5 comments about 371 Harmonized Chorales and 69 Chorale Melodies w/Figured Bass: Piano Solo.

1. The book is very well laid out but the music is smaller than would be preferred. If the scores were printed larger it would be more enjoyable.



2. This is nearly indispensable for the serious music student. Used in most first-year theory courses, the Bach Chorales illustrate what the master did and why our Western music theory is based on the chorales he wrote.
   
   First bought 18 years ago, I found that I'd somehow lost my copy along the way. I bought another copy since I'm taking further music theory courses and though it isn't required in this particular course, it helps immensely to have a copy on hand.



3. For any piano player, music theorist, composer, or music enthusiast, this is the book for you. Excellent for daily piano study or for a better understanding of common practice tonal harmony. Great notes in the back for reference. The basis of tonality lies within these pages.



4. Bach's Chorales are the stuff of legend. The sheer wealth of invention is staggering. The Reimenschneider version has been around for decades and it is difficult to see how it could be improved. The layout is excellent with useful and insightful notes from a true Bach scholar.



5. For a basic course in music theory, this is the compilation which will teach you everything you need to know about tonality, cadences, voice leading, nonharmonic tones, and harmony.

No comments about Singer's Musical Theatre Anthology Baritone and Bass Vol.5 SMTA (Baritone/Bass).

3 comments about Complete Song Cycles.

1. This is the Dover edition of Franz Schubert's two song cycles on the poetry of Wilhelm Mueller -- Die Schoene Muellerin and Die Winterreise -- plus the collection of songs known as Schwanengesang, which is not a true cycle but rather a group of songs written by Schubert near the end of his short life (d. 1828), packaged as cycle posthumously by his publisher. If you are interested in art song, this plus a few other volumes -- for instance Schubert's Goethe Lieder, also available from Dover -- are an essential aid to enjoyment and understanding. One down side is that this is the usual Dover repackaging of an older source, and as such lacks things such as measure numbers and Deutsch catalogue numbers that would be useful to have. For the money, however, this is an essential value. English translations of the poems are included in the back of the volume.



2. If you are looking for an amazingly inexpensive way to augment your score library, Dover is the way to do it. The lack of measure numbers in many cases is not ideal, but to me, the savings more than makes up for it. When preparing for a rehearsal situation, it is relatively painless to take five minutes and number the measures myself. An inconvenience, to be sure, but spending $40 or more for an edition with measure numbers and rehearsal letters is the greater evil, as far as I'm concerned. I highly recommend this edition to vocal students, teachers, and anyone who simply wants to listen and read along to one of the greatest song-smiths ever to live.



3. This volume includes the three major Schubert song cycles. It's not as usable or legible as the old Peters edition, but it is much more available and cheaper. The music of course is pure heaven, from the world-famous "Serenade" to the grim and lovely ``Winterreise'' cycle to the "Swan songs" that end with perhaps Schubert's loveliest song of all, the "Taubenpost;" that was also the last song he wrote. You can hum them, sing them, strum them on your guitar or piano and you'll be a better human being. For low voice, with adequate English translations in the back of the book.

No comments about The Norton Scores: Volume 2: Schubert to the Present, Tenth Edition (The Enjoyment of Music).

5 comments about Classical Guitar Making: A Modern Approach to Traditional Design.

1. Very well written and presented, although I agree that there's nothing truly 'modern' here; a formal presentation of lattice bracing or composite tops (10 year old technology) would be needed to earn the 'modern' moniker. But for traditional style building (with interesting personalized wrinkles) it's an excellent text. Highly recommended, and the first true competition for the Cumpaino.



2. This book is an example of passion with the guitar. It's well written, beautifully photographed covering all steps of classical guitar construction that follows a high grade standard. Even if you don't want to build a guitar, buy it just for the beauty of its pages. I have bought a lot of books about lutherie, but this is one is far the best.
   It makes evident in every detail how Mr Bogdanovich loves what he do. Seems to me he had a very good time written it. Go deep!



3. This book is the ultimate guide to building your own guitar. The numerous color photos are of excellent quality. The book is well laid out and clearly written. A moderately skilled woodworker should be able to build a guitar from the information in this high quality book.



4. If it weren't for the fact that this is a step-by-step manual, the causual observer could be forgiven for mistaking this for a coffee-table book. It's almost too nice for a workbench! At the risk of sounding like an advertising blurb, the same passion and craftsmanship Bogdanovich displays in his guitars shows in nearly every page. He knows what he's doing, and it shows; the color photography is excellent, and the text is a pleasure to read - informative and concise without being dry at all.
   
   The beauty of this book is it has something to offer to experienced and aspiring luthiers alike. While the text deals with building a classical guitar almost entirely from scratch, much of the information given is pertinent to those attempting to go the kit route.
   
   This volume picks up where the classic Cumpiano/Natelson text leaves off, as far as the classical guitar is concerned. There are a few typos in the text that should have been caught by the editor, but they are obvious and not likely to cause trouble to anyone building a guitar from the book. All in all, Bogdanovich has kindly shared his skill and knowledge in a very timely, informative volume that I for one am proud to own!



5. I had originally checked this book out of my local library and after reviewing it, I knew I had to add it to my collection. It is a great companion to the Cumpiano standard with excellent color pictures. I am working on my first guitar and it is nice to have another book to illustrate different techniques for the different steps of construction. As the title suggests, he only covers classical guitar construction but many of the principals are similar and I would recommend this book to anyone considering building a guitar.

5 comments about Library Of Piano Classics (Library of Series).

1. I got this for my mom, who is a concert pianist, as she has been having eye problems. She enjoyed the book as it had so many classic pieces that she is familiar with. The only negative is that she said the material is simplified due to the large print. It was easy for her to add notes in between, but for someone looking for more advanced music, they may be a bit disappointed.



2. A wonderful assortment of pieces accompanied by wonderfully arranged interpretations. The songs in here provide the Piano Classics that everyone should know and provides a nice mix of easy-as-pie to finger-bleeding arrangements.
   
   Playing from this book will not only exercise your mind and help cultivate your understanding of the art, but will also provide you with wonderful presentation pieces.



3. This collection has many favorites from my first 10 years studying piano. It's delightful! The material I didn't already know is approachable and easy to learn for special occassions such as "Cinco de Mayo" breakfast!
   
   The binding is perfect for laying the music flat and now I can pick up this one album to take out to play instead of a box of albums!



4. I've had this book for probably 6 years and still play it everyday. I love these pieces. I was a piano minor in college and I used these as recital pieces many times. I would call them moderate difficulty. A great variety of songs from Rag to classical. I really have enjoyed this book through the years.



5. I recommend this with volume 2 as a starter book for all my Grade 2 and up piano students. This contains pieces from Baroque through Modern composers, in most levels of difficulty, from what I would consider advanced beginner through advanced pianist. The composers are selected from France, England, Germany, Italy, Russia, the USA and other countries so there is plenty of variety and always something new to explore. The printing is large and clear and the pieces are well-chosen and representative of the composers' works. The paper is heavy enough to withstand extensive note-taking and there's enough space on the page to be able to write notes. The students who bought this book in 2001 are still playing from it, a recommendation in itself.
   
   This is money well-spent.
   
   (This was supposed to be 5 stars but for some reason Amazon isn't letting me do it.)

2 comments about The Oratorio Anthology - Soprano: The Vocal Library.

1. The Anthology contains an extensive repetoire for soprano and it is very useful to have so many popular oratorio arias in one book. I would strongly recommend this to anyone who is a singer or keen amateur/student of singing. The edition is clear to read and the literal translations are a great help; all in all a great purchase!



2. I like this anthology. It has a very good selections from various kinds of sacred arias and I am sure it is suitable for singers in different levels. And the price is very resonable too. I would also recommend it to my vocal students!

3 comments about The Leider Anthology High Voce Ed. V Saya and R. Walters, The Vocal Library.

1. This collection has over 60 German Art songs by 13 composers (from F. Schubert's masterpiece "Gretchen am Spinnrade" to A. S. Mahler's "Laue Sommernacht"). Right below the title of each song is a brief description/history of the song: the poem it was based on, the poet, etc. The lyrics have a line-by-line English translation right after the description. And just like The French Song Anthology, the first bar of each line is numbered, perfect for rehearsals with a pianist.
   
   This was ordered for me because I'm a soprano. I may be done with my diploma, but this is perfect for brushing up and expanding my German Art song repertoire. At over 30% off of its original price, and with free shipping, it's a no brainer! It may have arrived later than usual because of the chosen shipping method, but it was well worth the wait!



2. This book has a large variety of leider. I was quite impressed with the Mozart selections, however, I was unhappy to find several Mahler pieces. (For anyone who doesn't know, Mahler's works for soprano tend to go down to low B flat or A and only up to E or F at the top of the staff.) The book is still worth it, though, just ignore those few pages. :)



3. This book is full of German lieder, romantic songs. The words are all in German, but the poems are in English translation, so that you know what you are singing if you don't read German. The music is lovely! This is a good edition!

5 comments about Elementary Training for Musicians (2nd Edition).

1. Paul Hindemith is probaly the greatest teacher, composer, and author of the 20th Century. This Book gives insight to many students (such as myself). It is a great source of help for music theory and composition, history and literature majors. Buy the Book and I gurantee you will not regret it!!!!!!!!!!!!!!!!!!!!



2. Paul Hindemith is probaly the greatest teacher, composer, and author of the 20th Century. This Book gives insight to many students (such as myself). It is a great source of help for music theory and composition, history and literature majors. Buy the Book and I gurantee you will not regret it!!!!!!!!!!!!!!!!!!!!



3. I first encountered "Elementary Training for Musicians" when I was a teenager, several decades ago. It was recommended by a couple of professional musicians whom I admired as role models. They must have had a grudge against me. I approached the book with an open and eager mind, as if it were the Bible, and by the fifth page it had absolutely dashed my hopes and dreams. This book would have represented a major setback for me, had I not had the courage to say, "Hindemith, you're full of [it]," and moved on with my life.

   As I got to know my musician friends better, I could see that what made them good had little to do with the torturous training in this turgid tome. I suspect that the same is true of Hindemith, who probably wrote his music with his right brain, and wrote this book with his left. I think he secretly penned this particular monument to obtuseness to dumbfound his professor peers, as if to say, "You see? This is what is 'elementary' to a genius like me."

   You probably won't take to this book unless you happen to have perfect pitch and an appetite for unmusical exercises. Even if the latter description fits you, you would probably find the layout boring and confusing, a relic from the pre-War era, when pools of type swam in undifferentiated masses on the page. In this case, the pools are notes. The type enshrines an authorial voice that is professorial and pedantic. There is little sympathy on Hindemith's part for the "beginner's mind" -- yours, presumably -- so if you are really a beginner at music, seek your elementary training elsewhere. I would suggest going to the bookstore of a major university and seeing what is available now in music fundamentals. Avoid all texts that do not have at least one accompanying CD. Why be cruel to yourself? Your progress will be easier and faster if you can hear what the symbols mean.

   One other recommendation: David Lucas Burge's Relative Pitch Ear Training Course (I have no financial interest in Burge's courses). Burge seems to be a bit of a showman, but this course is indeed meticulously worked out. I think there are some drawbacks to it, but it is truly Elementary Training for Musicians, and it will serve you well for a lifetime. As for his Perfect Pitch course, there may be something to it, but I haven't seen (or heard) any confirmation.

   Good luck!




4. This is by far the best book on its subject that I've ever worked with. For some reason it wasn't used until the second year second semester of Ear Training where I went to school, and I wonder why the college made us waste time and money on previous texts when this one had it all.

   That being said, it's definitely written without self-teaching in mind. From Hindemith's mindset, and that of many pedagogues both living and deceased, the idea of teaching oneself musicianship is about as nuts as teaching oneself surgery or carpentry. Even if it were possible, the same results could be achieved with less time and effort through proper instruction, which Hindemith sought to facilitate with this text. So if you're looking for a self-teaching text, look elsewhere - you are outside the scope of this book.

   My only concern about this book, and this could be simply the edition I have, is that it's in desperate need of a facelift. Taking advantage of computer layout techniques could make the exercises easier to read and the pages easier to navigate. Other than that, it's a teacher's dream for working on the nuts and bolts of musicianship.




5. Paul Hindemith should have a more prominent place in the minds and repertoire of musicians. However, he was also a music professor at Yale during and after the war. He returned to Europe in 1953 and taught at a university in Zürich. As a pedagogue and even as a theorist, he was very interested in the practical applications of music. He saw absolutely no use of learning abstractions from a book that you lacked the ability to apply. Makes sense, doesn't it?
   
   This book provides activities at a basic level. He is correct that if you can learn and do all of the activities in this book, you will inevitably get a solid grounding in basic theory. You will not only learn about rhythm, pitch, and notation, you will also learn to write down what you hear (an ability called dictation).
   
   The material here is fairly easy for a well trained musician, but very difficult for a beginner, and probably impossible for a beginner without a good teacher. The main thing to note is that this is a very activity oriented approach and was put together by a fine musician who was an important composer, theorist, and teacher.

No comments about The Penguin Guide to Recorded Classical Music 2009 (Penguin Guide to Recorded Classical Music).