[Complete Play-Along tracks sold separately at the author's website - see below]Internalizing 2 against 3 is every musician's wish. As much as there are books extensively covering scale permutations, there are none that clearly illustrate all the possibilities that occur within the subdivisions of 2 and 3, in all their downbeats and upbeats, while also taking melodic motion into consideration.Training melodic motion awareness in rhythmic exercises is underrated while it is highly essential for any musician, especially the improvising jazz musician since being able to hear complex 2's and 3's patterns with changing pitches is integral to utmost freedom in phrasing. In this book, you will find 56 exercises in both, scalar and rhythmic notation, that will take you from the simple pattern of - half note triplet against whole notes - into the complex -syncopated 16th note triplets against syncopated 16th notes, hoping that along the way, this will help you achieve effortless sensitivity to swing and groove. Included with the eBook (sold separately) are play-along tracks of all 56 patterns with stereo separation so you can "hear" each pattern and practice against any line you wish.* Play-along tracks are available for download at www.tarekyamani.com/dupletriple* eBook (pdf version) + play-along tracks can also be purchased as a bundle from the author's website at www.tarekyamani.com/dupletriple

Teaching Music to Students with Differences and Disabilities: A Practical Resource, Second Edition helps music educators prepare, plan and assess the musical progress of all students-especially those with differences and disabilities. They will learn through the vignettes and lesson plans how to create musical experiences that are adaptable for every student.

Exploring the application of Bayesian probabilistic modeling techniques to musical issues, including the perception of key and meter.

Designed specifically for university-level study, Moving Notation will benefit students and teachers of both dance and music, offering a complete introduction to the theory and practice of musical rhythm and elementary Labanotation. Performing Arts Studies aims to provide stimulating resource books of both a practical and philosophical nature for teachers and students of the performing arts: music, dance, theatre, film, radio, video, oral poetry, performance art, and multi-media forms.

INTRODUCTION TO MUSIC FUNDAMENTALS AND LEAD-SHEET TERMINOLOGY is intended for the beginning commercial musician. This book assumes no technical knowledge of music and starts from the premise that the reader is either currently (or soon to be) involved in private music study with someone who teaches an instrument (or voice) or plans to become proficient through self instruction and practical experience. The concise format presented here offers an accelerated program that gets the beginning musician up and running within a relatively short span of time. Chapters 1 through 9 provide a technical foundation for the survey of chord descriptions in Chapter 10. The opening chapter introduces notes and rests, concepts in rhythm and meter, repeat signs, and performance directions. Chapters 2, 3, and 4 present the subjects of pitch, scale, and key signature. Intervals, the minor mode, triads, and seventh chords follow in Chapters 5, 6, 7, and 9. Since a significant portion of commercial music and jazz involves scales and modes that are neither major nor minor, the topic of church modes is explored in Chapter 8. Chapter 10 outlines and analyzes the chord symbols typically represented in lead sheets. More than 220 music examples demonstrate the concepts presented in the text. 170 pages.

Our sense that a waltz is "in three" or a blues song is "in four with a shuffle" comes from our sense of musical meter. Hearing in Time explores musical meter from the point of view of cognitive theories of perception and attention. London explores how our ability to follow musical meter is simply a specific instance of our more general ability to synchronize our attention to regularly recurring events in our environment. As such, musical meter is subject to a number of fundamental perceptual and cognitive constraints, which form the cornerstones of London's account. Because listening to music, like many other rhythmic activities, is something that we often do, London views it as a skilled activity for performers and non-performers alike. Hearing in Time approaches musical meter in the context of music as it is actually performed, rather than as a theoretical ideal. Its approach is not based on any particular musical style or cultural practice, so it uses familiar examples from a broad range of music--Beethoven and Bach to Brubeck and Ghanaian drumming. Taking this broad approach brings out a number of fundamental similarities between a variety of different metric phenomena, such as the difference between so-called simple versus complex or additive meters. Because of its accessible style--only a modest ability to read a musical score is presumed--Hearing in Time is for anyone interested in rhythm and meter, including cognitive psychologists, musicologists, musicians, and music theorists.