Musicals Books

Mr Hedges wrote a very detailed account of the band here, so much so, that one can feel that he was really connected with the bandmembers. There are many upon many quotes from the band in here that really give more depth than I have seen in recent documentaries. I can't believe I spent the amount of money I did for it, but I just couldn't find a copy and other Yes fans have praised it. I agree with the reviews. It's funny where the book finally ends up at and that is the departing of Rick and Jon from the band. The Drama album was actually very good in my opinion and fresh at the time. I still would like to see an updated version of this book, or a bandmember account of being in Yes.

I've read several books about Yes. But I've wanted to read this one (the first ever written about the band) since the early 80s. It took me until 2004 to find a copy I could afford.

The book was worth waiting for. I finally see why so many long-time Yes fans have always liked it.

The writing is excellent -- funny, opinionated, and packed with information. The photo selection is superb, and includes many pictures I hadn't seen before. The book is over 20 years old, so it only takes you up to the 'Drama' era. Unfortunately, it's officially out of print, so it's expensive.

But it's a magnificent read, indispensable for any Yes fan. Easily five stars. Maybe six.

Forget about the new books, this is the ONLY Yes bio that matters. Get it if you can!!!

Not only have I read this book over and over again, I have had the good fortune to have it signed by ALL the band members over the years. It is a complete history. I love it!

Dan Hedges was the publicist for YES during the 1970's. This book contains a detailed biography of the band from their start in 1968 through their 1980 release "Drama". The book is filled with hundreds of photographs and quotes from the band and would be a compelling addition for any serious fan.

Excellent book introducing the fundamentals of blues chords and basic 12-bar progressions. It is on the beginner side, and while it provides a great basic course on blues styles and chords, it doesn't pay too much attention to rhythm patterns, and theory is given out in small doses.

The book has progressions in different keys to get you going with a variety of styles, including your basic slow blues, shuffle rhythms, swing & boogie, riff blues and some cool jazz stuff, etc. Most examples are moveable chords, so it gets you playing all over the neck. The explainations are low key but pretty good, pointing out info on the sounds and tonality of the different chords, and some advice on getting a good sound.
There are also sections including some generic but cool turnarounds and intros, and a couple pages about soloing.
Don't think you'll be blazing open mic night after this book, but you will have a good foundation in chords and 12-bar progressions.

This book is a must have for any intermediate guitarist who wants to start playing blues with a band. Its appropriate for anyone who has played for a year or longer, learned basic chords, basic barre chords, as well as minor and major pentatonic scales. If soaring solos are the fancy main dish the rhythm guitar riffs and chord voicing in this book are the vegetables; you gotta eat them if your going to stay alive. No band is gonna want you to shred solos if you can't back up the singer and let the keyboards and harp solo once in a while. There are chord voicings/ progressions and riffs for every type of blues playing as well as a brief section on turnarounds and intros. The majority of the examples are movable and therefore extremely useful as you hook up with other musicians who may not prefer your favorite key. I'm well on my way to memorizing the whole book. Well worth the money and well worth the time.

If you want to play in a blues band, you better know these riffs. I would say memorize this book so you can play it in your sleep. There isn't alot of fancy stuff in here, but it is the foundation you need.

Before I ran into this book as well as a teacher who taught me similar stuff, I had been playing for years and thought I was pretty good - but I always fell apart when I tried to play with others. That's because I did not have these basic building blocks.

I am a beginning guitar player and this book has been a tremendous help. This is a book that you will use a little at first then return to it over time. For me some of the chord shapes are still a little difficult so what I often do is use my chord book (ISBN 0947183094) to find easier versions of the chords.
Also I just wanted to say that the thing that makes this book so valuable is the fact that after you learn one of the lessons you will find that you are now armed with a technique that allows you to play many different songs for example: the riff to good morning little school girl is in the book. After I got fairly comfortable with that I found that I could play born under a bad sign, sunshine of your love etc. there are many songs that use that same combination of notes just varied in timing and order a little. That seems to be the case with chord progressions as well. If you are a beginner like me, remember to play chords that are easy at first then progressively try to play the more difficult ones. Eventually you will be able to play the same chords the pros use. Also as a beginner you probably use open chords. You won't really see how the chords work until you use bar chords so start incorporating those into your playing. I would recommend the F bar chord and the B minor bar chord as there are really no good open chord versions of those. Also learn the A D E bar chord combination at the 5th and 7th frets.
I used to think that the more guitar books I owned the better guitarist I will be. That has not proven to be true. I probably have 30 or so guitar books on the shelf and of those 30 I only use maybe 5, one of which is this 12 bar blues book, the other being Progressive guitar chords.

1776 is a very special play. It portrays true historical magic. I especially liked the play because of the character development. I liked how Peter Stone, the author, developed John Adams character. Stone portrayed Adams as an egotistical jerk who would not take no for an answer. The ironic thing was that his unwillingness to quit was the key to winning our independence.

I am especially involved in the study of history. The play was actually quite accurate except for all the singing and dancing which was added for theatrical purposes. The play had great lyrics and music. Not only was the book version well done the movie was also excellent. The movie stayed word for word with the book.

This play attracted my attention to a specific theme. When John Adams was desperate and discouraged he did not give up. He kept on pushing and pushing untill he had the outcome he wanted. A major theme of this novel would have to be to not give up when faced with tremendous odds. If John Adams had given up then we would most likely still be under British rule.

This play should definitly be read by all u.s. history classes. It inspires patriotism just at the mention of the title. This play is a great source and accurate account of exactly how this great nation became so great. A truly outstanding book.

Every 4th of July I watch the restored laser disc edition of "1776," the musical that has our Founding Fathers singing and dancing their way to Independency, and every time John and Abigail Adams sing goodbye to each other ("Till Then" and "Yours, Yours, Yours"), I get absolutely choked up (to be fair, I get absolutely choked up when I listen to either the original Broadway cast with William Daniels as John Adams or the revival cast with Brent Spiner in the role). But as much as I enjoy the songs, from "Sit Down, John" to "Is Anybody There?", what I admire is the way Peter Stone's book tells the story of what happened in foul, fetid, fuming, foggy, filthy Philadelphia.

Granted this is drama and not history. A historian would point to a big error in that John Dickinson did not show up the day of the crucial vote so that Pennsylvania would not kill independence. But Stone lays out the positions of those who oppose independence, not only Dickinson but Edmund Rutledge of South Carolina, who wants independence but sees it as independence for South Carolina. Consequently, even though we know that these men are going to sign their John Hancocks to the Declaration we still wonder how it will happen given the obstacles. The biggest one is slavery, and while the song "Molasses To Rum" captures the Triangle Trade, it is the debate between Rutledge on the one side and Adams, Thomas Jefferson, and Benjamin Franklin on the other that is even more memorable as the Founding Fathers discuss the difference between "property" and "people being treated like property."

One of the most unusual things about "1776" as a musical is that the vast majority of songs are in Act I, because once the declaration committe's draft is read to the congress ("The Egg"), the debate becomes too important for anything but the most somber of songs. The genius here is the ability to mix low comedy, as in "The Lees of Old Virginia," with the historical drama, best represented by the moment when Franklin justifies the need for independency to Dickinson. Stone takes Franklin's old words, "We are a new nationality. We require a new nation," and amplifies them into a moment of ideological clarity. It is the gravity of that moment which allows the songs by Sherman Edwards to go off in fanciful directions, along with Franklin's pointed reminder at the crucial moment that the Founding Fathers were not demi-gods.

I maintain there is a wonderful educational opportunity with "1776." Obviously it is not what "really" happened, but it is based on such things, from the words of the Declaration of Indpendence to the letters exchanged between John and Abigail always addressed to "My dearest friend." Granted, not all students will be interested in exploring the reality behind the drama, but for those willing to make the connection, it is a worthwhile step in the development of their critical faculties.

Peter Stone's play "1776", is not only a wonderfully entertaining piece of musical theatre, containing great songs and dialogue (often with a healthy amount of wit), it is also historically accurate. The story centers around the Second Continental Congress in Philidelphia (most notably John Adams), in the months immediately prior to the signing of The Declaration of Independence. One of the things that impressed me most about this play was that when writing dialogue between Congress members, letters from Gen. Washington, and conversations between Adams and his wife, Stone reviewed historical documents. Thus, many exchanges you hear/read throughout the play were actual conversations or letters written by those people. Therefore, the play is not only entertaining, it's educational. This play allows you to better understand the people who fought so hard to secure American independence. So often we revere our forefathers with such a sense of awe that we forget their basic humanity. Stone does a wonderful job of reminding us all that these were simple men and women, with everyday hopes and dreams, who were also willing to risk their lives for the freedom that they sought. I think that this play ought to be performed for every school in America -- it teaches while it entertains!

This musical play really inspires patriotic feelings for any American that reads it. A sense of the magnanimity of such an occasion can be felt by its readers. From John Adams's beligerant character to Ben Franklin's sensibility, the reader will feel like he has known these great men and women forever.

I've been playing the piano for most of my life, though only in the past 3 or 4 years have I really started listening to jazz. This book is a revelation for anybody wanting to get an overview of the great players in jazz history, beyond a just a few paragraphs about when and where they were born, a discography etc.
The author is a jazz pianist himself and understands the genre well. He is insightful, and refreshingly candid about the performances turned in by the artists, and points out their flaws along with their strengths and unique contributions.
For the most part, it made made me appreciate even more all these giant talents that I already held in high regard.

A bonus 11-track cd comes with this portrait of eighty-eight pioneers and players of jazz piano, from Jelly Roll Morton to Benny Green. Here are insights on lives, techniques, and changing perspectives on jazz piano styles and artistry, enhanced by the author's personal experience as a jazz pianist and his original interviews with many of the players. Avid fans of the genre will find The Giants Of Jazz Piano positively absorbing.

With a chapter each and running to 324 pages, this is one of the best books you can buy on Jazz Piano. The author Robert L Doerschuk is a Jazz pianist himself and writes with authority on his subjects.

Starting with Jelly Roll Morton, though stride (James P Johnson, Fats Waller), Mainstream (Errol Garner Oscar Peterson) and finishing with contemporary artists such as Brad Mehldau and Geoff Keezer all the artists are given a fair analysis. All the main players are covered: Tatum, Powell, Monk, Evans, Brubeck, Tristano, Hancock, Tyner, Jarrett etc.

What I like about this book is that its not all praise. Yes he likes these guys as musicians, but its an honest appraisal, so when he listens to a recording and hears flaws we're told.

For example when writing about Monty Alexander:
"then stumbles moments later with an awkard figuration that disrupts the momentum". Now in fairness to Monty Alexander most of this appraisal was as compared to Oscar Peterson at the height of his powers. But at least its honest and not just blind hero worshipping.

If you're buying this book it'll certainly help if you're a musician, but its not essential, and there is plenty of interesting material here for non-musicians as well. Most noteably a CD with 11 tracks including pianists such as Mary Lou Williams, Teddy Wilson, Earl Hines and Adam Makowicz.

Raised in a Communist country, listening or playing jazz was forbidden. It was considered decadent. Yet, we craved it. So we would listen on short wave radio and hear with whatever Radio Free Europe or Voice of America would regale us. I tried to copy the great piano players the best I could, but not having the talent to emulate them, I rejoiced at listening to them. So, I have heard the music of Oscar Peterson, Art Tatum, Bill Evans, George Shearing, Erroll Garner, Dave Brubeck, Count Basie, Duke Ellington, Fats Waller, etc., but until I read this book I never heard of James P. Johnson, Mary Lou Williams, Sir Roland Hanna, Roger Kellaway, or Lennie Tristano. Clearly my loss. Of the 88 masters (one for each of the piano keys) I knew of no more than half, at best. The writing is erudite without being pompous and certainly very informative. Mr. Doerschuk is a pianist himself and it shows, as he gives us the unique insights of someone who is not only a music journalist, but also "tickles the ivories." As a result of reading this book, I have started listening to jazz piano music in both historical and social contexts. I am also learning to associate styles with groups of artists in ways that I could not, before reading this book. I like Mr. Doerschuk's organization and his titles for the various chapters such as "Deep in the Mainstream," "Back to the Fountain," "Improvisation as Revelation," since they provide yet another means for organizing jazz piano in one's mind. One can use this book as a permanent reference or just for the pleasure of reading it. I, for one, don't even bother putting in back on the shelf since it feels at home right in my hands as I am discovering "new" and old masters of jazz piano. This book is timeless, just like the marvelous musicians to whom it clearly pays homage.

As a beginner to piano, my college course requires this book as our textbook. Now I see why. Not only does it have great music in it, but it teaches a lot of information that a new student can really use. Definitely worth a buy from anybody who wants to learn piano for fun!

This 2-book set by Faber and Faber is a real miracle! This is the ideal way for an adult to learn to play the piano. If you played another instrument as a kid, or even if you did not, these lessons, 15 in each book, will take you from learningt he names of the keys to playing wonderful music. These books can be used with a teacher, but can also be a self-taught course because they explain everything so succintly and well. If you buy these books, all you have to do is add practice and you will be playing the piano- really playing piano!- in a few months. I recommend these Faber and Faber books for any adult who really wants to play piano.

After 20+ years away from the piano, I decided to take it up again. This book has been key to getting started and really enjoying it. Not only is it great for reviewing theory, but the music pieces that accompany the theory are really fun too. What a delightful (re)introduction to the piano!

I played drums in high school and a little in college but I always wanted to learn piano. I bought a piano for my son and decided it was finally time. This book is great, it keeps you inspired by including popular songs that everyone knows. I'll be practicing and my wife wils constantly say "I know that one". Within a few months you are starting to play recognizable songs. The book is also great at explaining things in a very basic way.

This is a remarkable work that fits African music into its cultural context and is consistently provocative and enlightening. It's a world music classic, along with such studies as "The Latin Tinge," "The Brazilian Sound" and "Catch a Fire."

What begins as a primer in African polyrhythm becomes a spiritual quest to understand culture and humanity. Don't skip the endnotes in this impassioned examination of musical tonality and rhythm. Forging a tentative balance between scholarship and interpretation, Chernoff's book addresses the subconscious dynamics of culture, and unwittingly explains "race" more convincingly than the agitprop self-promoters whose explicit goal is to deconstruct the historical consciences of Africans and Europeans.

This book's sweetness, modesty, humor and graceful scholarship honors one of the world's greatest achievements. It's about drumming, and life.

this is THE classic on african music. you will find it listed in the bibliographies of almost any serious study that came later. it is in-depth and comprehensive. if you want to get just one: this is it.

The Amazing Adventures Of Andy Owl: A Children's Guide To Understanding Music a motivational and enjoyable picture book story of a young owl's search to learn "all there is to know" about music. An educational introduction that combines musical concepts and definitions with loveable color illustrations by John Stone and a charming story by d. Z. Russell, The Amazing Adventures Of Andy Owl is a superb and original read to stir interest in children of all ages in the joy of music.

This book is the ideal companion to elementary musical instruction. I have ordered a complete set to outfit my 4th grade classroom. Andy Owl makes learning music fun.

This is terrific!!!!! It's the first time I've ever seen such a unique - and beautiful - combination of musical education and motivational technique. The illustrations are first rate, the book is well-organized and the message is positive.

I would recommend this book to both parents and teachers. The publisher (World Famous Childrens Books.com) offers lesson plans as a teaching aid. Also, Andy the Owl, the main character, is available to download as a coloring page. My kids loved the vibrant illustrations! This book is a wonderful educational tool in that it introduces the four families of music in a fun and enlightening way. Very nice book!

As a music store owner, musician, and collector, I find this book indespenible. We've worn out several copies over the years. It's as complete a reference as one could possibly expect, and fairly fun to just sit and browse through.

This is my second copy having bought the first edition in the 80's. Finally I have a copy with the color plates! Anyway, if you're a fan of the guitar you have to have this book. If there's anything "wrong" with it, it is that it is now ten years old and I hope Tom Wheeler has plans for a new, 2002, update. I'd buy that one too! I also hope he gets around to mentioning Kustom guitars from the late sixties ( he hasn't so far) and I thought they looked cool back then.

This book has got to be one of the top 10 guitar books on the market today. It covers all the major and lesser known U.S. guitar makers from A to Z, including history, models, specs, biographical info, and more. The sections on such well-known brands as Epiphone, Fender, Gibson, Gretsch and Rickenbacker are particularly interesting. With hundreds of great photos throughout, this book is one of the most comprehensive and well-written books available--a must for all guitar lovers.

This book was given to me as a gift. I have referred to it often to answer questions for others, and just to learn about various guitars that I've had interest in. It's like taking a trip to a great guitar store to look at a huge stock of new and vintage guitars. If only I could reach into the pages and actually play each guitar...I would be in heaven.

Indispensible tool for all guitar collectors or hobbyists.

This book nails down all the important Jobim pieces and gives a very accurate transcription for each. Wonderful if you know the tunes and are dying to play along. If you don't, get a CD, listen to them till you love them, THEN play along!

The book is very useful , especially in my country (Indonesia). We have very limited publications which we should read for our reference to establish our professionalism. In fact, my very best friends are musicians, latin specialist, and they encourage themselves to be the number one latino group band called Flamingo Band, in my big city, Jakarta. I believe that this publication may help them, and please don't hesitate to keep us informed for any developments.

Do you think, we, Indonesian, can do better for Indonesian-Latin songs .....? Come and visit us in Jakarta, .....

I should thank for Jobim's for the book ...... and look for other best ones. But please, not so expensive. We earned Rupiahs only .....

Bravo, and wish us luck ......

There's another book of Jobim songs out there, but I decided to choose this particular collection because it boasts favorites "Agua de Beber" and "One Note Samba" in addition to "Ipanema", "Corcovado", etc. Overall, I happily found the transcriptions to be a little less complex than expected, which was great for me (an average pianist).

The book is also very helpful in introducing a degree of improvisation; once I got the basic rhythm down, I found that I could use the chord transcriptions to create some nifty left-hand arrangements (which aided in eventual memorization), and eventually add melodic improvisations with the free hand - with varying degrees of success, of course. The publishers were kind enough to provide most all the Portuguese and English lyrics.

My personal favorite arragement is "Wave" - it's amazingly fun to play. The opening to "Insensatez" was a little different than what I expected from the recording, though.

For serious musicians/vocalists this is really very worth getting. At its best, the book has very accurate chords, piano reductions of the scores, and Portugese lyrics. A case in point is Passarim, one of Jobim's more complex, airtight, and difficult pieces. The transcription here really nails it. Corcovado has the orchestral introduction from "Elis & Tom". A few chords are different than that arrangement (for example, Fmaj7 in the 7th bar of the tune instead of Gb7b5, and some in the intro). Maybe they wanted to go with the more accepted practices, or maybe they worked from different lead sheets or Jobim provided one with changes. Who knows? They don't list their sources or transcribers. But the fact that they even published this definitive version rather than any number of embarrasing American covers is an indication of what a class act this book is. Anos Dourados is also very good. Agua de Beber has all the important inner voice leading and the right intro. Voice leading is everything in Jobim. The rhythms are also pretty accurate and in the true cut time Brazilians think in.

In some cases there are inconsistencies or versions not quite up to the level of the above, making me wonder which version they were gotten from (a discography would've helped. For example, Inutil Paisagem (Useless Landscape)has the right chords, but leaves out those wonderful piano background figures that Jobim plays on "Elis & Tom", and on the recording with Sinatra, and that Jobim interpreters in the know always use. That's a real shame. It's an Americanized version, as is Desifinado (English lyric only), written in smaller type for some reason and with chords also not as accurate as other tunes here.

Again, my thought is that different transcribers were used for different tunes---the only explanation for some of the disparities. But this is still a very good book---wonderful at its best. It's best to look at scores (there are some available on the "Clube do Tom" website----a few in Jobim's hand). As masterful and prolific a composer as Jobim needs and deserves an accurate collection of transcriptions. But "until the real thing comes along" this is well worth the attention of serious musicians and Jobim lovers.

Ralph Lee Smith teaches a course in dulcimer history at the annual Dulcimer Playing Workshop at Appalachian State University, of which I am the director. His presentations are invariably among the high points of the Workshop. Through him, we all keep in touch with the dulcimer's beautiful heritage in the mountains, and the people of the mountains who have handed the dulcimer down to us. This charming book contains much of the exciting information and many of the tales that he brings to us each year. For people who love the dulcimer, and people who love the mountain world even if they aren't familiar with the dulcimer, this book is a treasure. Don't miss it!

A great book! It is a good reference work on the mountain dulcimer. Mr. Smith has performed a great service to everyone interested in it. It is a trememdous history lesson on the development of the mountain dulcimer and is loaded with photographs documenting how it has changed from its roots to what it is today. It also identifies those people who were important in its development. A real historical learning experience for the novice player and, I would assume, the experienced, too. If you're interested in the dulcimer or just an Appalacian history buff, you will like this book.

Appalachian Dulcimer Traditions is an attractive, informative and fun book to read. Who would think a detailed historical treatise on this rather unusual folk instrument would be such a treat. Ralph Lee Smith's folksy writing style reveals his equal love for the dulcimer and its people. Get ready for an adventure. You'll wind your way up into a part of Americana steeped in tradition, hairpin curves and high mountains. Smith cleverly peels back the folds of time to reveal a remarkable account of the dulcimer, its interesting characters and music. Scattered throughout the book among the many photos and llustrations are vignettes about the humble people of the mountains, their character and struggles. All evolve together in this intriguing account of the dulcimer and those who continue to scratch out a living in the mountains of the eastern United States. This book is a jewel! *****

I first encountered this book at the Detroit Public Library. I quickly determined to have my own copy, and obtained one through Amazon.com. Mr. Smith and his dulcimer friends have come through with the goods! Many historical photos round out the fascinating text and interesting anecdotes from those who brought us the mountain dulcimer as we know it today. Read how the dulcimer shapes came to be, and who the early builders were. I highly recommend this book to any true mountain dulcimer enthusiast. Congratulations, Mr. Smith!