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High school instrumentalists studying the trombone, euphonium (baritone horn) cello, double bass, and bassoon will encounter the tenor clef in advanced works. The tenor clef is a moveable C clef used to represent music written in the upper ranges for those instruments. Its symbol is identical to the alto clef, also a moveable C clef. Middle C is located on the 4th staff line in tenor clef, the 3rd (or middle staff line) in alto clef. In particular, trombonists will encounter parts in orchestral music using alto, tenor, and bass clefs (F clef). This book is designed to used collaboratively between a student with great interest in learning and private teacher. The 26 progressive studies, each containing several original compositional etudes, short exercises, and written assignments, should provide adequate resource material for six months of continuous instruction and learning. A dedicated student who successfully completes these etudes and exercises should be ready for advanced instructional and performance literature at the collegiate level. The material in this book is original, tonal, and geared toward the high school student. The content provides a unique approach for student and teacher, working closely together, to learn to read tenor clef in major and minor keys while further developing range and technique.
(Scroll below for a video/audio overview of the book).High school instrumentalists studying the trombone, euphonium (baritone horn) cello, double bass, and bassoon will encounter the tenor clef in advanced works. The tenor clef is a moveable C clef used to represent music written in the upper ranges for those instruments. Its symbol is identical to the alto clef, also a moveable C clef. Middle C is located on the 4th staff line in tenor clef, the 3rd (or middle staff line) in alto clef. In particular, trombonists will encounter parts in orchestral music using alto, tenor, and bass clefs (F clef). This is the second of two method books designed to be used collaboratively between a student with great interest in learning and private teacher. The 26 progressive studies extend learning from the first book, each containing several original compositional etudes, short exercises, and written assignments, should provide adequate resource material for six months of advanced instruction and learning. A dedicated student who successfully completes the etudes and exercises in both method books should be ready for advanced instructional and performance literature at the collegiate level. The material in this book is original, tonal, and geared toward the high school student. The content provides a unique approach for student and teacher, working closely together, to learn to read tenor clef in major and minor keys while further developing range and technique.
This book presents a systematic study of tenor clef for the intermediate cellist. The exercises teach one or two notes at a time, while corresponding pieces utilize the notes that were just learned. Much of the book focuses on the transition from bass to tenor clef on the cello, as well as the relationship between the two clefs. Teachers can use this book as a method for teaching the clef to their students, preparing them for tenor clef found in many intermediate and advanced cello pieces, including Saint-Saens' Allegro Appassionato and The Swan, and Vivaldi's Cello Concerto in E Minor.
Introduction to reading music in all clefs. It has exercises to learn all four clefs, treble, alto, tenor and bass clefs. This resource includes a lesson plan, rubric and activities to improve reading music in all clefs.
Book 1 duets in a variety of styles for teacher or parent to play along, boosting enjoyability and timing in piano students.
This practical guide to the principles and practice of preparing legible and correct music manuscript is intended for students, scholars, teachers, composers, arrangers, and copyists, indeed for anyone who has to write music on paper. Part I thoroughly deals with basic matters such as materials and symbols. Part II covers all types of scores and part-writing and includes advice on checking and proofreading.
Basic Music Theory takes you through the sometimes confusing world of written music with a clear, concise style that is at times funny and always friendly. The book is written by an experienced teacher using methods refined over more than ten years in his private teaching studio and in schools. --from publisher description.
This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles.
(String). 195 carefully graded sight-reading pieces and exercises in a range of musical styles. Includes solos, duets and pieces with piano accompaniment. Suitable for beginning to advanced level students. "Both tenor and treble clefs are introduced in later chapters. Many tunes throughout the book have simple accompaniments, either for bass or piano. This is helpful, especially early on, to assure good rhythm and pitch, without playing the exact same tune as the sight reader." American String Teacher