Bøker av Robert Anthony

This book, along with others in its series, is designed to develop overall music reading skills. It offers a way for musicians to develop their reading skills without having to resort to method books. The book is divided into two sections: The first is comprised of some fundamentals pages and the reading exercises. The second is comprised of ten melodies from the Baroque, Classical, and Romantic repertoire to allow the musician to put the newly trained skills to work. The following composers' work makes up the second section: Sor, Chopin, Beethoven, Latour, J.S. Bach, W.A. Mozart, Haydn, L. Mozart, Clementi, and Schubert.

This book, along with others in its series, is designed to develop overall music reading skills. It offers a way for musicians to develop their reading skills without having to resort to method books. The book is divided into two sections: The first is comprised of some fundamentals pages and the reading exercises. The second is comprised of ten melodies from the Baroque, Classical, and Romantic repertoire to allow the musician to put the newly trained skills to work. The following composers' work makes up the second section: W.A. Mozart, J.S. Bach, Kimberger, C.P.E. Bach, Beethoven, Handel, Tchaikovsky, Haydn, Chopin, L. Mozart.

Volume Two starts out rhythmically simpler than Volume One ends, and then - of course - progresses to a more difficult level, adding dynamic markings, expanding the key signatures to C, G, F, D, Bb, A, Eb, E, Ab Major and their relative minor keys and modes, and adding the time signatures 3/8 and 9/8 into the mix. Instructions and a free preview are available in pdf form at the Robert Anthony Publishing website. Like in Volume One, the exercises are all eight measures (two phrases, or one period) in length. While they are composed to be melodic and pleasant to the ear, they are also composed to be difficult to memorize, and utilize many rhythms that seem to be absent from other sight reading books. Next, I have made the staff font slightly larger than standard. While this will largely go unnoticed in the printed version of this book, it should make the electronic versions significantly easier to read. Finally, there are many correct ways to use this book. The instructions and a preview in pdf form are posted on my website so that I can update the instructions as I discover additional strategies. For example, I sometimes receive emails in which people tell me how they like to use this book. My opinions will evolve the more I use this book to train my students, so I want the ability to easily update the instructions as needed. The link for the pdf download will be directly below the picture of the cover of this book. Instructional videos supporting this book will be posted, as they are created, in the same place.

This book, along with others in its series, is designed to develop overall music reading skills. It offers a way for musicians to develop their reading skills without having to resort to method books. The book is divided into two sections: The first is comprised of some fundamentals pages and the reading exercises. The second is comprised of ten melodies from the Baroque, Classical, and Romantic repertoire to allow the musician to put the newly trained skills to work. The following composers' work makes up the second section: W.A. Mozart, J.S. Bach, Kimberger, C.P.E. Bach, Beethoven, Handel, Tchaikovsky, Haydn, Chopin, L. Mozart.

The approach of this book emphasizes C Position, which is clearly defined in the pages preceding the first pieces of music. While that, in and of itself, is not that uncommon, the difference with this book is that it includes two versions of most of the pieces: The first version has the letter names embedded into the note heads, and includes every finger number for every note except for repeated notes. The bold-black numbers are the initial finger numbers in the piece - or what you might expect to see in much piano music - or any change of position on the keyboard, while the grayscale numbers are the fingerings within the position established by the bold-black numbers. The second version does not have the letter names embedded into the note head, and has only the bold-black initial fingerings and position changes. The goal of the student is to use the first versions as needed, and shift entirely to the second versions as soon as they are able. Since ability levels vary so greatly, that switch is likely to happen differently for each individual. Next, the book is divided into logical sections, first isolating the right hand, then the left, and then a brief section on Middle C Position before continuing onto coordinating both hands in C Position. Lastly, the appendix introduces exercises, scales, basic theory including the Circle of Fifths, rhythm, treble and bass clef, and a glossary of common musical terminology. Finally, this book is designed to accommodate a variety of learning styles. There are a preview and instructions in pdf form that can be downloaded from Robert Anthony Publishing, as well as a video link for the corresponding audio.

This book, along with others in its series, is designed to develop overall music reading skills. It offers a way for musicians to develop their reading skills without having to resort to method books. The book is divided into two sections: The first is comprised of some fundamentals pages and the reading exercises. The second is comprised of ten melodies from the Baroque, Classical, and Romantic repertoire to allow the musician to put the newly trained skills to work. The following composers' work makes up the second section: Carulli, Haydn, Aguado, C.P.E. Bach, Giuliani, Scarlatti, Clementi, J.S. Bach, Beethoven.

The primary goal of this book is to train the ability to read music and free the musician from being dependent on tablatures or other communication systems that are not used in the academic or professional worlds. This book has been designed to train aural skills concurrently with reading skills. Instructions and preview are available at the Robert Anthony Publishing website. Volume 1 is comprised of 300 progressive exercises that cover the keys of C Major, F Major, G Major, A Minor, D Minor and E Minor. Time signatures include 4/4 (Common Time), 3/4, 2/4, 6/8, and 2/2 (Cut Time). Volume 2 expands into all keys of up to four sharps (#) and four flats (b). The exercises are all eight measures (two phrases, or one period) in length. While they are composed to be melodic and pleasant to the ear, they are also composed to be difficult to memorize, and utilize many rhythms that seem to be absent from other sight reading books.. LARGE PRINT versions are available. They are linked on the aforementioned site, or can be searched for on Amazon. Finally, some fundamental pages on scales and rhythms have been included for convenience. The scale pages are the only place in this book where tablature has been used.

This book is designed to develop overall music reading skills. It offers a way for musicians to develop their reading skills without having to resort to method books. Each book divided into two sections: The first is comprised of some fundamentals pages and the reading exercises. The second is comprised of ten melodies from the Baroque, Classical, and Romantic repertoire to allow the musician to put the newly trained skills to work. The following composers' work makes up the second sections: Sor, Chopin, Beethoven, Latour, J.S. Bach, W.A. Mozart, Haydn, L. Mozart, Clementi, Schubert, Carulli, Aguado, C.P.E. Bach, Giuliani, Scarlatti, Kimberger, Handel, and Tchaikovsky.

The primary goal of this book is to train the ability to read music for piano without being dependent on finger numbers being provided, such as what one would find in a 'Piano-Vocal-Guitar' book - which is the majority of song books for Pop, Rock, R&B, Country, and so on (for example: Elton John, The Beatles, and Taylor Swift, etc.). Instructions and preview are available at the Robert Anthony Publishing website. Each volume is comprised of 300 progressive eight-bar exercises that train reading skills for both hands equally: Half of the pieces emphasize the right hand, the other half emphasize the left. There are currently three volumes. Finger numbers have been included for a small portion of the pieces from the first volume, only to provide examples of correct fingering. LARGE PRINT versions of all three volumes are available. They are linked on the aforementioned site, or can be searched for on Amazon. Q: Who is this book for?A: This book is for anyone who wants to train their ability to read music well without being dependent on finger numbers being provided. The Jazz Real Books, pop song books, and many Classical pieces do not have fingerings provided. Q: Can I just play Bach to train the hands equally?A: Perhaps! The difference is that Bach's pieces that use imitative counterpoint (Two-Part Inventions, for example) are quite demanding of both hands in each individual piece, and generally take significant practice to be able to execute. The exercises in this book differ in that the primary melody is in one hand, while the other plays a much simpler part. Q: Am I supposed to have my teacher write in the fingerings?A: No, your teacher is supposed to train you to not need them to be there in the first place. Q: What if I don't have a teacher?A: If you can afford one, I recommend getting one. If not, I have free videos linked on the Robert Anthony Music site and will be adding more. Q: Since the pairs of exercises have the same rhythm and melody, can't I just read the right hand and play it with the left?A: That approach will not work at all once you've gotten to where both hands play at the same time. Instead of trying to cheat, the design of the book is so that someone who can read a bit of treble clef can use that knowledge to help their bass clef reading, or vice versa... and it works as intended. Q: Why do some of the exercises sound 'weird' to my ears?A: First, they are purposely composed to be unpredictable and difficult to memorize, thus keeping the book effective for a long time. Second, some of the music is modal, some of it uses Set Theory, and some of it hints at atonal music. A professional piano teacher should be trained in these composition techniques. Q: Why are there one-star reviews that just name another book that they 'like better'?A: That's a good question. It's probably the same reason you'll find some books with several five-star reviews posted within a week of a new book being published - sometimes even before the publishing date. That said, it's probably smart to buy several books on sight reading. Having different content and different approaches certainly won't make you worse! Q: Can I just read the songs from my method book?A: Of course! But is it helping your sight reading to play familiar songs that are easy to memorize? And do you really want to play "On Top of Old Smokey" if you're not a child? These books are meant to free you from method book systems.

This book, along with others in its series, is designed to develop overall music reading skills. It offers a way for musicians to develop their reading skills without having to resort to method books. The book is divided into two sections: The first is comprised of some fundamentals pages and the reading exercises. The second is comprised of ten melodies from the Baroque, Classical, and Romantic repertoire to allow the musician to put the newly trained skills to work. The following composers' work makes up the second section: Carulli, Haydn, Aguado, C.P.E. Bach, Giuliani, Scarlatti, Clementi, J.S. Bach, Beethoven.

After releasing Christmas Music for Easy Piano, which is a tool I use to train my piano students to be able to play common left-hand chords on piano while learning material that makes them want to practice, I have been getting requests for something easier and more geared towards an absolute beginner... So, I created: Christmas Music for Beginning Piano! In this book you will find two arrangements of each song with both arrangements splitting the melody between both hands. Nearly all of the songs are arranged so that the hands do not change position. The first arrangement of each piece is the melody only and has a diagram showing where to place the hands on the keyboard, while the second arrangement adds harmony, making the arrangement self-accompanying. Lyrics for the first verse and/or chorus are included in both arrangements to help facilitate the learning of the songs. This is not meant to be a sing-along song book, but a book for beginning piano players looking for familiar music that they can play right away, so second verses and the like have not been included in this book. Complete lyric pdf files will be available at the Robert Anthony Publishing website. Songs: Angels From the Realms of Glory, Angels We Have Heard on High, Auld Lang Syne, Away in a Manger, The Boar's Head Carol, Bring a Torch, Carol of the Bells, Christ Was Born on Christmas Day, Coventry Carol, Deck the Halls, Ding Dong! Merrily on High, The First Noel, The Friendly Beasts, From Heaven Above to Earth I Come, Gesú Bambino, Go Tell It on the Mountain, God Rest Ye Merry Gentlemen, Good Christian Men Rejoice, Good King Wenceslas, Hallelujah Chorus, Hark! The Herald Angels Sing, Here We Come A-Wassailing, The Holly and the Ivy, It Came Upon the Midnight Clear, Jesu, Joy of Man's Desire, Jingle Bells, Jolly Old St. Nicholas, Joy to the World, Noel! Noel!, O Christmas Tree, O Come All Ye Faithful, O Come, O Come, Emmanuel, O Little Town of Bethlehem, Ode to Joy, Once in Royal David's City, Silent Night, Toyland, The Twelve Days of Christmas, Up On the Housetop, We Three Kings, We Wish You a Merry Christmas, What Child is This?, While Shepherds Watched Their Flocks.

Chords and Their Functions in a Musical Context. Chords for Beginners, Functional Harmony, Triads, 7th Chords, Tall Chords, Rock, Pop, Blues & Jazz, ii7 V7 Imaj7, Secondary Dominants, Borrowed Chords, Neapolitan 6 Chords, Augmented 6th Chords, Tritone Substitution, And Much More! This book is appropriate for guitar players from beginning to quite advanced levels. It is not merely a chord dictionary, but a guided tour through how chords function in music. Functional harmony concepts are explained in layman's terms as much as possible, making these concepts available to guitar players who have no training in Music Theory. Learning to use concepts such as cadences, borrowed chords, and secondary dominants will surely improve the quality of composition for those writing original music. Many of these musical concepts are put to use in the section on First Position Chords and Functions, so even players with a robust vocabulary of chords might find this section enlightening. Advanced players can move around the book to suit their needs, but I encourage you to spend some time adding these functions to your musical tool box if you have not already done so

This book is a call to unite the Body of Christ, to accept each other's differences, and to Love each other the way Jesus wants us to. It is based on the Prayer Jesus prayed in John Chapter 17.Throughout the Bible, Jesus asks that we follow only Two Commandments to fulfill the Law. These are to Love the Lord our God with all our heart and to Love our neighbor as ourselves. Love is something everyone can do. It only takes an open mind and a willing heart.All Bible based Christian religions believe that the Old as well as the New Testament are the Word of God teach that Jesus is the Son of God; that He was born of a virgin, Mary; that He suffered died and went to hell to pay the penalty for our sins.It is time for all Christians to unite. It is time to put our aside differences and Love each other in word and deed. Romans 12:1-13 verifies this. If you are interested, please read this book. It is a call to unite the Body of Christ as Jesus prayed we would - in and with His Love.

This commonsense approach to achieving success in one's life offers workable, step-by-step methods and positive visualization techniques to help readers personalize goals, trust creativity, transcend old beliefs and limitations, and transform positive thinking into positive action.