The 30 NOTE SPELLING LESSONS are for the reinforcement of the music fundamentals found in the early levels of the David Carr Glover Piano Library. They present note spelling on the grand staff, leger lines and spaces, chord note spelling, whole steps and half steps, forming tetrachords and major scales and notes and rests in 4/4, 3/4, 2/4, and 6/8 meter.
The 30 NOTE SPELLING LESSONS are for the reinforcement of the music fundamentals found in the early levels of the David Carr Glover Piano Library. They present note spelling on the grand staff, leger lines and spaces, chord note spelling, whole steps and half steps, forming tetrachords and major scales and notes and rests in 4/4, 3/4, 2/4, and 6/8 meter.
The 30 NOTE SPELLING LESSONS are for the reinforcement of the music fundamentals found in the early levels of the David Carr Glover Piano Library. They present note spelling on the grand staff, leger lines and spaces, chord note spelling, whole steps and half steps, forming tetrachords and major scales and notes and rests in 4/4, 3/4, 2/4, and 6/8 meter.
The Schaum Note Speller has the unqualified testimonial of thousands of teachers who pronounce it 'The Best.' Musical facts, beginning with line and space numbers are taught. Students learn by doing, since this book is in workbook form. This saves valuable lesson time, and immediately shows any mistakes in the beginner's thinking.
This book reinforces the fundamentals of music being studied in the ADULT PIANO STUDENT. It consists of 47 Programmed Theory Lessons. The material for each lesson is divided into steps called "frames." Many of the same frames are presented several times for review thus reinforcing fundamentals already presented. When this book has been successfully completed, the student will be prepared to play, understand, and enjoy music at this level of advancement. All three levels in this series may also be used with any other course of study.
This book is designed to follow logically the Primer Level, and continues to present attractive pieces and etudes. It leads the student slowly, step by step, into a higher level of music study. Materials correlated with "The Piano Student" - Level" include: Lesson Practice Book, Piano Theory, Piano Technic, 30 Note Spelling Lessons, Piano Repertoire, The Church Musician, Sacred Music, Chords and Keys, Piano Duets, Jazz on 88, and others.
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.