able to posit deep and startlingly original thoughts and discoveries in almost every paragraph . . . this book will make you hear music in a different way -- Oliver Keens * * The Sunday Telegraph * *A very involving read - Byrne is good company - he has a gift for a telling analogy that makes complex points easily grasped -- Keith Bruce * * The Herald * *How Music Works is a melange of bookish musings on how music is shaped by the places it is played and the technology used to create and disseminate it -- Danny Eccleston * * MOJO * *An entertaining and erudite book . . . this is a serious, straight-forward account of an art from that also manages to be inspiring -- Peter Aspden * * Financial Times * *Given the vastness of the subject, calling a treatise How Music Works seems intellectually arrogant, but it could also be seen as disarmingly frank, a fresh perspective from a down-to-earth mind. David Byrne's book, although a self-conscious art object (backwards pagination, upholstered cover and so on) contains plenty of plain-spoken, sensible observations: a dichotomy typical of the man * * Guardian * *Incisive and intriguing -- Nick Curtis * * The Evening Standard * *How Music Works is not just a noticeably handsome book but a beguiling and hugely perceptive one too -- Jonathan O’Brien * * Sunday Business Post * *The finest music book of the year . . . Handsomely bound, beautifully printed, wittily illustrated, it would make a beautiful collector's item but there is much more going on between the covers . . . bursting with a sense of free-flowing curiosity -- Neil McCormick * * The Daily Telegraph * *Creators of all stripes will find much to inspire them in Mr Byrne's erudite musings on the biological and mathematical underpinnings of sound. . . His observations on the nature of pattern and repetition, and on people's neurological response to aesthetic experience, apply to all creative fields * * The Economist * *It's a great book to pick up and start at any chapter, a hugely rewarding and enriching read. A fascinating look at music from many angles, I would receommend it to anyone who plays or simply has an interest in the history and evolution of the musical form, the culture of music, both as a well of inspiration and as a simple commodity * * Irish Times * *By investigating how music works, Byrne shows us how best it can be used. We are all the richer for his effort -- Yo Zushi * * New Statesman * *Fascinating look at music's power to move -- Alexis Petridis * * The Guardian * *A big beautiful work of art. . . As you might expect from someone as intelligent and open-minded as Byrne, How Music Works is a far ranging and astute look at all the facets of music -- Doug Johnstone * * The Big Issue * *Disarmingly frank, a fresh perspective from a down-to-earth mind -- Michel Faber * * The Guardian * *Inspiring * * Financial Times * *An ambitious attempt at understanding a phenomenon to which the former Talking Head has dedicated his life's work -- John Doran * * Quietus * *Extraordinary * * Guardian * *Unique among a deluge of music biographies and autobiographies coming out this Christmas, this wildly ambitious book breaks the mould -- Arthur House * * The Sunday Telegraph * *Byrne is a crisp and enthusiastic guide -- Rob Fitzpatrick * * The Sunday Times * *Absorbing * * Independent * *[A] wide-ranging tome -- Geeta Daval * * Wired Magazine * *A fluid, intelligent analysis -- Patrick Freyne * * The Irish Times * *Satisfying * * MOJO * *

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Book SynopsisApplies musical principles to gain insight into the structure and development of the human body, and explores the cosmic origins of human beings.

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Book SynopsisModern Recording Techniques is the bestselling, authoritative guide to sound and music recording. Whether youâre just starting out or are looking to improve your skills, this book provides an in-depth guide to the art and technologies of music production and is a must-have reference for all audio bookshelves. Using its familiar and accessible writing style, this new edition has been fully updated, presenting the latest production technologies and including detailed coverage of digital audio workstations (DAWs), networked audio, musical instrument digital interface (MIDI), signal processing and much more. Modern Recording Techniques is supported by a host of video tutorials, which provide additional listening and visual examples, making this text essential reading for students, instructors and professionals.This updated tenth edition includes: Newly expanded Art and Technology chapters, providing more tips, tricks and insights for getting the best out of your recording, mixing, monitoring and mastering An expanded MIDI chapter to include MIDI 2.0 More in-depth coverage of digital audio and the digital audio workstation Greater coverage of immersive audio, including Dolby Atmos Production Table of Contents1. Introduction 2. Sound and Hearing 3. Studio Acoustics and Design 4. Microphones: Design and Application 5. The Analog Tape Recorder 6. Digital Audio Technology 7. The Digital Audio Workstation 8. Groove Tools and Techniques 9. MIDI and Electronic Music Technology 10. The iOS in Music Production 11. Multimedia and the Web 12. Synchronization 13. Amplifiers 14. Power- and Ground-Related Issues 15. Signal Processing 16. The Art and Technology of Monitoring 17. The Art and Technology of Recording 18. The Art and Technology of Mixing 19. The Art and Technology of Mastering 20. Immersive Audio 21. Media Distribution and Manufacturing 22. It's all about the Journey

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Book SynopsisLearn the secrets to achieving your ultimate sound Whether amateur or pro, guitarists live for the ultimate sound.Table of ContentsIntroduction 1 Part I: Getting Started with Guitar Amps & Effects 5 Chapter 1: The Concept of Tone for Creative Guitarists 7 Chapter 2: Making Your Signal Chain Work for You 17 Chapter 3: Aural Delights: Variety in Tone 29 Part II: Grab a Guitar: It’s Your Signal Generator 39 Chapter 4: Understanding the Major Electric Guitar Designs 41 Chapter 5: Guitar Pickups and Electronics 71 Chapter 6: Guitar Hardware 97 Chapter 7: Caring for Your Guitar 117 Part III: The Amplifier: More Than Just Loud 133 Chapter 8: Looking Inside the Major Amp Designs 135 Chapter 9: Choosing the Right Amp for You and Your Music 161 Chapter 10: Understanding Tube Types and Tone 181 Chapter 11: Going from Amp to Ears: Speakers and Cabs 201 Chapter 12: Tips, Tricks, and Basic Amp Maintenance 217 Part IV: Effects Pedals: Fuzz, Filth, Wobble, and Echo 235 Chapter 13: Discovering the Major Types of Effects 237 Chapter 14: Rack Units, Stand-Alones, and Multi-Effects 263 Chapter 15: Setting Up and Using Your Effects 273 Part V: The Part of Tens 291 Chapter 16: Ten Classic Rigs 293 Chapter 17: Ten Iconic Tone Recordings 301 Index 305

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Book SynopsisDJ like a prowithout skipping a beat The bestselling guide to spinning and scratching is back! If you''ve ever spent hours in your bedroom with two turntables and an earful of tracks that sound off-beat or out of key, DJing For Dummies is the go-to guide for taking your skills to the next level. Inside, John Steventon, a successful club DJ, walks you through the basics of mixing, the techniques and tricks you need to create your own DJ style and how to make DJing work for you. Covering both digital and old-school vinyl-based instruction, this guide covers all the latest DJ technology, equipment and software so you can get mixing and stay one step ahead of the crowd. Brimming with expert advice and easy-to-follow explanations, the information in DJing For Dummies gives you everything you need to build a foolproof set and play to a live crowd. Nail down the basics and build on existing skills Sort through the latest equipment and techTable of ContentsIntroduction 1 Part I: Getting Started with DJing 5 Chapter 1: Catching DJ Fever 7 Chapter 2: Starting Up with the Bare Bones 15 Chapter 3: Shopping for Equipment 29 Chapter 4: Retro Chic or PC Geek? Buying Records, CDs and Digital Music Files 45 Part II: Stocking Up Your DJ Toolbox 57 Chapter 5: The Tech Revolution: Format Choices 59 Chapter 6: Getting Decked Out with Turntables 75 Chapter 7: Perfecting Your Decks: Slipmats and Needles 97 Chapter 8: Spinning with CDs 109 Chapter 9: Bits and PCs: Digital DJing 127 Chapter 10: Stirring It Up with Mixers 147 Chapter 11: Ear-split ting Advice about Not Split ting Your Ears: Headphones 165 Chapter 12: Letting Your Neighbours Know That You’re a DJ: Amplifiers 175 Chapter 13: Plugging In, Turning On: Setup and Connections 185 Part III: The Mix 201 Chapter 14: Grasping the Basics of Mixing 203 Chapter 15: Picking Up on the Beat: Song Structure 227 Chapter 16: Mixing Like the Pros 239 Chapter 17: Scratching Lyrical 261 Part IV: Getting Noticed and Playing Live 285 Chapter 18: Building a Foolproof Set 287 Chapter 19: Creating a Great Demo 305 Chapter 20: Getting Busy With It: Working as a DJ 329 Chapter 21: Facing the Music: Playing Live 341 Part V: The Part of Tens 361 Chapter 22: Ten Resources for Expanding Your Skills and Fan Base 363 Chapter 23: Ten Answers to DJ Questions You’re Too Afraid to Ask 371 Chapter 24: Ten Great Influences on Me 381 Chapter 25: Ten DJing Mistakes to Avoid 387 Chapter 26: Ten Items to Take with You When DJing 391 Index 395

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Book SynopsisTable of ContentsIntroduction 1 About This Book 1 Foolish Assumptions 2 Icons Used in This Book 3 Beyond the Book 3 Where to Go from Here 3 Part 1: Getting Started with Music Theory 5 Chapter 1: What Is Music Theory, Anyway? 7 Unearthing Music Theory’s Beginnings 8 Putting the Spotlight on Music Theory Fundamentals 9 Understanding the foundation: Notes, rests, and beats 9 Manipulating and combining notes 9 Studying musical form and compositions 11 Seeing How Theory Can Help Your Music 11 Chapter 2: Determining What Notes Are Worth 13 Meeting the Beat 14 Recognizing Notes and Note Values 15 Examining the notes and their components 15 Looking at note values 17 Checking Out Whole (Semibreve) Notes 18 Homing in on Half (Minim) Notes 19 Considering Quarter (Crotchet) Notes 20 Examining Eighth (Quaver) Notes and Beyond 20 Extending Notes with Dots and Ties 22 Using dots to increase a note’s value 22 Adding notes together with ties 23 Mixing All the Note Values Together 23 Chapter 3: Giving It a Rest 27 Getting to Know the Rests 28 Whole (semibreve) rests 28 Half (minim) rests 29 Quarter (crotchet) rests 30 Eighth (quaver) rests and beyond 30 Extending the Break with Dotted Rests 32 Practicing Beats with Notes and Rests 32 Chapter 4: Introducing Time Signatures 35 Decoding Time Signatures and Measures 35 Keeping Things Easy with Simple Time Signatures 37 Using measures to count in simple time 38 Practicing counting beats in simple time 40 Working with Compound Time Signatures 41 Using measures to count in compound time 42 Practicing counting beats in compound time 43 Feeling the Pulse of Asymmetrical Time Signatures 44 A Short Discussion about Conducting 46 The beat 47 Phrasing, articulation, and dynamics 49 Cueing 49 Chapter 5: Playing with Beat 51 Creating Stress Patterns and Syncopation 51 Placing stress: Knowing the general rules 52 Syncopation: Hitting the off-beat 52 Getting a Jump on Pick-Up Notes 54 Exploring Irregular Rhythms: Triplets and Duplets 55 Adding interest with triplets 56 Working with duplets 57 Part 2: Putting Notes Together 59 Chapter 6: Music Notes (and Where to Find Them) 61 Meeting the Staff, Clefs, and Notes 62 The treble clef 63 The bass clef 63 The grand staff and middle C 64 C clefs: Alto and tenor 64 Identifying Half Steps, Whole Steps, and Accidentals 65 Working with half steps 66 Taking whole steps 68 Changing pitch with accidentals 70 Finding the Notes on the Piano and the Guitar 72 Looking for notes on the piano 73 Picking out notes on the guitar 73 Using Mnemonics to Help Remember Notes 75 Chapter 7: Mastering the Major and Minor Scales 77 Following Major-Scale Patterns 78 Working with major scales on piano and guitar 79 Listening to the major scales 82 Discovering All That Minor Scale Patterns Have to Offer 82 Playing natural minor scales on piano and guitar 83 Having fun with harmonic minor scales on piano and guitar 84 Making great music with melodic minor scales on piano and guitar 86 Listening to the minor scales 88 Chapter 8: Key Signatures and the Circle of Fifths 91 Understanding the Circle of Fifths and Recognizing Major Key Signatures 92 Sharps: Father Charles Goes Down and Ends Battle 93 Flats: Battle Ends and Down Goes Charles’s Father 94 Finding Minor Key Signatures and Relative Minors 95 Visualizing the Key Signatures 96 C major and A natural minor 96 G major and E natural minor 97 D major and B natural minor 97 A major and F sharp natural minor 98 E major and C sharp natural minor 98 B/C flat major and G sharp/A flat natural minor 99 F sharp/G flat major and D sharp/E flat natural minor 99 C sharp major/D flat and A sharp/B flat natural minor 100 A flat major and F natural minor 101 E flat major and C natural minor 101 B flat major and G natural minor 101 F major and D natural minor 102 Chapter 9: Intervals: The Distance between Pitches 103 Breaking Down Harmonic and Melodic Intervals 104 Quantity: Counting lines and spaces 104 Quality: Considering half steps 106 Naming intervals 107 Looking at Unisons, Octaves, Fourths, and Fifths 107 Perfect unisons 108 Augmented unisons 108 Octaves 108 Fourths 110 Fifths 111 Recognizing Seconds, Thirds, Sixths, and Sevenths 112 Seconds 112 Thirds 115 Sixths and sevenths 117 Building Intervals 117 Determining quantity 118 Establishing the quality 118 Showing Major and Perfect Intervals in the C Major Scale 120 Checking Out Compound Intervals 121 Creating a compound interval 121 Returning a compound to its simple state 122 The Nashville Number System 123 Chapter 10: Chord Building 127 Creating Triads with Three Pitches 128 Roots, thirds, and fifths 128 Major triads 130 Minor triads 132 Augmented triads 133 Diminished triads 135 Expanding to Seventh Chords 136 Major sevenths 137 Minor sevenths 138 Dominant sevenths 139 Minor 7 flat 5 chords 139 Diminished sevenths 140 Minor-major sevenths 141 Looking at All the Triads and Sevenths 141 A 142 A flat 142 B 142 B flat 143 C 143 C flat 143 C sharp 144 D 144 D flat 145 E 145 E flat 145 F 146 F sharp 146 G 146 G flat 147 Manipulating Triads through Voicing and Inversion 147 Taking a look at open and close voicing 147 Identifying inverted chords 148 Exploring Extended Chords 150 Ninth chords 151 Minor ninth chords 152 Major ninth chords 152 Ninth augmented fifth chords 153 Ninth flatted fifth chord 153 Seventh flat ninth piano chords 154 Augmented ninth chords 154 Eleventh chords 154 Thirteenth chords 156 Chapter 11: Chord Progressions 159 Reviewing Diatonic Chords, Chromatic Chords, and Minor Scale Modes 160 Identifying and Naming Chord Progressions 161 Assigning chord names and numbers 161 Looking at chord progressions in major keys 162 Checking out chord progressions in minor keys 164 Adding a Seventh Chord to a Triad 165 Seeing (and Hearing) Chord Progressions in Action 167 Applying Chord Knowledge to Fake Books and Tabs 169 Modulating to a New Key 170 Reaching a Musical Cadence through Chord Progressions 170 Authentic cadences 172 Plagal cadences 173 Deceptive cadences 175 Half-cadence 175 Part 3: Musical Expression through Tempo and Dynamics 177 Chapter 12: Creating Varied Sound through Tempo and Dynamics 179 Taking the Tempo of Music 180 Establishing a universal tempo: The minim 180 Keeping steady time with a metronome 181 Translating tempo notation 181 Speeding up and slowing down: Changing the tempo 183 Dealing with Dynamics: Loud and Soft 183 Modifying phrases 184 Checking out other dynamic markings 185 Examining the piano pedal dynamics 186 Looking at the articulation markings for other instruments 188 Chapter 13: Instrument Tone Color and Acoustics 191 Delving into Tone Color 192 Attack: Checking out the beginning sound of a note 192 Timbre: Hearing the body of a note 193 Decay: Listening for the final sound of a note 194 Building the Band: An Acoustics Lesson 195 Part 4: Musical Expression through Form 197 Chapter 14: The Building Blocks of Music: Rhythm, Melody, Harmony, and Song Form 199 Establishing Rhythm 200 Shaping the Melody 201 Complementing the Melody with Harmony 203 Working with Musical Phrases and Periods 204 Linking Musical Parts to Create Forms 206 One-part form (A) 207 Binary form (AB) 207 Three-part form (ABA) 207 Arch form (ABCBA) 209 Chapter 15: Relying on Classical Forms 211 Counterpoint as a Classical Revelation 211 Sussing Out the Sonata 212 Starting with the exposition 213 Moving on to something new: Development 214 Taking a rest with recapitulation 214 Rounding Up the Rondo 215 Figuring Out the Fugue 216 Combining Forms into a Symphony 217 Observing Other Classical Forms 218 Concerto 219 Duet 219 Etude 219 Fantasia 219 Chapter 16: Tapping into Popular Genres and Forms 221 Feeling the Blues 222 12-bar blues 222 8-bar blues 224 16-bar blues 224 24-bar blues 224 32-bar blues ballads and country 225 Having Fun with Rock and Pop 226 Improvising with Jazz 228 Twelve-Tone Compositions 228 Part 5: The Part of Tens 231 Chapter 17: Ten Frequently Asked Questions about Music Theory 233 Why Is Music Theory Important? 233 If I Can Already Play Some Music, Why Bother Learning Music Theory? 234 Why Is So Much Music Theory Centered on the Piano Keyboard? 234 Is There a Quick and Easy Way to Learn to Read Music? 235 How Do I Identify a Key Based on the Key Signature? 235 Can I Transpose a Piece of Music into Another Key? 236 Will Learning Music Theory Hinder My Ability to Improvise? 236 Do I Need to Know Theory if I Just Play Drums? 237 Where Do the 12 Musical Notes Come From? 237 How Does Knowing Theory Help Me Memorize a Piece of Music? 238 Chapter 18: Ten Keys to Reading a Musical Score 239 The Basics 240 Lead Sheets 240 Full Scores 240 Miniature Scores 240 Study Scores 241 Piano Scores 241 Short Scores 241 Vocal Scores 241 Tablature 242 Figured Bass Notion 242 Chapter 19: Ten Music Theorists You Should Know About 243 Pythagoras (582–507 BC) 243 Boethius (480–524 AD) 244 Gerbert d’Aurillac/Pope Sylvester II (950–1003) 245 Guido D’Arezzo (990–1040) 246 Nicola Vicentino (1511–1576) 246 Christiaan Huygens (1629–1695) 247 Arnold Schoenberg (1874–1951) 247 Harry Partch (1901–1974) 248 Karlheinz Stockhausen (1928–2007) 249 Robert Moog (1934–2005) 249 Chapter 20: Ten Musical Movements That Changed History 251 800 AD — England, Gregorian Chant 251 1100 AD — Organum/European Polyphony 252 1649 — England, the Diggers 253 17th Century: Italy, Opera 254 1789-1799: The French Revolution 255 1913 — Atonal Music and Igor Stravinsky’s “The Rite of Spring” 255 1950-1990: Latin America and the Iberian Peninsula, “Nueva Canción” (the New Song Movement) 256 1960s: U.S Civil Rights Movement 257 1980s: Estonia Singing Revolution 258 2010-2012: Arab Spring 259 Part 6: Appendixes 261 Appendix A: Audio Tracks 263 Appendix B: Chord Chart 267 Appendix C: Glossary 305 Index 309

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Book SynopsisBreathe the blues into your harmonica! Blues harmonica is the most popular and influential style of harmonica playing, and it forms the basis for playing harmonica in other styles such as rock and country. Blues Harmonica for Dummies gives you a wealth of content devoted to the blues approachspecific techniques and applications, including bending and making your notes sound richer and fuller with tongue-blocked enhancements; use of amplification to develop a blues sound; blues licks and riffs; constructing a blues harmonica solo; accompanying singers; historical development of blues styles; and important blues players and recordings. The accompanying website features all the musical examples from the book, plus play-along exercises and songs that let you hear the sound you're striving for. In-depth coverage of major blues harmonica techniquesBlues song forms, improvisation, and accompanying singersInformation on blues history and personalities If you're intrigued by the idea of uTable of ContentsIntroduction 1 Part 1: So You Wanna Play Blues Harmonica? 7 Chapter 1: Connecting with the Blues 9 Chapter 2: Getting Your Harmonicas Together 17 Chapter 3: Deciphering the Code: A Blues Guide to Music Symbols 31 Part 2: Doin’ the Crawl: Your First Harmonica Moves 55 Chapter 4: Breathing Life into the Harmonica 57 Chapter 5: Moving Around with Single Notes 73 Chapter 6: Creating Blues Harmonica Licks and Riffs 85 Chapter 7: Progressing Through the 12-Bar Blues 97 Part 3: Beyond the Basics: Getting Bluesy 119 Chapter 8: Working with the Low and High Registers of the Harmonica 121 Chapter 9: Modulating and Punctuating Your Sound 133 Chapter 10: Enriching Your Sound with Textures 145 Chapter 11: Bending Notes: A Classic Part of the Blues Sound 163 Part 4: Developing Your Style 201 Chapter 12: Playing in Different Keys on a Single Harmonica 203 Chapter 13: Working Your Blues Chops in First Position 211 Chapter 14: Accelerating the Blues with Third Position 223 Chapter 15: Playing Blues Chromatic Harmonica in Third and First Positions 235 Chapter 16: Playing Blues in Minor Keys 251 Chapter 17: Groovin’ with Non-12-Bar Blues 263 Part 5: Taking It to the Streets: Sharing Your Music 273 Chapter 18: Developing Your Blues Repertoire 275 Chapter 19: Blues Harmonica Amplification: Making a Big Noise with a Tiny Little Thang 289 Part 6: The Part of Tens 307 Chapter 20: Ten Things to Know about Sharing Your Music with Others 309 Chapter 21: Ten Important Periods and Styles in Blues Harmonica History 321 Part 7: Appendixes 331 Appendix A: Tuning Layouts for All Keys 333 Appendix B: About the Website 339 Index 347

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Book SynopsisWant to become the coolest possible version of yourself? Time to jump into learning the blues guitar. Even if you don't read music, Blues Guitar For Dummies lets you pick up the fundamentals and start jamming like your favorite blues artists. Blues Guitar for Dummiescovers the key aspects of blues guitar, showing you how to play scales, chords, progressions, riffs, solos, and more. This hands-on guide is packed with musical examples, chords charts, and photos that let you explore the genre and play the songs of all the great blues musicians. This accessible how-to book will give you the skills you need to: Choose the right guitar, equipment, and stringsHold, tune, and get situated with your guitarPlay barre chords and strum to the rhythmRecognize the structure of a blues songTackle musical riffsMaster melodies and solosMake your guitar sing, cry, and wailJam to any type of blues Additionally, the book comes with a website that shares audio samples of all the examples covered in the Table of ContentsIntroduction 1 About This Book 1 Conventions Used in This Book 2 What You’re Not to Read 3 Foolish Assumptions 3 How This Book is Organized 4 Part 1: You Got a Right to Play the Blues 4 Part 2: Setting Up to Play the Blues 4 Part 3: Beyond the Basics: Playing Like a Pro 4 Part 4: Sounding Like the Masters: Blues Styles through the Ages 4 Part 5: Gearing Up: Outfitting Your Arsenal 5 Part 6: The Part of Tens 5 Part 7: Appendixes 5 Icons Used in This Book 5 Where to Go from Here 6 Part 1: You Got a Right to Play the Blues 7 Chapter 1: Every Day I Have the Blues Hallelujah! 9 Capturing the Blues Train from Its Departure Then to Its Arrival Now 10 The pieces of blues that made the genre 10 The place of the blues’ conception 11 Rejoicing over 100 years of blues: The shifting shape of the genre 11 The qualities that made blues cats hit the big-time 12 It’s Not All Pain and Suffering — The Lighter Side of Blues 13 Surveying the Means to Make the Music: The Guitar in All Its Glory 14 The low-fi acoustic guitar 14 The semi-hollowbody electric guitar 15 Solidbody electric guitars 15 The Collision of Two Worlds: Acoustic versus Electric 16 Getting a Grip on How Guitars Work 17 You’ve gotta use your hands — both of them 17 Producing the tones: String vibration and pitch 18 Electric guitars only: Pickups and amplification 18 Performing and Looking Like a Blues Player 19 Expanding and filling your brain with know-how 19 Looking the part 20 Blues Trivia For Dummies 21 The questions 21 The answers 22 Chapter 2: Blues Meets Guitar: A Match Made in Musical Heaven 23 Beyond the Delta: Defining the Blues Guitar Sound 24 The method to the music: Chord progressions 25 The guitarist’s language of melody 25 The expression that invokes your senses 26 The groove that sets the pace 27 Dissecting an Acoustic and an Electric 27 Getting Down with the Blues: A Quick How-To 31 The foundation for all guitar playing: Acoustic guitars 31 Shifting acoustic to overdrive: Electric guitars 32 What You Need to Get Your Groove On 35 Chapter 3: Grab Hold, Tune Up, Play On! 39 Holding Your Axe (That Is, Your Guitar) 39 Grabbing your guitar’s neck 40 Pushing down on the strings 41 Getting sound to come out 42 Holding the Pick, Attacking the Problem 44 Getting Situated 45 Sitting down 46 or standing up 46 Tuning Up 47 Helping your guitar get in tune with itself 48 Holding your guitar to an electronic standard 49 Playing a Chord 50 Music Notation: Not Just for Geeks 51 Guidance for your aimless fingers: A chord diagram 52 Mapping out your short-term path: Rhythm notation 53 Guiding you all the way through a song: Tablature 54 Part 2: Setting Up to Play the Blues 55 Chapter 4: Getting a Grip on Left-Hand Chords 57 Starting Out Simple: Blues Chords Even Your Mom Could Play 58 Going to the Next Level: Barre Chords 59 Forming a barre chord 61 Naming barre chords 62 Playing E-based barre chords 63 Playing A-form barre chords 65 Combining forms 67 Taking Advantage of Versatile Power Chords 68 Chapter 5: Positioning the Right Hand for Rhythm and Lead 71 Strumming Along 71 Stroking down 72 And stroking up 72 Combining down and up 73 Striking to a beat 73 Eighth-note striking, twice per beat 74 Mixing Single Notes and Strumming 75 Separating bass and treble: The pick-strum 75 Playing common pick-strum patterns 76 Shuffling the Beats with Syncopated Strumming 78 A bit of notation: Dots that extend and ties that bind 79 Syncopation: Playing with dots and ties 80 Stopping the String Ringing (Just for a Sec) 81 Muting the sound between two chords (left hand) 81 Simulating syncopation with left-hand muting 81 Muting the sound of a note (right hand) 82 Copying the Classics: Plucking Fingerstyle Blues 83 The Right Hand’s Bliss: Different Rhythm Styles to Play 84 The shuffle groove 85 The driving straight-four 87 The slow 12/8, with groups of three 89 The two-beat feel 91 The slow and funky 16 feel 92 Chapter 6: Blues Progressions, Song Forms, and Moves 95 Blues by the Numbers 95 Recognizing the Big Dogs: Primary Key Families and Their Chords 96 The Structure of a Blues Song, Baby 97 Playing the 12-bar blues 98 Slow blues 101 The 8-bar blues 104 Straight-four (or rock blues) 104 Applying Structures to Keys 106 A move with many chords: The Jimmy Reed move 106 The sound of sadness: Minor blues 109 Accessorizing the 12-Bar Blues: Intros, Turnarounds, and Endings 112 Intros 112 Turnarounds 113 Endings 114 High Moves 115 Chapter 7: Musical Riffs: Bedrock of the Blues 119 Basic Single-Note Riffs 120 For the low-down bass notes: Quarter-note riffs 120 The big daddy of riffs: Eighth-note riffs 121 Adding a little funk: 16th-note riffs 122 Throwing rhythm for a loop: Syncopated eighth-note riffs 123 Double the Strings, Double the Fun: Two-Note Riffs (or Double-Stops) 123 Straight feel 124 Shuffle, or swing, eighths 125 High-Note Riffs, the Bridge to Lead Guitar 126 Keith Richards’s borrowed trademark: Quick-four riffs 127 Intro, turnaround, and ending riffs 127 Mastering the Rhythm Figure 133 Part 3: Beyond the Basics: Playing Like a Pro 135 Chapter 8: Playing Lead: Soaring Melodies and Searing Solos 137 Mastering Your Picking Technique 138 Becoming smooth with your simple downs and ups 138 Tackling tricky alternate-picking situations 140 The Universal Lead Language: The Pentatonic Scale 141 Why the pentatonic is the perfect scale 142 The two sides of the pentatonic scale 142 A common scale for practice: E minor pentatonic 144 Pentatonic Plus One: The Six-Note Blues Scale 147 Adding Some Extra Flava to the Blues Scale 148 Clashing bitterly 149 A dash of sweetness 149 Chapter 9: Playing Up the Neck 153 For Inquiring Minds: Why Up the Neck You Should Go 153 Positioning Your Digits for an Easy Key Change 154 The pros of closed positions 155 The details of closed, numbered positions 155 Easing Into Position: Moving the Pentatonic Up and Down 157 Changing Your Position 159 A natural first: Moving from fifth position to eighth 159 The eighth-position blues bonus 160 How low can you go? Moving from fifth position to third 160 The Technical Side of Moving 161 Like taking candy from a baby: The subtle shift 161 Seeking a bit of attention: The noticeable slide 162 When you don’t want to move, just reach or jump 163 Five Positions You Should Know: Meanderings of the Pentatonic Scale 163 Relating the positions to each other 164 Connecting the positions: Licks that take you up and down 166 Understanding the Logic behind the Corresponding Shift of Position and Key 166 Recognizing common keys and their comfortable positions 167 Mapping keys to positions 167 Chapter 10: Express Yourself: Making the Guitar Sing, Cry, and Wail 171 Appreciating the Art of Articulation 172 Going In for the Attack 172 A little bit louder now a little bit softer now: Dynamics 173 Hitting hard and backing off 174 Breaking Down the Music: Phrasing 176 Connecting notes the slippery way: Slides 176 It’s hammer time — get ready to strike a string! 179 Exposing a note by lifting a digit: Pull-offs 181 Giving Your Sound a Bit of Flair 182 Shake that string: Adding vibrato 182 The rubber-band blues: Bends that stretch a string 183 Playing a Song with Various Articulations 187 Part 4: Sounding Like the Masters: Blues Styles through the Ages 191 Chapter 11: Acoustic Roots: Delta Blues and Its Country Cousins 193 Delta Blues: Where It All Began 194 Understanding the Delta technique 194 Ladies and gentlemen, king of the Delta blues: Robert Johnson 194 Country Ragtime: The Piedmont Blues 201 Everything In-Between: Country and Folk Blues 203 A quick profile of country and folk blues 203 Giving these “in-between blues” a listen 204 Closing with a lick and some style: Ragtime tags 204 Country and Folk Blues Had a Baby; Its Name was Rockabilly 206 Quintessential Blues: Slide Guitar 208 The tools that let you slide 208 Sliding technique 208 Tuning your guitar for slide, a technique all its own 209 Chapter 12: The Birth and Growth of Classic Electric Blues 213 The Rise of the Electric Guitar in Blues 214 Giving Props to the Earliest Electric Pioneer 215 Sweet Home Chicago, Seat of the Electric Blues 218 Muddy Waters, leader of the pack 218 Elmore James, slide guitarist extraordinaire 219 Otis Rush: Soulful player with a flair for vibrato 220 Buddy Guy, the father of blues rock 221 Modern-Day Blues Styles: The Sounds of Texas 222 Four Blues Giants: Three Kings and a Collins 224 Albert King, the upside-down string bender 224 B.B King, the blues’ king of kings 225 Freddie King, a two-pick man 227 Albert Collins, master of the Telecaster 228 Children of the Post-War Blues Revival 229 Son Seals, Chicago’s favorite son 230 Robert Cray, smooth persuader 230 Bonnie Raitt, stellar lyrical slides artiste 231 Chapter 13: Blues Rock: The Infusion of Ol’ Rock ’n’ Roll 233 The Blues Had a Baby, and They Called It Rock ’n’ Roll 234 Chuck Berry, blues rock’s first superstar 234 Bo Diddley, king of the jungle beat 236 The Brits Invade the Blues 236 Clapton and Green, early blues icons 236 Jeff Beck, blues-rock’s mad scientist 237 Trippin’ the Blues 238 Eric Clapton, the original guitar god 238 Jimi Hendrix takes the blues psychedelic 240 Heavy “Blooze”: The Infusion of Hard Rock 241 Jimmy Page, frontrunner of the metal blues 241 Leslie West, big man with a big sound 241 Blackmore and beyond, where blues gets scary 242 Southern Comfort 243 The Allmans, especially brother Duane 243 Lynyrd Skynyrd 243 Hot Barbecue Blues, Texas Style 244 Johnny Winter, Texas blues-rock titan 245 Billy Gibbons and ZZ Top, giving rock some soul 246 Stevie Ray Vaughan, the greatest modern bluesman of them all 246 Blues on Steroids 249 Eddie Van Halen takes the blues to ’80s metal 249 Euro-Metal brings virtuosity and precision to the blues 249 21st-Century Soul 250 John Mayer, new kid on the blues block 250 Allmans Redux: Warren Haynes and Derek Trucks, keepers of the flame 250 Part 5: Gearing Up: Outfitting Your Arsenal 253 Chapter 14: Shop Till You Drop: Buying the Right Guitar for You 255 Before You Begin Shopping 256 Deciding On a Make and Model 257 Evaluating a Guitar 257 Construction 258 Materials 259 Workmanship 262 Appointments (aesthetic options) 263 Welcome to the Jungle: Shopping 263 Bringing a friend 264 Money matters: Deal or no deal 264 Protecting Your Guitar 266 Hard cases 266 Soft cases 267 Gig bags 267 Chapter 15: Choosing Your Amp and Effects 269 Getting Started with a Practice Amp 270 Shopping for a practice amp 270 Playing with a practice amp 272 Powering Up to a Larger Amp 273 Choosing among different amp formats 274 Feeling the power 276 Dissecting the Amplifier 277 Input jack 277 Preamp 278 Tone 278 Effects 279 Power amp 280 Speakers 280 The flexibility of having separate channels 280 What’s That Sound? Checking Out Your Amp Choices 281 Tube amps 281 Solid-state amps 283 Hybrid amps 283 Digital-modeling amps 284 Remembering the Good Old Days 284 Vintage amps 285 Reissue amps 285 Dialing in an Amp Sound 285 Chronicling Classic Amps for Blues 287 Fender Bassman 287 Fender Deluxe Reverb 287 Fender Twin Reverb 288 Marshall JTM 45 288 Marshall Plexi Super Lead 100 289 Vox AC30 289 Mesa/Boogie Mark IIc+ 290 Messing Around with Your Sound: Effects 291 Juicing Up Your Sound 292 When your sound is too hot to handle: Distortion 292 Toying with Tone Quality 293 EQ: The great tonal equalizer 294 Wah-wah, the effect that is as it sounds 294 Modulation Effects, from Swooshy to Swirly 294 Stacking sounds for a fuller effect: Chorus 294 Swooshing, like a jet plane: Flangers and phase shifters 295 Like a visit to the opera house: Vibrato and tremolo 295 Pretending (and Sounding Like) You’re Somewhere You’re Not 296 Delaying sound in a cave-like way 297 Adding reverb to make your sound slicker 297 Choosing an Effects Format 298 A string of effects: Pedals on parade 298 A box to house them all at your feet 299 A box to house them all at hand level 299 Chapter 16: Changing Strings 303 Change is Good, But When? 303 Choosing the Right Strings 304 Acoustic strings 305 Electric strings 305 Outfitting Your String-Changing Toolkit 307 Removing Old Strings 308 Stringing a Steel-String Acoustic 309 Stringing an Electric Guitar 313 Part 6: The Part of Tens 319 Chapter 17: Ten Blues Guitar Giants 321 Robert Johnson (1911–38) 321 Elmore James (1918–63) 322 T-Bone Walker (1910–75) 322 Muddy Waters (1915–83) 322 Albert King (1923–92) 323 B.B King (b 1925) 323 Albert Collins (1932–93) 323 Otis Rush (b 1934) 324 Eric Clapton (b 1945) 324 Stevie Ray Vaughan (1954–90) 324 Chapter 18: Ten Great Blues Guitars 325 Gibson L-1 Flattop 325 Gibson ES-175 Archtop 326 National Steel 326 Gibson J-200 326 Fender Telecaster 327 Gibson Les Paul 327 Fender Stratocaster 327 Gibson ES-335 328 Gibson ES-355 328 Gibson SG 328 Chapter 19: Ten (Plus One) Must-Have Blues Guitar Albums 329 Robert Johnson: The Complete Recordings 329 Blues Masters: The Very Best of Lightnin’ Hopkins 330 T-Bone Walker: Complete Capitol Black & White Recordings 330 T-Bone Walker: Complete Imperial Recordings 330 The Best of Muddy Waters 331 B.B King: Live at the Regal 331 The Very Best of Buddy Guy 331 Robert Cray: Bad Influence 331 Masters of the Delta Blues: Friends of Charlie Patton 332 Mean Old World: The Blues from 1940 to 1994 332 Chicago: The Blues Today 332 Part 7: Appendixes 333 Appendix A: How to Read Music 335 The Elements of Music Notation 336 Reading pitch 337 Reading duration 338 Expression, articulation, and miscellaneous terms and symbols 340 Appendix B: How to Use the Website 343 Relating the Text to the Website 343 Count-offs 344 Stereo separation 344 System Requirements 344 What You’ll Find on the Website 345 Audio tracks 345 Troubleshooting 350 Index 351

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Book SynopsisTable of ContentsIntroduction 1 About This Book 1 Foolish Assumptions 3 Icons Used in This Book 3 Beyond the Book 4 Where to Go from Here 4 Part 1: Getting Started with Harmonica 7 Chapter 1: What Is This Thing Called Harp? 9 Considering the Harmonica’s Coolness 9 Becoming the Next Harmonica Idol: What It Takes to Play 11 A harmonica 11 A little music know-how 11 Your body 12 Regular practice — and unstructured fun! 12 Taking Your Talent to the Next Level 13 Hanging Out in the Harmonica Village 14 Sharing your music with others locally 14 Visiting the repair shop and the accessory store 14 Chapter 2: Becoming a Harmonica Owner 17 Shopping for Your First Harmonica 18 Understanding the construction of the ten-hole diatonic 18 Tuning in to the key of the harp 19 Starting out with a harp in the key of C 19 Pricing a harmonica 20 Determining where to buy a harp 20 Safe and Sound: Caring for Your Harp 21 Collecting Additional Diatonic Harps 23 Purchasing popular keys 24 Expanding your range with harps in high and low keys 24 Adding Variety to Your Harmonica Kit 25 Chromatic harps 25 Tremolo and octave harmonicas 27 Making Your Harps Portable with Carrying Cases 28 Getting to Know You: Discovering How a Harmonica Works 29 Making a five-layer tin sandwich 29 Taking a closer look at the reeds that make the sound 30 Locating different notes 31 Chapter 3: Making Your First Harmonica Sounds 33 Preparing to Play the Harmonica 33 Picking up the harp 34 Putting the harp in your mouth 34 Breathing through the harp 35 Moving through the holes 35 Getting Acquainted with Some Musical Concepts 36 Zeroing in on harmonica tab 36 Counting with musical time 36 Locking in with the beat 37 Using beats as building blocks 39 Developing Your Sound 44 Expanding and sustaining your breathing 44 Cupping the harp in your hands 47 Nestling the harmonica in your mouth 50 Playing some cool rhythms 50 Chapter 4: Relating to Notes, Scales, and Chords 55 Getting in Tune with the Singable Notes 56 Understanding the curious phenomenon of octaves 56 Naming the notes and creating a scale 57 Using octaves to name all the notes 57 Altering pitches with sharps and flats 58 Measuring small distances with semitones and whole tones 59 Sizing Up Intervals 60 Counting out the size of an interval 60 Determining the quality of an interval 61 Finding the Key of a Song 62 Stepping Through Scales 63 Diatonic and chromatic scales 63 Major and minor scales 64 Modal scales 66 Altering a scale with sharps and flats 66 The Building Blocks of Chords 67 Four basic types of chords 68 Adding notes to basic triads 68 Chord progressions 69 Writing Notes Down 70 Placing notes on a staff 70 Writing sharps and flats on the staff 72 Unlocking key signatures 72 Finding harmonica notes on the staff 73 Part 2: Starting to Make Some Music 75 Chapter 5: I Hear a Melody: Playing Single Notes 77 Shaping Your Mouth to Single Out a Note 78 Forming the pucker embouchure 78 Producing a tongue-block embouchure 80 The Elements of Motion: Moving from One Note to the Next 81 Exploring breath changes 82 Finding your way with hole changes 83 Alternating breath changes and hole changes 85 Coordinating simultaneous hole changes and breath changes 86 Exploring the Three Registers of the Harmonica 87 Playing Familiar Tunes in the Middle Register 88 “Good Night, Ladies” 89 “Michael, Row the Boat Ashore” 89 “Mary Had a Little Lamb” 90 “Amazing Grace” 91 Making Your First Multi-Hole Leaps 92 “Twinkle, Twinkle, Little Star” 92 “Frère Jacques” 92 “On Top of Old Smokey” 94 Shifting up from the Middle 95 “Bunessan” (“Morning Has Broken”) 95 “Joy to the World” 96 Floating in the High Register 97 “Aura Lea” (“Love Me Tender”) 98 “She’ll Be Comin’ ’Round the Mountain” 99 “Silent Night” 100 Chapter 6: Shaping Your Sound 103 Enlarging Your Sound with Projection 104 Using your air column 104 Enriching your sound with the smooth swimming exercise 104 Increasing airflow through the reeds 106 Varying your volume with dynamics 109 Projecting with your hands 110 Starting and Ending Notes with Articulation 112 Starting notes with your tongue 113 Using your throat to articulate notes 115 Initiating a note with your diaphragm 116 Shaping the Tone Color of Your Notes 118 Changing vowel sounds with your tongue 118 Brightening and darkening your sound using your hands 119 Slowly changing the sound 119 Combining hand and tongue vowels 120 Pulsating Your Notes with Vibrato 120 Diaphragm vibrato 121 Throat vibrato 122 Tongue vibrato 123 Hand vibrato 123 Synchronizing and layering pulsation 124 Chapter 7: Enhancing Your Sound with Your Tongue on the Harp 127 Using Your Tongue to Combine Chords and Melodies 128 Knowing the chords on your harp 128 Accompanying melodies with chords 129 Chasing the beat with a chord 131 Reinforcing Melody Notes with Your Tongue 132 Applying the tongue slap 133 Popping chords with pull-offs 133 Creating Chord Textures with Your Tongue 135 Alternating tongue placements to produce the chord rake 136 Lifting and replacing your tongue to play a chord hammer 137 Rapidly alternating widely spaced notes with the shimmer 138 Combining Widely Spaced Notes with Splits 139 Sticking with a locked split 139 Inching along with variable splits 140 Playing Quick and Wide Leaps with Corner Switching 145 Chapter 8: Bending Notes 149 Knowing the What and the Why of Bending 150 What is bending? 150 Why bend notes? 151 Getting Started with Bending Notes Down 151 Exploring the roof of your mouth 152 Making some helpful noises 153 Creating your bend activator with the K-spot 154 Playing your first bend 156 If at first you don’t succeed: Practicing persistence 158 Deepening Your Skills at Bending Notes Down 159 Surveying the bendable notes 159 Working through the four stages of bending control 162 Bending draw notes down in the middle register 163 Bending draw notes down in the heart of the harp — the low register 165 Bending blow notes down in the high register 170 Bending on Different Types of Harmonicas 174 Chromatic harps 174 Double reed harps 175 Chapter 9: Positions: Playing One Harp in Many Keys 177 Understanding How Positions Help Your Playing 177 Figuring Out a Position 179 Relating Positions, Modes, and Avoid Notes 181 Rocking with Six Popular Positions 182 First position (C on a C-harp) 183 Second position (G on a C-harp) 185 Third position (D on a C-harp) 188 Fourth position (A on a C-harp) 190 Fifth position (E on a C-harp) 193 Twelfth position (F on a C-harp) 195 Part 3: Growing Beyond the Basics 199 Chapter 10: Fancy Playing: Developing Flair and Speed 201 Mastering Melody from the Ground Up 202 Seeing the scale 203 Recognizing scale patterns 204 Anchoring melodies on chord notes 209 Simplifying the scale to five notes 211 Adding Ornaments to the Melody 214 Shakes 214 Rips, boings, and fall-offs 215 Grace notes 215 Developing Your Speed 216 Start slow and know each individual move 216 Learn in small chunks 217 Speed it up — slowly 217 Think and play in larger units 217 Chapter 11: Mastering New Songs 219 Understanding How Songs Work 219 The container: Structuring time 219 The shifting backdrop: Chord changes 221 The foreground: Melody 221 Choosing the Right Harp 222 What are the notes in the scale? 222 What are the notes in the chords? 223 Making It Up versus Playing It Straight 225 Learning melodies 225 Jamming on a tune 226 Trial and Error: Playing Along with Random Music 227 Chapter 12: Behind the Hidden Treasure: Bending Notes Up 229 Considering the Coolness of Overbends 230 Playing more licks, riffs, and scales 230 Playing in more keys 231 Exploring the Things to Know Before You Start 232 How to choose a suitable harmonica 232 Determining which notes overblow and overdraw 232 Preparing your mind, body, and ears 235 Getting Your First Overblows 236 The push-through approach 236 The springboard approach 238 Achieving More Overblows 239 Getting Your First Overdraws 239 Raising the Pitch of an Overbend 241 Playing overbends in tune 241 Bending overbends up241 Blending Overbends into Your Playing 242 Strengthening your overbend approaches 242 Smoothing your follow-ons 244 Part 4: Developing Your Style 245 Chapter 13: Rockin’ and Bluesin’ 247 Getting Hip to the Blues/Rock Approach 248 The Three Basic Chords of Rock-and-Roll, Blues, and Nearly Everything 249 The Three Popular Harmonica Positions 249 Relating positions to chords and scales 250 Second position and the three basic chords 250 First position 251 Third position 251 Playing Sweet Melodies in First Position 252 “Kickin’ Along” 252 “Youngish Minor” 253 “Morning Boots” 254 The 12 Bars of Blues 255 Making a statement: Tell it, brother! 255 Fitting the notes to the chords 256 Exploring 12-Bar Blues with Second Position 257 “Ridin’ the Changes” 257 Driving the rhythm with “Lucky Chuck” 258 “Buster’s Boogie” 259 Adding Minor Chords to a Progression: “Smoldering Embers” 261 Adding the Flat III and Flat VII Chords: “John and John” 263 Burning in Third Position: “Tom Tom” 264 Chapter 14: Expressing Yourself with Some Folk and Gospel Melodies 267 Sampling Some First-Position Songs 268 “Buffalo Gals” 268 “Wildwood Flower” 269 “La Cucaracha” 270 Getting Acquainted with a Few Second-Position Songs 271 “Since I Laid My Burden Down” 272 “Cluck Old Hen” 273 “Aura Lea” in second position 273 “This Train (Is Bound for Glory)” 274 Inhaling Some Third-Position Melodies 276 “Little Brown Island in the Sea” 277 “She’s Like the Swallow” 278 Exploring Folk Songs in Twelfth, Fourth, and Fifth Positions 279 “À la claire fontaine” in twelfth position 279 “The Huron Carol” in fourth position 280 “Poor Wayfaring Stranger” in fifth position 281 Chapter 15: Fiddlin’ the Night Away with Traditional Dance Tunes 283 Choosing Harps for Playing Folk and Celtic Music 284 The tremolo harmonica 284 The chromatic harmonica 285 Playing Fast Fiddle Tunes 285 Trying Out Some First-Position Tunes 286 “Jerry the Rigger” 286 “Soldier’s Joy” 287 “The Stool of Repentance” 289 Energizing Some Tunes in Second Position 290 “Over the Waterfall” 290 “Angeline the Baker” 292 “Bat Wing Leather” 294 Feeling the Excitement of Third-Position Tunes 295 “Dorian Jig” 295 “The Dire Clog” 295 Part 5: Taking It to the World 299 Chapter 16: Putting It All Together — Your Tunes, Your Band, Your Listeners 301 Putting Your Tunes Together 302 Selecting tunes for the harmonica 302 Making it your own: Arranging a tune 304 Adding vocals to your tunes 306 Making Music with Others 306 Setting some ground rules when you play with others 306 Knowing when to lay out 308 Playing in a duo 308 Jamming with a band 309 Strutting Your Stuff Onstage 310 Looking good, feeling good 310 Preparing for an onstage performance 310 Overcoming stage fright 311 Recovering from mistakes 312 Taking center stage: Soloing 312 Chapter 17: Amplifying Your Sound 313 Getting Acquainted with Amplification Basics 314 Playing through a Microphone for the First Time 314 Playing into a microphone on a stand 315 Playing with a microphone cupped in your hands 316 Hearing yourself through the chaos 317 Avoiding the dreaded howl of feedback 318 Taking Amplification to the Next Level: Clean and Distorted Amplified Sound 319 Getting better acquainted with microphones 319 Altering a harp’s sound with effects 321 Cranking it up with amplifiers, preamps, and speakers 322 Connecting Mics, Amplifiers, and Effects Units 324 Chapter 18: Improving Your Harmonica with Repairs and Upgrades 327 Gathering the Tools You Need 328 Following Good Repair Practices 329 Making Three Simple Improvements 330 Disassembling and reassembling a harp 330 Flexing the reeds 331 Smoothing sharp edges and corners 332 Diagnosing and Fixing Problems 332 Taking a harp apart and putting it back together 334 Clearing obstructions from your harp 336 Fixing reeds that are misaligned 337 Narrowing reed slots 337 Setting reed action 338 Tuning your harmonica 342 Part 6: The Part of Tens 347 Chapter 19: Ten (Or More) Ways to Connect in the Harmonica World 349 Take Lessons from a Pro 349 Enjoy Harmonica Performances 350 Seek Out Musical Events That Don’t Focus on Harmonica 350 Let Loose at Jam Sessions and Open Mic Nights 350 Contribute to Harmonica Discussion Groups Online 351 Surf Informational Websites 352 Use Paid Content Learning Sites 353 Join a Harmonica Club 354 Share Your Enthusiasm at Harmonica Festivals 354 Sign Up for a Harmonica Seminar 355 Advertise 356 Chapter 20: Way More Than Ten Harmonica Albums You Should Hear 357 Blues 358 Rock 359 Bluegrass/Old-Timey 360 Celtic 360 Country 361 Gospel 362 Jazz 362 Part 7: Appendixes 365 Appendix A: Tuning Layouts for All Keys 367 Appendix B: Audio Tracks and Video Clips 373 The Audio Tracks 373 The Video Clips 380 Customer Care 381 Index 383

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Book SynopsisTable of ContentsIntroduction 1 Book 1: Guitar 101 5 Chapter 1: Guitar Anatomy and Tuning 7 Chapter 2: Getting Ready to Play 21 Chapter 3: Buying and Stringing a Guitar 33 Chapter 4: Deciphering Music Notation and Tablature 61 Book 2: Sounds and Techniques 75 Chapter 1: Basic Major and Minor Chords 77 Chapter 2: Adding Spice: Basic 7th Chords 95 Chapter 3: Power Chords and Barre Chords 109 Chapter 4: Right-Hand Rhythm Guitar Techniques 123 Chapter 5: Playing Melodies in Position and in Double-Stops 145 Book 3: Getting to Know Guitar Theory 161 Chapter 1: Navigating the Fretboard and Building Triads 163 Chapter 2: Getting to Know the CAGED System 187 Chapter 3: Playing Snazzier Chords with Chord Tones and Extensions 209 Chapter 4: Playing Chord Progressions by Numbers 227 Chapter 5: Identifying Tonics, Keys, and Modes 239 Chapter 6: Dominant Function and Voice Leading 271 Book 4: Rock Guitar 283 Chapter 1: I Know, It’s Only Rock Guitar, but I Like It 285 Chapter 2: Playing Lead 301 Chapter 3: Groovin’ on Riffs 323 Chapter 4: Going Up the Neck and Playing the Fancy Stuff 333 Chapter 5: The Care and Feeding of Your Electric Guitar 355 Book 5: Blues Guitar 377 Chapter 1: Introducing the Blues and Playing Blues Rhythm 379 Chapter 2: Blues Progressions, Song Forms, and Moves 405 Chapter 3: Musical Riffs: Bedrock of the Blues 427 Book 6: Classical Guitar 443 Chapter 1: Introducing the Classical Guitar 445 Chapter 2: Playing Easy Pieces in Open Position 467 Chapter 3: Combining Arpeggios and Melody 481 Book 7: Exercises: Practice, Practice, Practice 501 Chapter 1: Putting the Major Scales to Use in Your Playing 503 Chapter 2: Adding Major Scale Sequences to Your Repertoire 515 Chapter 3: Tackling the Three Minor Scales 529 Chapter 4: Building Finger Independence with Chord Exercises 557 Appendix A: 96 Common Chords 581 Appendix B: Accessing the Video Clips and Audio Tracks 585 Index 593

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Book SynopsisTable of ContentsPreface xiii 1 Introduction to Energy Storage Systems 1Rajender Kumar Beniwal, Sandeep Dhundhara and Amarjit Kalra 1.1 Introduction 2 1.1.1 Basic Components of Energy Storage Systems 5 1.2 Types of Energy Storage Systems 5 1.2.1 Chemical Energy Storage System 6 1.2.2 Mechanical Energy Storage System 8 1.2.3 Electromagnetic Energy Storage System 11 1.2.4 Electrostatic Energy Storage System 12 1.2.5 Electrochemical Energy Storage System 14 1.2.6 Thermal Energy Storage System 18 1.3 Terminology Used in ESS 19 1.4 Applications of ESS 21 1.5 Comparative Analysis of Cost and Technical Parameters of ESSs 23 1.6 Analysis of Energy Storage Techniques 23 1.7 Conclusion 28 References 28 2 Storage Technology Perspective in Modern Power System 33Reinaldo Padilha França, Ana Carolina Borges Monteiro, Rangel Arthur and Yuzo Iano 2.1 Introduction 34 2.2 Significance of Storage Technologies in Renewable Integration 35 2.3 Overview of Current Developments in Electrical Energy Storage Technologies 38 2.4 Commercial Aspects of Energy Storage Technologies 40 2.5 Reducing the Costs of Storage Systems 41 2.6 Energy Storage Economics – A View Through Current Scenario 42 2.7 Implications for Researchers, Practitioners, and Policymakers 43 2.8 Regulatory Considerations – A Need for Reform 44 2.9 Discussion 46 2.10 Conclusions 47 2.11 Trends and Technological Modernizations – A Look Into What the Future Might Bring 49 References 50 3 Virtual Inertia Provision Through Energy Storage Technologies 59Shreya Mahajan and Yajvender Pal Verma 3.1 Introduction 59 3.2 Virtual Inertia-Based Frequency Control 61 3.2.1 Concept of Virtual Inertia 61 3.2.2 Virtual Inertia Emulation 62 3.3 Impact of Low System Inertia on Power System Voltage and Operation & Control Due to Large Share of Renewables 63 3.4 Control Methods for Inertia Emulation in RES-Based Power Systems 65 3.4.1 Control Methods Without ESS for Frequency Control 66 3.4.2 Control Methods with ESS for Frequency Control 67 3.4.2.1 Battery Energy Storage Systems (BESS) 69 3.4.2.2 Super Capacitors and Ultra-Capacitors 70 3.4.2.3 Flywheel Energy Storage System (FESS) 70 3.4.2.4 Hybrid Energy Storage System (HESS) 71 3.5 Challenges 73 References 73 4 Energy Storage Systems for Electric Vehicles 79M. Nandhini Gayathri 4.1 Introduction 79 4.2 Energy Storage Systems for Electric Vehicle 82 4.3 Types of Electric Vehicles 82 4.3.1 Battery Electric Vehicle (BEV) 85 4.3.2 Hybrid Electric Vehicle (HEV) 86 4.3.3 Plug-In Hybrid Electric Vehicles (PHEV) 87 4.4 Review of Energy Storage Systems for Electric Vehicle Applications 88 4.4.1 Key Attributes of Battery Technologies 88 4.4.2 Widely Used Battery Technologies 88 4.4.3 Alternate Energy Storage Solutions 92 4.5 Electric Vehicle Charging Schemes 93 4.6 Issues and Challenges of ESSs in EV Applications 94 4.7 Recent Advancements in the Storage Technologies of EVs 94 4.8 Factors, Challenges and Problems in Sustainable Electric Vehicle 96 4.9 Conclusions and Recommendations 97 References 97 5 Fast-Acting Electrical Energy Storage Systems for Frequency Regulation 10Mandeep Sharma, Sandeep Dhundhara, Yogendra Arya and Maninder Kaur 5.1 Introduction 106 5.1.1 Significance of Fast-Acting Electrical Energy Storage (EES) System in Frequency Regulation 106 5.1.2 Capacitive Energy Storage (CES) 107 5.1.2.1 Basic Configuration of CES 109 5.1.2.2 CES Control Logic 112 5.1.3 Superconducting Magnetic Energy Storage (SMES) 113 5.1.3.1 Constructional and Working Details of SMES 113 5.1.3.2 Basic Configuration of SMES 114 5.1.3.3 SMES Block Diagram Presentation 115 5.1.3.4 Benefits Over Other Energy Storage Methods 116 5.1.4 Advantages of CES Over SMES 117 5.2 Case Study to Investigate the Impact of CES and SMES in Modern Power System 118 5.2.1 Literature Review 118 5.2.2 Modeling of the System Under Study 121 5.2.3 Control Approach 121 5.3 Impact of Fast-Acting EES Systems on the Frequency Regulation Services of Modern Power Systems 124 5.3.1 System Model-1 124 5.3.2 System Model-2 128 5.4 Conclusion 137 Appendix A 137 References 138 6 Solid-Oxide Fuel Cell and Its Control 143Preeti Gupta, Vivek Pahwa and Yajvender Pal Verma Abbreviations 144 Symbols and Molecular Formulae 144 Nomenclature 145 6.1 Introduction 145 6.2 Fuel Cells 147 6.2.1 Different Types of Fuel Cells 148 6.2.2 Advantages and Disadvantages 148 6.2.3 Applications in Modern Power System 150 6.3 Solid-Oxide Fuel Cell 150 6.3.1 Mathematical Modeling 152 6.3.2 Linearization 153 6.3.3 Control Schemes for Solid-Oxide Fuel Cell Based Power System 155 6.3.3.1 Constant Voltage Control 156 6.3.3.2 Constant Fuel Utilization Control 156 6.4 Illustration of a Case Study on Control of Grid-Connected SOFC 160 6.5 Recent Trend in Fuel Cell Technologies 165 6.5.1 Techno-Economic Comparison 166 6.5.2 Market and Policy Barriers 168 6.6 Summary and Future Scope 169 Acknowledgement 170 References 170 7 Lithium-Ion vs. Redox Flow Batteries – A Techno-Economic Comparative Analysis for Isolated Microgrid System 177Maninder Kaur, Sandeep Dhundhara, Sanchita Chauhan and Mandeep Sharma 7.1 Introduction to Battery Energy Storage System 178 7.1.1 Lithium-Ion Battery 178 7.1.2 Redox Flow Batteries 182 7.2 Role of Battery Energy Storage System in Microgrids 186 7.3 Case Study to Investigate the Impact of Li-Ion and VRFB Energy Storage System in Microgrid System 188 7.3.1 System Modelling 188 7.3.2 Evaluation Criteria for a Microgrid System 191 7.3.3 Load and Resource Assessment 191 7.4 Results and Discussion 192 7.5 Conclusion 194 References 195 8 Role of Energy Storage Systems in the Micro-Grid Operation in Presence of Intermittent Renewable Energy Sources and Load Growth 199V V S N Murty, Ashwani Kumar and M. Nageswara Rao 8.1 Introduction 200 8.1.1 Techniques and Classification of Energy Storage Technologies Used in Hybrid AC/DC Micro-Grids 201 8.1.2 Applications and Benefits of Energy Storage Systems in the Microgrid System 202 8.1.2.1 Applications and Benefits of BESS in Micro-Grid 203 8.1.3 Importance of Appropriate Configuration of Energy Storage System in Micro-Grid 205 8.1.3.1 Decentralized Control 206 8.1.3.2 Centralized Control 206 8.1.3.3 Coordinated Control 207 8.1.3.4 Topology of BESS and PCS 208 8.1.3.5 Battery Management System 208 8.2 Concept of Micro-Grid Energy Management 209 8.2.1 Concept of Micro-Grid 210 8.2.2 Benefits of Micro-Grids 212 8.2.3 Overview of MGEM 213 8.3 Modelling of Renewable Energy Sources and Battery Storage System 214 8.4 Uncertainty of Load Demand and Renewable Energy Sources 220 8.5 Demand Response Programs in Micro-Grid System 221 8.5.1 Modelling of Price Elasticity of Demand 221 8.5.2 Load Control in Time-Based Rate DR Program 223 8.5.3 Load Control in Incentive-Based DR Program 223 8.6 Economic Analysis of Micro-Grid System 223 8.7 Results and Discussions 224 8.7.1 Dispatch Schedule Without Demand Response 224 8.7.2 Dispatch Schedule with Demand Response 225 8.7.3 Micro-Grid Resiliency 229 8.7.4 BESS for Emergency DG Replacement 235 8.8 Conclusions 237 List of Symbols and Indices 238 References 240 9 Role of Energy Storage System in Integration of Renewable Energy Technologies in ActiveDistribution Network 243Vijay Babu Pamshetti and Shiv Pujan Singh Nomenclature 244 9.1 Introduction 246 9.1.1 Background 246 9.1.2 Motivation and Aim 248 9.1.3 Related Work 249 9.1.4 Main Contributions 253 9.2 Active Distribution Network 253 9.3 Uncertainties Modelling of Renewable Energy Sources and Load 254 9.3.1 Uncertainty of Photovoltaic (PV) Power Generation 254 9.3.2 Uncertainty of Wind Power Generation 255 9.3.3 Voltage Dependent Load Modelling (VDLM) 256 9.3.4 Proposed Stochastic Variable Module for Uncertainties Modelling 256 9.3.5 Modelling of Energy Storage System 258 9.3.6 Basic Concept of Conservation Voltage Reduction 259 9.3.7 Framework of Proposed Two-Stage Coordinated Optimization Model 259 9.3.8 Proposed Problem Formulation 260 9.3.8.1 Investments Constraints 262 9.3.8.2 Operational Constraints 262 9.3.9 Proposed Solution Methodology 263 9.3.10 Simulation Results and Discussions 265 9.3.10.1 Simulation Platform 265 9.3.10.2 Data and Assumptions 265 9.3.10.3 Numerical Results and Discussions 266 9.3.10.4 Effect of Voltage Profile 268 9.3.10.5 Effect of Energy Losses and Consumption 268 9.3.10.6 Effect of Energy Not Served and Carbon Emissions 272 9.3.10.7 Performance of Proposed Hybrid Optimization Solver 272 9.3.11 Conclusion 274 References 275 10 Inclusion of Energy Storage System with Renewable Energy Resources in Distribution Networks 281Rayees Ahmad Thokar, Vipin Chandra Pandey, Nikhil Gupta, K. R. Niazi, Anil Swarnkar, Pradeep Singh and N. K. Meena 10.1 Introduction 282 10.2 Optimal Allocation of ESSs in Modern Distribution Networks 284 10.2.1 ESS Allocation (Siting and Sizing) 285 10.2.2 ESS Allocation Methods 286 10.3 Applications of ESS in Modern Distribution Networks 290 10.3.1 ESS Applications at the Generation and Distribution Side 293 10.3.2 ESS Applications at the End-Consumer Side 293 10.4 Different Types of ESS Technologies Employed for Sustainable Operation of Power Networks 294 10.5 Case Study 301 10.5.1 Proposed Two-Layer Optimization Framework and Problem Formulation 302 10.5.1.1 Upper-Layer Optimization 303 10.5.1.2 Internal-Layer Optimization 304 10.5.1.3 Problem Constraints 305 10.5.1.4 Proposed Management Strategies for BESS Deployment 307 10.5.2 Results and Discussions 308 10.5.3 Conclusions 316 10.6 Future Research and Recommendations 317 Appendix A 318 Acknowledgement 319 References 319 Index 329

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Book SynopsisTable of ContentsIntroduction 1 About This Book 1 Foolish Assumptions 2 Icons Used in This Book 2 Beyond the Book 3 Where to Go from Here 4 Part 1: Getting Started with Classical Music 5 Chapter 1: Prying Open the Classical Music Oyster 7 Discovering What Classical Music Really Is 8 Figuring Out What You Like 8 The Seven Habits of Highly Effective Composers 9 Their music is from the heart 9 They use a structure that you can feel 9 They’re creative and original 10 They express a relevant human emotion 10 They keep your attention with variety and pacing 11 Their music is easy to remember 11 They move you with their creations 12 Chapter 2: The Entire History of Music in 80 Pages 13 Understanding How Classical Music Got Started 13 Chanting All Day: The Middle Ages 14 Gregorian chant 14 A monk named Guido 15 Mass dismissed! 15 The First Composer-Saint 16 Born Again: The Renaissance 16 The madrigal takes off 16 Opera hits prime time 17 Getting Emotional: The Baroque Era 18 Renegade notes on wheels 18 Kings, churches, and other high rollers 19 Antonio Vivaldi 19 George Frideric Handel 21 Johann Sebastian Bach 24 Tightening the Corset: The Classical Style 26 Joseph Haydn 27 Wolfgang Amadeus Mozart 29 Joseph Boulogne, Chevalier de Saint-Georges 34 Ludwig van Beethoven: The man who changed everything 34 Schubert and his Lieder 39 Felix Mendelssohn 42 Fanny Mendelssohn 44 Falling in Love: Hopeless Romantics 45 Carl Maria von Weber 45 Hector Berlioz 46 Frédéric Chopin 49 Robert Schumann 51 Johannes Brahms 54 The superstars: Paganini and Liszt 56 Liszt follows Paganini’s lead 57 Richard Wagner 58 Strauss and Mahler 59 Saluting the Flag(s): Nationalism in Classical Music 63 Bedřich Smetana 64 Antonín Dvořák 65 Edvard Grieg 67 Jean Sibelius 68 Carl Nielsen 70 Glinka and the Mighty Fistful 71 Peter Tchaikovsky 73 Sergei Rachmaninoff 75 Listening to Music of the 20th Century and Beyond 77 Debussy and Ravel 78 Igor Stravinsky 80 Sergei Prokofiev 83 Dmitri Shostakovich 84 The Second Viennese School 86 The Americans 87 Chapter 3: Spotting a Sonata 95 Symphonies 95 First movement: brisk and lively 96 Second movement: slow and lyrical 97 Third movement: dancy 98 Finale: rollicking 98 Sonatas and Sonatinas 99 Concertos 100 Concerto structure 101 The cadenza 101 Dances and Suites 103 Serenades and Divertimentos 104 Themes and Variations 105 Fantasias and Rhapsodies 106 Tone Poems (Or Symphonic Poems) 107 Lieder (and Follower) 107 Leader of the Lieder 108 Song forms 108 Oratorios and Other Choral Works 109 Operas, Operettas, and Arias 110 Overtures and Preludes 110 Ballets and Ballerinas 111 String Quartets and Other Motley Assortments 112 Why Do You Need a Form, Anyway? 113 Part 2: Listen Up! 115 Chapter 4: Dave ’n’ Scott’s E-Z Concert Survival Guide™ 117 Preparing — or Not 117 Knowing When to Arrive at the Concert 118 Can I Wear a Loincloth to The Rite of Spring? 119 The Gourmet Guide to Pre-Concert Dining 119 Figuring Out Where to Sit — and How to Get the Best Ticket Deals 120 To Clap or Not to Clap: That’s the Question 122 Why nobody claps 122 More on the insane “no-clap” policy 123 Who to Bring and Who to Leave at Home with the Dog 125 Recognizing Which Concerts to Attend — or Avoid — on a Date 125 Peeking at the Concert Program 126 The typical concert format 127 The music itself 129 A different kind of program 130 Introducing the Concertmaster 132 Finding the pitch 133 Twisting and turning, pulling and pushing 133 Enter the Conductor 135 Understanding interpretation 135 Slicing up time 137 Reading the job description 138 Chapter 5: For Your Listening Pleasure 141 1 Handel: Water Music Suite No 2: Alla Hornpipe 142 2 Bach: Well-Tempered Clavier, Book 2: Prelude and Fugue in C Major 143 3 Mozart: Piano Concerto No 22 in E-Flat, Third Movement 145 4 Beethoven: Symphony No. 5, First Movement 149 Exposition 150 Development 151 Recapitulation 151 Coda 152 5 Brahms: Symphony No 4, Third Movement 153 6 Dvořák: Serenade for Strings, Fourth Movement 155 7 Tchaikovsky: Symphony No 6, Fourth Movement 156 8 Debussy: La Mer: Dialogue du Vent et de la Mer 158 9 Stravinsky: The Rite of Spring: Opening to the End of Jeu de Rapt 161 Introduction 161 Danses des adolescentes (Dances of the Adolescent Girls) 162 Jeu de rapt (Ritual of Abduction) 163 INTERMISSION: Backstage Tour 165 Living in the Orchestral Fishpond 165 What I Did for Love 166 Going through an Audition 167 An almost-true story 167 Rigged auditions 169 The list 169 The prescription 170 Playing the odds 170 An unexpected meeting 171 The return 171 Onstage 172 Behind the screen 172 The wait 174 The aftermath 175 The Life of an Orchestra Musician, or What’s Going on in the Practice Room? 175 Selling the Product 176 Understanding Contract Riders 179 The Strange and Perilous Relationship between an Orchestra and Its Conductor 180 Why an Orchestra Career Is Worth the Grief 182 Part 3: A Field Guide to the Orchestra 183 Chapter 6: Keyboards & Co 185 The Piano 185 Looking inside the piano 186 Naming the notes 186 Finding an octave 186 Playing the black keys 187 Looking inside the piano 188 Pressing down the pedals 188 Hearing the piano 190 The Harpsichord 191 Winning the Baroque gold medal 191 Hearing the harpsichord 192 The Organ 193 Pulling out the stops 194 Hearing the organ 194 The Synthesizer 195 Chapter 7: Strings Attached 197 The Violin 198 Drawing the bow 199 Tuning up 199 Playing the violin 200 Vibrating the string 201 The unbearable lightness of bowing 201 Plucking the strings 202 Hearing the violin 203 The Other String Instruments 204 The viola 204 The cello 206 The double bass 208 The harp 209 The guitar 212 Chapter 8: Gone with the Woodwinds 215 The Flute 216 Making music out of thin air 216 Hearing the flute 217 The Piccolo 218 The Oboe 219 Playing the oboe 221 Hearing the oboe 222 The English Horn 223 The Clarinet 223 Transposing instruments 223 Hearing the clarinet 225 The Saxophone 226 The Bassoon 227 Chapter 9: The Top (and Bottom) Brass 231 Making a Sound on a Brass Instrument 232 The French Horn 233 Hunting for notes: The natural horn 234 Adding valves: The modern, treacherous horn 234 Hearing the French horn 235 The Trumpet 236 Tonguing 237 Using mutes 237 Hearing the trumpet 237 The Trombone 238 Sliding around 239 Hearing the trombone 240 The Tuba 241 A gaggle of tubas 241 Hearing the tuba 242 Pet Peeves of the Brassily Inclined 242 Chapter 10: Percussion’s Greatest Hits 243 The Timpani 244 Drum roll, please! 246 Hearing the timpani 246 The Bass Drum 246 The Cymbals 247 The Snare Drum 247 The Xylophone 248 Other Xylo-like Instruments 250 More Neat Instruments Worth Banging 250 The triangle 250 The tambourine 252 The tam-tam and gong 253 The castanets 254 The whip 254 The cowbell 255 The ratchet 255 Part 4: Peeking Into the Composer’s Brain 257 Chapter 11: The Dreaded Music Theory Chapter 259 I’ve Got Rhythm: The Engine of Music 260 Dividing up time 260 Feeling the beat 261 Sight-reading for the first time 262 Making notes longer 263 Making notes shorter 264 Adding a dot 265 Taking the final exam 266 Understanding Pitch: Beethoven at 5,000 rpm 267 Performing an experiment for the betterment of mankind 268 12 pitches! 269 Notating pitches 270 Dave ’n’ Scott’s 99.9999% Key-Determining Method 278 Why we have keys 279 Making the Leap into Intervals 280 The major second 281 The major third 282 The fourth 282 The fifth 283 The major sixth 284 The major seventh 285 The octave 285 Telling the difference: major and minor intervals 286 The minor second 286 The minor third 287 The minor fifth (not!) — aka the tritone 288 The minor sixth 288 The minor seventh 289 Getting on the Scale 290 Constructing a Melody 292 Getting Two-Dimensional: Piece and Harmony 292 Major, minor, and insignificant chords 293 Friends and relations: harmonic progressions 294 Friends, Romans, chord progressions 295 Listening to the oldies 296 Put in Blender, Mix Well 297 Getting Your Music Theory Degree 298 Chapter 12: Once More, with Feeling: Tempo, Dynamics, and Orchestration 299 Meet the Dynamics Duo: Soft and Loud 300 Honey, I shrunk the LoudSoft™ 301 Wearing Italian hairpins 302 Getting into matters of sonic taste 303 Throwing Tempo Tantrums 303 Telling ’Bones from Heckelphones: Orchestration Made Easy 304 Playing with sound colors 304 Notating orchestrations 304 Who’s the orchestrator? 305 Part 5: the Part of Tens 307 Chapter 13: The Ten Most Common Misconceptions about Classical Music 309 Classical Music Is Boring 309 Classical Music Is for Snobs 310 All Modern Concert Music Is Hard to Listen to 310 They Don’t Write Classical Music Anymore 311 You Have to Dress Up to Go to the Symphony 311 If You Haven’t Heard of the Guest Artist, She Can’t Be Any Good 311 Professional Musicians Have It Easy 312 The Best Seats Are Down Front 313 Clapping between Movements Is Illegal, Immoral, and Fattening 313 Classical Music Can’t Change Your Life 314 Chapter 14: The Ten Best Musical Terms for Cocktail Parties 315 Atonal 316 Cadenza 316 Concerto 317 Counterpoint 317 Crescendo 317 Exposition 318 Intonation 318 Orchestration 318 Repertoire 318 Rubato 318 Tempo 319 Using Your New-Found Mastery 319 Chapter 15: Ten Great Classical Music Jokes 321 Master of Them All 321 The Heavenly Philharmonic 322 Brass Dates 322 The Late Maestro 323 Basses Take a Breather 323 Houseless Violist 324 Ludwig’s Grave 324 The Weeping Violist 324 Musicians’ Revenge 325 One Last Viola Joke 325 Chapter 16: Ten Ways to Get More Music in Your Life 327 Get Involved with Your Orchestra 327 Join a Classical Music Tour 328 Meet the Artists — Be a Groupie 328 Make Music Friends on the Internet 329 Join an Unlimited Music Service 330 Listen to Your Local Classical Station 330 Load Up on Your Own Recordings 331 Watch Classical Music Movies 332 Study Up on the Classics 333 Make Your Own Music 334 Part 6: the Appendixes 337 Appendix A: Listen to This! Starting a Classical Music Collection 339 List 1: Old Favorites 340 List 2: MILD on the Taste Meter 341 List 3: MEDIUM on the Taste Meter 342 List 4: MEDIUM HOT on the Taste Meter 343 List 5: HOT on the Taste Meter 344 Appendix B: Classical Music Timeline 345 Appendix C: Glossary 353 Index 359

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Book SynopsisPublished in partnership with Edition Peters and Faber Music, the Edexcel GCSE (9-1) Anthology of Music contains: printed scores of all 8 new set works in a single volume a preface to each score, setting the piece in context and highlighting key themes and listening awareness points glossary of key terms used in each set work.

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Book SynopsisThe classic survey of the field, retooled for a new generation of students.

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Book SynopsisTrade Review“Music Is History is an entertaining, informative and far-reaching work, meticulously excavating American culture and history with the eye of a seasoned cratedigger.” * The Washington Post *“This inspired volume continues Questlove’s thoughtful and thought-provoking work and is an enduring analysis of the effects of music on personal, political, and cultural histories.” * Library Journal STARRED Review *“Questlove’s in-depth, witty, creative, personal, and authoritative musical history will keep people reading, listening, questioning, and musing for many years to come." * Booklist *“A palimpsestic, personal, and resonant journey with a living musical encyclopedia.” * Kirkus *“This stimulating work is sure to attract deep thinkers and music theorists everywhere.” * Publishers Weekly *

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Book SynopsisFrom one of the greatest rappers of all time, the memoir of a life cut short, a revealing look at the dark side of hip hop’s Golden Era...In this often violent but always introspective memoir, Mobb Deep’s Prodigy tells his much anticipated story of struggle, survival, and hope down the mean streets of New York City. For the first time, he gives an intimate look at his family background, his battles with drugs, his life of crime, his relentless suffering with sickle-cell anemia, and much more. Recently released after serving three and a half years in state prison due to what many consider an unlawful arrest by a rumored secret NYPD hip hop task force, Prodigy is ready to talk about his life as one of rap’s greatest legends. My Infamous Life is an unblinking account of Prodigy’s wild times with Mobb Deep who, alongside rappers like Nas, The Notorious B.I.G., Tupac Shakur, Jay-Z, and Wu-Tang Clan, changed the musical landscape with their vivid portrayals of early ’90s street life. It is a firsthand chronicle of legendary rap feuds like the East Coast-West Coast rivalry; Prodigy’s beefs with Jay-Z, Nas, Snoop Dogg, Ja Rule, and Capone-N-Noreaga; and run-ins with prodigal hit makers and managers like Puff Daddy, Russell Simmons, Chris Lighty, Irv Gotti, and Lyor Cohen. Taking the reader behind the smoke-and-mirrors glamour of the hip hop world, so often seen as the only way out for those with few options, Prodigy lays down the truth about the intoxicating power of money, the meaning of true friendship and loyalty, and the ultimately redemptive power of self. This is the heartbreaking journey of a child born in privilege, his youth spent among music royalty like Diana Ross and Dizzy Gillespie, educated in private schools, until a family tragedy changed everything. Raised in the mayhem of the Queensbridge projects, Prodigy rose to the dizzying heights of fame and eventually fell into the darkness of a prison cell. A truly candid memoir, part fearless confessional and part ode to the concrete jungles of New York City, from the front line of the last great moment in hip hop history.Trade Review“The legendary rapper unsentimentally details a life of beefs, brawls and murders during the heyday of East Coast hip-hop.” –The Washington Post“A surprising triumph, both as an archive of 1990s New York hip-hop folk tales and for its stirring sketches of a man who, on many occasions, could have made his life a lot easier on himself … This is the kind of vulnerability that is fearless, especially within hip-hop.” –Slate.com

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Book SynopsisThis is a story about a piano and its most prodigious player - how it, along with him, survived.When her father died, singer songwriter Roxanne de Bastion inherited a piano she knew had been in her family for over a hundred years. But it is only when she finds a cassette recording of her grandfather, Stephen, playing one of his compositions, the true and almost unbelievable history of the piano, this man and her family begins to unravel.Stephen was a man who enjoyed great fame, a man who suffered the horrors of concentration camps in WWII, a man who ultimately survives - along with his piano. By piecing together his cassette recordings, unpublished memoirs, letters and documents, Roxanne sings out her grandfather''s story of music and hope, lost and found, and explores the power of what can echo down through generations.

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Book SynopsisA burned-out pop star stranded in small-town Kentucky can''t help falling for her unlikely knight in shining armour - the notoriously grumpy owner of the local pie shop - in this charming slice of romance from the author of the TikTok sensation The Cheat Sheet and Practice Makes Perfect.''This modern take on the Hepburn classic Roman Holiday is a quick, fun, slow-burn rom-com'' ABBY JIMENEZ''Sarah Adams has written the Kentucky-set homage to Roman Holiday I never knew I needed. Full of cozy small-town vibes, a pie-baking hero (swoon!), and a slow-burn romance that will keep you flipping the pages, When in Rome is a charming and comforting escape'' KERRY WINFREY''My Audrey Hepburn loving heart is so happy! When in Rome is a delectable romance, sweet and satisfying as a slice of warm apple pie'' CHLOE LIESE ''Sarah Adams'' books are woven

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Book SynopsisCountless great songs are based on riffscatchy guitar phrases that repeat until they're seared into your brain foreveror snappy chord sequences as memorable as any melody. Riffs get people excited, whether they are musicians or listeners. Advertising agencies use riffs on television, internet videos, and cinema trailers. Riffs sell concert tickets, guitars, and downloads. Youtube is full of guitarists playing riffs.This book now in its third and updated edition digs deep into the world of the guitar riff, identifying 30 distinct types and illustrating them with reference to 150 examples: from Howlin Wolf to Black Rebel Motorcycle Club, Chuck Berry to Limp Bizkit, the Kinks to the Strokes, Black Sabbath to the White Stripes, Coldplay and Kings of Leon. The book includes 56 tracks of audio, illustrating all types of riffs covered, plus notation and TAB for 40 original example riffs composed by the author. In the book you can trace the connections between riff types and the scales, modes, or chords from which they're drawn learn the guitar tips and arranging techniques to get the best from your riffs read an exclusive interview with Led Zeppelin and Them Crooked Vultures bassist John Paul Jones, a multi-instrumentalist, writer, and arranger with 50 years experience in riff-based music.

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Book Synopsis''A hot-rod joy ride through mid-20th-century American history'' (The New York Times Book Review), this one-of-a-kind narrative masterfully recreates the rivalry between the two men who innovated the electric guitar''s amplified sound''Leo Fender and Les Paul''and their intense competition to convince rock stars like the Beatles, Jimi Hendrix, and Eric Clapton to play the instruments they built.In the years after World War II, music was evolving from big-band jazz into rock ''n'' roll''and these louder styles demanded revolutionary instruments. When Leo Fender''s tiny firm marketed the first solid-body electric guitar, the Esquire, musicians immediately saw its appeal. Not to be out-maneuvered, Gibson, the largest guitar manufacturer, raced to build a competitive product. The company designed an ''axe'' that would make Fender''s Esquire look cheap and convinced Les Paul''whose endorsement Leo Fender had sought''to put his name on it. Thus was born the guitar world''s most heated rivalry: Gibson versus Fender, Les versus Leo. While Fender was a quiet, half-blind, self-taught radio repairman, Paul was a brilliant but headstrong pop star and guitarist who spent years toying with new musical technologies. Their contest turned into an arms race as the most inventive musicians of the 1950s and 1960s''including bluesman Muddy Waters, rocker Buddy Holly, the Beatles, Bob Dylan, and Eric Clapton''adopted one maker''s guitar or another. By 1969 it was clear that these new electric instruments had launched music into a radical new age, empowering artists with a vibrancy and volume never before attainable. In ''an excellent dual portrait'' (The Wall Street Journal), Ian S. Port tells the full story in The Birth of Loud, offering ''spot-on human characterizations, and erotic paeans to the bodies of guitars'' (The Atlantic). ''the story of these instruments is the story of America in the postwar era: loud, cocky, brash, aggressively new'' (The Washington Post).Trade ReviewNew York Times Book Review Editors' Choice “In The Birth of Loud, Ian S. Port has sorted out the facts of the electric guitar’s much-mythologized genesis and cultural conquest. He turns them into a hot-rod joy ride through mid-20th-century American history. With appropriately flashy prose, he dismantles some misconceptions and credits some nearly forgotten but key figures. He also summons, exuberantly and perceptively, the look, sound, and sometimes smell of pivotal scenes and songs. The Birth of Loud rightfully celebrates an earlier time, when wood, steel, copper wire, microphones and loudspeakers could redefine reality. Tracing material choices that echoed through generations, the book captures the quirks of human inventiveness and the power of sound.” —Jon Pareles, New York Times Book Review“Fascinating . . . one of Port’s true strengths [is] his ability to marry an agreeably anecdotal writing style to a musician’s ear. The way a Telecaster snaps and sizzles, the way a Les Paul purrs with liquid, violin-like tones; he just gets it. . . The story of these instruments is the story of America in the postwar era: loud, cocky, brash, aggressively new.” —Washington Post“[An] excellent dual portrait . . . In the second half of the book, Mr. Port, a veteran music journalist, touches on the work of every major guitar player of rock’s golden age, from Muddy Waters to Buddy Holly—whose appearance on “The Ed Sullivan Show” electrified (the pun is unavoidable) Eric Clapton and Paul McCartney and John Lennon—and continuing through Jimi Hendrix, Jimmy Page and, of course, Bob Dylan, whose notorious switch from acoustic to electric at the 1965 Newport Folk Festival scandalized his fans. Not everyone played a Fender or a Les Paul—the Beatles were Rickenbacker fans, and Gretsch guitars had a significant market share—but, as Mr. Port says, the wildfire popularity of those two guitars fueled a world-changing demand for electric guitars of every type.” —Wall Street Journal“Rich in description . . . full of imagist sound-summonings, spot-on human characterizations, and erotic paeans to the bodies of guitars . . . Port can write lovingly, such as when he describes an early, solid-wood model that belonged to the country twanger Merle Travis. . . And he can write with technical lyricism . . . He even made me like Eric Clapton for a minute. And from the fumbled genesis of the electric guitar to its expressive climax, he draws us a beautiful, educational arc.” —The Atlantic“Ian S. Port’s The Birth of Loud reframes the standard history of rock ’n’ roll around the dual creators of the modern electric guitar. . . . Instead of a parade of frontmen and songwriters dueling it out in the charts, Port presents a ground-up account of an at-times begrudging friendship between two Angelenos who created the sound of what we instinctively understand as ‘rock.’ . . . Port’s research is thorough and his prose is lucid. If the evanescence of the internet and the machine-like qualities of synthpop make you want to put words to that vague cultural hunger for something more tactile, more connected to physical reality, this is your book. . . . The Birth of Loud is a compelling addition to the misremembered history of the time.” —SF Weekly“[Tells] the story of the development of the electric guitar through the lives of its two most famous names….Port deftly toggles between their parallel paths, as if swiveling from one effects pedal to another.” —James Sullivan, San Francisco Chronicle“Ian S. Port knows a thing or two about guitar heroes. . . . [With] lyrical, evocative prose, The Birth of Loud includes vivid scenes of Muddy Waters inventing Chicago blues, the Rolling Stones' sex-drenched appearance on The T.A.M.I. Show, Buddy Holly's TV debut with Ed Sullivan, Bob Dylan going electric at Newport and more. Along the way, Fender and Paul hone their inventions to perfection, vie for endorsements from the hottest players, and engage in that age-old driver of American innovation: cutthroat competition.” —KQED “Arts”“A rip-roaring journey through the early days of rock 'n' roll, told through the lives of the men whose innovative guitars helped usher it into existence . . . A lively, difficult-to-put-down portrait of an important era of American art that enhances readers' appreciation for the music it depicts.” —Kirkus Reviews (Starred Review)“A page-turning look at two central players [Leo Fender and Les Paul] in the sonic evolution of popular music. Port explores their trials and tribulations with an expert hand. This is a long-overdue cultural biography of music innovation. VERDICT: Thoroughly entertaining and deeply informative, this love letter to American creativity and rock and roll belongs in every library and should be read by all rock fans.” —Library Journal (Starred Review)“This smartly written and genuinely exciting book walks us through the bitter rivalry between Fender and Gibson and, since there is no way to tell this story without telling the story of rock ’n’ roll itself, also provides a jaunty if necessarily abbreviated history of rock. For music buffs, this one is special." —Booklist“[The] definitive history of the electric guitar and its two foundational personalities [Leo Fender and Les Paul]. Theirs is a fascinating and compelling story, especially in the hands of a writer as committed to lively narrative . . . Port can spin out evocative, succinct rock ’n’ roll writing with the best of them.” —The New York Journal of Books“Lushly descriptive and detailed…[the book] is richly illustrative in bringing these rock giants and the tools of their trade to life in a squall of beautiful feedback.” —Publishers Weekly“More than an essential, colorful, and gripping history of the electric guitar, The Birth of Loud introduces Ian Port, the best new non-fiction writer of the past twenty years.” —Daniel J. Levitin, author of This Is Your Brain on Music“Ian Port’s found a way to tell the story of the birth of rock ‘n’ roll—for some of us, among the postwar American stories, those that help define who we feel ourselves to be—in beautifully-evoked dual portraits of the men who made the instruments. In doing so, he re-situates this story in its context so neatly it is as if it had never been told before at all.” —Jonathan Lethem, author of Motherless Brooklyn and The Fortress of Solitude"Ian Port has created a perfect blend of popular history, social commentary, and enough guitar details to satisfy the most rabid six-string geek. This is a fascinating book." —Jonathan Kellerman, bestselling novelist and author of With Strings Attached: The Art and Beauty of Vintage Guitars"Guitar players are partly born, partly made, and every one has a story. So, too, are guitars, including the electric guitars that changed the world more than half a century ago. This is their story, and the story of their makers, well-told." —Gary Marcus, author of Guitar Zero“Long before Les Paul and Leo Fender were brand names who revolutionized music and changed culture, they were two guys—obsessively tinkering to recreate sounds in their heads. In The Birth of Loud Ian S. Port vividly captures the compulsion and competition that drove these fascinating oddballs to rock the world.” —Alan Light, former editor-in-chief of Vibe and Spin and author of The Holy or the Broken: Leonard Cohen, Jeff Buckley and the Unlikely Ascent of “Hallelujah” “It’s hard for me to think of an invention more crucial to my interior life than the electric guitar, so in a way The Birth of Loud, Ian Port’s moving, riveting account of the instrument’s development and rise to ubiquity, feels like a sacred text—the story of how I came to be. It’s also a rich and fascinating tale of obsession, ingenuity, and American abandon. Thank heavens for Les Paul, thank heavens for Leo Fender, and thank heavens for Ian Port.” —Amanda Petrusich, author Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World's Rarest 78rpm Records“The Birth of Loud is more than history, journalism or criticism—it’s a killer rock ’n’ roll story, complete with money, egos, star power and, yes, electric guitars.” —Steve Knopper, author of MJ: The Genius of Michael Jackson and Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age“The Birth of Loud channels trickles of intriguing new information into a confluence of big ideas about the history of the electric guitar. This book is essential reading for guitar history maniacs!” —Deke Dickerson, guitar historian, bandleader, and author of The Strat in the Attic

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Book Synopsis'An excellent history of UK dance culture' – The Sunday Times'Engrossing history' – The ObserverFrom the illicit reggae blues dances and acid-rock free festivals of the 1970s, through the ecstasy-fuelled Second Summer of Love in 1988 to the increasingly corporate dance music culture of the post-Covid era, Party Lines is a groundbreaking new history of UK dance music from journalist and filmmaker Ed Gillett, exploring its pivotal role in the social, political and economic shifts on which modern Britain has been built.Taking in the Victorian moralism of the Thatcher years, the far-reaching restrictions of the Criminal Justice Act in 1994, and the resurgence of illegal raves during the Covid-19 pandemic, Party Lines charts an ongoing conflict, fought in basement clubs, abandoned warehouses and sunlit fields, between the revolutionary potential of communal sound and the reactionary impulses

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Book SynopsisGeorge Clinton’s Parliament-Funkadelic collective (P-Funk) stands as one of the most iconic and important groups in popular music history, with an impressively large discography, enormous number of members, and long history. For the first time, this authorized reference provides the official P-Funk canon from 1956 to 2023: every project, album, song, song personnel, and tidbits about each act and select songs, as well as dozens of rare photos and a color photospread.No volume has ever attempted to provide details of every song from this collective and its many dozens of acts, collaborations, and offshoot projects from its inception in the 50s as The Parliaments to present day. Daniel Bedrosian, keyboardist for P-Funk, accomplishes that in this volume, the culmination of nearly thirty years of careful research, interviews, and access to exclusive archival material. Song entries are organized under artist / group names and contain definitive information on who played on which song. Select song entries shed light on the inner workings of the recording process, singles chartings, controversies, inside information about process, and more. This authorized volume demystifies one of the most unique and influential popular musical groups in history.Table of ContentsTable Of ContentsIntroduction Some Notes On Process Special Thanks Interview List Information On The List Criterion For CanonErrata Chapter One: Artists Starting In 1956 - 1966 Chapter Two: Artists Starting In 1967 - 1977 Chapter Three: Artists Starting In 1978 - 1988 Chapter Four: Artists Starting In 1989 - 1999 Chapter Five: Artists Starting In 2000 - 2010 Chapter Six: Artists Starting In 2011 - 2021 Chapter Seven: Artists Starting In 2022 - 2023 Chapter Eight: Live Releases Index

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Book SynopsisAlthough rock 'n roll is America's all-time leading cultural export half of the classic rock sound ä hard-hitting skintight audacious and vibrant ä was born across the pond. Musician journalist and writer Dave Hunter's ÊThe British Amp Invasion: How Marshall Hiwatt Vox and More Changed the Sound of MusicÊ charts the forty-plus year confluence of British industrial ingenuity and popular culture that grew a minor also-ran offshore industry into a true world leader. Art inspired engineering engineering influenced art and as both evolved at breakneck speed the finest amplifiers in the world were devised and refined on the British Isles. The symbiotic relationship born of this partnership produced the most powerful music ever known to mankind ä a sound that still resonates today in the most literal sense possible. Hunter's original account provides a ground-level perspective of the simultaneous development of an adolescent audio industry and a nascent musical style documenting their twin struggle to find their footing and stride forward. Rich with behind-the-scenes accounts and high-resolution images of the era's greatest (and highly collectible) amplifiers many of which have never been told or seen before this book is a welcome addition to the libraries of audio aficionados guitarists bassists and other musicians classic rock fans collectors of vintage gear and anyone with an eye for fine photography and an ear for compelling histories.

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Book SynopsisWhat Every Singer Needs to Know About the Body, Fourth Edition gives singers and teachers a Body Mapping resource - from anatomy and physiology to body awareness - that helps them discover and correct misconceptions about how their bodies are designed and how they function. This book provides detailed descriptions of the structures and movements necessary for healthy and efficient body awareness, balance, breathing, phonation, resonance, articulation, and gesture. Many voice books focus on the anatomical facts, but leave singers asking, "How can I apply this to my singing?" What Every Singer Needs to Know About the Body helps to answer that question, providing practical exercises and detailed illustrations. New to This Edition: Updated and revised content throughout the text Bulleted review sections for each chapter New and updated links to recommended videos Information on Biotensegrity and how it pertains to Body Mapping, along with helpful links to resources on the subject An expanded glossary This book provides the technical foundation for singers of all styles. The authors do not espouse a single method or attempt to teach singing techniques or styles. Rather, they describe the movements of singing with accuracy and detail so that singers may experiment on their own and communicate with each other in a common language.

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Book SynopsisBe guided and inspired by the gods of the music world with this creative set of oracle cards. Are you suffering from creative block? Struggling to make a difficult life decision? Find out what David Bowie, Grace Jones, Maria Callas and other great artists would have done. Simply select a card from the pack and channel the oracle’s advice on attitude, lifestyle or inspiration – any obstacle will become surmountable. Contains 50 oracle cards plus a booklet featuring the artists’ biographies and details of how to use the cards.

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Book SynopsisA Telegraph Book of the Year As a renowned recording-studio maven, Trevor Horn has been dubbed 'the man who invented the '80s'.His production work since the glory days of ZTT represents a veritable 'who's who' of intelligent modern pop, including the likes of ABC, Frankie Goes to Hollywood, Paul McCartney, Rod Stewart, Pet Shop Boys, Seal, Simple Minds, Grace Jones and Yes - among many others.This book is Trevor's story in his own words, as told through the prism of twenty-three of his most important songs - from the ones that inspired him to the ones that defined him.This play-by-play memoir transports readers into the heart of the studio to witness the making of some of music's most memorable moments, from the Buggles' ground-breaking 'Video Killed the Radio Star' to Band Aid's perennial 'Do They Know It's Christmas?', via hits such as 'Relax', 'Poison Arrow', 'Owner of a Lonely Heart' and 'Crazy'.Offering unrivalled access to the dark arts of the producer's world and the even darker arts of the music business itself, prepare for some adventures in modern recording...Trade Review'Superb' * The Telegraph *'As entertaining and enlightening as you would hope for.' * Super Deluxe Editions *'Bag a copy. You won't regret it.' * Electronic Sound *'Packed with wildly entertaining stories.' * The Guardian *'Artificial music, but Adventures in Modern Recording delights in underlining the immense intelligence behind it. 8/10' * Uncut *

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Book SynopsisArtisan Art Notebooks, the new Journals from Flame Tree in a range of hues to suit the moment and featuring magnificent art. They’re hand crafted with decorated edges overflowing with petals, teasing vines and patterns. A unique blend of the practical and beautiful, with two ribbons and lined pages, the Artisan Art Notebooks are perfect for notes, creative writing, poetry, doodles and lists. And, with robust flexi covers, they’re easy to slip into your bag and a pleasure to use. Simply, they feel good! This second edition of the Les Paul guitar was introduced in 1954. Called the 'Gibson Les Paul Custom', this entirely black guitar was an expertly decorated work of art, dubbed 'Black Beauty'. It featured a mahogany top, the new Tune-o-matic bridge, and an Alnico-5 magnet in the neck position. In 2007 Gibson released a new edition to celebrate the anniversary of this classic.

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Book SynopsisA wide-ranging collection of interviews, anecdotes, essays, and ephemera concerning one of the most enigmatic bands to emerge from the 1960s hippy scene."Encyclopaedic in scope, passionate in tone, this book is a minotaur''s labyrinth of information about one of the most remarkable groups in 20th century music. Be glad, for everything you need to know is here." (Rob Young, The Wire)First published in 2003 and long out of print, Be Glad For The Song Has No Ending: An Incredible String Band Compendium is the definitive book about the ISB. Containing a wealth of interviews, essays, and ephemera from the band''s brief but tangled history, this new revised and expanded edition includes two new pieces by ISB member Rose Simpson on Witchseason Productions’ idiosyncratic offices and on recording with the ISB in the Sound Techniques studio, as well as interviews with Neil Tennant of Pet Shop Boys, folk musician Alasdair Roberts, and Ossian Brown of Coil and Cyclobe.Contributors include Rowan Williamson (former Archbishop of Canterbury), ISB manager and producer Joe Boyd, Andy Roberts, Billy Connolly, and Raymond Greenoaken.

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Book SynopsisFelix Mendelssohn Bartholdy war als Komponist faszinierend vielseitig. Und so nannte ihn Robert Schumann den „Mozart des 19. Jahrhunderts“, Johannes Brahms und Max Reger verehrten ihn jedoch als romantischen Sinnstifter. Zu Lebzeiten gefeiert, postum seit Richard Wagner mit antisemitischer Hetze überschüttet und von den Konzertpodien verdrängt, hat kein anderer Komponist so unter seiner eigenen Rezeptionsgeschichte leiden müssen wie Mendelssohn. Das Handbuch bringt Einzelwerkbesprechungen zu allen Werkgruppen, allgemeine Darstellungen von Lebens- und Kompositionskonzepten im musikalischen und kulturellen Kontext sowie Aspekte der Wirkungsgeschichte in kompositorischer und historischer Perspektive. Ziel dieses Handbuches ist es, Mendelssohns Position in seiner Zeit besser zu verstehen und verschiedenste Zugänge zu seinen Kompositionen aufzuzeigen. Trade Review“... Hier offenbart sich das Handbuch als unglaublich wertvolles Nachschlagewerk für alle InterpretInnen, die sich Mendelssohns Musik aus unterschiedlichen Blickwinkeln nähern wollen. ...Christiane Wiesenfeldt legt hier ein Handbuch vor, das keine Wünsche offenlässt. Es ist randvoll mit spannenden Betrachtungen und eröffnet zudem viele weitere faszinierende Blickwinkel auf Lebenswelt, Wirken und Wirkung des großen Felix Mendelssohn Bartholdy ...” (Tristan Meister, in: Chorzeit, Jg. 95, Juli - August 2022) “… Insgesamt bietet dieses Mendelssohn-Handbuch aber eine Fülle von Informationen und Gebrauchsmöglichkeiten vom schnellen Nachschlagen bis zum ausgiebigen Lesen. … Das sorgfältige Register ermöglicht den Einsatz als Nachschlagewerk.” (Verena Naegele, in: Schweizer Musikzeitung, musikzeitung.ch, November 2021) “... Das Buch ist keine Biographie, sondern ein Kompendium von Beiträgen zahlreicher Fachautoren. ... Werkverzeichnis, Werkregister, Per­ sonenregister und eine ausführliche Zeittafel rahmen das ausgezeichnete Handbuch ein.” (Chor aktuell, Heft 169, September 2020)Table of ContentsVorwort.- Zeittafel.- I. Positionen, Lebenswelten, Kontexte.- II. Schaffensprozesse.- III. Werke. Vokalmusik.- Chorlieder. –Bühnenmusik.- Orchestermusik.- Sinfonien.- Konzerte und konzertante Werke.- Ouvertüren und andere Orchesterwerke.- Kammermusik.- Klaviermusik.- Rezeption und Wirkungsgeschichte. - Interpretationen: Geschichte und Wandel

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Book SynopsisAn easy anthem with words and music by the composer. There are four different versions of the vocal parts - unison (or two-part) with keyboard, upper voices with keyboard, SA and Men with piano, or SATB unaccompanied or with keyboard.An orchestral accompaniment compatible with the SATB version , SAMen version, and the unison version (although the orchestral parts are a semitone higher for the latter two) is available on hire. Also available in John Rutter Anthems.Trade ReviewA lovely melody, easily memorable, with a gentle rocking accompaniment. * Church Music Quarterly July 1998 *Gentle melody and midway modulation via flattened leading-note make this sound like an old favourite already. For universal application, no doubt. * Organists' Review May 99 *

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