Music Books

This book is so unique, I would recommend it for anyone who loves the history of the stage or just unique perspectives and biographies.
Not only is the story engaging, but each page is tasty eye candy.
You will not be disappointed with Century Girl!

Loved everything about this book: the subject, the era, the layout, the photographs, the ephemera. This was an enjoyable read and I've purchased copies to give as gifts to friends that I know have an interest in this time period. My only caution is that the text is "handwritten" and sprawls across the pages. I found it charming, but others may find it difficult to read. All in all, a delightful glimpse into a life led in the glory of days long gone.

Wow, this book is fantastic! Lauren Redniss put a lot of highly detailed work into this charming publication about the last Ziegfeld girl alive. Doris Eaton is a spunky little lady who, at the age of 104 has graciously opened the pages of her life during the days she was a Ziegfeld girl. The book is beautifully illustrated and colorful with lots of photographs and clippings follwing Doris' career as well as her siblings. Ms. Redniss did a marvelous job. I can't rave about it enough.

You must buy this sweet book if you adore the Ziegfeld Folies, fashion illustration, collage, lush photos of flappers, and want to know more about the last of the living burlesque dancers Doris Eaton Travis. This wonderful book makes a fab gift for collectors of nostalgia and vintage frocks. Features pages and pages of handpainted/tinted photos and whimsical creative collage spreads of 1920's photos.

Century Girl: 100 Years in the Life of Doris Eaton Travis, Last Living Star of the Ziegfeld Follies is a new order of biography. Lauren Redniss uses hand-written text as an artistic element to guide the eye through the evocative images she has created using photo-collage and line drawings. The result is a visually stunning tour of the extraordinary life of Doris Eaton Travis

The book chronicles the life of Norman, Oklahoma, resident and University of Oklahoma graduate Doris Eaton Travis. The book follows Travis and her siblings, once known as the Eatons of Broadway, from their lives as child actors, to their success in theater and early films, and ultimately to their sad and often tragic fates.

Travis alone was able to leave show business behind. She had the strength to adapt herself when circumstances demanded; from dancer, to entrepreneur, to book-keeper on a horse ranch, to college graduate at 88 years old. She returned to the Broadway stage at the age of 94 and recieved an honorary doctorate at 100. Her's is a story of reinvention and ultimately of success.

Lauren Redniss teaches at the Parson's School in New York City. Her work is often seen on the Op-Ed page of the New York Times, which nominated her for the Pulitzer Prize. She is currently writing a biography of Marie Curie, due out in the fall.

This book is a work of art from cover to cover. Redniss knows her subject well and the story is told largely in Travis' own words. It is the author's unique, artistic approach that brings this fascinating story to life so vibrantly and with such immediacey.

In one section of the book, for example, Redniss discusses Travis' sister Mary Eaton's beauty, and the eagerness with which men gave her expensive gifts. The text takes the reader to photographs of Eaton in a seductive pose layered over images of Eaton's name in lights on the marquis of the New Amsterdam Theater. These images flow into a still photo from Eaton's starring role in Glorifying the American Girl. As we read of Eaton's beauty, we see coming off the page a Broadway star at the height of her fame and a woman who epitomizes beauty in the early twentieth century....and we understand why men were so easily parted from their money.

The artistic elements flow together seamlessly and carry the reader through this lovingly crafted biography. Redniss' incredible images allow the reader to experience the lives of Travis and her family in ways that text alone simply doesn't allow.

This book would appeal to anyone interested in dance or theater history. It has appeal to the general reader as well. Doris Eaton Travis is an extraordinary human being. Her ability to overcome tragedy, to reinvent herself, and to constantly strive to learn is an inspiration to all. Lauren Redniss' extaordinary book is the perfect vehicle to bring her inspiring story to life.

This is a great lullaby CD. My daughter listens to it daily and I never tire of it either!

This is wonderful soothing collection of lullabyes for new babies and I am sure older children as well. Our newborn is 2 months old and enjoys just listening for a period before going off to sleep.

All three of my children have listened to this every night as they went to sleep when they were little. It is by far the best lullabye music I have ever found.

I have frequently ordered the CD "A Child's Gift of Lullabyes" as a gift for new parents. It seems to be very well-received and is of the quality parents appreciate and children seem to like hearing often. It is one of several similar CD's well-worth exploring.

We bought this on tape when our first son was a baby. Now he's 19, and we still listen to it. It is so unusual in its simplicity. Everyone who has heard it loves it. I've used it to accompany a slide show presentation of our kids growing up. Brought tears to people's eyes. I've given it as a baby gift, and am still being thanked. Thank you J Aaron Brown.

If you pretend you are a 'serious fan' and have not read this book, you surely are a fake.
This monumental detailed work will give you half the things you need to read to be say you're a real beatles fan. The other half you can find it in the Anthology book.

I got the book as a gift from my sister and initially dismissed it as a bargain bin cheapie that she picked up last minute. A fearful, insomniac child prompted me to begin reading it and, am I glad that he did.

This is ESSENTIAL READING.

The diary-like entries give you day-by-day accounts of every single session the Fab Four did, as the title promises. But... well, it just gives you a whole new insight to the band. Yeah, the recordings retain the original magic, and maybe even gain a little more because you can see that it took a whole lot more than talent and luck for them to make it big and change music. The book lets you see just HOW MUCH HARD WORK was put in by not only the band, but by everyone around them: George Martin, the engineers, the assistant engineers, the tea boy, everyone!

It's like a musical version of Michael Jordan or Tiger Woods: not only were they the most talented around, but also the hardest-working.

A whole new appreciation.

As somebody mentioned before, don't start reading before bed because you will not be able to put it down.

This book is required reading for the diehard Beatles fan. I suspect that the studio documentation was just the normal level of detailed information they kept on those who recorded there, but in hindsight, having this particular info and retaining it looks pretty genius. A detailed account of every time the Beatles were in the recording studio with documents from the studio and the recollections of those who were present. The author is meticulous and obviously a fan himself. I really consider this book the Beatles bible.

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" I know the years of research it took for me to compile the information on 121 live shows, 60 unreleased songs, 266 questions and answers, and prepare for 32 interviews.

Mark Lewisohn had to dig even deeper because of the amount of material that could be documented. The work is super-human. The Beatles deserved George Martin and Mark Lewisohn.

It is easy for those that wish to find fault even with a Rolls Royce but don't worry if you would have used different words for an A Flat Augmented 7th Chord or a bridge in a song, he gave you the most complete information at your fingertips and this can't be improved!

Thank you for your time,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"

First, I find it amazing that anyone kept this information in such detail in the first place.
Secondly, it is amazing that it was ever complied and put into a book.
Thirdly it was amazing that anyone would a.) Publish the book, b.) Buy the book in the first place and c.) Actually read it, which I have. Perhaps most amazing of all is how imminently readable and enjoyable it really is.
I imagine prerequisite being that it is important for the reader to have a love of the art of recording as well as a serviceable knowledge of the Beatles' collected body of work. Mine is the first edition and, yes, there are minor flaws, but honestly they are few in number and nothing of the "glaring" type which actually demeans the book.
I had initially picked up the book in a shop and glanced through the photographs, then I absently read an entry and was hooked. I think this is, all-in-all, a very exceptional journal and a valid history of one of the greatest recording acts of all time. Over the years I have met numerous musicians who, although they might not be dyed in the wool Beatles fans, still recognize their incredible contribution to recording technique and innovation. Kudos of course to Sir George Martin as well.
I cannot conceive of a more definitive account than this.

Just purchased this rightoff on Alibris and was real excited to read this even tho I'm into music conducting, arranging, writing, hearing by ear, all of it.

This is deeply a Music Must if u're interested of being a most-talented musician, bandleader, music director, conductor, and/or just trying it out for practice.

Alot of people been recommend 'cuz the man himself Brock Elheran tells it right here from the heart and it's rocks on to this day 4ward.

I just begun conducting while in high school with the band and duggin' up everybody who can do that. I'm also a talented musician myself so ya'll know the basics 'bout that. I look 4ward of reading more books like this in the future and 'mos definitely on arranging, composing, orchestration, theory, composition, leadership, music production, all of the above.

I'm proud to say that I studied with Brock. He is an amazing conductor with great passion for music. While his book was required reading for his undergraduate conducting class, his concepts are used every day is my choral rehearsals. I've been conducting for 12 years now, and know that his concepts and rehearsal techniques have served me well. A very simple, concise, and practical guide by an incredible teacher and conductor.

I bought this book shortly after I'd agreed to conduct an adult community choir, and studied it with fearful concentration through the first tentative weeks while the choir and I developed some trust in each other's good will and ignorance. I'm still a novice conductor, but I've now stood in front of some big groups of singers, experienced and beginners, and I trust this book. Even when it's not hidden in the music in front of me.

There's room for argument with some of what McElheran says, and I haven't yet seen a choral conductor who works as he recommends, but the book is clear, sensible, brief, and practical. What's more, it's in better shape than most of my music, although it's travelled further and lived rougher.

I've found the exercises very useful, especially those with "a group of friends". I tried these with my novice choir, in a spirit of "let's explore", and we all learnt from them.

Warmly recommended for anyone interested in conducting, even those who are not about to try their hand, with or without baton, at it.

This is the best book for technique I've come across, period. The style is not unnecessarily abtruse and the clarity of the book in explanation is magnificent. What appealed to me is the fact that logical, scientific explanations are given for most of the technique encompassed, and the author does not take refuge in 'tradition'. It is as suited to the absolute beginner as it is to the professional looking to polish his/her tehnique.

This book has become a common introductory text for undergraduate level conducting gesture in the United States. In this respect, the book is extremely effective.

McElheran's treatise is laid out in ultra-clear chapters, all of which are concise and contain possible "Assignments." Not to get too bogged down in the mire of conducting gesture, McElheran's first chapter is on Inspiration. In short, "make the performers want to do their best," he says.

The next few chapters cover aspects such as the baton, beat patterns, the left hand, dynamics and other aspects of music, cues, off-beat accents, fermatas, and some aspects about rehearsals and performance. There are more chapters but you get the picture. All are good.

Some readers may wonder if this is meant for "orchestral" or "choral" conducting. McElheran states clearly that there is (or should be) little difference and that choral conductors should develop an orchestral technique. While I would say that good choral and orchestral conducing are about 95 % similar (perhaps even more so), choral conductors should be aware that there are some differences, especially in ideas of always "hitting the imaginary table" or conducting every single beat. Nonetheless, Conducting Technique can be very helpful for the beginning choral conductor.

Moreover, McElheran's writing style is very fresh and full of self-effacing wit. Reading the book gives one the impression that Brock McElheran is the type of person who takes the art of music seriously but not himself seriously. I think any beginner of conducting should consult this book, and even professionals might want to have it around just as a reference.

I laughed, I cried, it became a part of me. Take a look at ..... site regarding the first chapter of Crackpot. It is as wild as the book. Many of the links are gone, but many are still there. Loved this book.

First, let me say that this book should have more universal appeal than do his movies. We all know that his movies are just too gross for some people to stomach, but there's nothing here that any adult reader should find offensive. If you enjoy homorous writing, a la Woody Allen, Steve Martin, Joe Queenan, David Sedaris, etc., you should find this little volume right up your alley.

Waters displays an acerbic, eccentric, but highly insightful comic sensibility. There are fifteen short pieces here, which first appeared in various magazines during the mid '80s, primarily NATIONAL LAMPOON (When it was still funny) and AMERICAN FILM.

The book opens with a bang, in one of the funniest pieces, "John Waters tour of L.A." Needless to say, this is not the L.A Chamber of Commerce "official guide." He takes us to some of the seamier sights, including the spot on Hollywood Boulevard where you can catch "the legless, one-armed white guy who break-dances on the street for horrified families as they stroll up the Walk of Fame." He also offers some timely,timeless advice for when you're driving around L.A: "Never look at pedestrians; they're the sad faces of L.A., the ones who had their licenses revoked for driving while impaired."

There really aren't too many weak entries in the collection. He does go a bit over the top in his rhapsodizing of Pia Zadora, perhaps, in an article devoted to that queen of glitz, but one comes to expect "over the top" from Waters. Who would want it any other way? He's also very much the exaggerator when it comes to his likes, "Puff Piece (100 Things I Love)and his dislikes: "Hatchet Piece (100 Things I Hate)." Amongst the things he most admires are Supermarket Tabloids: "Then I gazed at the great LAS VEGAS SUN wire-photo of a giant ostrich, escaped from a zoo chasing a totally bewildered middle-aged woman down the street. Every time I see her horrified expression, the creative juices start to flow." Not content with this passing mention, he writes an entire article entitled WHY I LOVE THE NATIONAL ENQUIRER as a paean to that fine bastion of journalistic integrity.

Some of Waters' images do convey a bit more of the "so banal it's hysterical" quality of his movies, as when he conjures up "a fancy Santa," in a piece called WHY I LOVE CHRISTMAS.
"Why hasn't Bloomingdales or Tiffany's tried a fancy Santa? Deathly pale, this never-too-thin-or-too-rich Kris Kringle, dressed in head-to-toe unstructured, oversize Armani, could pose on a throne, bored and elegant, and every so often deign to let a rich little brat sit NEAR his lap before dismissing his wishes with a condescending 'Oh darling, you dont REALLY want that, do you?" I mean, really, wouldn't you just love to have John Waters' private phone number and be able to shoot the breeze with him about popular culture? No!! you say? Well then this book's not for you. However, if you enjoy mordant, biting wit, and a breezy, conversational style of writing, this book is definitely for you. It was sent me by a friend. I'm going to be sending a few copies out to other friends now. Who knows, maybe we could start a John Waters cult?

BEK

This collection of essays is one of the most compulsively readable, and re-readable, books I have ever owned. I was drawn to it, as you might expect, by my enjoyment of Waters' camp classics. But to be honest, I enjoy Waters the essayist at least as much, if not more, than Waters the filmmaker. Waters' films, and particularly Pecker, Serial Mom, and Hairspray, set the scene for the miscellany of obsessions which animate this book. Crackpot offers a comforting way to understand Waters' recent turn to a more conventional cinematic venue: these films are *also* celebrations of his passionate likes (and dislikes).

Waters writes a witty and acerbic prose, which conveys genuine passion for his obsessions, obsessions which include trials, the National Enquirer, Woody Allen's Interiors, dangerous candy, menthol cigarettes, and Christmas. His preferred methods seem to be the catalogue and the reminiscence: Waters' list of 101 things he hates, and 101 things he loves, are obsessive ruminations on the everyday, and Waters' methodical survey of his everyday touches gives new meaning to the sublime *and* the ridiculous. Most memorable to me, perhaps, is his LA Tour, a pre-OJ intinerary of murder, mayhem, and showbiz, and his loving tribute to the Enquirer. But his celebration of William Castle, or shame-faced coming out as a fan of avant garde, his ritualistic account of Christmas and his loving descriptions of his interests, home, and personal history all make for a case study of obsession that feels both candid and arch, in Waters' inimitable, and paradoxical way. If you read it once, you're going to read it again.

This is absolutely the funniest book that ,Baltimore Bad Boy, John Waters has ever wrote! This book made me laugh out loud several times to the point that I'm sure my significant other may have harbored thoughts about having me committed.

This is the book that piqued my intrest in John Waters over ten years ago before I could even be called a teenager.

For a man with such a reputation for being "filthy, perverse, trashy, etc., etc., etc.", this book ggives the reader a delightful gllimpse into his bouyant and often child like mind. Whether raving over meeting with Pia Zadora, listing the events of a truly hellish day, or giving a guided tour of Los Angeles as only he can, he guides the reader along in a cheerful skip, full of bounce and frolick.

Even for one who's unfamiliar with his films, this book is a light, quick read sure to entertain and provide laughs, crating a vivid and lovable image of the man known to so many as "The Prince Of Puke"

Have you ever wondered what it would be like to write a hit song? Perhaps you have asked yourself why do some songs become commercial successes while others end up in the dustbin?

Journalist, talk show host, teacher and consultant, John Braheny, provides us with the answers to these queries as well as many other topics in his blue-ribbon manual The Craft and Business of Songwriting-Second Edition.

Braheny was one of the founders, along with Len Chandler, of the Los Angles Songwriters Showcase. For 15 years he was intimately involved with this national non-profit organization that was dedicated to creating opportunities for discovering aspiring songwriters. As a result of this relationship, he accumulated an exceptional amount of knowledge pertaining to the business and craft of song writing. The reader is fortunate to have all of this information neatly wrapped up in a compact manual that is split into two main sections, the craft of writing songs and the business of selling and marketing songs.

Within the section dealing with the craft the author delves into such topics as creativity, inspiration, subject matter, media, listeners, lyric writing, song construction and possible collaboration with other writers. Naturally we would probably be sceptical of a book that purports to teach us how to write a song. Some would say you are born to write a song, others would disagree and say it is possible to be taught the craft. Braheny believes that you can't be taught inspiration or imagination. However, you can be taught ways to get in touch with what you have to say and how to communicate it effectively. Using this premise as a base, the book provides us with the tools that will perhaps uncover our hidden talents.

The second half of the book deals with the business features of song writing and as the author states, "writing a great song is only part of being a successful songwriter. Unsung thousands possess the talent and craft to write great songs, but without understanding the business and knowing how to protect your creations and get them heard by those who can make them successful, those songs are like orphans." Perhaps we should refer to the second half as the entrepreneurial skills needed to sell, promote and market your songs. Within this section we are introduced to such topics as protecting your songs, securing money, publishing, self- publishing, demos, marketing, Internet and record deals.

The appendix of the book provides the reader with a very comprehensive listing of songwriters' resources containing names, addresses, phone numbers, web sites and general descriptions of the various references. No doubt this inclusion will save anyone who aspires to be a songwriter a great deal of time and effort.

After reading the book are you guaranteed that you will be successful songwriter? Probably not. Unfortunately, we don't have a crystal ball indicating who will succeed and who will fail. However, at least after reading and being exposed to the elements of song writing, you will have a better understanding as to how the music industry works in relation to the songwriter, or writer/performer. As the author asserts in his introduction, "it will demystify and humanize what can often feel to a newcomer like a cold, monolithic, and impersonal industry."

The above review first appeared on the reviewer's own site

Although this book isn't as comprehensive as others in the songwriting department, it presents information in a very concise and interesting format. It also has a comprehensive section (half the book) on the BUSINESS. It's a quick, easy read and definitely worth the price. But if you want to get serious about songwriting, you'll also need a book with more theory such as WRITING MUSIC FOR HIT SONGS.

One of my most basic problems when starting off as a songwriter, was the lack of background and knowledge on how to approach a new song. I am talking about your basic strategies and how to structure them into a final product. Where does one begin, what do you need to take into account, what to do first, how to approach rhyme, basic tips about melody, chords etc. I found this book to answer these type of questions in a simple and interesting way.

The author is obviously a specialist with a very good track record. He taught me how to analyse existing songs to expand my knowledge. No more do I just listen to music, I learnt the skill to expand my songwriting knowledge whilst listening to other songs on the radio or on CD.

I have learnt how to decide on a basic structure, how to approach the most important issue of finding a "hook" for your song and refining it to something useful. I have discovered that it is O.K. to rewrite songs, but I have learnt how to approach it. This book has taught me how to make songs more interesting and it has made songwriting a more interesting hobby for me.

I think the most important lesson from this book is how to grow from a songwriter that tries to express his/her own feelings to himself/herself and a few close friends, to someone who can express his deepest feelings in such a way that his song could be loved by millions and could become a commercial success. It also contain an abundace of valuable information on the industry and how to promote your music.

If I did not read this book I would have missed something for sure. If you are serious about songwriting you cannot go without this book.

The first Edition of the book, was a must read, now this 2nd Edition, updated with new information and current song references, is also a must read for everyone that writes songs. The most complete songwriting book, for beginning songwriters to the aspiring, to even pro writers will learn from the book. I often refer to it as "The Songwriters Bible", just full of information that we need in the world of songwriting.
I have been a Nashville Songwriters Association International coordinator in Charlotte for (6) years, and do at least one activity or read a quote from a hit writer or music professional in the book at every meeting. This book is years of songwriting seminars and workshops all in one. The reader will learn just like the title says, the craft and business from someone who knows what they are talking about, and has led workshops for some of the best songwriters of all time, including the awesome Diane Warren and several other hit writers. John Braheny made a difference with hit writers, with myself, and other songwriters that I have recommended the book to in the past 14+ years of reading the first edition, and now the 2nd edition. I recomend this as the very first book for every songwriter to read and study. If you know someone who writes songs, buy the book for them, and a copy for yourself. Buy a highlighter or two, to use when reading the book. ...Doak Turner
...

So what if words and music come natural? We write the stuff down, add a tune and sing it to the world. Then what? This book, The Craft and Business of Songwriting, is a very affordable reference; and probably all you need.I'm happy it contains material that will make me wiser.Buy this or you'll miss out.

I have been wanting to teach myself to sing for several years, since I can't afford voice lessons, and have tried several books on the subject. This one is by far the best. I first tried books by William Vennard and Richard Miller and found that they were meant for advanced students, not beginners. There are other books for beginners, but they aren't usually meant for classical singing, more for pop (and I find that the authors don't really seem to have much of an understanding of the human voice). I don't know how he does it, but Brown manages to make normally difficult concepts easy to understand. Part of that is because of the CD that comes with it. It helps give a better understanding of what he's trying to explain. I would highly recommend this book for anyone trying to learn how to sing classically.

While the title makes it seem as if the book is some kind of vocal therapy book for medical patients, singers rejoice, this is a thorough manual on the art and mechanics of singing.

While I would never encourage a serious singing student to learn from just a book, if you just can't afford a singing teacher, this is the book to buy! Of course, it may not catch your eye immediately. It doesn't promise you vocal prowess in just 10 easy steps. It doesn't claim to be a revolutionary new method and it does not bask in its own ill-conceived glory like so many other books out there. It is simply a book of time tested foundational knowledge on the instrument of voice.

Each chapter is concise and is backed up by many references, examples and excercises. It is beautifully written and covers all aspects of voice from breathing and posture, to what it takes to be a proffesional singer. There was not one moment in reading the book that I felt like this might have been teaching me incompletley or incorrectly.

It is expensive, but you do not expect to spend 20 dollars for a master class with Pavarotti. Likewise, do not waist 20 bucks for the self proclaiming and inferior vocal instruction books out there. Oren L. Brown knows what he is doing and knows how to articulate it. This book is a culmination of so much knowledge on voice production that I am quite certain that it will improve any broken voice seeking to be fixed.

It's no secret singing is a personal universe of mystery that somehow remains unveiled no matter teachers, discipline, technique, etc. With all other instruments you can actually SEE what's going on in the process of learning. With the voice, everything is how "you feel" about it. You can not see your vocal chords to realize you have a good or bad habit...
The secret is then how to LEARN to recognize if what you feel is right about the way you sing or not. It shouldn't be so hard; you either -for example- feel exhausted after singing an aria or whatever, or feel you can keep on singing for the rest of the day without fatigue. That should indicate something! But the problem is to be able to reproduce great singing sensations in an everyday basis. That can certainly be a lifetime challenge. This book helps pointing out towards sensations associated with freedom and flow of a natural voice; Brown is all about this, in search of a more "primal" sound, connected to the way we speak. Not everything is as simple as that, and singing, depending on the repertoire, etc, etc, needs to a certain extent, some kind of artifice beyond the speaking natural sound of our voices. But this book will put you on the right track if you have been wondering about tensions with the way your vocal production occurs. Highly recommended for connecting singing with a more mundane experience in which emotions need to be part of your singing. Great simple exercises can reveal so much, and in that respect it is a fantastic book. Highly recommended.

This book is very good. It makes the (singing) voice clear to understand. Just by simply reading this book, you will start to have wonderful insights about your own voice, which this book is all about.

Mr. Brown has written a powerfully informative book about all aspects of the voice. His book provides many interesting case studies, is very enjoyable to read, and includes factoids like "the Western and European singing style uses a low larynx." My one gripe is that the CD is not usable as a practice aid. Every exercise is demonstrated so briefly that you won't get a warm-up at all after singing along. If you don't have a piano, and you want to practice vocalizing at home with a piano recorded on a CD and exercises that methodically start on consecutive pitches, try the Jeffrey Allen book/CD set. That set includes techniques such as messa di voce, also demonstrated (more briefly) in Mr. Brown's CD.

all of the tabs are very accurate. since Petrucci helped edit it, the tabs are more accurate than what you would find on an internet tab site. if you are looking for an accurate book this is it along with any other Dream Theater book.

EXCELENTE Transcripcion
La verdad, Para mi ESTE es el Mejor Album de Dream Theater
y tenerlo en libro es lo mejor que he tenido

Se los recomiendo mucho, esta muy completo no le falta nada
Solo practicar y practicar hasta que salga la Magia :D

MaRtYn
MTY-MEX

This book is simply what it says it is. It's note for note. I often sit down and read the book while listening to this work of art. The information found in this book is awesome...take from it the licks and chord harmonies and help shape your own playing. If you want to know how to play these songs, buy this book. Its simple.

this book is correct note by note. The fact that Petrucci edited it makes it even more amazing.

Where I really learn from Dream Theater is when I read this score while the CD is playing. Because, after all, this book really is a very thorough score for the album, allowing you to watch at least two of the parts in action (guitar and voice), plus the occasional piano part written out. Since I play both piano and guitar, and sing, it's like having a partial orchestration provided for my education. And I do learn from this music. You will, too, and that can only help your own technical ability. Of course, you really need to know how to read music (and quickly, in some sections) to read the book while the CD is playing. As Petrucci says in another book, regular practice is the greatest boost to proficiency - so if you get this book, read thru it with the studio recording, and practice regularly, you will learn how to play this music. Maybe not as well, maybe not as spontaneously, but there are so many techniques here you'll gain a solid foundation for rock playing and writing. Not a bad return on your $25 investment, as long as you're willing to put in the time, too.

Not every page is going to surprise you, because there's a lot of repetition in DT's music and usually with enough subtle variation that few shortcuts can be taken and still remain faithful to the original songs. You'll see that here. You'll also see plenty of "Riffs" and "Rhythm Figures", too. Again, the trick is to see how they constructed their songs and appreciate both the repetition and the changes.

You will learn from this book, which is an excellent transcription of the guitar and voice parts, and I think you'll enjoy it every step of the way. 5 stars simply because this is such a great resource for any guitarist's education -- and it's such great music, too.

Arthur Hull hits the nail on the head with his book, Drum Circle Spirit. Without this book to use as a guide, I would feel lost!... I call it simply "REQUIRED READING" for those who care about their community and friends who wish to drum in a group setting. It empowers most anyone to begin and conduct their own drum circle. THANK YOU ARTHUR!

This book is the bottom line, the base of the pyramid. All others I have read-and I have very many-rest on it. It explains the why, the where and the how of different types of drum circles and how, when one is called upon to do so, to facilitate them so that they live and create music on their own. While there are many facilitator "tricks" and techniques, the message is always that the circle is not to serve as a platform for a facilitator performance, but that the facilitator's job is only to get the music the circle is making past places where it starts to self destruct and back into solid playing. There is a great deal of anecdotal information about how specific difficult situations were handled as well as examples of wonderful, joyful exhuberance. If you are new to drum circles, and especially if you need or want to facilitate them, this is the FIRST book you buy.

As a Christian wanting to start a church-oriented drum-circle, I was somewhat concerned that this book would be full of propaganda that would run counter to my Christian values. (Making it annoying to read at the least, and at worst, difficult to convince other Christians in my church of its value.) While some of the author's values come through (especially with references to "tithing to Rhythm Church" and the like) there's nothing in here to really offend any particular religious belief. There's no "we can heal the world with drums, just think good thoughts and good things will happen to you" message here. It's practical advice on how to bring out the best in a group of drummers.

Arthur's numerous anecdotes are entertaining and informative. They really conveyed the spirit of what Arthur does with his drum-circles.

I'm very anxious to get started applying what I've learned (and will continue to learn) from this book, and it has convinced me to attend one of Arthur Hull's Facilitator Playshops. Arthur's teaching in the book is very clear, presented in small, easily-digested steps, and most of all, very encouraging. The whole book shouts, "You can do this, it isn't that hard!"

I've very pleased that Arthur has taken the time to share his hard-earned wisdom with the rest of us. If you're wanting to start a drum-circle, work with kids through rhythm, or any such activity, you can't afford not to own this book.

This book and CD set has wonderful examples of drum circle games and exercises. He and his facilitators also share their drum stories and let us know how fun it can be to be an "Arthurian" facilitator! Get a bunch of friends together and PRACTICE these games!(It REALLY comes to life after attending one of Arthur's facilitator playshops!!!)

This guy is a modern Trickster! At first you wonder, is this guy a joke? Then as you read more, you realize, yes he is, thank god! But be aware; this is a book about building community; if you want a book about drumming, look to Mickey Hart.

Almost like a brief history of the era and new insights into how those movies were made. Enjoyed the ancedotes of fellow artists.

One of the reasons Wayne was so popular was that he symbolized everything America wanted to be; strong ,brave,loyal,savvy and honest.His character was a fighter who never backed down when he knew he was right. He was a role model to millions, his screen actions were a roadmap to manhood. That was John Wayne,Icon.
But there was another side to Wayne. He was a real man,flesh and blood, and he had real thoughts and feelings,strengths and weaknesses. He was as brave as his larger-than-life screen persona in his real life,such as in the way he faced up to cancer, and very very human.This is John Wayne,the Man.
This book does an excellent job of showing both sides of the John Wayne coin,Man and Icon. It does it with stories told by people who really knew him. After reading this book you actually feel like you've had a bull session with Duke's friends and co-workers. It's got a very amiable feel to it.
The book also reminds me of Studs Terkel's books. Studs would just turn on a tape recorder and let his subjects pour their hearts out. The author here uses a similar approach. Each story is like a piece of a jigsaw puzzle and at the end of the book you can put all the pieces together to get a clear picture of the Duke.
After I finished reading, I wished I had known him too.

With John Wayne's 100th birth date coming up I started looking for books on him that I have not read. This book is very enjoyable reading. You learn alot about the man from his fellow co-workers and friends. I would recommend this one to any one.

Critics complain that he was a Johnny-One Note who played the same person over & over, & wasn't very good at it. I say this is Baloney.

The annecdotes & observations of the people who lived & worked with him that are found in this book show that he was able to do so much, physically, & emotionally with the characters he played.

You come away with a better sense of why you cheered, laughed, & cried under the spell of his performances. Whether you agreed or disagreed with the actions of his character, you still cared for him & cared about what happened to him

His friends, family, & co-workers loved & admired him & it shows very clearly in this wonderful book.

Sure, he drank, & smoked, & was a staunch anti-commie, but he was also a loyal, funny, kind & gentle family man who worked hard to perfect his craft & cared about his co-workers.

Read this book & understand.

I am a huge fan and relative of Herb's writings. He has a true gift for the written word and I have enjoyed all of his books. Herb, my prayers and thoughts are with you during these very trying times. I am thinking of you incessantly and the entire family prays for you daily. Godspeed.