Even as everything else about the world of music changes, the piano lesson retains its appeal. Drawing on her own lifelong experience as a student and teacher, Tunstall writes about the mysteries and delights of piano teaching and learning. What is it that happens in a piano lesson to make it such a durable ritual? In a world where music is heard more often on the telephone and in the elevator than in the concert hall, why does the piano lesson still have meaning in the lives of children? What does it matter whether one more child learns to play Bach's Minuet in G? "Note by Note" is in part a memoir in which Tunstall recalls her own childhood piano teachers and their influence. As she observes, the piano lesson is unlike the experience of being coached on an athletic team or taught in a classroom, in that it is a one-on-one, personal communication. Physically proximate, mutually concentrating on the transfer of a skill that is often arduous, complicated and frustrating, teacher and student occasionally experience breakthroughs-moments of joy when the student has learned something, mastered a musical passage or expressed a feeling through music. The relationship is not only one-way: teaching the piano is a lifelong endeavor of particular intensity and power.Anyone who has ever studied the piano-or wanted to-will cherish this gem of a book.

    Now guitarists can have all three volumes of this classic guitar method in one convenient book! Created by popular demand, this new edition of the method used as the basic text for the renowned Berklee College of Music guitar program is a complete compilation of the original Volumes 1, 2, and 3. Innovative solos, duets and exercises progressively teach melody, harmony and rhythm. Perfect for the serious guitar student and instructor alike.

    Poker's biggest players, such as Phil Ivey (2009 WSOP Main Event Finalist), Johnny Chan, Phil Hellmuth, Doyle Brunson and Daniel Negreanu give first-person accounts of their personal journeys and the key moments in their rise to the top of the poker pantheon. These stories will teach, inspire and make you laugh. Deal Me In humanizes the larger-than-life personalities, allowing the reader to understand more about poker strategy through the trials and errors of the best players in the game. Each poker legend tells his or her own story in the book including: Doyle Brunson, Phil Hellmuth, Daniel Negreanu, Phil Ivey, Annie Duke, Johnny Chan, Chris Jesus Ferguson, Carlos Mortensen, Chau Giang, Jennifer Harman, Allen Cunningham, Howard Lederer, Erik Seidel, Chad Brown, David Devilfish Ulliott, Layne Flack, Scotty Nguyen, Annette Obrestad, Tom Dwan and the 2008 Main Event winner Peter Eastgate.

    Nevertheless, it has exerted a more powerful hold on international popular music than any nation besides England and America. From Prince Buster to Burning Spear, Lee "Scratch" Perry to Yellowman, Bob Marley to Shabba Ranks, reggae music is one of the most dynamic and powerful musical forms of the twentieth century. And, as Lloyd Bradley shows in his deft, definitive, and always entertaining book, it is and always has been the people's music. Born in the sound systems of the Kingston slums, reggae was the first music poor Jamaicans could call their own, and as it spread throughout the world, it always remained fluid, challenging, and distinctly Jamaican. Based on six years of research -- original interviews with most of reggae's key producers, musicians, and international players -- and a lifelong enthusiasm for one of the most remarkable of the world's musics, This Is Reggae Music is the definitive history of reggae.

    If I am still alivewhen the events foretold in these pages occur, then I hope that you will find me before it is too late.Roberta Ann SparrowOctober, 1944"

    But before this instant accessibility and dizzying array of formats before CDs, the eight-track tape, the radio, and the turntable there was only one recording technology: music notation. It allowed singers and soloists to travel across great distances and perform their work with stunning fidelity, a feat that we now very much take for granted. Thomas Forrest Kelly transports us to the lively and complex world of monks and monasteries, of a dove singing holy chants into the ear of a saint, and of bustling activity in the Cathedral of Notre Dame an era when the only way to share even the simplest song was to learn it by rote, church to church and person to person. With clarity and a sense of wonder, Kelly tells a story that spans five hundred years, leading us on a journey through medieval Europe and showing how we learned to keep track of rhythm, melody, and precise pitch with a degree of accuracy previously unimagined.Kelly reveals the technological advances that led us to the system of notation we use today, placing each step of its evolution in its cultural and intellectual context. Companion recordings by the renowned Blue Heron ensemble are paired with vibrant illuminated manuscripts, bringing the art to life and allowing readers to experience something of the marvel that medieval writers must have felt when they figured out how to capture music for all time."

    Russolo calls for an infinite expansion of musical vocabulary and sensibility in coordination with that of industrial machinery—“We must enlarge and enrich more and more the domain of musical sounds”—envisioning a machine-based music that would dispense entirely with inherited forms. This publication made the text widely available in English for the first time. Also included is a description of the “First Concert of Futurist Noise Instruments” in Modena, Italy on June 2, 1913.

    Dig Me Out was the band's third studio album, but the first one written and recoded with Weiss. It inaugurated Sleater-Kinney into a lineup that would span its two-decade career.This 33 1/3 follows the narrative of Dig Me Out from its inception in Olympia to its recording in Seattle and its reception across the United States. It's anchored in a short period of time – roughly from mid-1996 to mid-1998 – but it encompasses a series of battles over meaning that continued to preoccupy Sleater-Kinney in the coming decades. The band wrestled with the media about how they would be presented to the public, it contended with technicians about how their sound would be heard in clubs, and they struggled with pervasive social hierarchies about how their work would be understood in popular culture. The only instance where the band didn't have to put up much of a fight was when it came to their fans. The acclaim Sleater-Kinney received from their listeners in the late 1990s, and continue to receive today, speaks to a need for icons who challenged normative notions of culture and gender. This story of Dig Me Out chronicles how Sleater-Kinney won the fight to define themselves on their own terms – as women and as musicians – and, in the process, how they redefined the parameters of rock.

    Before the Legend: The Rise of Bob Marley goes beyond the myth of Marley to bring you the private side of a man few people ever really knew. Drawing from original interviews with the people closest to Marley – including his widow, Rita, his mother, Cedella, his band mate and childhood friend, Bunny Wailer, his producer Chris Blackwell, and many others – Legend paints an entirely fresh picture of one of the most enduring musical artists of our times.

    This best-selling, student-friendly book contains clear, step-by-step explanations with comprehensive, stimulating, and challenging material that prepares users for real on-the-job situations. Featuring case studies, state-of-the-art scans, algorithms, protocols, and the inclusion of areas above and beyond the DOT protocols, the tenth edition effectively prepares students for success. The assessment and emergency care sections provide the most up-to-date strategies for providing competent care; and the enrichment sections further enhance students ability to assess and manage ill and injured patients in prehospital environments. The text s table of contents is organized to follow the National EMS Educational Standards."

    I've written 1,000 of them and it's really just another one.' Jimmy Webb 'When I heard it I cried. It made me cry because I was homesick. It's just a masterfully written song.' Glen CampbellThe sound of 'Wichita Lineman' was the sound of ecstatic solitude, but then its hero was the quintessential loner. What a great metaphor he was: a man who needed a woman more than he actually wanted her.Written in 1968 by Jimmy Webb, 'Wichita Lineman' is the first philosophical country song: a heartbreaking torch ballad still celebrated for its mercurial songwriting genius fifty years later. It was recorded by Glen Campbell in LA with a legendary group of musicians known as 'the Wrecking Crew', and something about the song's enigmatic mood seemed to capture the tensions in America at a moment of crisis. Fusing a dribble of bass, searing strings, tremolo guitar and Campbell's plaintive vocals, Webb's paean to the American West describes a telephone lineman's longing for an absent lover, who he hears 'singing in the wire' - and like all good love songs, it's an SOS from the heart.Mixing close-listening, interviews and travelogue, Dylan Jones explores the legacy of a record that has entertained and haunted millions for over half a century. What is it about this song that continues to seduce listeners, and how did the parallel stories of Campbell and Webb - songwriters and recording artists from different ends of the spectrum - unfold in the decades following? Part biography, part work of musicological archaeology, The Wichita Lineman opens a window on to America in the late-twentieth century through the prism of a song that has been covered by myriad artists in the intervening decades.'Americana in the truest sense: evocative and real.' Bob Stanley

    Formed in Toronto in 1968, the rock trio Rush has gone on to multiplatinum success behind the distinctive high register and virtuosic bass-playing of frontman Geddy Lee, the legendary drumming and lyric-writing of Neil Peart, and the guitar heroics of Alex Lifeson. Despite having just four chart-topping singles since the release of their debut LP in 1974, Rush has nonetheless sold more than 25 million albums in the U.S. and more than 40 million worldwide. The Canadian trio may be the definition of an "album band," and this new book from prolific rock journalist and acknowledged Rush authority Martin Popoff pays tribute to the band's discography by moderating in-depth, frank, and entertaining conversations about all 20 of Rush's studio albums. Inside, the author gathers 20 rock journalists and authors who offer insights, opinions, and anecdotes about every release. Together, the conversations comprise a unique historical overview of the band, as well as a handsome discography. Popoff also includes loads of sidebars that provide complete track listings, details on album personnel, information on where and when the albums were recorded, and sidebar facts about the albums, their songs, and the band.

    Clear explanations are detailed with many current examples.

    Here you'll meet, among many others, the 20s film idols snorting cocaine from an illuminated glass dance floor on the bank of the Thames, the model who escaped Soho's gangsters to become the queen of the nudie flicks and the genteel Scottish comedienne who, at the age of fifty-five, reinvented herself as a star of exploitation cinema, and fondly remembers 'the one where I drilled in people's heads and ate their brains'. Welcome to the lost worlds of British cinema.

    Questioning the beliefs of the world's eminent evolutionists.