Dance Books

I bought this book the minute I read "The 7 Myths about Musicals. Myth #1: Musicals are fun." (He goes on the qualify that they are fun to watch and be in, but hard hard hard to direct.) I knew then I had found a kindred spirit, someone who loved theater with all his soul but wasn't sugar-coating all of the pettyness and brouhaha that accompany running a program in a high school. This guy is straight forward, no nonsense, and he believes that high school theater directors are real directors and should behave and be treated as such. His advice is smart, sharp, and on the mark. He includes very useful chapters on how to run and maintain a theater program and how to select plays. It is above and beyond better than any other "how to direct a high school play" book. Buy it, then tell all the theater teachers you know to buy it. This is the real thing.

Despite performing in professional productions from the age of 11, despite a great high school theatre experience (thanks, JMO!), and despite a university degree in theatre, I suddenly realized how much I needed to know (but didn't!) when faced with my first high school directing job! I learned the director's craft and art from hard experience, from consultations with my own high school director (JMO again), and from reading everything I could get my hands on. This book would have saved me YEARS of trouble had it been available 'way back in the late 1970s!

David Grote knows his stuff. He has worked with actors of all ages and appreciates the special problems confronting the high school theatre director. His advice is solid, practical, and workable. He is, in short, eminently qualified to write on this subject.

If you can buy only one book on directing, buy this one. It's great--and a heck of a lot better than the textbook we used in my university-level directing course!

A terrific work that "lays it on the line." I especially liked the sections about dealing with censorship in the high schools and the role of the high school musical in a drama program. An excellent work, worthy of being read by novices and experts alike.

I recently student produced the play Little Women at my high school for my senior project, and I wish that I had read this book before I put on the play. In it there are great suggestions for choosing a play, analyzing the script, prepairing for production, blocking, casting, rehearsal, acting and student actors, recurrent problems, directing the musical, and building a theater program. Everything Grote said I could identify with, and I nearly always agreed. In one section he gives great specific ideas for helping students understand how to portray their part, and I found this section particularly helpful. The only negative thing that I could say about the book is that in the chapter on "recurrent problems" he didn't metion the number one recurrent problem: personality conflicts between cast members! Which anyone ever involved in a drama program would know is nearly always a problem. Overall, however, this book was insiteful, and quite useful. I recommend it for anyone who will be directing a play in a school situation.

I read this book to get some new and different ideas for upgrading the Drama Dept in the HS where I teach, and it did not disappoint. While obviously not every suggestion will work in every school situation, the author's years of experience naturally lend themselves to some excellent advice. Of particular help to me where the chapters on how to run auditions, and how to select a play to perform. I highly recommend this book to all teachers and staff in the school setting who are responsible for theatrical productions.

Along with providing a good understanding of old-time fiddling in West Virginia, this book also provides a wider discussion of other forms of folk music within the state. Milnes's discussion of the various folk traditions associated with fiddling is really interesting to read. He has fine descriptions of house parties, square dance callers' patter, and a good variety of the folk beliefs associated with fiddle tunes. The chapter on the ballad of Naomi Wise is especially good, and I also appreciated the chance to learn more about the dulcimer tradition in the state. Prior to reading this book, I thought that the dulcimer was primarily a recently introduced instrument that became popular only with the 1950s and 60s folk music revival. Milnes broadens that view and demonstrates that there has been an interesting and rich tradition of dulcimer playing in the Appalachians.

Gerry Milnes knows more about the tradtional music of West Virginia than probably any other writer on the subject.

This book presents a delightful look at the history of West Virginia fiddling, profiles of the players, and the culture in which this music thrived. It is well researched and presented in a very engaging style. Of particular interest to me were his profiles of some of the musical families of the state. In addition to his look at fiddlers, other folk music traditions are covered as well, including a look at the fretted dulcimer players and builders of the region. There are many helpful and interesting photographs as well.

Also recommended: "Fiddles, Snakes, & Dog Days," Milnes documentary film on the same subject which features the playing of many traditonal West Virginia musicians.

A fine book, evoking a lot more than just thoughts of fiddles. It brings back a lot of memories. There's endless stories winding on late into the night and square dances at the fire station with bright lights and cake walks. It's playing rhythm guitar while sitting on the porch hypnotized by the "play of the fiddle", playing those simple little tunes over and over and over, breathing life into them till they break loose and come alive. Reading Jerry's book was like stumbling into an attic full of memories.

There's something hypnotic about the sound of a fiddle, and Jerry weaves his own spell. All those countless, nameless, fiddle players were drawn to it and just couldn't ever get away. Way back "up the holler". It seems like the devil got hold of them & wouldn't let go. It's like sitting around a campfire, deep in the woods, listening to the baying of the hounds and just wondering what's really out there. Lot's of mystery up in the mountains and those old fiddle players felt it and made it sing out. Jerry really loves his fiddle music, but I think he really loves the spell of the mountains even more. Seems to come out best in the sound of a fiddle, played on the front porch, all alone, nothing but that fiddle sound, a full moon, and the deep silence of the endless woods. That fiddle music just floats in the silence. The hills don't care, they just sit there, and the fiddler plays on, just hearing that sound, going on and on and on...

Yep, it's a pretty good tale.

I really enjoyed reading this book. Milnes provides good descriptions of the history and the cultural contexts for fiddling in West Virginia. He provides especially good descriptions of dances. My favorite part of the book dealt with some of the traditional beliefs and practices associated with fiddling. There are fascinating traditions that fiddlers continue to use, and there is a wealth of folklore associated with the instrument. Milnes also provides a fine history of dulcimer music in Appalachia, and his work provides a corrective perspective about this instrument as he challenges the degree of purism and perhaps "snootiness" that is associated with fiddling.

As a storyteller and passive folklorist I found this book to be extremely useful and well written. The work the author has done to trace the origins of lore is an incredible journey into the past and speaks clearly to the persistent little voices in my head that are always calling out- "Now how on earth did someone think that up." The book does much more than instruct the reader: It creates a whole new world around folk traditions that is as colorful and as engaging as any novel and as useful for understanding Appalachia as any history book.

I had read this book years ago and like so many other things, you lend it out and never get it back. sigh. I was happy to find this online and ordered it straight away. It was ordered at the same time as my Amazon stuff (through a reseller) and it beat my Amazon order by a good 3 days! lol

This is a fantastic inverview. I only wish an audio were available. Maybe someday.

I think that this book was very good. It took the reader in to the private lives of both John and Yoko. It gives us an inside look on what their own private lives were really like. That being when John was with The Beatles and his life afterwards and up to the end of his life. I recommend reading this book. It takes you into John's thoughts about life!!

I love John lennon so i started reading biographys on him and interviews, etc to learn more about him. When I read "The Playboy Interviews With John Lennon and Yoko Ono" I HONESTLY COULD NOT PUT IT DOWN! I couldn't believe it; i started reading it in the afternoon and didn't put it down until late at night where i finished it! It is a wonderful, wonderful book with John's sense of humor and yoko's too and their insight into the world. It really is my favorite book because it is close to a John Lennon autobiography as the world will ever know. HIGHLY RECOMMENDED!!

This is the definitive book regarding John Lennon. He reviews almost every song he wrote with or without Paul McCartney, which alone is worth the price of admission. In addition to that, he provides insights into his personal philosophies and world views. One could call it the perfect companion to the recent Beatles Anthology book. Crucial reading. How sad he had to die a little over 2 months after these interviews were conducted. Unfortunately out of print, do yourself a favor and try an out of print book search; you won't regret it.

I first read this book back in 1983, to gain a little insight of John...and it quickly became my favourite book. Although I don't think Yoko was or is everything he thought, this was a man who truly loved his wife, and believed with his whole heart and soul in their marriage and life together. He was enjoying making music again, so much (this interview was done in September of 1980) and was looking forward to the future...hoping he'd be there with us. His love for his music, his wife, his sons, and even the Beatles are all there. He gives his opinions on every subject he can think of, both positive and negative, in his usual witty, straight-to-the-point manner that we all know him for. The interviewer did a great job, and was clearly a man who admired John Lennon as much as I do. He did a great job in this book, and it is my absolute favourite, out of all of my collection. Anyone who wants a peek into what John thought and felt and wanted you to know, should read this book...you will treasure it as I do.

...this book is definitely for the obsessive. These are pioneers who, for the most part, predate the concepts of stardom. Early recording companies, like early movie studios, were not interested in sharing any revenue with any "stars" that required promotion -- yes, Sarah Bernhardt made a movie or two, and Caruso sold a lot of records, but they were exceptions -- people who had reputations built outside the new mediums. For this reason, you'll find a lack of big-name stars. What you will find is a wealth of information on the practically unknown legions of men and women who were among the first to actually record the sounds and songs from the last two centuries. I found it fascinating, and of value in the obsessive cataloging that often goes hand-in-hand with the hobby of record collecting. It also helped to make a great many names a lot more human to me, and I'm thankful to the author for that. Not for the average reader, but if you have an interest in the acoustic recordings of popular music from the earliest days... well, you'll be as happy as Jones & Hare.

This is a well written biographical dictionary of the key popular (vs. classical) performers featured on early recordings. For example, you can look up "Edison Quartette" and find out that it was also known as the Hayden Quartet and exchanged performers with the American Quartet. Then you can look up the individual singers. I just consulted it this morning to find out about an early recording of John Philip Sousa's band.

While it is not a discography, it has information about selected early records, along with a song index. If you want to get a peek at the style, check out Tim Gracyk's site online.

I don't see how any collector of early popular records could live without this book.

POPULAR AMERICAN RECORDING PIONEERS: 1895-1925, by Tim Gracyk, has detailed biographies of singers/musicians on old records! 444 pages. This is the ONLY book ever published to give biographies of early recording pioneers. Learn facts about the singers who made records of "popular" music before 1925! The book's opening essay gives a summary of the history of the early recording industry, the "acoustic" era. Rare sources were used--trade journals like TALKING MACHINE WORLD, memos from the Edison, Victor, Zon-O-Phone, U-S Everlasting, and Columbia record companies, etc. Following the long intro are detailed encyclopedic articles (organized alphabetically): 100 artists with separate entries in the book include the American Quartet, Billy Murray, Ada Jones, Cal Stewart (Uncle Josh), Nat Wills, Steve Porter, the Original Dixieland Jazz Band (other "jass" bands of 1917 covered, too), Paul Whiteman, George J. Gaskin, Carl Fenton, Sam Ash, Aileen Stanley, Henry Burr, the Peerless Quartet, Arthur Collins, Byron G. Harlan, the duo Collins and Harlan (separate entry--new info!), S. H. Dudley, Al Bernard, Edward M. Favor, Rudy Wiedoeft, Sousa, Walter B. Rogers, Vess L. Ossman, Sam Lanin, Bert Williams, Frisco Jazz Band, Olive Kline, J. W. Myers, Ben Selvin, the Green Brothers, Haydn Quartet (the quartet that sang "Take Me Out to the Ballgame" for Victor), Marion Harris, Arthur Fields, Irving Kaufman, Will F. Denny, Frank C. Stanley, Nat Shilkret, Frank Ferera (did his wife and fellow recording artist Helen Louise die of foul play? she vanished during a ship voyage in 1919!), James Reese Europe (Jim Europe), Victor Military Band, Victor Light Opera Company, Werrenrath, Shannon Four (Revelers), Richard Jose...many more! Rare info here from descendants of the artists, from old letters sent to historian Jim Walsh (some never published by Walsh), from rare primary sources like birth & death certificates, from archives! This is the ONLY book that covers artists who, from the 1890s to the mid-1920s, made records of music that was "popular" in nature, as opposed to records of operatic arias, symphonic works, or concert pieces. A pre-electric method for recording was used, with musicians performing into a horn, not a microphone. This encyclopedia covers American artists who recorded Tin Pan Alley numbers, Broadway show tunes, ragtime, "coon" songs, novelty numbers, quartet arrangements, parlor ballads, early jazz (sometimes called "jass"), blues, dance music, hymns, and early country. This book makes a distinction between stage personalities who happened to make some recordings--when they found time in their busy schedules--and artists who made their living largely by recording regularly, perhaps finding a little time on the side for theatrical performances, vaudeville, or concert recitals. Few stars of the stage made records regularly, exceptions being Bert Williams, Nora Bayes, and Al Jolson--even their output is minuscule compared with that of Henry Burr, Harry Macdonough, Lewis James, Vernon Dalhart, Irving Kaufman, and others who, for a long time, earned a living by recording. Over 100 of these kinds of artists covered in detail, with info available nowhere else! This book has a GREAT INDEX if you want to look up specific records/songs.

Anyone who collects old 78s knows how frustratingly difficult it can sometimes be to learn about the musicians responsible for making the recordings. This book spotlights dozens of acoustic-era (1890s-1920s) recording stars, in most cases providing the most complete and detailed biographies I've found anywhere. The introduction is particularly helpful, providing an overview of the recording industry in its early years, examining how recording limitations dictated what and who was recorded, offering glimpses into the studios where these records were made, and a valuable note about estimations of record sales. This introduction nicely balances the individual accounts that come after and helps us see how these musicians fit in the "overall picture." If you've got moldy stacks of old 78s by Arthur Fields, Irving Kaufman, Ada Jones, The Sannon Quartet, Joseph C. Smith, or others like that, you might just find yourself cleaning them off and playing them again after reading this book. I find these old acoustics are much easier to enjoy once I know something about the people who made them.

This isn't a sit-down-and-read-like-a-novel book, it's more like an encyclopedia, with 1-10 page articles about individual musicians and groups. At times, the articles feel a bit "choppy," but on the whole they are quite readable and there's plenty of information. Unfortunately, the binding of this paperback version is rather poor (the sheets are just glued directly to the flimsy spine, not sewn together), maybe the hardcover version is better bound? So far, my paperback is still intact, but for how much longer, I can only guess. This is a book I pull off the shelf often to answer many of the questions that come up when I listen to my 78s. Gracyk and Hoffman will give you a whole new appreciation for these old records! Highly recommended!

POPULAR AMERICAN RECORDING PIONEERS: 1895-1925, by Tim Gracyk, has detailed biographies of singers/musicians on old records! 444 pages. This is the ONLY book ever published to give biographies of early recording pioneers. Learn facts about the singers who made records of "popular" music before 1925! The book's opening essay gives a summary of the history of the early recording industry, the "acoustic" era. Rare sources were used--trade journals like TALKING MACHINE WORLD, memos from the Edison, Victor, Zon-O-Phone, U-S Everlasting, and Columbia record companies, etc. Following the long intro are detailed encyclopedic articles (organized alphabetically): 100 artists with separate entries in the book include the American Quartet, Billy Murray, Ada Jones, Cal Stewart (Uncle Josh), Nat Wills, Steve Porter, the Original Dixieland Jazz Band (other "jass" bands of 1917 covered, too), Paul Whiteman, George J. Gaskin, Carl Fenton, Sam Ash, Aileen Stanley, Henry Burr, the Peerless Quartet, Arthur Collins, Byron G. Harlan, the duo Collins and Harlan (separate entry--new info!), S. H. Dudley, Al Bernard, Edward M. Favor, Rudy Wiedoeft, Sousa, Walter B. Rogers, Vess L. Ossman, Sam Lanin, Bert Williams, Frisco Jazz Band, Olive Kline, J. W. Myers, Ben Selvin, the Green Brothers, Haydn Quartet (the quartet that sang "Take Me Out to the Ballgame" for Victor), Marion Harris, Arthur Fields, Irving Kaufman, Will F. Denny, Frank C. Stanley, Nat Shilkret, Frank Ferera (did his wife and fellow recording artist Helen Louise die of foul play? she vanished during a ship voyage in 1919!), James Reese Europe (Jim Europe), Victor Military Band, Victor Light Opera Company, Werrenrath, Shannon Four (Revelers), Richard Jose...many more! Rare info here from descendants of the artists, from old letters sent to historian Jim Walsh (some never published by Walsh), from rare primary sources like birth & death certificates, from archives! This is the ONLY book that covers artists who, from the 1890s to the mid-1920s, made records of music that was "popular" in nature, as opposed to records of operatic arias, symphonic works, or concert pieces. A pre-electric method for recording was used, with musicians performing into a horn, not a microphone. This encyclopedia covers American artists who recorded Tin Pan Alley numbers, Broadway show tunes, ragtime, "coon" songs, novelty numbers, quartet arrangements, parlor ballads, early jazz (sometimes called "jass"), blues, dance music, hymns, and early country. This book makes a distinction between stage personalities who happened to make some recordings--when they found time in their busy schedules--and artists who made their living largely by recording regularly, perhaps finding a little time on the side for theatrical performances, vaudeville, or concert recitals. Few stars of the stage made records regularly, exceptions being Bert Williams, Nora Bayes, and Al Jolson--even their output is minuscule compared with that of Henry Burr, Harry Macdonough, Lewis James, Vernon Dalhart, Irving Kaufman, and others who, for a long time, earned a living by recording. Over 100 of these kinds of artists covered in detail, with info available nowhere else! This book has a GREAT INDEX if you want to look up specific records/songs.

I have been playing the guitar for over 30 years, but I've never found a source of inspiration as impressive and captivating as Jason Waldron. His 6 Book series of Popular Classics of The Great Composers has been a stimulus that has me practicing like never before. I can't say enough about both the CD and the accompaning book. Having bought a number of other similar classical CD/book combinations, I can tell you there is nothing out there that even comes close to the quality, selections, and mastery of Jason Waldron.

This is the first book I've purchased by Mr. Waldron. I have worked my way thru the first three arrangements and I love the book and the cd. I will be buying more of these in the future. I'm so glad I found out about these books and I thank all of you for your positive reviews.

So, when are u publishing the 7th volume of progressive classical?

I hate TABs and I was looking for this type of book for a long long time. When I bought the vol.1, I was so impressed that I could not wait for the other volumes. I bought them all. The style of Jason Waldron is almost like the style of my first guitar guru Alexei Mikhailovich. I'm waiting for the 7th, 8th, 9th,......volumes. And I hope these volumes will inclde the great songs like "Love Story", "Old Mcdonald", theme song from the "Godfather", "The Lonely Shepherd", "Concerto de Aranjuej", etc. If anyone has the information about the standard notation of these songs, please email me to

There are several great songs here, including a very nostalgic rendition of Recuerdos de la Alhambra. I got Book 2 and the Composers, and now I'm about to complete the whole set -- it's no use buying one at a time. The CD itself is a gem, I play it before sleeping and after waking (not while driving! ). There is tremendous spiritual satisfaction after mastering some pieces here. Great collection. This needs to be extended to several more volumes.

The best arrangements Ive ever had the pleasure to read, enjoy and play to an appreciative audience! keep them coming Mr. Waldron "The Maestro"

I've played guitar by ear for many years, mostly hard rock. I wanted to expand my repetoire and improve my sight reading. This book helps, there's no tablature so you can't cheat. I've only started the book but there are many continued hours of enjoyment to be had here.

I learnt to play the classical guitar from books. After learning the basics, the thirst for playing more classical music intensified. Then I came across Mr. Waldron's books. His transcriptions and CDs were just the right combination for me.

The CDs are not just a reference source but also a pleasurable listening experience. All the pieces included are some of the best music I have heard. Obviously Mr. Waldron's expertise shines throughout the CDs.

I would give it 2 more stars for the sheer simplicity of arrangement.

Buy them. It would be the beginning of a lifelong romance with this versatile instrument, the Classical Guitar.

I own all 6 of the Progressive Classics Series by Mr Waldron for almost a year now. Throughout this time I have learned a deep appreciation for the guitar, and the marvelous melodies this magnificent (but portable) instrument could evoke. Book 2 is my favorite, mainly because it includes such powerful, meticulously arranged, but moderately easy-to-play songs like Bach's 'Air' and Pachelbel's 'Canon in D'. Practice and play these pieces well, and even the most doubtful critic of the classical guitar (like in my case, some buddies who are heavy into electric guitars) will melt and wished they could pluck those nylon strings, too. The other exceptional book in this series is #6, which have good songs but the notes go to the 15th fret so beware if you or your guitar cannot handle it. Oh, and the CD rocks, too.

The Progressive Popular Classics series have come to us from Australia and turn out to be some of the best of the genre. Each book is accompanied by a CD of the author playing every piece in the book. The CD alone is worth the price, as it is a compilation of justifiably popular classics written for or transcribed for the guitar and beautifully performed. The tyro should get Mr. Waldron's Classical Guitar Method, Book 1, but will enjoy this series of texts as something both as listening pleasure and as inspiration to practice and improve.

A great source of tunes, I had heard about this book from a few friends. Add this to the Fiddlers Fakebook and you will have plenty to keep yourself busy.

This is a strong collection of tunes with both melodies and chords included so that an advanced novice guitar player could accompany and fill out the sound. Songs are included in both 4/4 and 6/8, so the rhythms and tunes overall are more diverse and interesting than just standard "old-timey" fiddle tunes. While the collection was compiled for contra dancing, they make for charming ensemble pieces that work well at a variety of tempos. I had a few played at my wedding with a mandolin, penny whistle and guitar, and we were all under the spell of love and good music!

After the "Fiddler's Fakebook" this is the tune collection to own. Hundreds of reels and jigs in clear notation with, usually, good chord suggestions. Little, if any, overlap with the tunes in the FF. Very durable spiral binding, sits easy on a stand or table. Includes many recently composed tunes including my favorite, Erik Sessions' "It Ain't the Heat, It's the Humidity." Many hours of playing pleasure, fast becoming a standard collection.

While the fiddler's fakebook has a greater quantity of songs, this particular collection has consistent quality of songs chosen. There are so many great tunes in here, jamming out would not be quite the same without it. My personal favorite is "Lady of the Lake". Yes, I know there are two of them... but they're both good! Go figure.

If you are looking to purchase a fiddle book, this is definitely the best one to buy. This book contains about 400 tunes and the quality of the tunes is fantastic. Every single tune in this book sounds great and can be ornamentated dozens of ways with plenty of room to make the tune your own. One of the best features of this book is the spiral binding. The binding is great because you don't have to constantly bend your book to get it to stay open on the stand. Another great feature is that the book is organized alphabetically so you can find your tune quickley during a jam. There is also an index which organizes the tunes by key and type which makes it really easy to come up with your own sets. There are even detailed notes on each song. Some of the notes even give suggestions on how to add some ornamentation to the tune.

Overall, this book is great, but there are two things which are worth noting.
-The pages are quite thin and could tear easily.
-The book is very thick but it's only about 8.5 inches tall. This could make it difficult for people with weak eyesight to see some of the tunes.

The book begins with a heartfelt foreward by the late Lewis Griefer (writer of "The General" under the psudonym of Joshua Adam), an introduction by the author, and then a reproduction of the original ITC "Prisoner" writers guide created for the series' writers by Story Editor George Markstein which is a most interesting read! Then follow the original shooting scripts for the first 8 episodes of the series.

Each is reproduced in full, along with cast lists, transmission dates, writers details, original TV Times "trailers", and music cues. The highlight of the reproductions, other than being able to witness the superb scriptwriting, are the endless footnotes supplied by the author. Every single subtle change from the original script to the finished programme are highlighted in these extensive notes, as are interesting snippets of information concerning the filming locations, shooting schedule, performers, crew, and much more. The amount of information Rob has managed to include is not far from astounding, and the mind boggles as to how many times he must have watched the episodes to include every otherwise unnoticeable word change. The above-mentioned footnotes are fascinating, and make this book the ultimate tome of "Prisoner" information.

Also included is "The Outsider", an unused script written by Morris Farhi (rejected by McGoohan), and two storyline ideas submitted by series Music Editor Eric Mival, as well as a biography of George Markstein. It could be argued that the scripts and footnotes would be enough to justify a positive review, but these rare "bonus items" are the icing on the cake and also make for fascinating reading.

Those familiar with the scenes of "The Prisoner" could be forgiven for thinking that reading such a book might be a dull experience, as they already have the episodes on DVD, but they couldn't be more wrong. Whilst much of the scripts remained unaltered for the finished product, there is much that is different. Small/subtle changes in some cases, large changes in others, each and every one is included. Two such interesting things include the inclusion of the "original" Rover device, complete with flashing blue light, and mentions of Number Two's residence as the "Georgian Cottage", rather than the more familiar "Green Dome".

To list all the interesting script changes here would be an impossible task, so I will close by advising that you go out and buy this book and see them all for yourself. At £19.99 (hardback) it is by no means cheap, but is well worth the price for the scripts alone, let alone all the "bonus items" and countless footnotes.

This volume has scripts to the first eight episodes of "The Prisoner", together with extras like a script to an unmade episode called "The Outsider". Also contains a number of b/w Prisoner-related photographs.

I'm old enough (sad to say) to remember when The Prisoner first aired on American television, as a Saturday night summer replacement for the Jackie Gleason show on CBS. No matter what comes out of all the debates about what the show "really" meant and what McGoohan's "real" intents were, it's definitely stood the test of time. Perhaps because it was as eccentric as it was in its own time. This book is to the series what Martin Gardner's "Annotated Alice" is to "Alice in Wonderland". Needless to say, if you are enough of a fan to want this book, you will also want Volume 2 (thanks, honey... :-), which covers those infamous last episodes (and one unproduced one).

To say that Robert Fairclough's book is a revelation is perhaps an understatement. Sure, its just the scripts. But, the evolution between concept to realization is what this book is really about. Whether or not you agree with McGoohan's decision to take an essentially simple idea (the spy-prison) and turn it into his own subconsious metaphor, if you are a fan of this brilliant show this book is the only one I know that will give you any kind of window into this process.

Can't wait for the second volume.

This really sheds new light onto the series, with deleted lines, scenes, and information not found elsewhere. If you really want insight into things, read the scripts, assuming that you can handle script format...

I bought this book for a production class, and thought "Yet another book to sell", but after reading it, I decided to keep it. Each chapter goes to the point, and lists all the important facts needed for TV and film production. The CD that comes with it is full of generic production forms that can be modified easily. Overall, it has value, and it's cheap too.

I loved the speedy service. I needed the textbook for class, and it came early the following week, just in time for lectures and homework. The condition stated by the company said used and even claimed there is a high chance of some damage. I could swear this book is brand new. Not a single thing about it shows that it is warn, even the CD that came with it is unopened. Love it.

This great book should be a staple in every classroom. It instructs with clarity and insight, and gives real, practical, working knowledge from inside the world of TV and video production. It's conversational style makes ingesting the material a pleasure. You'll easily want to read and re-read it; and no holes will remain in your understanding, as it seems that every question was anticipated and then answered.

The book is extremely well written and very comprehensive. It provides a great entry-level introduction to the world of TV and Video Production while also managing to deliver thought-provoking and educational perspectives via "interviews" with many long-term practitioners.

Cathrine delivers here a complete collections of issues for those looking to learn all the details about producing TV and for those who are also considering to take the "jump" and start their own company.
Her advice and simple style make this book a "must" for those trying to get as much information as possible in a single piece.
Also of interest is the second part of the book, with several interviews with real people/producers, dealing with the most vexing questions about producing TV in the 21st century.
I can't wait for the next edition.

The sequential order of exercises for learning step-by-step is excellent.

It is also easy to read, the instructions, exercises and the written outlay is clear.

I would recommend this book to others who wants to learn sight-singing at home, or or to be used as a first preliminary step and then have a teacher follow-up.

Berit Rundqvist

The voice, unlike all other instruments, is locked in the body and as a result, the instruction and shaping of this instrument is often based on the teacher's perception or belief of what constitutes proper and healthy voice production. This leaves a lot of room for people to express their (often contradictory) opinions, which can wind up confusing the student as much as helping them. Professor Krueger's book avoids this, and gives solid advice in an incremental fashion. The exercises are logical and plentiful, and I have found her approach to be extremely helpful. I am a tenor in a church choir that sings a lot of high classical repertoire, and the ability to sight-sing is essential with the amount of material we cover in a given rehearsal. I have no reservations about recommending her book.

Carol Krueger has taken music learning theory and given it a practical application in sight singing. New skills are introduced one at a time and reinforced throughout the book. This book will become the next "standard text" in collegiate sight singing classes.

This book is an exhaustive look at sight-singing. It almost gives too much information, but all the information is relevant to the subject. I recommed this book to anyone who has a general knowledge of music theory and would like to apply a sight-singing technique to increase their musicianship. Many students have a basic understanding of music theory, but have not created an inner ear or inner rhythm. This book shows you how to develop both.

I have recently used this book and it is fascinating! Dr. Krueger takes sight singing to a new, comfortable, and well paced level. She believes in training the ear before the reading and writing, instead of throwing multiple ideas at the students. I highly recommend this book for college-level or even high school music students. If you ever have the chance to meet or take a class from Dr. K at the University of South Carolina, DO IT!