In his first book, The Daily Adventures of Mixerman, the author detailed the frustrating and often hilarious goings on during the process of recording a major-label band. Musicians, engineers, and producers laughed and cried at the crazy goings-on they'd never imagined or recognized all too well. Now Mixerman turns his razor-sharp gaze to the art of mixing and gives followers and the uninitiated reason to hope if not for logic and civility in the recording studio then at least for a good sounding record. With a firm commitment to art over technology and to maintaining a grasp of each, Mixerman outlines his own approach to recording success, based on his years mixing records in all genres of music for all kinds of artists, often under trying circumstances. As he states in his introduction to the new volume, "Even if you're not a professional mixer, even if you're a musician trying to mix your own work or a studio owner in a smaller market, you have your own set of pressures to deal with while you're mixing. Regardless of what those pressures are, it's important to identify and recognize them, if for no other reason than so you can learn to completely ignore them." But how? "That's where the Zen comes in."

    Written for the nearly 30,000

    With a combination of anecdotes, meditation, and advice, he breaks down the creative process from beginning to end--from coping with writer's block, to song construction, chords, and even self-promotion. Webb also gives readers a glimpse into the professional music world.

    This book examines different aspects of music production, from sound design, compression and effect to mixing and mastering to publishing and promoting, to help you become a better producer.

    Interviews with top film scoring professionals add the priceless insight of the wisdom that comes with experience.

     While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work.

    Successful author and songwriter, Davis provides a complete guide to writing words for and to music, showing how to create lyrics with universal appeal.

    The Third Edition retains the elements that have made the book a classic while embracing new technology and responding to the needs of today's students and teachers.

    In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles.Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavors of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable.This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at a weighty 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis.

    Mental play impacts every aspect of piano playing: memorizing, controlling nervousness, developing performance skills, playing musically, acquiring absolute pitch, composing, improvisation, etc. Genius is more created than born; most of what had been attributed to talent are simple knowledge-based solutions that we can all learn. Improved memory can raise the effective IQ; memory is an associative process based on algorithms -- music is such an algorithm, enabling us to memorize hours of repertoire. Learning piano makes you smarter and teaches project management. Includes chapter on tuning your own piano; the chromatic scale, temperaments, circle of fifths, etc., are explained.

    But invention, in all art, is closely allied to technique, and technique can be taught. This book, therefore, which differs from most other texts on the subject because of its tremendous wealth of musical examples and its systematic arrangement of material according to each constituent of the orchestra, will undoubtedly be of value to any music student. It is a music classic, perhaps the only book on classical orchestration written by a major composer.In it, the composer aims to provide the reader with the fundamental principles of modern orchestration from the standpoint of brilliance and imagination, and he devotes considerable space to the study of tonal resonance and orchestral combination. In his course, he demonstrates such things as how to produce a good-sounding chord of certain tone-quality, uniformly distributed; how to detach a melody from its harmonic setting; correct progression of parts; and other similar problems.The first chapter is a general review of orchestral groups, with an instrument-by-instrument breakdown and material on such technical questions as fingering, range, emission of sound, etc. There follows two chapters on melody and harmony in strings, winds, brasses, and combined groups. Chapter IV, Composition of the Orchestra, covers different ways of orchestrating the same music; effects that can be achieved with full tutti; tutti in winds, tutti pizzicato, soli in the strings, etc.; chords; progressions; and so on. The last two chapters deal with opera and include discussion of solo and choral accompaniment, instruments on stage or in the wings, technical terms, soloists (range, register, vocalization, vowels, etc.), voices in combination, and choral singing. Immediately following this text are some 330 pages of musical examples drawn from "Sheherazade," the "Antar Symphony," "Capriccio Espagnol," "Sadko," "Ivan the Terrible," "Le Coq d'Or," "Mlada," "The Tsar's Bride," and others of Rimsky-Korsakov's works. These excerpts are all referred to in the text itself, where they illustrate, far better than words, particular points of theory and actual musical practice. They are largely responsible for making this book the very special (and very useful) publication it is.This single-volume edition also includes a brief preface by the editor and extracts from Rimsky-Korsakov's 1891 draft and final versions of his own preface, as well as an appendixed chart of single tutti chords in the composer's works.

    Beneath all the enormously different styles of modern electronic music lie certain fundamentals of the musical language that are exactly the same no matter what kind of music you write. It is very important to acquire an understanding of these fundamentals if you are to develop as a musician and music producer. Put simply, you need to know what you are doing with regard to the music that you are writing. Music Theory for Computer Musicians explains these music theory fundamentals in the most simple and accessible way possible. Concepts are taught using the MIDI keyboard environment and today's computer composing and recording software. By reading this book and following the exercises contained within it, you, the aspiring music producer/computer musician, will find yourself making great progress toward understanding and using these fundamentals of the music language. The result will be a great improvement in your ability to write and produce your own original music

    With more than 800,000 copies sold since it was first published thirty years ago, The Inner Game of Tennis became a touchstone for hundreds of thousands of people. Now, the bestselling co-author delivers a book designed to help musicians overcome obstacles, improve concentration, and reduce nervousness, allowing them to reach new levels of performing excellence and musical artistry.

    It is based on years of teaching guitar students of all ages, and reflects some of the best teaching ideas from around the world. This super-convenient Complete Edition features the new and improved method books 1, 2 and 3 spiral-bound together, available as a book only (00699040) or book with three CDs (00697342)

    The author examines the nature of intervals in various contexts, discusses the modes and other scales employed in modern music, describes the formation and uses of chords by thirds, by fourths, and by seconds, of added-note chords and polychords; he deals with different types of harmonic motion, with harmonic rhythm and dynamic sand ornamentation, with harmonic behavior in tonality, polytonality, atonality and serial composition.