Music Books

A wealth of information. Techniques, warm-up scales, alternate fingerings, transposition, practice music to improve different areas such as range, intervals, pitch. Learned about this from a horn player in the Dallas Symphony when I was in high school, found it very useful when I played with the Guam Symphony, and used it regularly when I returned to playing after several years of absence. Given it to young players across the US and overseas.

This book is my favorite of all time-- and for a teenager, that may seem strange. I have played horn for about four months, and this is my reference for any issues from technical problems, to practice advice, to encouragement and warnings. Philip Farkas speaks in a way that I love-- he offers frank advice and talks to the reader in a voice that clearly states that he is a fellow hornist, a friend helping a friend. His tone is clear, honest, and very distinguished-- I found it very encouraging that he does not speak to the reader in a condescending way. I am extremely encouraged that he offers such a wide variety of advice, though I do question some of his techniques, such as sitting while practicing and advising not to hold the horn "free". I do agree with his preference of a dark, mellow tone, but I believe that can be achieved while holding the horn free if the right hand is in the correct position. Furthermore, Mr.Farkas's book is the bible of french horn and should be commited to memory by each and every hornist that is serious about this art.

95 pages full of advice for any hornplayer, beginner, advanced or pro. Maybe the fotos and the layout are not best quality, but finally its the content that counts.

As a Horn teacher for many many years, this is required text for all my students. The "manual" for Horn playing.

This book is awsome, it is a wealth of information that every horn player should know. I love it to death, as has been said before it truely is the bible of french horn playing. If your not the reading type you may not appreciate this book's full potential, but for everyone else: BUY THIS BOOK!

man.. matt good is the best.. i already can't get enough of his music and now his writing is just... excellent... very enjoyable... go buy this book now!

FINALLY AFTER ALL THIS TIME OF WONDERING WHY MATT SINGS ABOUT JENNI, MY QUESTIONS HAVE BEEN ASNWERED!

tHIS BOOK IS ABSOLUTLEY AMAZING, BUT HARRD FOR ME TO FIND WHERE I LIVE. IT SEEMED LIKE IT WAS CONSTANTLY SOLD OUT AT CHAPTERS SO I HAD NO CHOICE BUT TO ORDER IT. WELL WORTH IT FOR ANYONE WHO READS. EVEN BETTER FOR THE PEOPLE THAT DON'T LIKE READING CAUSE YOU ILL FINALLY BE INTERESTED

A masterpiece for anyone who is a twisted as I am. What he says makes alot of unexpected sense and makes you think. Which I think is what he is always trying to do. We live in a "What's in it for me?" So Invest in this book if you know you're a little stranger than everyone else and enjoy it. For me it was worth every penny and the two months it took me to find it.

(Just a Note...the reviews that are on the back of the book were written by Matt himself.)

I've been a fan of Matthew Good for a little over a year now, ever since a friend introduced me to his music. Matthew Good Band broke up a while ago, but Mr. Good has pursued a 'solo' career, with a new band, but somewhat similar style. I can honestly say that I don't believe that Mr. Good has done a bad piece of work, written or otherwise

As mentioned in a few other reviews, various lyrics from Matthew Good/Band songs are mentioned in various places during the book, and there are even whole stories which relate to certain songs. It's very impressive. A casual reader would definitely be very confused with the book, but a fan like myself would most definitely enjoy it immensely. Not only are the stories well-written, but there are sporadic and seemingly random pictures which actually relate to certain parts of the story, or a comment on society.

Also, the book is not your conventional book. It's pretty much a paperback square shape, with large pages and medium-sized font. Anyway, that's enough. If you're a fan of Matthew Good, I'd advise you to order the book and enjoy it; if you're not, then start listening to the music.

At Last There is Nothing Left to Say is Matthew Good's (of The Matthew Good Band fame) first, and perhaps last, foray into the world of the written word. At Last There is Nothing Left to Say is not a complete novel, nor a series of novella, but rather, a collection of short 1-10 page stories of fictious accounts of Matthew's life and narratives of events in the lives of a host of characters. The novel is layed out in an interesting, dual-story fashion, where one will find major stories taking up 3/4 of the page, and smaller stories taking up 1/4 of the page. The smaller stories are more like manifestoes than short works of fiction, which give some insight into Matthew's delightfully twisted and cynical world view.

At Last There is Nothing Left to Say is not one solid, cohesive work, and it doesn't have a unifying central theme. Instead it makes a few statements on society, on the environment of the mind, and the dysfunctions of people. At Last There is Nothing Left to Say is an entertaining read that offers morbid and twisted insight into the minds of teenagers, rock stars, and sociopaths. And while it doesn't have all that much to say, it still manages to say alot.

This is quite a comprehensive book of "selections"...I feel that you could almost perform a revue of the show just using this book! (Just kidding, don't try it or they'll throw you in the Pit of Copyright Infringement!) In addition, delivery was prompt and the book was in very fine condition (looked new).

I am most pleased with this book because of the very detailed arrangement. Although the melody is written in the Treble Clef, the music survives arrangement very well. The chords are accurate, and in my case, difficult to play, but all the songs are included. But the most surprising thing about this book is that it includes all the vocal harmonies as well. Currently I am learning how to better play the music (it is NOT for beginners) and I'm sure I will appreciate the score when I can play it more effectively. This was a very good buy.

I bought this book because the other Avenue Q book I have was only the "Vocal Selections" and it was missing several songs. This songbook has every song from the Broadway Cast Album, with the exception of "School For Monsters/Money Song (Reprise)" and "There's A Fine Fine Line (Reprise)/What Do You Do With A B.A. In English? (Reprise)". Other than that, every song is here.

This book, unlike my other Vocal Selections book incorporates the melody into the right hand, but it can be easily removed to make room for vocalists if needbe.

The best songs to play/sing in this book are "Schadenfreude", "There's A Fine Fine Line", "It Sucks To Be Me", and "Fantasies Come True". At least, that's what I think. To each his own.

I like the book I bought. It had all the songs I wanted. It came in a decent amount of time from when I bought it.

If you haven't seen the show, go and do it. If you have, well done.

What many piano arrangements for recent Broadway musicals nowadays such as Wicked, Mamma Mia, and Spamalot have in their respective arrangements is a lack of a challenging score to play, though it may sound easy, and how oftentimes, they composer tries to alter the original score into something more adaptive for the public. Although this may sound like a good idea, it really isn't, because as soon as you play it based on the arrangement or sing it, you quickly realize it's not as good as the original, which is what everyone wants, right?

The Avenue Q Piano arrangement, however, keeps all the songs in their original context, letting everyone emulate the classic songs the way they're supposed to be sang. No one wants to sing "Defying Gravity" from Wicked without the chorus back-up or Glinda singing in every now and then, right? Avenue Q gives you the score straight from the source, without awkwardly messing up the original greatness of the music. A must-buy.

mr kooper has been at the correct musical intersections many times in his life. this yarn of the early years of the rock era morphing into the new reality is one of the best "art meets music biz" autobiographies around.

Kooper's back room view of the music industry is hilarious. One flaw that is understandable is that he errs on the side of being far too polite. Almost Canadian......After getting screwed over to that degree, anyone would have trouble keeping their yapper shut shut. He shows great restraint, given the circumstances. I wanted more dirt, but a great read, nonetheless. Very funny.

What a remarkable story of a near miss star. Al Kooper was some of the glue that held early rock together. While never a star in his own right he added so much to what he did play on, that is, more ground breaking hits than anyone I know of. Just being the first organ in Rock is enough plus the horn band idea with BS&T, wow! His work with Leonard Skinered was a career in itself. Too bad he let his ego take him away from the limelight he deserves. He seems bitter in the end. Truly a story of Rock and Roll itself with Al as a matrix. He doesn't seem to know just how lucky he was. Can't say he let any moss grow on him though.

Great book - I couldn't put it down. Here's some insight into some of the greatest acts in rock - Dylan, Mike Bloomfield, Hendrix - it's all there. Al Kooper is a funny guy and I enjoyed the book tremendously!

I recommend this book for everybody interested in the rock scene
of the 60`s and up !
Al Kooper has a lot to tell of the early days in rock music and is
a great writer .
A lot of good reading and dont forget:
Mr Kooper is still making really good music, listen to the newest
album Black Coffee and see what I mean...

It stood the test of time for me anyway, since I used to read this book in bed every night when I was about 14 or 15 and marvelled not only at the world of the Beatles but at the way that Schaffner's words opened up a realm of ideas whose breadth I could only intuit at the time. I just finished rereading the book again, 25 years later, and it still strikes me as elegantly written, passionate, honest, insightful and at times very humorous. (The way he speaks about McCartney's solo career is particularly funny). In 1977, he wrote, "As usual the wild card of the lot is John Lennon."

I think this is the book about the Beatles we all wish we had written. My copy is in tatters, and has a torn-up dust-jacket with the Rubber Soul fish-eyed lens photograph. I will never part from it!

This book is one of a few that every Beatle collector must have. Along with "The Beatles" with covor work by Andy Warhol, "The Beatles Forever" is a must have. If you are interested in owning the 1977 and 1978 soft and hard back copies of "The Beatles Forever" in near mint condition contact Seth at henry23@home.com

I have the pair listed under Yahoo auctions, "music," THE BEATLES, "The Beatles Forever." Look it up via search or let your fingers do the walking. I will ship upon receiving certified funds and you must pay shipping however it should not cost but $7 to $10 max to ship and you can see what the current bid is in Yahoo auctions.

This book must have taken Nicholas Schaffner all his energy to write. It's a wonderful account of the lads music from their rise to fame in 1964 to their solo careers in 1977. Schaffner cares most about the music and he definetely knows his stuff. He's not escatic about Sgt. Pepper, which is an overated album, and he mentions a forgotten George Harrison masterpiece, "It's all too Much". Schaffner writes in a dry witty factual style focusing on the Beatles albums, their influence on rock music, the ups and downs of their solo careers, and anaylizes their lyrics. There are pictures of all the Beatles singles and rare pics of the beatles infamous butcher cover. This is my favorite Beatle book.

I have loved this book for years. Nick Schaffner has done a superb job of sharing his personal love for the Beatles from both an objective and subjective standpoint. Not only does he make personal references in re the Beatles, he also details the history of the band and the recordings they had released up until this book was published. Certain references, such as the Beatles' hair length being comparable to then-president Jimmy Carter (1976-80) are what "dates" this work; other than that, this excellent book is a timeless classic.

When I was in the 9th grade, I wrote a paper on the breakup of the Beatles entitled "The Gestalt Beatles: The Whole is Greater than the Sum of its Parts" and smile today as I think of how much I wanted to be a paperback writer. There is no doubt that Mr. Schaffner has inspired countless hordes of fans in this manner. I think of my old term paper because the writing in this book is greater than the sum of its parts - the combination of objectivity and subjectivty make for a very well rounded presentation indeed!

I had the pleasure of meeting Nick Schaffner at a Beatles' convention and he graciously autographed my copy of this book. He also shared stories about the Beatles and offered words of solace to fans still mourning John's death. This book deserves a place of honor and is a must-have for the avid Beatles' fan. Please read this book and share it with somebody. You will be glad that you did.

I own over 150 books about this lot....and this is one of the 4 or 5 best. Track this down

Being a huge Big & Rich fan I had to get this book. When I got the book it was even better then I could have expected. There are detailed biographies on the entire Muzik Mafia as well as candid and personal photos that have never been seen before. This is a great way to get connected even deeper to a great band. Also I think that even if you aren't a fan you will enjoy this book and possibly become a fan.

very good good reading about the two singers, not sure why they added the dvd with just clips , they should have had earlyer music of them, but the book was really good

I expected this book to be just a chronology of what I already knew about this duo - and I was pleasantly surprised that there was much I didn't know. Their diverse personalities and backgrounds certainly come out and makes the beautiful blend they do in music even that much better. I was unaware that the book existed until I opened the newest CD which was also great, and have really enjoyed reading it. Great pictures, not ones I had just seen over and over on websites. It was interesting to "meek" those who supported the union, those in the background and others in the Musik Mafia. Gread read!!

Tells a great story about how Kenny Alphin and John Rich became Big and Rich. Not only does the book tell about Kenny and John, it also talks about other members of the Muzik Mafia. Even if you are not a fan it's a great book and it makes you feel real good inside. As a fan of Big and Rich I knew I would not be disappointed and if you are a fan neither will you. Besides the great story the pictures are really awesome from younger photos to candid shots with their families. And who can resist Kenny's son Lincoln...cute as can be!!! A must have for all fans of Big and Rich be huge fans or passer by fans.

I just love this book, and it's not just all about the great pictures (which there are many of, including some exclusive private ones), but it's the stories behind the pictures, told by Big Kenny and John Rich from their hearts.

I feel like a very uneducated fan, having never had the experience of seeing them on stage. My only dealings with Big & Rich have been through their CDs, videos and TV appearances and from my fellow Mafia Soldiers. This book really gives you alot of insight into who these guys really are and how they got to this point in their lives.

You really have to read it to understand it. And I hope, in say, 10 years, there is another book to share the next decade of their lives with us as they get even bigger and better.

This book is certainly the greatest single published wealth of knowledge on Wailers recording I have ever seen. However, Steffens' choice of what is included in the book seems at times erratic. He has included a smattering of live shows (both historical & typical), but he has not fully documented all the shows currently in circulation. He has included some shows for which no tracks are issued, some which are partially issued, and some that are in for sale in thier entirety.

He also includes only a partial glimpse into the known unissued studio recordings of Marley. For instance, he lists tracks such as "Show Your Dreads" and "She Used to Call Me Dada," and intimate sessions, such as the one commonly known as Mother B Reel I. However, he includes no mention of known unissued studio tracks, such as "Wounded Lion" and "Real Good Time." For that reason, I must wonder how many songs & sessions are sitting in the vault that were purposefully omitted from this "definitive" discography.

This is a valiant effort and invaluable resource for sure. I'll be looking forward to the 2nd edition.

One.

With any discography, you expect to get details layered upon details about an artist's output. Here you get all of that, but there's much more. Roger Steffens is not only a huge reggae fan and supporter, but he's one of the premier collectors of reggae (and Marley in particular) recordings and memorabilia. He shares photos, anecdotes and insights into countless Marley recordings and sessions. As a long time Marley fan, I have spent hours just browsing and absorbing the information. Highly recommended if you want to know the minutiae and tidbits of the record releases from the Bob Marley.

Even "experts" have long been confused about details of Marley's recorded works, but here is the long-awaited authoritative reference source. Anyone, no matter how knowledgeable, will learn from flipping through this book, and the many illustrations of record covers/labels/etc make it fun to do so. Imagine Bob himself looking at this one - even he no doubt would be reminded of many recordings he might have forgotten - and would be proud indeed.

-steve heilig, BEAT magazine

Many a fan has wondered about the provenance of a certain track by Bob, Peter or Bunny or the whole holy Wailers trinity; only to be stymied by the seeming impossibility of ever imposing rational order on the gush of Wailers releases over the years. Helped by other aficionadoes, including my fellow Marley biographer Tim White, reggae historian and archivist Steffens and multi-talented bluesman Pierson have kept the faith -- and the vinyl -- for a full fifteen years to produce this handsome, thorough volume, illustrated with previously unseen pix by lenspersons including Kate Simon & Steffens. Delightful essays round out a very valuable work that's a true labour of love.

This long gestating book on the wild and wonderfully wide-ranging releases from 'Jamaica's Beatles' is finally out and meets all expectations. Thanks in part to the extensive interviews authors Steffens and Pierson conducted with 'the living stone' Bunny Wailer over several years, BOB MARLEY & THE WAILERS: The Definitive Discography plows through the mountains of facts and dis-information to provide a clear and thorough, yet still living and evolving, look at the tremendous output of Bob Marley, Peter Tosh and Bunny in all forms, roots and branches. The days of frontin' Wailers discs as originals in online and other record auctions are over as this compendium provides detailed proof of all origins and matrix numbers. Here's a slam dunk that actually merits an Order of Freedom Medal. Go deh dready go deh. -Doug Wendt, www.midnightdread.com

informative and fun to read, this is a loving tribute to the music of Cuba and from whence it came. It's historical without being tedious and a real page turner. I love it and recommend it to anyone who digs this kind of music and culture.

It's a first for me to review a book I haven't finished reading. I've been reading Cuba and Its Music for about a year, off and on, as I've read other books and material. What's prompting me to review it now is that this is simply a terrific, wonderful book and the word needs to get out. Full disclosure: despite being a musician all my life, I discovered Cuban music only about twenty years ago. The more I learned about it the more it took me over. This is not the place to go into the reasons, but I will make an outrageous blanket statement and say that what Bach is to classical music, Cuban music is to popular music.

Ned Sublette explains why in his marvelous book. I find myself pouring over passages, rereading and underlining and making notes to myself in the back. I can't take a lot of this at one time. I'll put the book down to pick it up a week later and end up rereading what I'd already read. The prospect of getting all the way to the end of it fills me with joy and dread at the same time. It's not that it's densely written: on the contrary, it's some of the clearest, easiest to read scholarly writing I've ever run across (and that's a lot, by the way).

The book is not for everyone. You have to like music, for starters. Then, it would be good if you enjoy learning about how musical styles originate, travel, and influence other styles. Cuba has been a true melting pot for many of the world's musical traditions, and most have made their way to this country, through New Orleans, through New York, and by other means, to the point that its influence is discernible in almost every popular American genre today. Sublette has traced these influences in the most careful and understandable way, and the result is enlightenment on every single page.

Now I hear that Sublette has another book out on the musical cultures and history of New Orleans. This is wonderful news even if it means I'll spend the next five years finishing both volumes. Amazon won't let me review a book twice, so I won't be able to comment on the latter parts of Cuba and Its Music here. Maybe I'll be able to mention it when I finally report on The World that Made New Orleans: From Spanish Silver to Congo Square.

Ned Sublette really knows his stuff. Although he quotes extensively from other authors, his own research and experience combine to make this a wonderfully solid piece of work, and one that is long overdue. Sublette takes us back to the very beginning, unravelling the potent mix of cultures and influences that have gone into what we call Cuban music today. His attention to detail will be appreciated by Cuban music afficionados, for whom many questions will be answered and mysteries revealed. Read this book, and look forward to the second volume!

There is nothing written in English that compares to the scope and depth of this book on Cuban music. (Leymarie's Cuban Fire comes close in volume of information, but it lacks the cogent overview and insight that Sublette masterfully weaves into the details.) This is a history of Cuban music written by a musician (!) who understands the importance of credible research when defining context and cultural antecedents. Furthermore, he uses his perspective as an outsider--he is a North American--to our advantage. Coupled with his examinations of the complexity of a Cuban identity and aesthetic, our North American culture also becomes more transparent.

This is particularly true when it comes to dissecting the story that most conventional Western Hemisphere histories neglect-the profound cultural influence of West Africa. As Sublette notes, "the drum...what an African would call a drum-is conspicuously missing from European music before the sixteenth century." Was it the creolized cultures of the New World that finally gave Europeans license to return to the dance floor after centuries of Church proscription? Sublette presents a convincing case for this, while simultaneously providing an explanation for those among us who are rhythmically challenged...

Readers also benefit from the full spectrum Sublette's perspective--that of a musician who migrates comfortably between the music of the concert hall and the dance hall. "Dancing," he writes, "is an intense listening state. Dancing can be complex and it can be spiritual. African music is almost always music for dancing; and so is Cuban music, which is African music's grown-up child." No armchair scholar talks like that.

Furthermore, his writing is not of that academic ilk that is afraid to offer opinions, or reveal passions. (For starters, he states that he likes Cuban music because he "has good taste.") Nor does he shy away from connecting the dots or hazarding wide-reaching theories. He is the first author I have come across to point out that the geographical origins of the African slaves-those coming to North America from the Senegambia, those to the Caribbean from the coastal areas-largely explains the differences in the musical styles (melismatic vs. polyrhythmic) between these two regions of the Western Hemisphere. Shouldn't this information be part of our cultural literacy?

The subject of this book is huge and Sublette is certainly up to the task. (Did I mention the extensive index?) I have also found, thanks to this text, that I am listening to Cuban musicians (eg. Chano Pozo, Miguelito Valdes, Arsenio Rodriguez) with new ears. That's quite a gift. Chevere que chevere!

This is the finest book on the sociological basis of music I have ever read. Many good books will provide a new fact on each page or two, but I seem to learn three new bits of history on every single page of this extensive analysis of the origins of musical styles in Cuba. But this is more than about Cuba; it is about Al-Andalus/Sefarad and Renaissance Spain and the eary history of the United States, and about northwest and central African peoples, and about Renaissance Europe, and about the early history of Islam and Arabia. It is about differing social policy and its effect on the slave trade. It is about what gave New Orleans jazz the Latin tinge and makes that city a treasure. It is about the distinct origins of the polyrhythmic, polytonal structures of Afro-Cuban and Afro-Brazilian music and the recitative, glissando-embellished, monorhythmic music of the blues and later jazz. We learn about Louis Gottchalk's first use of the African drum in classical music [performed in Europe] and why such instruments were banned in England's continental colonies and the early United States since 1739. We learn how Moorish, that is, black, line dance style was once the rage of western Europeans, and led to England's Morris dances. These are among the smallest of factoids that you will encounter reading this highly readable yet scholarly book.

Because I admire and particularly enjoy multidisciplinary cultural histories, Sublette's book is a feast. His explorations are ours. You will be fascinated, and you will be delighted. The book is an education. Buy it.

I ordered this product because I simply wanted the guitar chords for the "De Colores" CD. When the book arrived, I was pleasantly surprised to find that the it is a beautiful collection of -- not only the music (guitar and piano) -- but also of illustrations. It is really sweet, giving extra incentive to those wanting to learn to play the songs... and likely fun for kids to look on or use themselves. The songs are simple to play and great to sing. I'm a guitar novice, but I'm making good mileage with this book and its CD.

This is a winner that is worth buying for any child that is interested in music, rhythem or such. This book contains the words and music to follow and you can also buy the cd. Recommended.

This is a wonderful book of popular songs in Spanish, which my triplet boys latched onto immediately. The songs are very engaging, and each page has lovely artwork. I speak Spanish, and my boys were born in Spain. I have been trying very hard to help them maintain a little Spanish, and this book has been very helpful. It doesn't come with a CD, but you can easily learn the tunes of the songs if you know how to read music. And even if you only speak rudimentary Spanish, I think it's possible to learn the songs and enjoy them.

This book quickly became the boys' favorite bedtime routine. I hear them singing the songs during the day as well. I highly recommend it.

I love the colorful pictures in this book and that it has music to all of the songs. It is a wonderful book and my baby loves when I sing to him!

Beautiful pictures, and easy-to-follow tunes. A must-have for anyone who has children whom they are introducing to Spanish, and very useful for us adults as well!

This was an excellent story. I can hardly wait to get the next one in the series. She is a wonderful story teller.

Reviewed by Kim Peterson for Reader Views (9/06)

In Skingle Creek, Kentucky, hope feels nonexistent for residents of this typical 1892 coal mining town. Gifted teacher, Jonathan Stuart, brings unexpected beauty to their coal-dust covered lives with his storytelling and music. Then, someone steals Jonathan's flute and with it the ailing teacher's will to keep going. Most of his students come from mining families who barely eke out a living, yet, surely none of them would take his music from him. The possibility of someone he knows being involved in the theft adds to his grief.

Twelve-year-old Maggie MacAuley notices the frailness and sadness of her teacher and wonders how she can help. She collaborates with her best friend, Summer, and enlists the aid of her fellow students to raise the money to replace Mr. Stuart's flute. But in a town where survival has become the main focus, the girls experience difficulty motivating the town's people to pull together. Kindness and concern for others matter to them, but those emotions lie buried under their struggle just to survive.

Maggie hates to see her neighbors suffer and she wrestles with her own troubles. The hardships Maggie faces--Summer's illness, the teacher's weakness, two malicious bullies, and a needy family--drain her hope and her faith. Maggie puzzles on how God can know the needs of these people and seem to do nothing about healing or providing for His children. She tries to comfort Summer, but her friend often encourages Maggie instead. Then God uses Maggie, Summer, and the other children of Skingle Creek to impart a miracle. He touches the hearts of a few good men, including Maggie's father. Through the children's efforts, God reminds these men that loving and caring for others is part of His greatest commandment.

Hoff's touching story in "The Mountain Song Legacy" series will appeal to teens and adults. Although the tale in "A Distant Music" takes place more than a hundred years ago, readers will relate to the power of friendship and goodness when life beats you down. Reading about Maggie and her family reminded me that God often works in unexpected ways. Faith, hope and love really do overcome difficulties and even tragedy.

In the winter of 1892, someone stole the teacher's
silver flute. That was the day the music stopped in
Skingle Creek. Mr. Johnathan Stuart, the teacher
changed that day. Maggie MacAuley, and her friend
Summer Rankin want to give Mr. Stuart back his music.
They encourage others in the poverty-stricken
community to give to their music fund. But how can
they ever collect enough to buy a flute? Maggie and
her friend Kenny Tallman face two bullies. They need
to tell someone what is happening, but fear holds them
back.

B.J. Hoff, the writer of A DISTANT MUSIC is the
author of twenty novels. She wrote the American Anthem
trilogy and the Emerald Ballad series. She writes of
early America and the people who helped built the
country. She and her husband James live in Ohio. You
can find more information about Hoff and her books by
visiting her website www.bjhoff.com.

B. J. Hoff took the characters from a novella she
wrote called THE PENNY WHISTLE and expanded the story
to write A DISTANT MUSIC. Every chapter begins with a
quote. The quote at the top of chapter one sets the
tone for this novel. It is taken from the teacher's
diary, "Even the children are old in such a place."
The poverty and suffering of the children and their
parents is almost overwhelming.

Reviewed by Dell Klein Smith for AT HOME WITH CHRISTIAN FICTION
http://www.athomewithchristianfiction.com

This is one of the most touching -and tragical -books I have ever read. It will, I think, linger with me always, like a sweet dream from which one never wants to awaken.

A Distant Music is another captivating book by author B.J. Hoff. Mrs. Hoff has the ability to create such believable characters that you feel like you know them as friends when you close the book's final page. It's been over a year since I finished reading the third book in Mrs. Hoff's American Anthem trilogy, and yet I can still see the blind conductor Michael in my mind's eye. That same character realism is true for the teacher Jonathan Stuart and students Maggie MacAuley and Kenny Tallman in Mrs. Hoff's newest book, A Distant Music. This story is a touching reminder of how hard life was in another era for a struggling mining town. A tale where hardship breeds a desperation that nearly steals all beauty and hope from those caught in its grip, but where miracles still happen, spurred on by the undying faith of children. A Distant Music holds such wonderful prose and such realistic descriptions that I felt I was there. A page-turning, enjoyable read. I am definitely looking forward to the next book in The Mountain Song Legacy series.