Free Download Becoming a Great Sight-Reader -- or Not!: Learn from my Quest for Piano Sight-Reading NirvanaBy Al Macy

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Becoming a Great Sight-Reader -- or Not!: Learn from my Quest for Piano Sight-Reading NirvanaBy Al Macy

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Want to Improve Your Piano Sight-Reading? Don't play another note until you've read this book! "I would recommend this for anyone interested in improving their ability to sight-read." -- Bruce Lombardi, Amazon Customer

Author Al Macy practiced sight-reading every day for six years and carefully documented his journey. He determined what works and what doesn't. By following along with his quest, you can avoid the mistakes he made and take advantage of the tricks he found most useful.

Here are some of the questions this book will answer for you (you'll be surprised by some of the answers!):

• Should you hire a teacher?
• How long should you practice each day?
• Will you inevitably improve if you just do a lot of reading?
• How can you find enough practice music?
• Which are more important, notes or intervals?
• Is it okay to look down at your hands?
• How far ahead should you try to look?
• Can practicing with your eyes closed help?
• How can you get better at leaving things out when you are having trouble?
• What can you do about the fact that the notes on the bass clef are in different places than on the treble clef?
• How does understanding the harmonic structure of a piece help you play it?
• Does it help to sight-sing a piece before playing?
• How should you analyze the tune before starting?

Macy also presents his very own soon-to-be-patented (not really) method for forcing you to attend to intervals instead of notes. If you find yourself so fixated on the note names that you can't work with the intervals instead, this trick might solve your problem.

And with Al's wacky, conversational writing style, you'll enjoy every minute of the book. You can curl up in a comfortable chair and read the whole thing or sit at the piano to try out the tips and tricks.

If you want to take your sight-reading to a whole new level and want tips that will help, or if you're just curious about what the future may hold for you, scroll up and grab your copy today!

• Sales Rank: #481467 in Books
• Published on: 2014-01-08
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .27" w x 6.00" l, .38 pounds
• Binding: Paperback
• 118 pages

From the Author
Years ago, someone told me, "Just do some sight-reading for fifteen minutes every day, and you'll be surprised at how fast you progress."

Well, I did that, and it didn't really work. I got good at playing jazz and reading jazz charts, but I never got good at sight-reading.

When I retired, I had lots of time and plenty of motivation. I decided I was going to crack this thing, and I started sight-reading two hours every day. I found that even with this rigorous schedule, progress was slow. I've since figured out that there were a number of things that I was doing wrong that were holding me back. The main problem was that I was reinforcing my bad habits instead of learning the right way to sight-read.

Here's an example of something I "reveal" in the book. In all of those hundreds of hours of practicing, I was trying to play every note that was written. I knew that "a good sight-reader knows what to leave out," but darn it, I wanted to learn how to read, I didn't want to learn how to "fake it." That attitude was a mistake, and it held me back. I was not learning how to leave out some of the notes when I got into trouble.

"Big deal," you might say, "how hard is it to not play notes?" Well, it turns out that it is harder than you think, and it's a skill that requires practice. If you practice leaving things out, then you'll know how to do it when you run into problems.

Here's an exercise that I describe on page 90 of the book: Play a hymn, but leave out the middle two voices. Play the next hymn, but only play the top two notes of each chord. Next, leave out the alto and bass. Play a hymn and in the middle, suddenly leave out the top and bottom. Get the idea?

That exercise helps with a skill that I hadn't learned early on. I made a mistake by not learning that skill, and it held me back.

I wrote this book so that you can avoid making some of the same the mistakes I made.

About the Author
As a young kid, Al Macy played piano by ear, but never took formal lessons. He had some records with Bach piano pieces on them, played them at 16 RPM (on a record player, playing a 33 RPM record at 16 RPM makes the music slow, and brings it down about an octave), and learned parts of them by ear. Eventually his mom took pity on him and bought him the sheet music, and he would laboriously figure out a measure or two, and memorize the piece that way. The main point is that he went out of his way to avoid learning to read music.

At age nine he took up trombone, and studied it seriously until the final year of high school.

As required by the 1960s law that stated that every teenager has to play rock and roll guitar, he also took lessons in guitar, and played in a rock band. He even performed in a Simon and Garfunkel type duo, at "The Chicken Coop," once a week, getting paid $2.50 plus one piece of fried chicken.

In 1987 (age 34), his interest in jazz was rekindled, and he took formal piano lessons for a year or two, worked hard, and learned a lot. But the sight-reading just wasn't happening.

In 1992 (age 38) he picked up the trombone again, and got serious about jazz trombone. His sight-reading was better on trombone than piano, and he played with a number of small and large bands.

In 2005, he switched back to piano as his main instrument. This time he concentrated on jazz, and didn't work much on sight-reading. That is, his playing consisted of playing the chord changes, with improvisation in the right hand. That worked well, and he lead a jazz quartet, and played with many musicians around town.

But he was still unhappy with his inability to sight-read well. He was now retired, and in 2007, he started sight-reading two hours per day, the project that resulting in his book, Becoming a Great Sight-Reader--or Not!

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Becoming a Great Sight-Reader -- or Not!: Learn from my Quest for Piano Sight-Reading NirvanaBy Al Macy PDF

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Ebook Download A Topology of Everyday Constellations (Writing Architecture)By Georges Teyssot

Ebook Download A Topology of Everyday Constellations (Writing Architecture)By Georges Teyssot

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A Topology of Everyday Constellations (Writing Architecture)By Georges Teyssot

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Today, spaces no longer represent a bourgeois haven; nor are they the sites of a classical harmony between work and leisure, private and public, the local and the global. The house is not merely a home but a position for negotiations with multiple spheres -- the technological as well as the physical and the psychological. In A Topology of Everyday Constellations, Georges Teyssot considers the intrusion of the public sphere into private space, and the blurring of notions of interior, privacy, and intimacy in our societies. He proposes that we rethink design in terms of a new definition of the practices of everyday life.

Teyssot considers the door, the window, the mirror, and the screen as thresholds or interstitial spaces that divide the world in two: the outside and the inside. Thresholds, he suggests, work both as markers of boundaries and as bridges to the exterior. The stark choice between boundary and bridge creates a middle space, an in-between that holds the possibility of exchanges and encounters.

If the threshold no longer separates public from private, and if we can no longer think of the house as a bastion of privacy, Teyssot asks, does the body still inhabit the house -- or does the house, evolving into a series of microdevices, inhabit the body?

• Sales Rank: #1103923 in Books
• Published on: 2013-02-22
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .69" w x 5.38" l, 1.21 pounds
• Binding: Paperback
• 360 pages

Review

In Georges Teyssot's masterly A Topology of Everyday Constellations, the barren concept of 'architectural space' gets excavated, blown apart, turned inside out -- Möbius-like. Projected on a kaleidoscopic screen, Teyssot's ideas open a porous space from house to world, while cutting a path in a cultural thicket that brings understanding and fresh content to design intoxicated by formalism.

(Lars Lerup, Albert K. and Harry K. Smith Professor, Rice School of Architecture)

Erudite and mordant, Georges Teyssot traces the rise of the modern cultures and technologies of separation between intimate and extimate, and the concomitant invention of domesticity, privacy, and of many degrees of in-betweenness. He reminds us of oft-forgotten allegiances of many self-styled foes of industrial modernity--from the racist roots of romantic organicism to the ambiguous eroticism of Art Nouveau, from the esoteric and mystical inclination of architectural postmodernism to the consumerist provenance of contemporary digital biorealism and globular shapes. Yet, as Teyssot reminds us, today's discomfort of virtualization may also herald a new alliance between bodies and technologically mediated environments.

(Mario Carpo, Yale School of Architecture and École d'Architecture de Paris-La Villette)

In this intense and beautiful book, Georges Teyssot presents a portrait of the interior from the late eighteenth century to today. Like the rag and bone man of history, Teyssot has spent years picking up the most evocative clues. The result is like the nineteenth-century interior he writes about. We find ourselves in a kind of dense space filled with exotic and endlessly fascinating fragments. As we move through the collection we experience a kind of delirium. It is as if the history of the interior is the history of everything, or as if the interior is the place to see everything all at once.

(Beatriz Colomina, Professor, School of Architecture, Princeton University)

A Topology of Everyday Constellations opens the reader up for a profound discussion, initiating the process to reconsider what it means to dwell and how our physical appliances reconfigure our lives. Another thought-provoking result of The MIT Press' Writing Architecture series, Teyssot's discourse is disturbingly, seductively complex.

(Arcspace)

About the Author
Georges Teyssot, Professor in the School of Architecture at Laval University, Quebec, has taught the history and theory of architecture at the Istituto Universitario di Architettura of Venice, Princeton University's School of Architecture, and the Department of Architecture at ETH Zurich. He is the author or editor of many books, including Interior Landscapes and The American Lawn.

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PDF Ebook Barney's Great Adventure (Barney)By Mark Bernthal

PDF Ebook Barney's Great Adventure (Barney)By Mark Bernthal

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• Sales Rank: #4594693 in Books
• Published on: 1998
• Format: Import
• Original language: English
• Number of items: 1
• Dimensions: 8.03" h x .12" w x 8.03" l,
• Binding: Paperback
• 24 pages

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Download PDF Facial Expressions Babies to Teens: A Visual Reference for Artists, by Mark Simon

Download PDF Facial Expressions Babies to Teens: A Visual Reference for Artists, by Mark Simon

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About the Author

Mark Simon owns A&S Animation, a cel animation house, and Animatics & Storyboards, the largest storyboard house in the south. His previous books include Facial Expressions and Storyboards: Motion in Art. He lives in Orlando, Florida.

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Product details

Paperback: 256 pages

Publisher: Watson-Guptill (June 10, 2008)

Language: English

ISBN-10: 0823096157

ISBN-13: 978-0823096152

Product Dimensions:

9 x 0.8 x 10.8 inches

Shipping Weight: 2.2 pounds

Average Customer Review:

3.9 out of 5 stars

29 customer reviews

Amazon Best Sellers Rank:

#973,149 in Books (See Top 100 in Books)

I actually find this book very useful and refer to it a good deal.They're kids, and kids make faces, so while, yes, these photos are posed, the kids are just doing what kids do - and having genuine fun at it, so I find the whole thing remarkably helpful.

I own both Facial Expression books by Mr. Simon and for such a popular series you'd think they'd invest in a better photographer or a better camera. A lot of the photos, especially in this edition are very blurry and grainy. Though you don't need super well-taken photos to capture someone's facial expression it would have been nice if they would have upped the quality in this edition. I imagine it is difficult to direct children, but a lot of the expressions used were very similar too. This version has about the same amount of photos as the last, but they are a bit larger. I believe they made this change because one page after each person captured wasn't reserved for an illustration. This was a welcome change for me because a lot of the artists used in the previous book did sub-par work and some only re-drew the photograph of the person without applying the facial expression to something less obvious like an object or a fictional character. Overall, my satisfaction with this book is mixed. The first edition was far better because of the image quality, but it is nice to have references of children's expressions. Having little books to compare these 2 to, I had to give this 3 stars.

The perfect book for any artist who needs to draw expressive faces.

This would be so great in a digital version where you could enlarge the photos enough to see them easily. More angles of view would have been helpful. It might help you or it might not.

This is a great book for reference for artists and illustrators. There is no text, only photos and some characteritures of children from babies to teens of all nationalities and races. Such a great idea for a quick reference guide. It is very handy and well worth the price.

This book works great for me! I am a Character Technical Director and thanks to this I get to build some way more realistic blendshapes for faces I can't make myself.

an excellent source of facial expressions

Great!

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