The Big Book of Staff Paper (Manuscript Paper) Review

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(More customer reviews)Unless you write music with a felt-tipped marker, I'd look for something else.The staves in this volume are large and extremely dark.The typical (pencilled) scribbles of composers will be difficult to read on this paper.

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This 1-1/4 inch.-thick edition is the ultimate book of staff paper - perfect for students, teachers, or any musician! It includes 512 perforated pages with 12 staves per page, plus a helpful music notation guide. 8-1/2 inch. x 11 inch..

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Symphony No. 5 (Dover Miniature Scores) Review

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(More customer reviews)If you want some kind of a score of this piece, you can buy it.
If you need bar numbers, rehearsal letters or reliable text, head for Bärenreiter urtext edition.

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Widely regarded as the most powerful and most popular of the composer's nine symphonies, the fifth represents the thematic unification Beethoven developed during his middle period. Magisterial and much loved, this magnificent work in miniature format appears here in full score with original instrumentation, bar-numbered movements, and ample margins at the bottom of each score page for notes and analysis.

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Symphony No. 6 in F Major, Op. 68 Pastorale (Schott) Review

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(More customer reviews)An essential score for all serious musicians - one of Beethoven's greatest works, and one that is truly pivotal between classicism and romanticism. This edition is great value for money.

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Preface * I. Pleasant, cheerful feeling aroused on approaching the countryside. Allegro ma non troppo * II. Scene by the brook. Andante molto mosso * III. Happy gathering of villagers. Allegro * IV. Thunder-storm. Allegro * V Shepherd's song. Grateful thanks to the Almighty after the storm. Allegretto

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The Contemporary Arranger: Definitive Edition Review

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(More customer reviews)This book is the best one I have yet seen on the art of arranging for jazz bands and other contemporary/pop ensembles. It is full from beginning to end not only with all the standard info about instrument ranges, which instruments sound best in which voicings, etc., but also full of interesting little gems designed to inform the budding arranger about the realities of the music industry. Things like "All professional trumpet players carry with them a straight mute, cup mute, harmon mute, felt hat, and sometimes a plunger. Any other special mutes must be requested in advance of a performance or recording session" (page 13). Also tips on how best to record particular instruments in the studio, and things to look out for in this regard. "Of all the members of the woodwind family, the bassoon is the hardest to record properly, having the tendency to become lost when combined with other instruments.... it... is most effective when the texture of the passage in which it is used is transparent enough for the bassoon to be heard clearly."

To all of those reviewers at this site and the other page for this book, the CD *does* in fact match the examples in the book. The book specifies between regular written examples (not included on the CD), and *recorded examples*, which are on the CD. The listing on pages viii and ix accurately reflect the listing on the CD and the appropriate text in the book that matches each example.

The examples of various sounds possible on the stringed instruments and the French horn, are particularly helpful in matching up the standard musical terms "detache," "parlando," etc. with that particular sound.

Overall, an excellent book both for beginners and folks with some background who are looking to expand into jazz-style sounds.

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An authoritative, easy-to-understand text covering all aspects of arranging. This beautifully bound edition contains a compact disc with examples performed by jazz greats such as George Benson, Freddie Hubbard, Hubert Laws and Don Sebesky's complete orchestra.

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Arranging for Large Jazz Ensemble (Berklee Methods) Review

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(More customer reviews)Arranging Jazz for Large Ensemble gives the readers the necessary skills to write for big bands. Although it is an advance subject in the Arranging area, the book starts with writing for unison and octaves. There are also great chapters about background writing with riff and guide tone lines. The Shout Chorus chapter provides beginners writers to fully understand the arrangement "big picture". All levels of arrangers can benefit from these chapters and their musical examples. They will help you memorize sound texture and effects as well as the writing techniques. As you go over the other chapters, you can easily assimilate their content and apply them successfully. It's unique and well written book, one of the best of its kind.

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Create arrangements with texture and style with this complete guide to arranging for large horn sections! Now, for the first time, learn the same jazz ensemble arranging techniques taught by renowned Berklee College of Music faculty, and studied by the best and brightest arrangers working today. While the book focuses on classic big band and jazz styles, the core information about horn harmony and arranging can be used for any style, from hip-hop to ska. Arranging for Large Jazz Ensemble includes all the information you need when creating horn charts, fueling and inspiring you with the charts of esteemed Berklee professors Jeff Friedman, Ted Pease, Scott Free, Greg Hopkins and Bill Scism. The play-along CD includes more than 60 demo tracks and arrangements written in the style of masters such as Count Basie, Duke Ellington and Gil Evans, and performed by Berklee faculty. Covers: writing and voicing techniques; soli, background and shout choruses; special effects; creating your own style; and more.

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Deluxe Wirebound Super Premium Manuscript Paper 12 Stave Review

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(More customer reviews)The paper boasts that you can easily erase anything you put on it, but that's because it's incredibly difficult to write on in pencil.It simply doesn't show up unless you sharpen it every few minutes.This is fine if you want to put finished work on it in pen, but if you'd like to actually work with it then look somewhere else.This is because of a wax coating the paper is covered in and is the only thing that separates it from the "Standard" paper of the same brand.If you are looking to get some paper for school or just to work some ideas out, go with the standard paper.

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96 pages, 12 staves per page, heavy premium paper erases easily, 8 1/2 inch. x 11 inch.; Music Notation Guide.

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Advanced Techniques for Film Scoring (Book and CD) Review

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(More customer reviews)I was excited by the description of this book but disappointed by it's contents. The techniques are totally outdated. It goes on at length about analog recording technique which is nearly inapplicable to the beginning composer. Not recommended except as a minor resource for your library. Buy "The Guide to MIDI Orchestration" by Gilreath or the Jeff Rona Film Scoring book and the general orchestraion books by Adler and Blatter first.

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Earle Hagen has written an excellent sequel to his sensational best-seller Scoring for Filmsproviding composers with additional advice regarding more advanced scoring techniques for film orchestration.

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Orchestration Review

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(More customer reviews)In Los Angeles, among the top composers (Henry Mancini, Jerry Goldsmith to list 2) on the A list, this is THE book. Forsythe covers the subject with characteristic dry British wit, but his referencing is impeccable,including covering specialty instruments (like the Serpent, Wagneriantubas, and many more) that are simply not covered in the other titles. Hisexplanations are indepth, accurate, and still very usable. If you can onlyafford one book, get this one.

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Probably best general book on the subject. Thorough discussion of 57 instruments, technical aspects of writing for each, much else.

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Treatise on Instrumentation Review

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(More customer reviews)Two hundred years ago this week, Louis-Hector Berlioz was born. This, then, is a time for me to comment on a few of his works, some of them "favorites by acclamation" and others simply those in which I find special merit.

When Berlioz died, in April, 1869, an obituary in the Musical Times read, in part, "...there can be little doubt that he will be remembered by his able and acute contributions to musical criticism than by any of the compositions with which he hoped to revolutionize the world."

These words by the Musical Times were addressed to Berlioz's feuilletons (musical criticisms in a largely satirical style). Berlioz captured many of his best feuilletons in his anthology Soirées de l'Orchestre ("Evenings in the Orchestra"), and his trenchant wit is also evident in his Memoirs.

But Berlioz did leave behind one work for which musical education for generations of composers to come had been the purpose: his "Treatise on Instrumentation," or, if one likes, "the art of writing for musical instruments of the orchestra to achieve maximum effect." The Treatise was the very first serious effort to fully describe these matters of instrumentation and orchestration, instrument-by-instrument and orchestral-choir-by-orchestral-choir. Paraphrasing a portion of a recent Berlioz Bicentennial article by none less than Norman Lebrecht, the Treatise was closely studied by Gustav Mahler and Richard Strauss (who themselves were masterly orchestrators), Modest Mussorgsky had died with a copy of the Treatise on his bed, and, as a result of wildly successful concerts led by Berlioz in Moscow and St. Petersburg, Nicolai Rimsky-Korsakov was motivated to write his own equivalent, "Principles of Orchestration," which would serve as a model for his Russian school of composers.

In point of fact, the revolutionary uses to which Berlioz put orchestral instruments in his compositions cannot be gainsayed, and his compositions, as well has the Treatise, served to redefine orchestral possibilities - and serve as a learning tool for subsequent composers - for the remainder of the 19th century and well into the 20th century. He was an inveterate "tinkerer," in terms of constantly assessing and writing for newly-invented instruments of his era, and, as well, he "borrowed" instruments freely from military bands of his time, to create orchestral "sound worlds" that were new and novel.

As the Treatise demonstrates, Berlioz was no mere dilletante, experimenting in willy-nilly ways, but was in fact thoroughly "grounded" in his understanding of such basic principles as acoustics and the creation of sound. In its original French form (virtually all of which, in translation, survives in this revised edition), the Treatise clearly set out all of these principles, applied to the instruments of his time by means of examples drawn from a wide range of musical compositions, and the French-language original seemed not to have been a problem for all the German, Russian, Italian, English and what-have-you composers who learned from it.

A half-century later, in 1904, Richard Strauss was requested to review and "revise and update" the Treatise by the publisher. It is in this form, with emendations by Strauss and translated ably into English, that the Treatise currently exists. Needless to say, familiarity with musical notation is important if one is to fully appreciate the value of the Treatise. But the narrative, including descriptions-in-words of musical examples of individual instruments and instruments used in various combinations, is clear enough that even those not knowledgeable in musical notation can bypass the notated examples and simply read the narrative with benefit. Berlioz was an exceedingly gifted writer, blessed with clarity in all that he wrote.

Strauss's emendations are rather clearly set out separately from Berlioz's original effort, so that the two do not get confused. By and large, Strauss doesn't trample too much on Berlioz's efforts, but deals with instruments not available to Berlioz, with many of his own examples drawn from the works of Richard Wagner. But Strauss's comparative measures of - and prejudices regarding - Berlioz and Wagner as composers are quite well established in his own separate Foreword.

The most recent instrument invention included in Strauss's emendations is the heckelphone (baritone oboe), which invention Strauss commissioned Wilhelm Heckel for Strauss's use in his "Symphonia Domestica." Obviously, then, the Treatise is not the reference to which to turn for descriptions and applications of instruments that are of 20th century invention, nor, for that matter, instruments in use elsewhere than in Europe that subsequently found application in 20th century "Western" music (such as the Indonesian gamelan).

A side benefit of the Treatise is in its historical value as a repository of capabilities, sonorities, techniques and usages of instruments long deemed obsolete, but in current use during Berlioz's careers as composer and conductor. Where else can one find such a wealth of detail on instrumental esoterica and arcana like the ophicleide, bombardon and serpent (all forerunners of the tuba), as well as various instruments invented by the highly-creative Adophe Sax, inventor of the saxophone but also the various saxhorns, saxtrombas and saxtubas now obsolete? In fact, I could find only one oversight on Berlioz's part, that of the sarrusophone, invented by Auguste Sarrus, a contemporary "competitor" to Adophe Sax.

It's a small oversight. Unless, of course, one takes a personal interest in the sarrusophone and its musical possibilities. I happen to, but that's just me.

Anyone interested in the course of musical instrument usage and history should have this inexpensive Treatise in his or her library. If you can't read the musical notation and examples, you'll nonetheless come away with an excellent understanding of Berlioz's contributions to the field.

Bon anniversaire, M. Berlioz!

Bob Zeidler

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The most influential work of its kind ever written, appraising the musical qualities and potential of over 60 commonly used stringed, wind and percussion instruments. With 150 illustrative full-score musical examples from works by Berlioz, Mozart, Beethoven, Gluck, Weber, Wagner and others, and numerous smaller musical examples. Complete with Berlioz' chapters on the orchestra and on conducting. Translated by Theodore Front. Foreword by Richard Strauss. Glossary.

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Nocturnes and Barcarolles for Solo Piano Review

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(More customer reviews)Of course pianists should have this wonderful book, just don't assume it's complete.Fauré actually wrote a thirteenth Nocturne (in B minor) and a thirteenth Barcarolle (in C major), neither of which is included here.Both of these are characteristic late Fauré, but the Nocturne #13 is particularly not to be missed.I was just playing it over tonight and was amazed by the dark drama of the music.It's as Fauré's biographer Jessica Duchen said, that it seems to stare death in the face.
Both the Nocturne #13 and the suave, tranquil Barcarolle #13 are available individually from Masters Music Publications, and I would suggest that pianists supplement this book with both of those works to make a complete set of Fauré's nocturnes and barcarolles.

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The music of Gabriel Fauré (1845-1924) is an important link between the innovations of late Romanticism and the experimentation of the early 20th century. A student of Saint-Saëns, he, in turn, taught Ravel and was a mentor to the young modernists of Les Six. These 12 nocturnes and 12 barcarolles, composed over a span of 40 years, document his move from Romanticism to the frontiers of 20th-century music. Reprinted from authoritative French editions.

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Allegro Barbaro and Other Short Works for Solo Piano Review

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(More customer reviews)Bartok was the first composer who really got me interested in what one could still technically call "Classical music." I remember hearing his Piano Sonata No. 1, Sz. 80 for the first time and being completely blown away by it. It was so primal and yet still refined in a musical sense. It was like listening to a man lose his mind at the piano while still retaining enough intellect (musically) to function.

But onto the review:

To my dismay, this collection does not contain the Sz. 80 sonata, but it does contain a myriad of other Bartok works which perhaps define him as an artist even better. Bartok was truly our first ethnomusicologist. His experiments with recording the folk music of his homeland (Hungary) and other Eastern European countries and arranging it in the Western tradition brought Western music as far East as it had been up until that point. Sure, there were Russian composers before Bartok who integrated their own folk music into Western styles (The Five, Tchaikovsky, even Rachmaninov), but Bartok's Eastern European studies are a different animal all together.

For starters, Bartok studied Western music under the care of Hugarian teachers at the Royal Academy of Music at Budapest. Here he was perpetually influenced by teachers (Franz Liszt [indirectly], Janos Koessler) and other students (Zoltan Kodaly) who had already begun studies of their own folk music in comparison to Western styles. This book contains great examples of these folk influences translated into the Western style in the intellectual and profound way that Bartok was known for.

This book features Bartok's shorter works like the Romanian Christmas Carols and Hungarian Peasant Songs that offer the average Western listener an abstract approach to Bartok's homeland. The seemingly unnatural rhythms (which the pianist will undoubtedly have trouble with at first) come second nature to the folk music of Eastern Europe. And by reading and playing through this book, the music student will see that Bartok's fundamental understanding of music is unbelievably far removed from the understanding of music that Westerners are raised in.

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Treasury of rewarding piano works from one of the 20th century's most influential composers. Includes the dancelike Allegro Barbaro, a sonorous, boisterous piece of power and bravura; 15 Hungarian Peasant Songs; six Rumanian Folk Dances; 20 Rumanian Christmas Carols; and eight Improvisations on Hungarian Peasant Songs. Musical gems for pianists at intermediate and advanced skill levels.

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A Composer's World: Horizons and Limitations (Schott) Review

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(More customer reviews)The literary style is a bit dry but the rhetoric and ideas are a solid read. Hindemith opens with a philosophical discussion of the nature of hearing and performing music and lays down the poles of Western thought between Boethius and Augustine, that music is considered to have moral force to shape the mind or that the mind imposes order on sound to create the mental impression of music. He tries to avoid being dogmatic about either and proceeds to an explanation of musical memory and emotional association.
Where he gets a bit cranky is explaining the American musical education establishment and the bad habits of performers. He's also very unforgiving to popular music and music made in totalitarian states (e.g. Shostakovich and music written for fascist regimes). But his comments about the shortcomings of American musical education are salient today and his critique of mass-marketing of music is also still relevant.

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The book aims to be a guide through the little universe which is the workingplace of the man who writes music. As such it talks predominantly to the layman,although the expert composer may also find some stimulation in it... From the center of basic theory the discussion will spread out into all the realms ofexperience which border the technical aspects of composing, such as aesthetics, sociology, philosophy, and so on.

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Eleven Late String Quartets, Opp. 74, 76 and 77, Complete Review

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(More customer reviews)As a musicology student on a budget, I've acquired quite a few Dover scores over the last years. They may be slightly antiquated in many cases, but there's simply no one who can match their prices.

This book, though, represents Dover at their very finest. While the standardized set up for orchestral scores have changed vastly over the years, string quartets have basically remained unchanged since the conception of the form. The only "challenge", from a modern point of view, is reading the violas alto clef, which anyone interested in string quartets should be acquainted with in any case.

The print itself is among the best I've seen from Dover. The edition appears to be an enlarged miniature score, making it very comfortable to follow, and leaves plenty of space for writing notes/analyzes etc. The print itself is very nice, a lot better than my Op. 20 & 33 (Also from Dover), where each print appears to have random flaws that make some few notes almost unreadable. Unlike the 20/33 score, the paper in this score can heavy-handed use of rubbers without erasing any of the print, which of course is a huge plus for people who buy scores like this with the intention of analyzing pieces. (Please notice: This score was bought from a local violin store, where it probably had been sitting for years -at least the price I got it for suggested so-. The printing quality of newer versions MAY be different from this one, although I have no way of telling at the moment)

This print is an old Eulenburg edition, which are known for quality. I have only found one flaw that twarts Haydn's intentions in this edition: I know for a fact that Haydn never put dynamic markings in the variations movement in the Emperor quartet; while I can't say so for certain, it is likely to assume that this should be the case at least for some of the other movements in the book as well. This certainly isn't a big deal, but it does obscure part of Haydn's genius: In this case, he didn't need dynamic markings to bend the player to his will. The points where one should increase or decrease playing strength is embedded in the musical material, and he controls the string quartet to such a degree that different dynamics are never required to get the intended voice into the foreground. I've yet to find any misprints.

This, of course, isn't really a big deal. I suspect that the people who would want this book are people interested in following along with recording or performances, or people who intend to use it for analytical purposes. Naturally, I wouldn't recommend it for performance. The notes are large enough to be viewed at a distance, but it would require way more page turns than required, and these are often put at awkward places. I imagine that it would work well with PhotoScore or similar software though, so you could probably make single-instrument scores out of it with relative ease.

So, unless you want the latest scholarly urtext edition, or want separate parts, this is as good as it gets. At this price, it should be a no-brainer.

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This volume includes 11 string quartets in complete score - Haydn's last and best.Reprinted from the reliable modern Eulenburg edition.

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How To Write Songs On Guitar - Revised (Book) Review

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(More customer reviews)Everyone is entitled to their opinion, however much it may be at variance with reality. Rooksby's entire series of books reminds me of nothing so much as my time studying composition at the Juilliard School. Their undergraduate theory course (Literature and Materials of Music) mirrors Rooksby's game plan and "secret wish" for us as evolving musicians. As opposed to those who somehow miss the point and say his method is just a bunch of chords or progressions, Rooksby's entire thesis is that music is NOT these surface features that he goes to great lengths to describe. To my mind, Rooksby's wish for us as his students is for us to "get to work" and to use these stock features (chords, progressions) as launching pads for our own analysis of music's mysterious and personal qualities. At Juilliard, we were not taught theory per se, but rather, we were given pieces of music to analyze (polyphonic and homophonic) to come into class to discuss. Nobody told us what the piece "meant" and nobody told us "how the story ends". We were trained to become independent thinkers, and make up our own minds. Again, whatever the naysayers may believe in their musical heart of hearts to the contrary, Rikky Rooksby is a master teacher who states very clearly that music is either all surface and recycled parts and pieces, OR, it is an endless mystery, literally having no end (as there are infinite harmonics in nature). He also states clearly that the game of music is not in the obviously repeated surface structures, but in the way that each individual musician can IMPRINT on music structures their own spirit and personality. John Lennon's barre chords were his and nobody elses, just as Beethoven's middle c was unlike any other musician's middle c (even though it was). With his encyclopedic foundation of structures leading to a workable process of personal analysis of the songs we love (Rikky's plan for us as his students), Rooksby's intent is not to dwell smugly on music's obvious lacks (7-12 notes in Western music, the limited range of human hearing, etc), but to ponder and muse upon the mystery of how those lacks can turn into so much genuine gold. "Just think", Rikky seems to be saying..."there are endless new songs waiting for us to write". Just think...endless new songs.

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So you want to write songs, and you want to write them on guitar. This is the book that shows you exactly how. Taking tips and tricks from classic songwriters, from Bob Dylan to the Beatles to Tori Amos, How to Write Songs on Guitar takes you through the four main elements of a song - rhythm, melody, lyrics, and harmony - and inspires you to combine them in exciting new ways. Now with updated songs and tips on writing trends, it's packed with wisdom and practical advice culled from over 1,500 songs, How to Write Songs on Guitar 2nd edition will soon have you producing better, more memorable songs.

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Songwriting: A Complete Guide to the Craft Review

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(More customer reviews)This is a very engaging book, and is very enjoyable to read, though it definitely shows its age--the examples only run up through the early to mid 80s. If you are looking for all the latest information about currentstyles, this isn't your book.
Having said that, this is an extremelyinteresting book that has its roots primarily in classic Broadway musicals,and the kind of timeless songwriting that created standards that havelasted for generations (though other genres, from blues to country to rock,are also covered).
There's a lot of discussion of lyrics, rhyme schemes,various themes for songs, and the different structural parts of a song, butnot as much discussion of writing a song line-by-line as Sheila Davis'sexcellent book on lyric writing.
There's also what seems to me to be anextremely thorough section on melodies, chords, harmonies, and common chordprogressions. He discusses ways to fix up a stock melody, and evendiscusses when to use different intervals, and what they accomplish. Ican't compare this with Jai Josefs's book--which I have heard good thingsabout--because that is out of print as of this writing, and I haven't beenable to locate a copy yet.
If you are just looking for a template to useto create songs that sound like what's on the radio, this book isn't yourbest choice. But if you want a broader background which you can then adaptyourself to styles that interest you, this is an excellent book to have.

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Which do you write first, the music or the lyrics? How can you give a song a country sound? How can you make your lyrics "sing?" What is the simplest way to protect a copyright? Song Writing answers these and other questions on the art of musical composition. Musical examples throughout.

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German Requiem in Full Score Review

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(More customer reviews)Dover does an extraordinary job in developing a quite accurate version of the German Requiem.Many consider this piece to be one of the best written in the Romantic Era.Brahms's originality and experimentation between the marriage of both the orchestra and chorus make this piece absolutely one of a kind.Strongly recommended for any listener and Dover's flawless edition is the best around if the listener wants to see the piece as Brahms visioned it.

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Composer's greatest, most ambitious vocal work, a masterpiece of choral music that is now one of the most performed and recorded works in the repertoire of religious music. Reprinted in full score, including solo voices, chorus and orchestra, from definitive Breitkopf & Härtel edition.

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Finale 2010 Academic Review

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(More customer reviews)I purchased this product to help arrange music pieces for a small plucked string ensemble. Some in the group don't read notation. This software, with a couple of clicks, converts notation into Tab so quickly I had to do it twice just to see if it was real. Very happy.

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The best tools are designed by the people who use them. Introducing Finale 2010 - theworld standard in music notation software. Compose, arrange, notate, and print engraver-qualitysheet music that plays back with world-class sounds. Finale continues to lead the way, helping you reach perfection faster. - Streamlined user interface is more efficient, intuitive, and consistent - Setup Wizard configures your score beautifully in seconds. - Enter your music into Finale using a MIDI keyboard, computer keyboard, mouse, mic, or scanner. - Scan existing sheet music directly into Finale. From there you can change the key, edit, and save as a Finale file. - Linked Parts - intelligently links your score and parts to save you time. - More than 300 customizable and printable Music Education Worksheets. - Video Support - import video, plus send and display SMPTE time code. - TempoTap™ - conduct your own tempo changes. - Playback - here are just a few reasons why Finale's sound is unsurpassed: - Record or import an audio track for unprecedented realism. - More than 350 world-class Garritan instrument sounds - and more. - More than 100 sounds from the acclaimed Tapspace Virtual Drumline. - Human Playback® makes your music sound like live musicians are playing it - even if you entered your notes with a mouse! - Integrated Garritan Aria player. - Full support for VST/AU instruments AND effects. - Powerful Mixer (real-time control of volume, panning, patch, and more). - Save Audio Files (including .MP3) to create CDs or save to an iPod. - Document Styles let you instantly personalize the appearance of new documents. - Colored Noteheads and integrated Boomwhackers tuned percussion tube sounds.

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