20 Super Easy Piano Pieces on the Black Keys, Andreani Giovannni

Автор: Andreani Giovannni
Название: Snare Drum Development L2
ISBN: 8894112268 ISBN-13(EAN): 9788894112269
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Snare Drum Development (SDD) and Drumset Development (DD) are, throughout the PercMP Development Areas, the main framework around which all other Development Areas orbit; these areas have been conceived to help percussion and drum teachers achieve a profound view of their student's improvements while guiding them throughout the higher levels of drum playing.

The student, while studying SDD, should be simultaneously working on DD: the level of DD should be one less than SDD's, thus, when beginning the second level of SDD the first level of DD can be introduced.

As progress is made, a new Development Area may be added: the more areas the student manages, the more profoundly competence and skills will grow; nonetheless, SDD and DD should be the only Development Areas on which the student will be working constantly.

SDD consists of short pieces that the student will have to prepare for the following lesson; how these pieces will be mastered is an issue to be pre-emptively clarified in order to positively monitor the student's progress. Therefore, the teacher will have to determine in advance which criteria to adopt when evaluating each piece and assigning a new one in its place.

The general complexity expressed at each level of SDD does not have to be comparable to the difficulty of other areas simultaneously studied, especially if related to repertoire. Indeed, the student may find him/herself studying a repertoire piece that is much more difficult than is expressed by the level required in SDD: this would be perfectly appropriate while the contrary would surely be unfitting. The time term of SDD is classified as VST while a repertoire piece may be classified from MT to VLT; therefore, the latter can be more complex.

In the pieces throughout all levels of SDD, rhythmic patterns and time signatures are gradually introduced: technical skills, rhythmic skills and a sense of meter will therefore gradually improve.

When composing these works, one of the main objectives was to supply both students and teachers with pieces in which the formal structures would well be identifiable, thus stimulating an attitude to analysing the pieces before studying them. Developing the ability to identify periods, phrases and motifs will surely allow the student to achieve a higher level of awareness; consequently, a higher degree of motivation for increasing one's technical skills will strongly improve. While performing these pieces the student will therefore not find him/herself playing a series of grooves, where a rhythmic motif or phrase is constantly repeated throughout the piece, but will be required to interpret, by considering the drum as a solo instrument, pieces with a musical meaning in their whole, even though they may, at a very first level, be only of eight measures long.

Автор: Andreani Giovanni
Название: Singing in Tune 1: Building Pentatony
ISBN: 8894112225 ISBN-13(EAN): 9788894112221
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This book contains 142 melodies organised and proposed according to criteria developed over many years of teaching. They have proven to be reliable music material for a training course where the main objective is singing in tune. Each chapter presents a new system of tonal functions and each is divided into two sections: melodies written combining sol-fa syllables with a rhythmic line without the use of the stave, and melodies on the stave. From now on, melodies written combining sol-fa syllables with a rhythmic line (also known as 'rhythmic sol-fa'), will be defined as 'open-field' melodies.
The melodies in this book can be sung using the solmisation system known as tonic sol-fa: the sol-fa syllables represent the degrees of the diatonic scale for the tonal model where the doh syllable represents the tonic of the major scale regardless of the key in which it lays. The syllables do, re, mi, fa, sol, la, si (ti) are abbreviated in: d r m f s l t. At this level, they are gradually introduced, forming various pseudo-pentatonic sets which will represent the basis from which to discover
- and be aware of - the tonal system.
Open-field melodies offer the opportunity to sing in tune more easily: each student will be able to focus his/her attention on the semantic property possessed by each sound in relation to its to-nal function, without having to read notation from a stave. As soon as intonation is strengthened and the melodies are sung fluently, the student will simultaneously begin dealing with melodies on the stave. The stave is introduced gradually, first as a system with one line (monogram) on which sounds within the range of a third can be represented, then as a system of two and three lines (bigram and trigram). In the fifth chapter, melodies on a staff are represented in definite keys; nevertheless, they are notated without a key signature: accidentals, therefore, will appear at the moment, 'in itinere'. This method is adopted to accustom students to using absolute sounds belonging to a specific key, making them clear every time they are needed. At the same time, by using the sol-fa system, the student will adopt a unique syllable combined to a specific tonal function, regardless of which key it is in.