By Maureen Brett Hooper
Это неплохой учебник начального уровня для игры на блок-флейте (soprano recorder). Пошаговые инструкции, постановка рук, подробное объяснение основ ритма. Около 30 различных песен, легких для изучения. Язык - английский, но практически вся книга - ноты да картинки. Пока на сайте всего одна книга по этому инструменту, на мой взгляд, эта будет не лишней. Если ее сочтут полезной и разместят на сайте, то у меня есть еще парочка того же направления.
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Los angeles m? sica desconcierta al an? lisis. Ese arte de l. a. presencia, que no muestra ning? n objeto, que no es m? s que una acumulaci? n de mediadores --instrumentos, partituras, int? rpretes, escenarios, medios de comunicaci? n. .. --, parece ser, sin embargo, l. a. encarnaci? n de los angeles inmediatez, los angeles expresi?
This advisor to the piano literature for the one-handed pianist surveys over 2,100 person piano items which come with not just live performance literature yet pedagogical items in addition. Following the advent are 4 chapters cataloguing unique works for the perfect hand by myself, unique works for the left hand on my own, song prepared or transcribed for one hand on my own, and concerted works for one hand in live performance with different pianists, tools, or voices.
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Additional resources for Highlights fun to play recorder book
So many artists reach that stage in their careers (usually while they’re still amateur) at which either their egos or the level of activity they have reached tell them they need, or think they need, a manager. And usually the first person 32 Artist management 33 they approach is a brother, a sister, or a close friend of the band. Quite what is going through their minds when they make such a proposition is difficult to say. In some cases it’s simply that they feel that there’s a certain prestige attached to having a manager; in other cases it’s simply that they don’t want the responsibility of organizing things any more, and would prefer to be getting on with the ‘serious, creative’ business of writing and performing.
Self-management can also make sense to a solo singer— songwriter and even a traditional four- or five-piece band. Signing a management deal with a third party too early can cause problems—both now, when there’s little or no money being made, and later if and when the money does start coming in and the original agreement begins to look iniquitous to either or both parties. It is not uncommon for bad management deals to resonate years after a band has split with its management and the members have even split with each other.
The manager taking on this band will want to consider these points: • The band’s intended career path. What is the manager expected to achieve? A publishing deal? Record deal? Live appearances? Where does the band see its future? Does the band seek worldwide success, and if so to what extremes is the manager allowed to go in order to achieve these goals? • The terms of the deal. What is the manager’s percentage, what is the duration of the management contract and what is the extent of that contract?