Book Description
This bible of the piano marketplace is indispensable to buyers and owners of pianos, amateur and professional players alike. Hundreds of thousands of pianos are bought and sold each year, yet most people buy a piano with only the vaguest idea of what to look for as they make this major purchase. The Piano Book evaluates and compares every brand and style of piano sold in the United States. There is information on piano moving and storage, inspecting individual new and used pianos, the special market for Steinways, and sales gimmicks to watch out for. An annual supplement, sold separately, lists current prices for more than 2,500 new piano models.
Customer Reviews:
Required reading.......2007-03-31
If you're buying a piano, you have to read this thoroughly first. This applies to acoustic pianos, both vertical and grand, new and used. This book taught me how a piano works and how to tell what's wrong with it (in general). Didn't make me an expert, but I now feel qualified to buy a piano and not get ripped and get one that will suit my needs.
You also have to get the bi-annual(?) supplement that includes pricing.
Very good except for ratings which are useless.......2006-12-20
This is a very good book for people with little knowledge of pianos. The sections on construction, things to look out for, sales gimmicks and techniques etc. It is a very good source for most things related to pianos purchasing except his ratings. The historical information about the companies is interesting if not particularly helpful but the ratings which are based on biased opinions are essentially useless. It has created a tier system which basically just feeds people egos. the pricing secions are a little more helpful but not greatly.
I recommend using the informations sections and ignoring the rating sections.
BUYER BEWARE!.......2006-10-08
I agree that this book is a compendium of very valuable information, especially for the novice buyer. But despite a lifetime playing the piano and a career as a piano teacher, I made a terrible mistake following his recommendation. He raves about the Schimmel piano, a German-made instrument. I bought one about twelve years ago and have hated it ever since. The store owner even replaced it with another identical model, which was no better. The dampers don't work properly and the strings continue to vibrate after the key is released so it sounds as if you always have a half pedal in use. Both pianos did the same thing. I am now shopping for a replacement...without the book.
A Must Have.......2006-08-27
Unfortunately, I purchased a piano before reading this book. Fortunately, based on the information in this book, I made the right decision. I just happened to be lucky. But I wish I had bought the book earlier.
For the person wanting to buy a new or used piano, this book is a must have. Most people want to know what the best piano is for the money. Using the information in this book, you will be able to figure that out. And without this book, you could spend years spinning your wheels.
The bottom line is - quality costs money. Buy the best piano you can afford up front. Don't buy a spinet or mini-grand. Just by reading this book I found out they are a waste of money. I wouldn't have know that otherwise. Read this book. You will save yourself time, headaches, and money.
By the way, I bought a Yamaha U1.
THE book for Piano Consumers.......2006-03-18
If you are considering the purchase of an acoustic piano now or in the future, this book must be on your short reading list. Fine tells you about how a piano functions and what potential pitfalls to be aware of in the purchase of a new or used instrument.
Customer Reviews:
to a singer.......2007-06-22
This book is to a singer what pornography is to an adolesant teenage boy. a must have! all the info that would turn any singer on, and you don't have to hide it from mom!
A Must Read for Voice Teachers.......2005-11-02
At first I was turned off by this book's textbook appearance, once however I successfully pushed myself past the cover I was fascinated. Like most voice teachers, I've read my share of "This is the Only Way to Teach Singing" books. I have found that the more truly knowledgeable a person is, the more they recognize how many variables exist and how many approaches may be necessary in order to arrive at the desired destination. Rather than pontificating on his particular brand of vocal technique, Richard Alderson focuses on indisputable physical activities and his discovery of vocal mechanics through experiences with his students. Alternating between descriptions of functional concepts and first-hand stories of their application, this book was a pleasure to read. I often found myself unable to put it down. - Okay, but what can I say... I love voice :-)
Where's your tongue at?.......2005-10-10
I find this book really helpful and insightful regarding all the aspects of singing, breathing, producing sound in general, etc. It not only helps with singing, but it for instance also helps you learn better breathing habits. I'd recommend this book to anyone.
I should probably also add that to learn to sing you need a teacher too, but for as far as books go, this is possibly one that I would have to put on my list of favorites. I find it hard to imagine that any other book will provide more insight.
For people who need to do without a teacher I'd most certainly recommend this book. You might want to search for CD's or DVD's as an extra learning aid too, to help you visualise/audiolise things if you find this hard to do. An instrument might be nice. You probably need something to produce the desired notes so you can sing along with them. This will be a great help when doing the suggested exercises. But even without such help, the book contains plenty of practical info.
A good, reliable handbook on teaching voice.......2005-08-30
This book is another of the many great books out there on vocal pedagogy.
Richard Alderson, a professional singer voice teacher and choral director taught at Northwestern University. Taking a very practical approach, Alderson introduces the principles of voice teaching. Later chapters cover breathing, voice production, resonance, vowels, registers, articulation, and several chapters on choral voices and changing voices (boys' and girls').
Alderson is informed about proper vocal technique, and the book's bibliography demonstrates his reliance on the best sources. Alderson's book seems much more pragmatic than other books on vocal pedagogy like Richard Miller and others. Alderson also makes many analogies to many other fields, especially athletics. Many teachers will find this helpful--it can be very difficult to explain to students what they should try to do to correct their singing.
At the expense of his practical explanation, some voice teachers may miss some of the "nuts and bolts" as to what is really going on in the voice. This handbook does not explain all of the inner workings of vocal production. Better sources can be found in books by Clifton Ware, Richard Miller, and Oren Brown.
Fans of good aesthetics will probably also wish this book had a different cover (this one shouts, "Welcome to the 1970s!").
All that aside, this is a useful book and voice teachers will find it helpful. I would also recommend James McKinney's book as another great resource. Enjoy!
Excellent Book.......2004-07-18
Here we have a book on vocal production and training that is just that: a book on vocal training. Yes, it contains exercises and other things, and great detailed explanations as to what things mean in vocal pedegogy. One would actually learn more about singing and voice production from this book, and doing it correctly, than from all the "singing for dummies" sort of books out there. The only draw back with the book is it is long, and it is not that exciting to read. He is not wordy, he is just to the point, all of the points of singing.
I would recommend this book for anyone seriously wanting to learn to sing, and I mean sing. Study it, read it, get an understanding of what singing is all about, and what you should be fixing as a goal in learning how to sing. Most books on singing don't give enough information so you could actually fix any realistic goals about singing, or what to expect from your own progress, or out of a lesson, or even from your teacher. People buy these other books, learn a few things, sing a few notes better than they did before, and think they are on their way to stardom.
Well, people, get real. Read this book and you will get a better understanding of what singing is all about. And on the first pages you will learn one important thing -- you will never hear your voice correctly, so no matter how wonderful you think it is sounding, you will need the ears of someone else (if not a teacher, at least someone with a good ear for quality sound) to let you know what you really sound like.
However, if you read this book carefully, you can also save yourself a ton of grief when choosing a teacher. There are tons of teachers out there who, quite frankly, have no business teaching at all. A former singing career, or the ability to sing oneself, is NO indication the person can actually teach what they know, or even that they understand what they did (Joan Sutherland is a perfect example; she sang wonderfully but would never consider teaching as she openly admits she has no clue how it all works). Reading this book will not make you an expert on the subject whatever, but it will give you enough information that you won't be led up the garden path. You will have a great idea of what to expect, what to anticipate, and what should be happening in any voice lesson you have. If your teacher doesn't cover any of these points, then you will have an idea they aren't a real voice teacher and that they don't really know much. Perhaps it would be better to seek out someone else's advice.
The advice in this book is excellent, but again, no book can teach you to sing, they can only enlighten you to what to consider and look for in learning technique.
Average customer rating:
- Not so good
- Instrumental text book review
- alternatives to this book
- So disorganized a book that it hurts
- Style of writing is painful
|
Principles of Instrumental Analysis
Douglas A. Skoog ,
F. James Holler , and
Stanley R. Crouch
Manufacturer: Brooks Cole
ProductGroup: Book
Binding: Hardcover
 Analytic
| Chemistry
| Science
| Subjects
| Books
General & Reference
| Chemistry
| Science
| Subjects
| Books
Industrial & Technical
| Chemistry
| Science
| Subjects
| Books
Scientific Instruments
| Experiments, Instruments & Measurement
| Science
| Subjects
| Books
General
| Science
| Subjects
| Books
Analytic
| Chemistry
| Professional Science
| Professional & Technical
| Subjects
| Books
General & Reference
| Chemistry
| Professional Science
| Professional & Technical
| Subjects
| Books
All Titles
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Professional
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Science
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Similar Items:
-
Inorganic Chemistry
-
Lehninger Principles of Biochemistry, Fourth Edition
-
Inorganic Chemistry (2nd Edition)
-
Physical Chemistry
-
Experiments In Physical Chemistry
ASIN: 0495012017 |
Book Description
PRINCIPLES OF INSTRUMENTAL ANALYSIS places an emphasis on the theoretical basis of each type of instrument, its optimal area of application, its sensitivity, its precision, and its limitations.You'll also learn about elementary analog and digital electronics, computers, and treatment of analytical datA. Visit the book companion website for tutorials on instrumental methods, Excel files of data analysis and simulations of analytical techniques to help you visualize important concepts in this course, and selected papers from the chemical literature to stimulate interest and provide background information for study.
Customer Reviews:
Not so good.......2007-09-18
I have to use this textbook for one of my classes, and I must say, it is horrible. The examples for problems in the book hardly give any explanation of what they are doing. The questions at the end of the chapter are very difficult and looking back at the chapter just makes the question even more confusing. I like to use textbooks when I do not understand what is going on in my class, but this one does not help at all! I think the only way you can understand this book is if you are already well educated in the course. Everytime I am assigned problems in the book, I cringe, because I know I am going to be spending hours being more confused than I have ever been in my life.
Instrumental text book review.......2007-07-20
This book covers the basics of instrumental analysis well. This is not a book for someone who needs colored illustrations and flashy pictures. The key words do not jump out of the page like many of the new undergraduate text books. The text is to the point. As with any textbook, there are some minor errors, but this book is better than some others I've encountered.
alternatives to this book.......2007-03-09
I'm not sure why there are so many negative reviews of this book. I found it to be very solid.
For those of you who don't like it you have 3 options:
either "Instrumental Methods of Analysis" by Willard, Merritt, Dean, Settle; (ISBN 0534081428) which is excellent and a true classic.
or "Chemical Analysis: Modern Instrumentation Methods and Techniques" by Francis Rouessac & Annick Rouessac
or "Chemical Instrumentation: A Systematic Approach" by Strobel and Heineman. This book, however, is very hardware oriented and not a general instrumental analysis text.
I would also recommend that you buy "Statistics and Chemometrics for Analytical Chemistry" by James N. Miller & Jane C. Miller. It does a much better job than the cursory chapters found in regular analytical texts. Get the 4th or 5th edition. For a paperback, this book is ridiculously expensive if you buy new. Try to find a used copy.
While the book by Miller & Miller is good, it's no substitute for a 1 or 2 semester course in stats. A good book for this material might be Statistics for Research, Third Edition by Shirley Dowdy, Stanley Wearden, Daniel Chilko (ISBN 047126735X)
Check out my other reviews for other undergrad. chem books.
So disorganized a book that it hurts.......2005-12-24
There is no clear organization in this book. Seems like they took many papers and at random picked paragraphs out of them. The only place they show organization is when they are introducing stuff in a chapter.
Works as a reference book because you can look in the back and find the 6 or seven places your topic of interest is scattered in the book. but in general the gain of knowledge through the organization of this book is near to impossible.
The authors of this book should be ashamed of themselves for doing such harm to Chemistry students.
Style of writing is painful.......2005-09-02
Just start reading the introduction, or flip to anywhere in this book to see all you need to know about it's readability: a bit rough to say the least.
For example, in the introduction, the concept of carrying binary data in a shorter period of time on a wire than several measured pulses was presented in such a confusing manner that I was forced to read it 4 times to understand what was already a simple and understood concept to me. The excessive formality of this book is a killer.. It reads at times like a formal mathematics proof book, however, at other times it is a bit more readable.
Like people said.. use this for reference.. not for a textbook.
Book Description
"Anyone who can dial a telephone can learn to play popular piano quickly and easily."
So says Norman Monath, author of How to Play Popular Piano in 10 Easy Lessons. His no-frills, no-drills method will have you playing simple tunes within 30 minutes -- even if you don't know one note from another.
The secret? Learning the basic chords and how to adapt them. With lots of clearly illustrated chord examples, keyboard diagrams and practice pieces ranging from "Silent Night" to "Raindrops Keep Fallin' on My Head," Monath teaches you:
* the basic structure of music
* how to alter the basic chords for creative accompaniment
* how to read tunes from sheet music
* how to improvise
* how to play by ear
* how to create your own playing style -- whether you lean toward pop, blues, jazz or rock
For everyone from rank beginner to experienced virtuoso, this step-by-step, uncomplicated guidebook makes learning to play popular piano the easy and enjoyable experience it should be.
Customer Reviews:
Fast & Easy Piano.......2007-06-09
My first venture into piano lessons and I have enjoyed it. Using basic chords I was playing nice sounding music in no time; not the one finger tunes. I recommend this to anyone who wants to play the piano and sound good from the start.
Learning to Play.......2007-06-08
I feel that though the book makes learning seem easy, there is still a lot of work to be done by the individual to learn the piano. It does however break learning into easy steps, and is a great tool for the person who would like to take a more laissez faire attitude to learning, or who cant afford a teacher just yet.
It has also helped me rekindle my interest in playing. Nice idea indeed.
Go for it! I mean it's not going to come to you! ;-).......2007-05-09
I think the reviewer Doc Jellison and I would get along famously because from his remarks, we share the same musical philosophy. Let me lay the cards on the table here. If you're familiar with my reviews, you'll note two things: I'm a staunch traditionalist by nature and if I sit down to play Beethoven's Op. 27, No. 2, 1st movement "Moonlight Sonata" or as Herr 'B' termed it, "Sonata Quasi Una Fantasia" , it will be exactly note for note as the man wrote the piece --- WAIT NOW! KEEP READING!--- because on 'that' piece, it simply sounds better 'as written' or 'sic' than any so-termed 'arrangement' or 'easy play' [you know, the RH A-D-F thing and the LH twin D keys ] versus all those multiple sharps and LH/RH gymnastics but, I say BUT, having said that and somewhat to the chagrin of certain 'purist' colleagues, I see absolutely nothing wrong whatsoever for those folks who are inclined for "whatever" reasons to lean towards so-termed piano "chord playing" or those ubiquitous "fake books" or "easy play arrangements" as an ad hoc work-around. Bottom line, chord playing, 'arrangements', fake books, hey, SO WHAT!
If you can play a 'rendition' or indeed an 'arrangement' of "whatever" song or indeed any classical piece that first and foremost pleases YOU, that's all that matters! As long as 'you' accept the fact that going the chord route or using fake books will not give you the sound of an Evgeny Kissin or Daniel Barenboim or, hey, Billy Joel or Dave Brubeck or 'whoever' where the name is mentioned in the musical genre you like and you don't go "WHO?" --AND-- your thing is 'not' to do world wide recitals or gigs for equal compensation, hey, I don't see any problem!
It's a matter of expectations and realities. For reasons that escape me, the fake books or those 'chord-player' or 'arrangement' books have received the bad rap a la mode as if to say with the nose in the air thing, 'THAT is not 'true' piano playing' or, I've heard even worse, "it's a veritable KAZOO methodology by way of using piano chords" -- so what? And you're getting this comment from a traditionalist who makes every attempt and effort to play the classic pieces 'sic' but there are those 'sic' pieces that are simply too difficult in their 'sic' original form, sooooo, I have no qualms whatsoever in reaching for a handy "arrangement" or 'fake book' of the piece when necessary. Does it surprise you to learn of classical piece fake books? But again I ask and say, especially when they might be needed, so what?
I keep hearing from various and sundry who would like to play the piano or do the portable keyboard thing, "Ohhhh, I'd love to play the piano, Doc, but I'm 'too old' [!] to start now" --- BOSH! You are NEVER too old! Get that one set in stone as your 'first' order of business. So too, there are ways around the laborious and often frustrating years of learning notes, ledger line notes [when the "Every Good Boy .... " or "FACE" or "ALL COWS EAT GRASS" jingles won't work with ledger notes, sight-reading skills, you-name-it technical skills but if your essential goal is playing for self-enjoyment and personal pleasure, I see nothing wrong with the chord approach to piano OR those fake books or easy play arrangements! They abound! Question is, why is that! Ahhhh! What does that suggest to you!
Believe me, from 'there', you just may reach the point where further incentives will be provided by YOURSELF to get deeper into it and hence provide your own motivation for what some term the "correct way to play" syndrome but again I stress, what is your goal, a Carnegie Hall recital, what, the Van Cliburn 'pro' [if under 30 BTW] or Van Cliburn 'Outstanding Amateurs' [35 and over] competition? Or is it in fact the enjoyment of the piano and keyboard using an approach that can get you going and perhaps spur you on to the nitty-gritty side of the piano and much deeper musical theory and playing technique as you progress! Would it surprise you to learn that I've seen renditions of even classical pieces that sound very good yet the player can not read music! Or, if it's ledger line notes, forget it! Ohhh yes!
If the keyboard appeals to you and, get this too now, you're into putting in the time and effort to sound decent even with the chord approach and fake books [contrary to popular belief they are 'not' all push-overs!] , well, what are you waiting for! Or those just as ubiquitous 'arrangements' [some of them even in the original key but much easier on the "LH" [Left Hand] as they say] when certain classical [or whatever mind you] pieces appeal to you but the original 'sic' music is simply too difficult, so, take another approach! These books will not hurt you and again I emphasize that I've seen cases where the chord or fake book approach has in fact led to determined efforts [to the extent possible] to tackle the 'sic' stuff albeit within reason.
I had a lady tell me after she did a fake book rendition of Beethoven's "Für Elise" , to wit, "You knew it wasn't as written, didn't you, Doc?" to which I replied "my reaction was as it was 'played' and it sounded fine! But, let me ask 'you', did the rendition [LH 'chords'] satisfy YOU?" and when a sort of head nod affirmation came, hey, case closed! Who is to say that the piece 'as written' won't be a future goal but until then, what or where is the problem! Play! Enjoy! Sic ... or work-around! Do 'your' expectations first versus those of others and their expectations 'of' you!
Obviously I'm addressing myself more to the 'adult' piano beginner but then more time may be available now to do that which you always wanted to do and there is generally more than just 'one way and only one way' to reach one's goals! Get the book! Start! 'Then' you deal with the realities and progress as YOU deem appropriate! Think the old football sports show filler, you know, "You Make The Call!"
... an 'ultra purist' whose motto is "each piece as written ... or not at all!" faints dead away forthwith after reading this!
Doc Tony
PS: And you 'electronic synthesizer' types, think the "FAME" flick, you know, Mr. 'S' sees Bruno Martelli "setting up" the gear and says to the lady pianist sitting just next to him, "Does he want to be a musician or an airline pilot!" ;-) What's that? You say you got the 'bends' reading this far below the standard short/succinct review, but, hey, while I plead nolo contendere to any 'length' critcisms forthwith, it had to be said! Fake books, arrangements and chord-playing books have their benefits and 'can' most decidedly lead to further efforts and enhanced playing skills! How so? Progress! Enjoyment! Desire for more ... and better! Motivation! YOURS! BTW, those "How to Use a Fake Book' tomes, 'do' check out Ann Collins and Blake Neely! Or various arrangements [classical] by Charles Bateman and a host of mixed bag stuff [popular, folk, jazz, religious, R&R, easy listening "arrangement books" by various folks and, when you perhaps want to tackle the sic 'as written' pieces, fine, but until then ... PLAY!
textbook for college piano class.......2007-02-11
I am an associate professor with San Diego Community College Continuing Education. For 10 yrs. I have taught music classes for older adults. I am using "How to Play Popular Piano in 10 Easy Lessons" as a text, along with a fake book entitled, "Your First Fake Book". Most of my students are seniors and don't want to spend the 5-7 years it takes to learn to play a moderately easy piece of sheet music. Monath's book doesn't even require learning bass clef. Instead it teaches chord theory. With this approach, there is only a melody line with chord symbols. My students learn left-hand accompaniment patterns, using chords, rather than what some arranger has provided in the bass clef. They also learn how to provide harmony in the right hand using the chord symbols provided in a fake book.
This is the fourth textbook I have used and I will probably never try another as Monath's book allows me to meet all of my course objectives--and in one semester.
Hal Jellison, PnD
Piano Playing in 10 Easy Lessons.......2007-01-31
It's a book that I now have read three times, which has provided me with the best understanding of learning how to play the piano, then all the former lessons that I have ever taken.
The sequential format between theory and practical is outstanding.
In just over a month's time, I now can play and understand the music selections that have collected in my piano bench for many years.
Being able to do just that, is "A dream come true"
Average customer rating:
|
Instrumental Data for Drug Analysis, Third Edition - 6 Volume Set
III, Terry Mills ,
James Conrad Roberson ,
Christian C. Matchett ,
Mathew J. Simon ,
Mark D. Burns , and
Jr., Robert J. Ollis
Manufacturer: CRC
ProductGroup: Book
Binding: Hardcover
General & Reference
| Chemistry
| Science
| Subjects
| Books
General
| Pharmacology
| Medicine
| Subjects
| Books
Pharmacy
| Pharmacology
| Medicine
| Subjects
| Books
General
| Medicine
| Subjects
| Books
Drug Guides
| Reference
| Medicine
| Subjects
| Books
General
| Pathology
| Specialties
| Medicine
| Subjects
| Books
General & Reference
| Chemistry
| Professional Science
| Professional & Technical
| Subjects
| Books
Drug Guides
| Reference
| Medicine
| Medical
| Professional & Technical
| Subjects
| Books
General
| Pathology
| Internal Medicine
| Medicine
| Medical
| Professional & Technical
| Subjects
| Books
General
| Pharmacology
| Medical
| Professional & Technical
| Subjects
| Books
Pharmacy
| Pharmacology
| Medical
| Professional & Technical
| Subjects
| Books
All Titles
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Medicine
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Professional
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Science
| Qualifying Textbooks - Fall 2007
| Stores
| Books
ASIN: 0849319749 |
Book Description
Finding current, detailed information on the analysis of drug-related compounds is challenging at best. While almost everyone engaged in the study of these compounds has accumulated a vast variety of data over time, a single-source, comprehensive review of that data would be an invaluable resource to have. Instrumental Data for Drug Analysis (IDDA), Third Edition is that resource, presenting the latest information on these compounds in a thorough, straightforward format. What's new in the Third Edition: · Presents FT-Raman Spectra tables · Includes information and analysis relating to 125 new drugs, including Zoloft, Claritin, Ambien, and the latest generation of narcotics · Organizes information on each drug in a simple, streamlined format
Book Description
The origins and secrets of the Grateful Dead's magical sound are told! This book is the first in-depth examination of the Dead's technical side, including their recording methods. From the "Acid Tests" of the mid-'60s to the famous "Wall of Sound" PA setup in the '70s and on to their exceptional later touring systems, the Grateful Dead were always on the cutting edge of technological innovation and experimentation. This exhaustive study includes clear and concise explanations of the band's equipment technology, instrument design, and studio recording techniques, plus a history of the group. Features: more than 100 photos and diagrams, many never before seen; new interviews with band members and tech personnel; suggested listening for every era of the group's history; and more!
Customer Reviews:
Awesome deatil & really fun.......2007-09-27
This well-written book provides both an overview of the progression of the Grateful Dead alongside a detailed description of the equipment the band used at each step along the way. For the gearheads out there, it's a great read. The same holds for Dead fans and fans of music from the golden era in general. It's really enjoyable.
Not the last word on the subject, but a great start.......2007-09-11
If you're into music technology, this book is a must-read. It's a breezy, well-informed overview of the Grateful Dead's evolving battery of instruments and sound systems, with plenty of good photos.
My only gripes are:
1. There isn't enough technical detail. For example, we get many pictures of Phil's amazing "brown" bass, but no diagram showing which knobs and switches did what. Tape track assignments for more than a couple of tunes would have been nice, too.
2. There isn't enough philosophy. What were the engineers and musicians thinking about when they made design decisions? More in-depth interviews with key personnel ... especially Bear ... would have been fascinating.
A 'must' for any collection strong in either rock music history or technical gear........2007-05-17
The technology, equipment, and musicians who have mad up the long-lived band Grateful Dead is reviewed with a focus on behind-the-scenes recording studio action in GRATEFUL DEAD GEAR: THE BAND'S INSTRUMENTS, SOUND SYSTEMS, AND RECORDING SESSIONS FROM 1965-1995. Surprisingly (given all the books on the market covering nearly every facet of the Dead imaginable), it's the first to consider the band's technical side, including their recording methods, and examines the equipment design, studio techniques, and influences on the group's evolution, adding over a hundred color photos - some never before published - and interviews with not only the band but its roadies and technical producers. A 'must' for any collection strong in either rock music history or technical gear.
Diane C. Donovan
California Bookwatch
This book is meant for you to read = ).......2007-03-14
This book is a step forward in understanding what the Dead tried to achieve in thier 30 year career . We have much literature on the band s lives and their ' whole ' system of living and playing , and doing everything that characterizd the Dead at being the Dead ( especially by Silberman who wrote an excellent review here ) . But the technical details of this are only a marvel or wise - literary - move that B Jackson could ve only pulled off .
The entire book deserves deep analysis and discussion . But the 72 - 74 time period . And the 1976 - 1977 years are worth reading into . The awesome details of the making of Terrapin St ; I could never thought that they went thrrough what they went through . And the percise changes , actions and decissions that took place during that album s making . As well as other albums , and the tours that functioned around the records that the Dead would be working on oftentimes .
The entire Wall of sound bit is also quite worth reading deep into .
I wonder if David Gans has read this book ? If so it d be nice to read his amazon.com customer opinion . As he is perhaps the best literary reference that the Dead has had since books about them have been published ( aside from the Relix magazine editions from the 70 s ) .
Thanks Blair Jackson for the magnificent book that only experts can create ( I still remember Blair s excellent articles in Dupree s diamond news , a too excellent magazine that accompanied our lives through the Dead s touring days , and also your superb show reviews in the Dead Base volumes )
A head in Chile
J G
Not For Gearheads Only.......2007-02-16
Another nice job from Blair Jackson. I love the music but am not a musician myself so wondered if I would find the tech stuff boring. For the most part, the answer is no. For those of you who have read Jackson's earlier works, you will feel right at home. There are plenty of details, stories etc to hold the interest of anyone interested in the history of this, the best of all bands.
Customer Reviews:
Excellent reference.......2007-01-30
I bought this on recommendation of a friend and wish I'd had it much sooner. It is good for adults or advanced students who need something to refer to during the week while practicing. It is not really a book for beginners or for people who aren't already motivated to practice. But it can definitely help make practicing more efficient and productive.
Still in print.......2005-03-26
ECS in Boston distributes it. A little research will track it down, Amazon's price isn't bad all things considered.
You don't have to pay $200 to $1,100 for it. :-)
Good book for beginner and advanced violin players.......2001-06-09
I started studying the violin late in life when compared to 'early' starters. However, as a dedicated amateur musician I find the interesting but demanding task of understanding and practicing the violin much more managable with the help of Robert Gerle's expert practice tips and fingering methods. My understanding of the instrument's intrinsic dynamics has grown, and practicing the violin has become more productive in terms of technique improvement. Thanks Mr. Gerle!
The Art of Practicing the Violin.......2000-09-02
In his "The Art of Practicing the Violin" Robert Gerle offers expert and eloquent guidance to violinist, violist, and teacher. His personal attainments as a concert artist and his long experience as master teacher become most apparent as he zeros in on the player's problems and offers the best and exact help in a clear, easily understood, and musical solution. You will be eager to try out his powerful and appealing ideas. The book is a masterpiece!
This book gave me new insight into playing the violin.......1998-12-24
I found The Art of Practicing the Violin very helpful, with a lot of general wisdom on practicing and an interesting approach to learning violin itsself, based on patterns of whole and half steps. The book deals with all elements of practicing-- how to structure your time, finding solutions to technical problems etc. The most helpful point had to do with mind control (which is what it all comes down to, says the book) and practicing in your head.
Book Description
As Tito Puente's pianist, Sonny Bravo, said, "This will be the salsa 'bible' for years to come." A complete method book on how all the various styles of Afro-Cuban music are played, plus sample charts showing what each instrument is responsible for, a complete history of the music, numerous classic photos, 50 pages just on piano montunos, and much more. Endorsed by Carlos Santana, among others.
Customer Reviews:
Great for learning salsa piano.......2007-01-19
My son is the pianist and he thought it was very helpful and thorough.
Comprehensive and well written.......2005-03-15
For students of Latin rhythms, this book is essential. It has a good historical perspective and develops the concepts from the history in a clear methodical fashion. The examples of each instrument's parts in various rhythmic styles are perfect and it is an essential reference for anyone who wants to understand the rich culture of Latin music.
The information given is so accurate and vivid........1999-08-04
This book is for anyone who is hungry to aquire the knowledge and history of the rhythms from Cuba and how these rhythms came from Africa to the caribbean. The format is very easy to follow, the information given is great and very accurate, the people that knows some of the great salsa performers will appreciate the wealth of pictures printed on the book, like Israel Cachao, Luis Quintana "Changuito", Juan Formell, Tito puente, Isaac Oviedo, etc. The discography list is a must for anyone who wants to learn about salsa and rhythms alike. The musical examples, like the montunos on the piano are a must to learn. Excellent book! Rebeca Mauleon is an excellent musicologist.
Customer Reviews:
possibly orchestration; thing of the scraps of history.......2006-06-01
I doubt if you can really teach orchestration,like composition; for whatever you are doing is simply revisiting in rote formations of what has already been done, and what has already been done, and what already has been done should be heard in its original form anyway. A book that merely speaks and addresses problems is the most virulent, viable route, I think, Give me what's the most resonant parts of the instrument,tell me where that is please! also tell me what is rather dull, what is noise-like, and what "lays" best in what register.Then how do we come to mix timbres? who can tell you that if you have an original vision for your music,if you write music, If you have many friends who play all the instruments of the orchestra that's the best route as well, real live expositions cannot be replaced by a text.Learning orchestration is about someone being there to ask questions on why you did what you did, and why you didn't do it another way! Texts are merely stepping stones anyway, unless you got "axes" to grind as Gunther Schuller.(incorreect tempi)
Seasoned conductor Del Mar at least has other interesting books on Brahms and Beethoven and potpourris of other lesser knowns on the problems of conducting and indirectly exposing the problems that exist within the orchestral repertoire.This is a facet of orchestration often overlooked. Everyone had some problem at some time that needs to be corrected by an experienced conductor. For if you simply play the music exactly as written it would be rather boring,unispired; how does one explain the phenomenon of; take five conductors, each rehearsing the same piece with the same orcehstra, and you will get/render five different conceptions of timbre, gestural differences, rhythm, balance and meaning. So music breathes I guess, and an orcehstration book will only tell you what to put into the right or wrong pegs in the systems of notations. Orchestrations, the orchestra itself is/are becoming reaching a dinosaur status, with commissioning funds drying up; or only reserved to academia-bound prize winners. Especially now since some orchestras are resorting to playing film music,with the film in the back or not; as interesting as that is, the orchestrations of the cinema have a kind of fixed entity, a horizon you can see, and who would rather listen to music for "Forrest Gump"? than brilliant orcehstrators as Stravinsky or Boulez, or Eotvos, Berio or Xenakis, or Sciarrino.Learning to write film music is not learning about the orchestra, for there still needs someone to develop its timbre, otherwise it dies. This is a good book nonethless, Del Mar has marvelous insights into problems with ample examples not overdone/overdetermined as the Berlioz-Strauss.I learned orcehstration simply by looking at the best (those mentioned above) and re-translating that into whatever I thought I could see as my music,my timbre, or conception of sound.
Best orchestration book.......2006-04-04
Great book for music lovers, proffessional musicians and composers. Gives you a real insight into the orchestra and individual instruments. Practical and well written. Highly recommended.
A Musicians Must.......2002-01-25
This is a well-written and thought-out text about the modern day symphony orchestra. It provides and analysis of every instrument in the orchestra, it's purposes, the sound it produces, and the possibilities. Norman Del Mar's book is a must for music students and professionals alike.
Everyone Buy it!.......2001-01-04
Anyone with a more than passing interest in Orchestral music should try this one. Especially good for young players in school or civic orchestras. It desecribes what everyone's job is, how they play different effects, hangups, foibles, etc...
Tells you why Horns don't like sitting in front of percussion. Why the tympanist won't play other percussion, but the the rest of the kitchen dept is running around playing 3 and four different instruments.
It talks a lot about keys, notes, and has many copies of the score for illustration, but if you don't read music don't despair... your enjoyment should not be diminished.
When to disagree with the conductor...
And describes the curious relations amongst all those infighting violins.
Very goood Book.......2000-07-13
This is an elemental resources for all advanced students of composition and conducting.
Average customer rating:
|
History of British Military Bands: Infantry and Irish (History of British Military Bands)
Gordon Turner , and
Alwyn Turner
Manufacturer: Spellmount Publishers
ProductGroup: Book
Binding: Hardcover
General
| Instruments & Performers
| Music
| Entertainment
| Subjects
| Books
General
| Music
| Entertainment
| Subjects
| Books
Military Marches
| Musical Genres
| Music
| Entertainment
| Subjects
| Books
General
| Central America
| Americas
| History
| Subjects
| Books
General
| England
| Europe
| History
| Subjects
| Books
General
| Ireland
| Europe
| History
| Subjects
| Books
Life & Institutions
| Military
| History
| Subjects
| Books
ASIN: 1873376286 |
Book Description
This monumental and unique study fills a serious gap in existing literature and traces the history of British military music from its early beginnings to the sophisticated instrumentation of today. This volume, with accompanying CD of their regimental marches, covers the Infantry and disbanded Irish Regiments.
Customer Reviews:
Classic of its Kind.......2007-02-07
This was the 3rd and final volume of this remarkable series. With the demise of so many fine old regimental bands from the British army, Gordon Turner with help from Kneller Hall, the army school of music, attempted to chronicle the fascinating history of these bands. Included are many fine photos, past and present. Extensive band histories are referenced throughout, with listings of bandmasters and directors of music, as well as regimental music played, and just general info. of importance. Many fine, rich stories are to be found here. The emphasis of this volume was on the bands of the Light Division and the Irish Regiments. Many others are included as well. All have colorful histories included with many references to bands and units long gone from the British army list. Included is a special CD played by the Band of the Royal Signals Corps which includes many of the regimental music listed in this work. The cover is a recent picture of the Band of the Light Division, now a single 47 piece band. All that remains of the bands of the Royal Green Jackets and Light Infantry. Soon this band will be changed yet again as the recent cuts will reduce it to a staff band of just 35. The title will be changed to the Band of the Rifles. A bland sounding title for sure! A sad loss for the many fans of this band over the years. This is niche book, highly recommended for those into military music, and British regimental bands in particular.
Books:
- The Price of Privilege: How Parental Pressure and Material Advantage Are Creating a Generation of Disconnected and Unhappy Kids
- The Princess Diaries, Volume VII: Party Princess (Princess Diaries)
- The Purpose of Your Life: Finding Your Place In The World Using Synchronicity, Intuition, And Uncommon Sense
- The Rejection Collection: Cartoons You Never Saw, and Never Will See, in The New Yorker
- The Story of Little Black Sambo
- The Time Machine (Signet Classics)
- The Ultimate Dog Treat Cookbook: Homemade Goodies for Man's Best Friend
- The Ultimate Gift (The Ultimate Series #1)
- Together on Top of the World: The Remarkable Story of the First Couple to Climb the Fabled Seven Summits
- Total Control: High Performance Street Riding Techniques
Books Index
Books Home
Recommended Books
- Choking on the Silver Spoon: Keeping Your Kids Healthy, Wealthy and Wise in a Land of Plenty
- Wallpaper
- The Films of the Eighties: A Social History
- The View from Here: Conversations With Gay and Lesbian Filmmakers
- There's Money Where Your Mouth Is: An Insider's Guide to a Career in Voice-Overs
- Where the Heart Is
- The wild oat inflorescence and seed: Anatomy, development, and morphology
- Essentials of Capacity Management
- The Cell Game: Sam Waksal's Fast Money and False Promises--and the Fate of ImClone's Cancer Drug
- Feng Shui for a Successful Office: How to Create a Harmonious Working Environment
2007-2008 Annual Supplement to The Piano Book: Buying & Owning a New or Used Piano (Annual Supplement to the Piano Book)
Piano Servicing, Tuning, and Rebuilding, Second Edition: For the Professional, the Student, and the Hobbyist
Virtuoso Pianist in 60 Exercises - Complete: Piano Technique
The Piano Handbook: A Complete Guide for Mastering Piano
Piano: The Making of a Steinway Concert Grand
