About this title: Aimed at those who have some knowledge of music but not formal training in composition, this concise introduction to composing starts right in with a brief composition exercise, then proceeds step by step through a series of increasingly complex and challenging problems, gradually expanding the student's musical grammar. "This is a wonderful book for anyone who is developing improvising skills or who would like a fun way to explore music."--Jim Stockford, Co-Evolution Quarterly
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Description: Fine. 0131647563 In Great Condition Softcover ~ Slight curl to edge of pages ~ Slightest shelf-wear ~ PRISTINE text, ~ We would ship within 24 Hours, reply to customer emails ASAP, accept returns and offer 100% satisfaction guarantee! read more
Binding: Plastic Comb
Publisher: University Of Chicago Press
Date Published: 1988-02-15
ISBN-13:9780226732169ISBN:0226732169
Description: Very Good. Very good condition-all pages intact w/o any marks or writing. Some small tears on some of the pages. Most items ships same day w/ FREE delivery confirmation. Great Feedback! read more
Edition: First
Binding: Card in Comb
Publisher: Univ of Chicago Press, Chicago
Date Published: 1988
ISBN-13:9780226732169ISBN:0226732169
Description: Fine. No Jacket as Issued. 4to-over 9¾"-12" tall. Very light rubbing, bumping or shelfwear. Interior tight and unmarked, crisp. As new condition except two or three pages that protrude slightly have very minor edgewear. read more
Edition: Reprint
Binding: Paperback
Publisher: Univ of Chicago Pr
Date Published: 1988
ISBN-13:9780226732169ISBN:0226732169
Description: New. Aimed at those who have some knowledge of music but no formal training in composition, this concise introduction to composing music starts right in with a composition exercise using four notes, then proceeds through a series of increasingly complex a... read more
Binding: Plastic Comb
Publisher: University Of Chicago Press
Date Published: 1988-02-15
ISBN-13:9780226732169ISBN:0226732169
Description: Good. Excellent customer service. May ship from alternate location depending on your zip code and availability. Satisfaction guaranteed! ! read more
Edition: First Edition
Binding: Spiral
Publisher: The University Fo Chicago Press, Chicago and London
Date Published: 1980
ISBN-13:9780226732169ISBN:0226732169
Description: Fine. No Jacket--as Issued. 4to-over 9¾"-12" tall. Large spiral bound book with glossy blue cover with music notes across it. super great condition-very little wear! 230 pages. great copy! PIANO/ MUSIC/ COMPOSING. read more
Binding: Softcover
Publisher: University of Chicago Press
ISBN-13:9780226732169ISBN:0226732169
Description: New. PLEASE NOTE: All books are promptly shipped from our UK warehouse using Royal Mail International Priority mail. Heavier or more expensive books are shipped with a TRACKING NUMBER. Professional and reliable bookseller (est.1987). read more
"Have you ever wanted to write your own songs? This book proactively initiates you into the process without you having to know anything in advance. You work your way through the exercises; and, by the time you finish, you feel musically liberated. Of course, like all music theory self-educational approaches, it never hurts to know how to read music for at least one musical instrument. No music composition how-to author, living or dead, has managed to leap that hurdle. Students have to hear what they're composing: the ear is the ultimate judge of what sounds interesting to the composer. After completing this book the first time through, I also learned how to listen to Jazz. Previously, Jazz seemed like a one big brassy blur kissing my ear drums like a smooth summer breeze. It all seemed to run together. Try composing it. Whew! But here's the genius of William Russo, he actually gets you actively composing Jazz in this book; and, because chromatic scales are used in more modern forms of the genre, it really doesn't matter whether or not you can play what you compose. Let's face it: Wagner couldn't play most of "Tristan und Isolde" on his piano. He heard the music in his head and knew how to notate it. And Beethoven was freaking deaf when he composed his 9th symphony. Russo's technique teaches you to think in terms of notating organized sound, whether you can play it or hear it or not."
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