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Piano is the main lesson book in the Bastien Piano Basics course. The carefully graded, logical learning sequence assures steady, continual progress. Original music by the Bastiens includes a stimulating mixture of pop, folk, classical, and contemporary styles. Full-color illustrations throughout entertain and reinforce musical concepts along the way. The gradual multi-key approach takes students through all 12 keys -- 3 in each of Levels 1, 2, 3, and 4. Each page is carefully correlated page-by-page with Theory, Performance,andTechnic. All in all, a dynamic way to introduce students to the marvelous world of music!

Level 2 presents binary and ternary form, one-octave scales with tetrachords identified, intervals of 6th and 7th, primary chords, triads and inversions, 6/8 time, and the keys of D, A, and E.

• Sales Rank: #7499 in Books
• Brand: Neil A. Kjos Music Company
• Model: KJ10070
• Published on: 1985-01-01
• Original language: English
• Number of items: 1
• Dimensions: 12.00" h x 9.00" w x .25" l, 21.00 pounds
• Binding: Sheet music
• 54 pages

Features

• Used Book in Good Condition

About the Author
James Bastien was born in Bellingham, Washington, on April 10, 1934. His father, Clarence, was musical and played the violin. His mother, Dorothy, was a writer and a high school Latin and journalism instructor. After living in Seattle and Florida, the family moved to Portland, Oregon, where Jim began his piano studies with Frances Mulkey North. Subsequently, Jim studied with the late Ariel Rubstein, the late Louis Artau, and the late Gyorgy Sandor.

Jim received his undergraduate and masters degrees from Southern Methodist University. He was a former member of the faculties of Notre Dame University, Tulane University, Loyola University (New Orleans), and the summer faculties of Tanglewood and the National Music Camp at Interlochen, Michigan.

Jim met his wife Jane Smisor in New Orleans in 1960. They performed as the duo-piano team, Smisor and Bastien. In addition, Jim was a Columbia Artist accompanist whose collaborative career included appearances with Richard Tucker and John Alexander. During this time Jim and Jane started writing music to address the needs of their students. This was the beginning of the Bastien piano books that have inspired so many piano students and teachers.

The Bastien piano books have been published worldwide by the Neil A. Kjos Music Company since 1963 and are now translated into 14 languages. In 1999, The Music Teachers National Association presented Jim and Jane with the Lifetime Achievement Award, the association's highest honor, in recognition of their outstanding career in music and contribution to the music profession.

James W. Bastien, loving husband and father, and a passionate piano pedagogue and musician, passed away on December 7, 2005, in La Jolla, California. During his long career, Jim became internationally known through his contributions to piano teaching, composing, writing, adjudication, and performing. With more than 300 publications to his credit, the Bastien name has become synonymous with innovative piano pedagogy.

Most helpful customer reviews

0 of 0 people found the following review helpful.
We're happy
By DavidW
My wife uses this series of books with her piano students. She likes it. Very convenient to get the books from here when the local music store is out of stock.

0 of 0 people found the following review helpful.
Piano Lessons.
By Maverick
Our little 8 year old made good use of it.

0 of 0 people found the following review helpful.
Five Stars
By SandraRose
Excellent program.

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[H876.Ebook] Free PDF Radar and ARPA Manual, Third Edition: Radar, AIS and Target Tracking for Marine Radar Users Paperback February 11, 2014, by Andy Norris

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• Sales Rank: #8092929 in Books
• Published on: 1605
• Binding: Paperback

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[H354.Ebook] Download 1000 Chairs, by Charlotte & Peter Fiell

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Chairs displayed on their own as pure form: An overview of the 20th century   More than any other piece of furniture, the chair has been subjected to the wildest dreams of the designers. The particular curve of a backrest, or the twist of a leg, the angle of a seat or the color of the entire artifact all reflect the stylistic consciousness of each era.

From Gerrit Rietveld and Alvar Aalto to Verner Panton to Eva Zeisel, from Art Nouveau to International Style, from Pop Art to Postmodernism, the phenomenon of the chair is so complex that it requires a reference work as comprehensive as this to do it full justice. They are all here: Thonet’s bentwood chairs and Hoffmann’s sitting-machines, Marcel Breuer’s Wassily chair and Ron Arad’s avant-garde armchairs.

The book devotes one page to each chair, displayed on its own as pure form, with biographical and historical information about the chairs and their designers. A special treat for anyone who loves design and a must for collectors!   About the Series:
Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!
Since we started our work as cultural archaeologists in 1980, the name TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together nearly 100 of our all-time favorite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.
Bookworm’s delight — never bore, always excite!   Text in English, French, and German

• Sales Rank: #85523 in Books
• Published on: 2013-10-15
• Original language: English, French, German
• Number of items: 1
• Dimensions: 1.72" h x 5.82" w x 7.93" l, 2.71 pounds
• Binding: Hardcover
• 624 pages

About the Author
Charlotte & Peter Fiell have written numerous TASCHEN books, including 1000 Chairs, Design of the 20th Century, Industrial Design A–Z, Scandinavian Design, Designing the 21st Century, Graphic Design for the 21st Century, 1000 Lights and Contemporary Graphic Design. They also edited TASCHEN’s Decorative Art series and the 12-volume domus 1928–1999.

Most helpful customer reviews

5 of 5 people found the following review helpful.
Perfect visual guide coffee-table book
By M. T. Crenshaw
Chairs are one of the most useful beautiful sexiful things in the world. Yes, they turn me on. I love this book. So many reasons, but I am going to be brief (please, applaud):
> Perfect coffee table book.
> Decent short texts, right to the point but informative.
> Great visual guide of chair design.
> Good quality edition.
> Good quality full-colour photos.
> Taschen's guarantee of serious fun books.
> Great sizing and format. Easy to put away or in different places.
> Explanations in English, French and German. Great to improve your vocabulary in your non-native languages if you are interested or give it as a gift to an overseas friend.
> Hardcopy and not even 20 bucks. Are you serious?!
> Chairtastic fully orgasmic.

DOWNSIDES?
Yes, sure.
= If you are looking for a guide with plenty of explanations, a professional approach to chair design and more details about the designers and the history of each item, or clear design periods go elsewhere.
= The book starts from the 19th century, so if you love, say, Roman Empire chairs, this is not for you.
= The books is does limit itself to the 20th century so no designs from year 2000. Pity. I miss the awesome chairs of contemporary designers British Grazier-Jones and Spaniard Maximo Riera, as other contemporary designers.
= The book devotes little space to the 1980s and 1890s compared to other periods.
= Short in Asian designers.

IN A NUTSHELL
If you are ;looking for a book to have on your coffee table to entertain guests or yourself, this is it.

2 of 2 people found the following review helpful.
Wonderfully done
By asym44
Inclusive, illustrated, excellent review of design choices across the ages. It helped me in a project I had to design a chair or stool for a specific purpose in furnishing our new home. Fun to read and look at the design possibilities across the years. Would be a fine reference for someone who needed to understand the different style trends in furniture. Amazon supplied it in record time.

0 of 0 people found the following review helpful.
Wonderful book!
By Muzzy
I got this for my son who loves modern design, along with 1000 Lights (same authors) (chairs and lights are his favorite). He went nuts! Beautiful books, filled with gorgeous pictures and a lot of history. Fabulous addition to the library of anyone who loves modern design.

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[S817.Ebook] Download PDF Future Noir: Making of " Blade Runner ", by Paul M. Sammon

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The 1992 release of the "Director's Cut" only confirmed what the international film cognoscenti have know all along: Ridley Scott's Blade Runner, based on Philip K. Dick's brilliant and troubling SF novel Do Androids Dream of Electric Sheep, still rules as the most visually dense, thematically challenging, and influential SF film ever made.

Future Noir is the story of that triumph.

The making of Blade Runner was a seven-year odyssey that would test the stamina and the imagination of writers, producers, special effects wizards, and the most innovative art directors and set designers in the industry.

A fascinating look at the ever-shifting interface between commerce and the art that is modern Hollywood, Future Noir is the intense, intimate, anything-but-glamerous inside account of how the work of SF's most uncompromising author was transformed into a critical sensation, a commercial success, and a cult classic.

• Sales Rank: #3430373 in Books
• Published on: 1997-02-10
• Format: Import
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 464 pages

About the Author

Paul M. Sammon's distinctive career can best be described by the film industry expression "hyphenate."

As a writer, Sammon has published numerous articles, short stories and books. His many film journalism pieces have seen print in The American Cinematographer, Cahiers du Cinema, The Los Angeles Times, Omni, Cinefex, and Cinefantastique. Sammon's fiction has appeared in Peter Straub's Ghosts (1995), and he recently edited both the 1994 "dead Elvis" anthology The King Is Dead plus the "no limits" anthologies Splatterpunks: Extreme Horror and Splatterpunks II: Over the Edge (1995).

But Paul M. Sammon does not only write about movies--he works in them as well. He first entered the industry as a publicist in the late 1970s, before moving on as a second-unit director, special effects coordinator, still photographer, electronic press kit producer, and Vice President of Special Promotions. Some of the scores of motion pictures on which Sammon has labored include RoboCop, Platoon, Blue Velvet, Conan the Barbarian, and The Silence of the Lambs.

By the late 1980s, Sammon was working in Japanese television, where he coproduced popular entertainment programs like Hello! Movies for the TV Asahi network. By the 1990s, Sammon had served as Computer Graphics Supervisor for RoboCop 2; he recently was Digital and Optical Effects Supervisor for 1995's XTRO: Watch the Skies.

Despite this background, however, Sammon still likes nothing better than sitting down with a good movie. And Blade Runner remains one of his favorite films.

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0 of 0 people found the following review helpful.
The ultimate background book for any Blade Runner fan
By Whitt Patrick Pond
(Note: this review is of the 2007 Orion edition, updated and revised for the 25th anniversary of the release of the film)

Paul M. Sammon's Future Noir: The Making of Blade Runner is not merely a must-have book for any fan of the film - it is _the_ must-have book, both for Blade Runner fans and for anyone interested in thorough and quite readable account of how a film comes to be made and the incredible number of things that influence the evolution of a film as it goes from original idea to finished product.

Future Noir is clearly a labor of love for Sammon, who started following the project from its early inception and has continued to follow it through its evolution and ultimate release - and its later re-release and multiple revised cuts - and the long-term impact it has had on the scifi film genre. First published in 1996 - some fourteen years after the film's original release - he has gone back and updated it to coincide with the film's 25th anniversary and the release of Ridley Scott's Blade Runner: The Final Cut which is supposedly the director's ultimate and last word on the film. The revised edition of the book does in fact contain a great deal of new material which makes it worth finding and reading over the original edition.

In reading Future Noir, one quickly becomes aware of just how thorough Sammon has been, having interviewed seemingly _everyone_ who had any involvement in the making of the film, from Philip K. Dick, the author of Do Androids Dream of Electric Sheep?, the novel on which Blade Runner was based, to Charles Lauzirika, the DVD producer who was instrumental not only in the production of the Special Edition DVD set for the Final Cut of the film but also in locating an enormous trove of "lost" film from the original production without which the Final Cut would never have happened. And in between of course are quotes from extensive interviews with director Ridley Scott; screenwriters Hampton Fancher and David Peoples; _all_ of the actors, from the major ones (Harrison Ford, Sean Young, Rutger Hauer, Darryl Hannah, Brion James, Joanna Cassidy, Edward James Olmos, William Sanderson, Joe Turkel) to the minor ones (M. Emmet Walsh, James Hong, Hy Pike, Morgan Paull and others), and dozens upon dozens of people involved in the more technical aspects of the film.

Sammon's prose is both wonderfully descriptive and engaging, as can be seen in this bit on what makes Blade Runner so significant as a film:

"Blade Runner presents one of the most elaborately visualized fictional environments ever constructed for an American film; each frame is bursting with an obsessive accretion of detail. Still, it's not a pretty sight. Ridley Scott's twenty-first century is a decayed, jaded, mutated place, a cheerless landscape whose meager humanity is being ground down by the microchipped jackboot of a ruthless technological zeitgeist. Its mean streets teem with hundreds of oddly dressed citizens (mostly Asians, some punks, street gangs, Hare Krishnas, and the ever-present police). All scurrying ratlike through concrete canyons whose confines are constantly bombarded by ubiquitous neon advertising, by the blare of unctuous announcers hawking pristine 'Off-world colonies,' from huge, insanely graphic-heavy blimps, and by the sodden, perpetual downpour of a numbing acid rain.
--It is exactly this deluge of details -- the striking costumes, the fantastic flying cars, the atmospheric ethnicity, the moody music, the lavish, lived-in sets -- which makes Blade Runner such addictive eye-candy. And it is to this bewitching visual surface which most viewers repeatedly return. Like its industrial counterparts in the worlds of high fashion and architecture, Blade Runner is a form of ultrasophisticated 'designer cinema', one whose astonishingly complex visual field has, despite a subsequent decade's worth of futuristic/alternate world spectaculars like Time Burton's Batman tilogy or Judge Dredd, remained the high-water mark against which all other big-buget SF entertainments are measured."

In addition to Sammon's narrative attention to detail, Future Noir is also lavishly illustrated with hundreds of production shots taken during the making of the film giving the reader an intimate feeling of what it must have been like to witness the making of Blade Runner.

My only quibble with the book (at least the 2007 edition that I read) is that it lacks an index. It's still a great read, but the lack of an index makes it hard to look up particular points of interest if you're trying to do research or answer a specific question.

Highly, highly recommended for anyone with an interest in Blade Runner as a film or in how the film-making industry works in general.

0 of 0 people found the following review helpful.
Book to film study
By Drew
This book thoroughly reviews all aspects of the movie. From the conceptualizing the book to film all the way through the process of making the movie. A lot of good insight. As other reviews have stated, it is very indepth and has a lot of content that many people will not care about. However, that is easy to skip over if it gets boring.

If you enjoyed the book and/or movie, this is an excellent resource to understand why the film was so different from the book.

6 of 7 people found the following review helpful.
Blade Runner Bible
By Drew
The book is written by Paul M. Sammon in 1996, about 15 years since the original release and 4 years after the Director's Cut re-release. As he explains in the opening chapter of the book, Sammon worked for a science fiction magazine called Cinefantastique, and what began as a double-issue special on the making of the highly-anticipated film Blade Runner eventually evolved into what Sammon calls an "exhaustive archaeology" of information regarding the film.
The novel is simply an overwhelming wealth of information on all things Blade Runner; chapters focus on every minute detail such as the evolution of the story as it passed through the hands of Phillip K. Dick's novel, Hampton Fancher's screenplay, then into the hands of David Peoples and Ridley Scott. Chapter VIII is such a delight, as it meticulously works through each scene in the film, stopping along the way to add tidbits of info such as exclusive interviews with the actors. Sammon apparently also had the luxury of roaming the set of Blade Runner, and he reveals things such as the futuristic magazine covers he would see on the magazine racks and many other incredibly obscure decorations the design team threw in that are virtually impossible to see when you watch the film.
Like the other reviewers, I agree that Sammon is not perhaps the most skilled writer, and the prose of the book is very choppy and (especially in Chapter I) pretty corny. What troubles me most, though, is that Sammon has a particularly annoying habit of throwing out names without properly introducing them and explaining their role in the Blade Runner universe. Mercifully, there is a cast and crew listing printed as an appendix, which is a great help. This, and some of the other errors in the book seem quite obvious, and it leaves one wondering who was in charge of the editing.
Anyhow, the book allows great insight into the workings of the film, all gathered from what must be piles and piles of notes and cassette-recorded dialogue Sammon collected over the years to produce a rather well-organized book for fans of the film to read. I have seen the film countless times, and the new perspectives and ideas gained from this book keep the film fresh and wondrous as the years go by.

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• Includes established theories and cutting-edge developments.
• Presents the work of an international group of experts.
• Presents the nature, origin, implications, an future course of major unresolved issues in the area.

• Sales Rank: #5122957 in Books
• Published on: 2003-01-03
• Original language: English
• Number of items: 1
• Dimensions: 11.12" h x 1.47" w x 8.56" l, 3.90 pounds
• Binding: Hardcover
• 640 pages

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