Dance Books

"The Music of Black Americans: A History shares some of the most important, yet fascinating events of black America".

Book was in mint condition! I was completely satisfied.
Kimberly :-)

Cosa consigliare ad un appassionato di musica afro-americana che, conoscendo un po' di inglese, decidesse di leggere qualcosa per cui valga veramente la pena di fare un po' di fatica?
Personalmente non avrei molti dubbi: credo che l'opera più completa che esiste sul mercato e che associa alla competenza una buona leggibilità anche per chi non è di madre lingua sia proprio questo.
Eileen Southern è Professor Emerita di Musica e Studi Afro-americani alla Harvard University di Boston, fondatrice ed editrice della rivista The Black Perspective in Music, che è stata pubblicata dal 1973 al 1990, e autrice, coautrice ed editrice di numerosi volumi sulla musica e la cultura afroamericana.
Il libro in questione, di 678 pagine, ripercorre tutta la storia della musica afroamericana dalle origini (1619) fino all'ultimo decennio del XX secolo. L'opera è suddivisa in 14 capitoli ed è completata con un'accurata bibliografia e discografia e un indice dei nomi e dei temi.
Il linguaggio è piano e comprensibile anche a chi non abbia una quotidiana familiarità con l'americano scritto.
Il libro della Southern affronta tutti i diversi generi musicali dei neri americani, dal canto in congregazione alla musica urbana del primo ottocento, dai worksongs ai traveling road shows, dal blues al ragtime, ecc..
Il taglio critico trasversale, che analizza l'emergere della musica nera all'interno della più ampia realtà sociologica e culturale dell'America Settentrionale, consente di cogliere con chiarezza le fasi dell'evolversi della cultura afroamericana, non solo musicale. Si tratta di un'opera più descrittiva che interpretativa, in tal senso più adatta a chi, volendo avviare la propria conoscenza del fenomeno musicale afroamericano, non è interessato all'analisi del significato profondo della musica e dei testi e a conoscere i diversi modelli interpretativi proposti dagli studiosi.
Fondamentale!

I am using this book for my masters thesis and I must say that I am very pleased. Ms. Southern did an excellent job researching the subject and the book is put together well. There is so much information involved!!! She starts from the VERY beginning and smoothly takes you through the ride of African-American music. Each section is very thorough. This text is perfect for anyone who is researching the subject or just wants to gain knowledge on this rich music. A+++

Have you ever heard about The National Negro Opera Company? Founded by Mary Cardwell Dawson, the company made its debut in Pittsburgh in 1941. This is but one of the fascinating things you can discover in this marvelous book. If you have an interest in music of whatever variety, your library is incomplete without this book.

This 3rd edition was done in 1997, thus it is quite up-to-date in its coverage of classical, jazz, rock, pop, gospel, swing, ragtime or blues. If it is music as practiced, performed or composed by people of color, this is where you'll find valuable information about it. Beginning with Africa and continuing to the present day, the four sections detail this rich history: Song in a Strange Land (1619-1775); Let My People Go (1776-1865); Blow Ye the Trumpet (1865-1919) and Lift Every Voice (1920-1996). The latter section is particularly informative reading with sections on Jazz, The Harlem Renaissance, and the Mid-Century Decades. It is these years in which artists of color finally took their well-deserved place on the musical stages of the world. Of course, they had been visible in their own world, and the popularity of such major composers as Scott Joplin and Duke Ellington allowed them to more or less effortlessly cross-over to the 'white' world. Lena Horne, the Mills Brothers, Louis Armstrong, Cab Calloway were--and still are--names to be reckoned with in any list of fabulous performers.

And then there was Marion Anderson who finally made her way to the Metropolitan Opera at the very end of her career, making way for Robert McFerrin, Leontyne Price, Jessye Norman, Simon Estes and George Shirley, who were very much pioneers in their respective repertoire. Today, thankfully, artists of color are not at all rare on the concert and/or opera stages of the world. But lest we forget the individual trauma these artists suffered in order to be able to compete in this way, we need to remember the past while we are glorying in the present. This book will, if you let it, open your mind and your ears to wonderful, glorious sounds, without which our world would be a much quieter and poorer place.

The author of this book is the renowned Eileen Southern (Professor Emerita of Music and Afro-American Studies at Harvard University) who is herself a musician as well as a writer, and is eminently qualified to illuminate The Music of Black Americans to the world in general.

Pages 613 through 646 comprise a rich bibliography and discography; the index takes up 41 pages. NO music lover should be without this invaluable reference work.

This book is very different than I thought it would be, but was definitely an interesting read. It is basically a series of essays dissecting various aspects of the show - from Veronica's relationship with her father, to what Veronica's voiceovers add to the show. I would recommend this book to anyone who is interested in a more intellectual viewpoint on the series, rather than just campy fun. A must-read for Veronica lovers.

Although this book made me cry wishing there was still to be more Veronica to come, it was amusing in itself as it dissected the series.

Ordinarily when I read an anthology that attempts to make an analysis of a TV series or film, I find at least a couple articles I cannot agree with. However, in Neptune Noir, despite there being different approaches by the authors I found them all superlative. It may also be that my wife and I are suffering from withdrawal pains of there being no Veronica Mars after this Summer's reruns of season three.

I will not comment on individual articles except to say that each author covered verious aspects of this great show, using examples from the scripts of the first two seasons. Even more interesting was the introduction and commentaries by Rob Thomas. As a retired high school teacher myself I had no problems understanding what he was doing.

I have to say that my wife and I are late blooming fans. In fact we met Kristen Bell at a convention, getting her autograph, before we had seen the series. We picked up the first couple episodes of season one at a video store and that was enough to get us to order the first two seasons. Never have we gone through a collection so quickly as we just couldn't ration them out. We now await our order for season three.

I understand there are movements to revive the show or to at least have a movie. TV Guide even rumored that Veronica Mars could show up on 24 as an FBI agent. That wouldn't work as Jack Bauer couldn't keep up with her. Also, Kristen Bell is a superb actress, as witness the Lifetime film Gracie's Choice. By now she probably has had countless offers.

I do hope that we have not heard the last of Rob Thomas and that his genius will again give us something special.

I ordered this book the day after the last episode, and it's just what I needed for mourning the end of the series.

A bit too intellectual at times, but generally a good read about the philosophical implications of various scenes and episodes from Veronica Mars. Focuses largely on the first season, which is great if you enjoyed it. A bit heavy for a summer read, but if you are into philosophy or want to read some deep thinkers' opinions, definitely a worthwhile read. And there is enough "lightweight" content to make it a good read for all.

"Never the Sinner" is a well-written play that examines the notorious crime of Leopold and Loeb. John Logan masterfully examines the mindset of these two 'supermen' who try to commit the perfect crime, merely because they can. His play also portrays Clarence Darrow, the man who defended them in court.

Leopold and Loeb tried to commit the perfect murder, simply because they could. They were young, rich and intelligent, and had no motive for killing an innocent cousin than for sheer experimentary entertainment. Logan examines the friendship between the two teenagers, which strayed into homosexuality, and the slip-up that brought about their capture. Clarence Darrow, as their defender, doesn't try to deny their actions - he can not do so because they readily admit to their guilt and lack of motive - but he still argues strongly and persuasively to prevent their deaths.

John Logan's "Never the Sinner" is a brilliant look at two fascinating characters. It's surprising that little has been done with Leopold and Loeb on the screen (despite Hitchcock's similar story "The Rope"). It is a fascinating and entertaining story that transcends the years.

After reading this play, I must question why there has not been an attempt to bring this work into the mainstream theatre or even movies. Despite Logan's modesty, this is a compelling and well written work about one of the most shocking crimes in history.

Nathan Leopold and Richard Loeb were teenage millionaires that had everything. Both men were highly intelligent college students with a lot of potential. They believed they were such "Ubermensch" or supermen that they could get away with anything, even murder. In the end, they realize that they are not superman, but flawed individuals.

Throughout the development of this play we see the shift in the power of their relationship which is based on a "Homosexual Pact". While Loeb originally is dominant in the relationship, Leopold seems to take the lead once they are on trial. Perhaps this is due to Loeb coming to the realization that he is not a superman. This "love story" is based on fact and gives us some insight into how these young minds that went sour. However, we will never know the full story.

Clarence Darrow is documented in the writting. His character's beliefs are a reflection of what history has recorded about Darrow. He was a fiesty and wise lawyer that opposed the death penalty. Truly, he is a role model for contemporary lawyers.

This book is an excellent read for a short car trip or plane flight. It is short, but very entertaining and gets to the point.

"Never the Sinner" is possibly one of the most historically accurate plays of today. It tells the true story of Nathan Leopold and Richard Loeb and their quest to become ubermensch, or "supermen", as described by renowned philosopher, Nietsche. It offers the audience a journey through the early 1920's through the eyes the two young men. Their strange relationship and above normal intelligence find way to extremes beyond their own imaginations. John Logan has investigated this "crime of the century" and created a theatrical masterpiece. I have been fortunate enough to perform in a production of "Never the Sinner" in Buffalo, NY and, as Nathan Leopold, I conducted extensive research myself - this play is, without a doubt, extremely accurate and hauntingly so. It won various achievement awards and has been nominated, with pleasant outcome, as Best Play. If you're looking for a suspenseful, romantic, mysterious play - one that has been prestigeously acclaimed throughout the world, "Never the Sinner" will not only keep you on the edge of your nerves by bringing historical and frightfully realistic visions to the forefront of your mind, but a keen understanding of what power, determination, and Hollywood ideals of the 1920's could produce to the criminal minds of Leopold and Loeb.

In John Logan's moving yet horrifying "Never the Sinner" we meet two infamous killers, and the mystic, mythic figure that chose to defend these two.

Set in the 1920s, Logan spins the story of Leopold and Loeb, two rich, handsome teenagers that, due to the mixing of their personalities and dangerous philosophies (Nietzche gone bad) decide to kill someone for the experience of it. After this henious act, Clarence Darrow rides in, not to wipe the guilt from their souls, but merely defend them from going to the gallows.

There are several moving aspects to this play which Logan has brilliantly captured in small scenes. The courtship and love between Leopold and Loeb is explored fully. Some ficiton and non-fiction written about these two shy away from the possible homosexual connection, but not Logan. Their actions are horrendous, their self-centered thinking abhorrant, but the relationship between the two powers this play and is intriguing. You want the union of these two not to result in murder, but in love.

The other passionate part of the play comes with the introduction of Clarence Darrow in the second act. He rides in and becomes a fierce adversary of the death penalty, and brilliant argues against the ultimate punishment. However, his courtroom bravado is tempered by scenes with the boys, when he tries desparately to understand the actions of these two. And due to his efforts, Leopold and Loeb begin to struggle with the consequences of their actions, and become more human (which, upon my understanding of the actual story, never really happened).

John Logan has given us a play that reads very well, is very passionate and compelling, and a true classic of theater today.

John Logan contructs a masterful picture of the times and people involved in the first "crime of the century." This is a dazzling piece of work that could only exist on the stage. Suspenseful, involing, emotive, compassionate and above all amazingly theatrical, this work stands not only as a terrific documentary play of an important time, but as an engrossing example of how powerful a medium the theatre can be.

Thank you Mr. Brian Daley for expanding a good story and making it GREAT!
If I haven't heard it on NPR when I was young or read the book years later, I
would not have created my own radio drama. If you love radio dramas and
science fiction, please visit my web site below. May the force be with you,
always.....

Mark McLaughlin - [...]

My main purpose in ordering this book was to find out what had been cut from the series after its first airing. I have only heard the second version that was aired, which was released on cassette and CD. I must say the small edits that were made, and they were all infinitesimal, actually make the audio series better. They're little excesses that when removed clearly improve the flow of the series. The one bit I wish they had left in was an extended exchange between Han and Luke before the turret sequence. Han tells Luke to lead his targets and "Invest in the future", a classic Han-sounding line.

It should be noted that this appears to be a first or second draft of the script. This becomes obvious when Heater is referred to several times as "Preacher" which I assume was the first name of the character in the script. Also, the dialogue overall is not as polished as it is in the series. Editing may have been done by someone other than Daley, or even the actors themselves, which would explain why Daley only had this version to give to the publisher.

If you've never listened to the series, do so before buying the book. I think it's much more interesting as an example of how editing can turn good writing into great writing than as a piece of writing itself.

I am a Star Wars fan, like most everyone else in my generation. If you are like me, having lived and breathed Star Wars at one time or another during your life, you really owe it to yourself to listen to the Star Wars Radio Drama casettes, available from Amazon. Click here, here and here to link to the casette versions, although I found a boxed set of CDs from Amazon that really kicked. These audio versions are terrific, offering tons of material not in the movies, background on all characters, great acting by Anthony Danielt and Mark Hamil, great audio and sound effects, and much more. Recommended to all Gen X'ers. END

After reading the books and listening to the audio adaptions, I can't watch the movies anymore. Buy the CDs/Cassetes...to borrow a line from Garrison Keillor, the pictures are better. Anthony Daniels intro and insight was worth the jacket price.

I am a Star Wars fan, like most everyone else in my generation. If you are like me, having lived and breathed Star Wars at one time or another during your life, you really owe it to yourself to listen to the Star Wars Radio Drama casettes, available from Amazon. Here is the casette versions, although I found a boxed set of CDs from Amazon that really kicked, but you have to search the Amazon database forever to find it. These audio versions are terrific, offering tons of material not in the movies, background on all characters, great acting by Anthony Danielt and Mark Hamil, great audio and sound effects, and much more. Recommended to all Gen X'ers.

Although I wasn't born yet (at the time of the premier), I did in fact grow up seeing the program on syndication, during the early 60s'. Of course, I was one of billions who had a crush on Annette (Funicello).So when I saw the book at a Barnes & Noble store, I quickly purchased it!I must say, it really brought back memories. Not only were the photos great, the personal stories relating tothe mouseketeers (on a past to present experience) was just fantastic. I hope that, maybe, another book will be published in the near future.

The Mickey Mouse Club was the first show my parents turned on to keep me quiet for an hour back when I was a toddler.Disney and his works have a very important significance to me.The Mickey Mouse Club became a classic-and is such a milestone among children's television,it's hard to believe it originaly only ran three years.Yet,it is so fondly remembered by viewers that it will last forever in our minds.And,to Leonard Maltin,I was also one of the many who learned how to spell Encyclopedia from Jiminy Cricket.

If you're a Mousekefan, and I mean a fan of the REAL Club, the 50s Club, you'll love this book. There's so much info, background, and lots of nice photos from behind the scenes. I'd like to have read much more about what happened to the rest of the Mouseketeers, but this is still a delight to read.

This was an excellent book! I couldn't put it down. I read the book in two days. It told about the lives of the Mousekeeters and even about some who didn't make it. I really know more about the Mousekeeters and about the show now. It was exactly what I was looking for.

Although I wasn't born yet (at the time of the premier), I did in fact grow up seeing the program on syndication, during the early 60s'. Of course, I was one of billions who had a crush on Annette (Funicello).So when I saw the book at a Barnes & Noble store, I quickly purchased it!I must say, it really brought back memories. Not only were the photos great, the personal stories relating tothe mouseketeers (on a past to present experience) was just fantastic. I hope that, maybe, another book will be published in the near future.

This is worthwhile for the reasons already cited (so I need not rehearse them), but it is important to recognize that much of it has been superceded or disproved. I hope those prospective purchasers who have found their way here are aware of Juan Roederer's THE PHYSICS AND PSYCHOPHISICS OF MUSIC--very much recommended!

I found two misprints:

Page 412, last equation on that page, x_2 = -b/(2a). ... : On the right-hand side, there are five terms. Terms number 2 to 5 have to be multiplied by b. In term number 3, replace u^2 by v^2.

Page 417, second of the two equations, r_p = 16 B' B" . ... : The second of the two brackets in the denominator must be squared.

These two misprints occur also in the German original, possibly since 1863.

Helmholtz's Sensations of Tone became an almost instant classic in the study of hearing when it was published in 1863. It combined the physics, physiology and psychological aspects of hearing in an attempt to explain the origins of musical harmony and dissonance. Though not easy reading, it is accessible to the non-specialist. However it also provides an important historical resource for the specialist and helps one to understand the origins of so much of contemporary hearing research. Indeed, in many ways Helmholtz reads more like a contemporary than a long-past founding father. The appendices provided by the translator are helpful as well. Finally, the inexpensive paperback edition from Dover makes this book an excellent bargain.

This book is of historical interest only, I think; it's very well written, but a lot of its content is mind bogglingly outdated, ancient. If you need a readable quick intro into sound, read Jeans's book (the first part of it is updated Helmholtz). Then, if you still need to (as in "know specifically what I'm after and it can be found only in Helmholtz"), you can pick this book; but otherwise, resorting to modern literature will be a much better investment of your time.

Part 1 discusses how tones may be perceived as built up by the base tone and the "harmonic upper partial tones". These upper partial tones are what distinguishes different instruments and they determine the "quality of the tone"; e.g. "if only the unevenly numbered partials are present ... the quality of the tone is hollow, and, when a large number of such upper partials are present, nasal", etc. (p. 119). Helmholtz's model of the ear has it that there is a spectrum of hairs in the ear, each with its own mode of vibration. When we hear a tone it is decomposed into its partials through "sympathetic resonance" of the corresponding hairs, and it is this information--i.e. essentially Fourier coefficients--that is sent to the brain. Part 2 discusses the theory of consonance. Again, the Fourier analysis point of view is the key. The consonance or dissonance of two tones is determined by the interaction of the partials of the tones, giving mathematical precision to the idea that "two consonant tones flow on quietly side by side in an undisturbed stream; dissonant tones cut one another up into separate pulses of tone" (p. 226). Thus one can claim that "ultimately, then, the reason of the rational numerical relations of Pythagoras is to be found in the theorem of Fourier, and in one sense this theorem may be considered as the prime source of the theory of harmony" and so "the enigma which, about 2500 years ago, Pythagoras proposed to science ... 'Why is consonance determined by the ratios of small whole numbers?' has been solved by the discovery that the ear resolves all complex sounds into pendular oscillations ... and that it regards as harmonious only such excitement of the nerves as continue without disturbance" (p. 229). Part 3 studies scales; quoting from the conclusion: "the construction of scales ... is a product of artistic invention, and by no means furnished by the natural formation or the natural function of our ear, as it has been hitherto most generally asserted. Of course the laws of the natural function of our ear play a great and influential part in this result; these laws are, as it were, the building stones with which the edifice of our musical system has been erected, and the necessity of accurately understanding the nature of these materials in order to understand the construction of the edifice itself, has been clearly shewn by the course of our investigations upon this very subject. But just as people with differently directed tastes can erect extremely different kinds of buildings with the same stones, so also the history of music shews us that the same properties of the human ear could serve as the foundation of very different musical systems." (p. 366).

From the moment he wakes up in the morning until the moment he goes to sleep at night, Tucker is in constant motion. His boundless energy and upbeat personality make him bounce down the stairs, twirl around his parents, and weave between his younger sisters. His natural affinity for dancing leads him to ballet class. He absolutely loves dancing and enjoys his class. He doesn't care that he's the only boy enrolled in the course - until his male classmates find out and make fun of him for it. His uncle isn't too keen on it either. Happily, Tucker follows his heart (or, rather, his feet!) During a football game, his speed and agility impress his peers, and the teasing diminishes.

Gruska's text is simple and easy to follow, and the colorful illustrations by Amy Wummer suit the story. Even the endpapers are pretty! (I really love argyle.) The book includes a glossary of ballet terms to further educate hopeful dancers. This story will encourage readers of all ages to keep dancing to the beat of his or her own drummer.

Whether you were a BMOC (big man on campus) or a wallflower, almost every adult has experienced being part of the "in crowd", or being a social pariah. Denise Gruska's "Only Boy in Ballet Class" explores these themes in a terrific book that shows there is life after teasing. Every adult can relate to this, and every kid will (at some point) go through it. I bought this book for my kid to show that it's o.k. to be a ballet dancer, or a football player (or both), but mostly, that it's o.k. to be DIFFERENT. Self-acceptance, and doing what you love (in spite of what other people think) is the most important thing, and Gruska's warm and delightful book is proof positive of both. A terrific book for kids and adults alike!

This beautiful book brought tears to my eyes. It so perfectly capatures the joy and the struggle that each of us face as we learn to be ourselves in this world. It provides a wonderful starting point for parents to talk to their children about how to be true to what we really love and how to respect others for who they are. Plus, my football playing boys had a blast trying out all the ballet moves. This book is a treasure that will be read and enjoyed for many years in our home. It would make a great gift for any family!

The Only Boy in Ballet Class is a perfectly charming book, wonderfully illustrated by a prolific artist, but it's also an important story for young children about coming to terms with your true self and expressing the passions you really feel, even if others don't quite get it. It's a story about commitment, about perseverance, and about unanticipated rewards.

Tucker Dohr loves to dance, and not just any kind of dancing, but the difficult discipline of the Ballet. Being the only boy in a ballet class is very hard, but Tucker needs to dance, even though many of the kids in his neighborhood mock his participation in a "girly" activity. And if that weren't bad enough, Tucker has an uncle, equally rigid and unsupportive, who constantly carps at his dancing and urges him to take up more stereotypical activities for boys. But Tucker looks forward to his ballet classes, and doesn't give up.

He has heart, in a heartless world, or perhaps just a world burdened by the many broken-hearted people who've let their own dreams fade away, and then settled for someone else's dream, someone else's life.

Tucker is very lucky as well; his Uncle has no real say in his life, other than as a wet blanket and kibbitzer from the sidelines. Tucker's parents support him, and allow Tucker to be himself, to find his own way, and to dream his own dreams.

The illustrations beautifully extend the text of the book and make it more compelling, allowing us to see Tucker's sense of joy and fulfillment in dance, both in private moments and during public performance.

This book will be attractive to any child interested in the Ballet, and even includes a little glossary of dance terms which describes the various movements Tucker excels at. But it will also be attractive to any children who find themselves inhabiting the unknown territories at the boundaries of life, whether that be the difficult negotiation of gender roles and behavior, as in this book, or those who are fascinated with unpopular subjects -- like lepidoptery, or Etruscan pottery -- because Tucker does just fine. His passion turns out to be valuable in fields outside the dance studio, and he still loves to dance.

The Only Boy in Ballet Class is a passionate, entertaining, funny, and poignant look at a boy's struggle to be his most authentic self. I read this with my daughter and it moved her, literally, to dance around the living room. She had me demonstrating the various balllet moves from the glossary in the back. Then, in mid pirouette declared her intentions to become a ballet dancer, just like Tucker Dohr. No doubt this book inspired her to move. But I appreciated it most for the valuable message it imparts to its readers, of celebrating the uniqueness in all of us. Because, after all, that is what makes us each special.

The critical notes and selection, as well as the editing, make this (with its companion volumes The Oxford Book of Italian Madrigals and The Oxford Book of French Chansons)the book of choice for madrigal singers. The only problems I find with the book are the tiny print, the pseudo-alphabetical arrangement, and the binding which is quite tight.

The scholarship is flawless and it definitely belongs on the shelf of any madrigal group's artistic director. You really can't hope to have a madrigal group without these books.

An excellent, well-edited anthology! I appreciate the critical comments in the appendix. Also helpful is the given number of voices for each madrigal listing in the index. A perfect volume for my university "Vocal Chamber Ensemble".

This is the definitive volume for all singers of 16th and early 17th century English madrigals. Ideal for small groups who want to sing a range of madrigals (both merry and sorrowful) on the hoof without having to juggle separate sheets and volumes. All the favourites are here. The typeface is clear and the A5 format easy to handle. The collection is arranged alphabetically but there is a usful listing by composer for those putting programmes together. Philip Ledger's editing is light of touch and should not offend the purists.

This book is great for any madrigal choir to use. It has selections for SAB through SSATBB.

What a great source for any madrigal group! This book contains a cappella madrigals of 3, 4, 5 and 6 parts (mostly SATB or SSATB) by the major composers of English madrigals, such as Byrd, Farmer, Gibbons, Morley, Ward, Weelkes & Wilbye. If you sing or study this type of music, you must have this book.

Also check out "English and Italian Renaissance Madrigals" (CD) by the Hilliard Ensemble -- the Oxford book and the English Madrigals CD of this wonderful 2-CD set have 16 songs in common.

I received this book from one of my real estate colleagues, and found it highly imaginative with a spiritual slant, one that probably I wouldn't have bought, but am now glad I read. The author's experiences and her creative ways of combining the old with the new, the past with the present, and morphing old stories into up-to-date self help strategies, are brilliant. I learned things about myself and my religion I never knew!

A new perspective on mythology. It gave me a new understanding of what women have been missing out on for centuries. I wouldn't mind a few new myths with a strong female hero, aka Lara Croft, or is that a sexist thing to say? Anyway, it's an interesting book. Well worth the time.

If you're a woman, you need to read this book. If you're a man, you need to read this book. It's for anyone going through a beginning journey, mid-journey, or elder journey, so full of wisdom, play, hope, guidance, and just plain simple answers to difficult questions. This book really touched me at a deep level. I'm giving it to all my friends.

What I liked about this book is I could pick it up and read a chapter, then think about it, go back and reread it, and get something else out of it.The author's search for her own meaning to life and her search and work with her clients was written in easy to understand language and was very helpful in understanding my own issues. Her images were very compelling, and memorable- I can still see the cat on Jefferson's lap! Highly recommended reading.

It's so well written, and would you believe, beautiful poetry in a story that spans the centuries from ancient greece to a future time in the world. Made me think, feel, and believe in myself, that I can change some of my old habits and actually see my future self in my new myths. When I got to the second question, I started to cry but kept going and realized by answering all 10 questions, I knew myself in a different, better way. This book was a lifesaver!

This book has a great collection of songs. However it is way too easy. I've been playing Mandolin for less than a month and I'm beyond most of the songs. I wanted a book with great songs that was a little more challenging to encourage me to keep playing. This book is just too darn easy. Many songs are just a few transitions between the C, G, and D cords. I have to find ways to make this more challenging myself. Be sure to "look inside" at few or more songs to see if it is the right level for you. Don't forget that in the week it takes to get the book you might be beyond it too.

This is really a great book for a beginner like myself. It has a large amount of songs that are well known standards. There are companion recordings of each song. The lyrics, music, and tab are all printed. Also noted are common alternate keys and recommendations on each song of artists who have recorded good versions of the songs. This is the perfect book for beginners and I would recommend it highly. The arrangements are not chock full of notes, which allows a lot of space. This makes them easy to learn for beginners and a good starting point for learning how to improvise on the songs.

Dix Bruce collects roughly 200 songs, most complete with lyrics (up to 9 verses, some of them), garnished with photos. The book includes short, but fantastic, recordings (entertaining even). Each of the songs can be approached by a beginner, and the recordings give some idea of how to improve. The book suggests keys for male and female voices, and includes instruction for how to change key to accommodate vocalists.

The only fault I find with _The Parking Lot Picker's Songbook_ is that it is not mandolin specific, aside from tablature. None of the songs include any hint of double stops. Few of the songs use more than four chords, and there are no hints for how to embellish the simple chord progressions with alternate voicings (3-string chords) or transitions. The notation and tablature, like other fake books, is really for the singer, so it would be nice to have some suggestion for how to differentiate the mandolin parts from the vocal melody.

The book is probably worth the price solely for the recordings and it's a good resource for bluegrass song lyrics. I would award a fifth star if it were really a mandolin book, rather than a fake book for mandolin players who want tablature.

I have many 'picking' books and 'fake' books. This is the best I own. I like everything about it. The spiral bound book, the number of songs in the book and the fact that every single song is on the cds. You can't go wrong.

This is a very good book to learn to play the mandolin. It is easy to read and a great selection of old bluegrass and gospel songs. I can also use the book to learn the rythm chords on my guitar. Also, the type is large so I can easily see the tabs and words.