The most versatile guitar method available continues with Ensemble Book 1, which provides students the opportunity to play with other guitarists. Includes 24 graded duets, trios and quartets along with bass parts for selected ensembles. Ideal for solo and ensemble festivals!

Well-respected educator and best-selling author Jerry Snyder has put together the most versatile guitar method available. This comprehensive method for classroom or individual study comes in two sections: the first section teaches chords and accompaniment, while the second teaches note reading. This flexible method allows you to start with either section or use both sections simultaneously. Includes 58 songs and progressions for accompaniment, 26 songs for learning how to read music, 25 accompaniment patterns, fingerstyle and pickstyle techniques, and all basic chords and keys. 96 pages.

Well-respected educator and best-selling author Jerry Snyder has put together the most versatile guitar method available. This comprehensive method for classroom or individual study comes in two sections: the first section teaches chords and accompaniment, while the second teaches note reading. This flexible method allows you to start with either section or use both sections simultaneously. Includes 84 songs and progressions for accompaniment, 21 songs for learning how to read music, 15 accompaniment patterns, and moveable chord forms and progressions. 96 pages.

Well-respected educator and best-selling author Jerry Snyder has put together the most versatile guitar method available. This comprehensive method for classroom or individual study comes in two sections: the first section teaches chords and accompaniment, while the second teaches note reading. This flexible method allows you to start with either section or use both sections simultaneously. Includes 84 songs and progressions for accompaniment, 21 songs for learning how to read music, 15 accompaniment patterns, and moveable chord forms and progressions.

Well-respected educator and best-selling author Jerry Snyder has put together the most versatile guitar method available. This comprehensive method for classroom or individual study comes in two sections: the first section teaches chords and accompaniment, while the second teaches note reading. This flexible method allows you to start with either section or use both sections simultaneously. The Teacher's Guide helps the instructor develop and organize a guitar class curriculum and provides background on the guitar class, teaching tips, elements of music and how to address the National Standards for Arts Education. The Teacher's Guide also includes 48 pages of reproducible worksheets. The ensemble book offers graded duets, trios and quartets as well as optional parts for bass.

The most versatile guitar method available continues with Ensemble Book 2, which provides students the opportunity to play with other guitarists. Includes 12 graded duets, trios and quartets along with bass parts for selected ensembles. Ideal for solo and ensemble festivals! 40 pages.

As guitar instruction increases in popularity in secondary schools, many band, choir, and orchestra teachers are asked to teach guitar. In one helpfully concise volume, Teaching Beginning Guitar Class: A Practical Guide provides all of the practical tools that are necessary to teach guitar in the classroom, especially for music instructors who are not guitar specialists. Formatted to follow the school year from summer planning to opening weeks of the fall semester to a week-to-week timeline for the full school year, Teaching Beginning Guitar Class encompasses all possible needs for a non-guitar playing music instructor navigating the world of guitar instruction in a classroom setting. In twelve expertly organized chapters, author and veteran guitar teacher Bill Swick gives hard and fast guides for instruction, providing reassurance alongside invaluable tips for novice guitar educators. This book addresses questions such as 'I Do Not Play Guitar, Why Do I have to Teach Guitar?'; 'What is the Classroom Lifespan of a Guitar?'; and 'New Students in January?' while also providing practical solutions including basic setup, how to select the correct method book, and equipment maintenance.

Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education offers a comprehensive overview of the many facets of musical experience, behavior and development in relation to this diverse variety of contexts. In this first of two volumes, an international list of contributors discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music and the skills and attributes gained when they do so, these chapters examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of The Oxford Handbook of Music Education update and redefine the discipline, and show how individuals across the world learn, enjoy and share the power and uniqueness of music.

Vocal, Instrumental, and Ensemble Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others. These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally. Contributors Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald Jørgensen, Margaret Kartomi, Reinhard Kopiez , William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternström, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy