Jumat, 27 April 2012

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  • Binding: Paperback

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Selasa, 24 April 2012

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  • Sales Rank: #13783676 in Books
  • Published on: 2011-10-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.21" h x 1.69" w x 6.14" l, 2.18 pounds
  • Binding: Hardcover
  • 795 pages

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Sabtu, 21 April 2012

[B536.Ebook] Ebook Download Can We Still Be Christians?, by Rudolf Eucken

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Leopold is delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. This means that we have checked every single page in every title, making it highly unlikely that any material imperfections – such as poor picture quality, blurred or missing text - remain. When our staff observed such imperfections in the original work, these have either been repaired, or the title has been excluded from the Leopold Classic Library catalogue. As part of our on-going commitment to delivering value to the reader, within the book we have also provided you with a link to a website, where you may download a digital version of this work for free. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience. If you would like to learn more about the Leopold Classic Library collection please visit our website at www.leopoldclassiclibrary.com

  • Published on: 2016-02-24
  • Released on: 2016-02-24
  • Original language: English
  • Dimensions: 11.00" h x .55" w x 8.50" l,
  • Binding: Paperback
  • 244 pages

About the Author
Eucken won the Nobel Prize in literature in 1908.

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1 of 1 people found the following review helpful.
Eucken's Question Even More Relevant Today
By Stormy Night
This was an amazing read. Forget about it first being published over a hundred years ago. It is as relevant today, if not more so, as it was then. Eucken's style is a little heavy but his analysis, theory and conclusions are solid. I wonder to what extent Clive Lewis read this man's writings, including this book? They are in a small, select group of original thinkers who have applied their considerable intellectual abilities to matters of deep spiritual and religious significance. This book is a must read for the serious Christian.

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Senin, 16 April 2012

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Mel Bay George Van Eps Harmonic Mechanisms for Guitar, Vol. 1, by George Van Eps

The most in-depth, revolutionary presentation of the harmonic framework of music is applied to the guitar fingerboard ever presented. Leads to total mastery of harmonic and technical aspects of the guitar. The material in this landmark series of 3 massive volumes address virtually every aspect of playing jazz guitar representing the fruits of years of the author's investigation of harmony and fingerboard mobility. This series of books leads to total mastery of the harmonic and technical aspects of the guitar. In notation only.

  • Sales Rank: #442522 in Books
  • Brand: Brand: Mel Bay Publications, Inc.
  • Published on: 1980-02-09
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x .73" w x 8.50" l, 2.24 pounds
  • Binding: Paperback
  • 328 pages
Features
  • Brand Name: Van Eps, George Mfg#: 9780871669063
  • Shipping Weight: 1.90 lbs
  • Manufacturer:
  • Genre:
  • All music products are properly licensed and guaranteed authentic.

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21 of 24 people found the following review helpful.
It's exactly what it says is it is: -NOT- a "chord book"{.
By .
First of all, it should be known who Van Eps was: A guitarist who specialized in highly sophisticated chord-melody work, with an elaborate system of fingering harmonized lines to play them as perfectly, (without the squeaking most players get by merely sliding into positions), as is possible on the instrument. He called the guitar the 'lap piano', and his playing reflected that point of view. If this doesn't mean a lot to you, perhaps the other books some reviewers have mentioned will be
all you need. If, however, you which to truly master the mechanics required for the musical performance of all of the possible harmonized lines on guitar, no other book is even -attempting- the objective. I love Ted Green, and his methods definitely provide a better 'quick fix' for less serious players, but let's not bow to our current limitations if we have the potential to take the next step.

9 of 9 people found the following review helpful.
Very good theory course
By Thomas L. Wilkinson
I bought this book after seeing it recommended to on a guitar theory website. Now that I have the book, I'm not dissappointed, the theory and exercises in the book are numerous, and I've already learned a lot, and I'm only 30 pages into the book.

If you've learned most of your guitar theory on various internet websites, you'll likely find the book a little bit advanced, but still do-able. Exercises are given with standard notation only (i.e NOT tab notation) so that might be a disadvantage to some.

I've sometimes found descriptions in the book to be a little incomprehensible, it might just be a shortcoming of my own understanding, but your millage may vary.

Overall I'm finding the book very useful, and feel that my understanding will have greatly improved by the time I've worked my way through.

9 of 10 people found the following review helpful.
Disappointing..publisher should be embarassed
By R Foose
Well, I expected to be a little disappointed. After a few years of formal study of Music Theory, supplemented by dozens of years of self-study and practical application, I didn't expect to find much new here. And I didn't. A few things I already knew were presented in a non-standard way that made me re-evaluate what I knew, but from a 'head' perspective, I was already experienced in all that was presented, and possibly farther along.
From a 'hand' perpective, however, I learned, and am learning, quite a lot. I'd already figured out how to harmonize scales on the neck a long time ago, but this book opened up dozens of new avenues to learn and explore. I'm sure I won't live longer enough to master more than a quarter of what's presented here, if that much. This series of book was George's masterwork of instruction. From a technical standpoint, it contains everything you'd ever need to be proficient on what he called the 'lap piano'. Definitely 8 stars stuff.
That said, Mel Bay has truly dishonored his effort in how they presented this work to the public. I own and have owned a number of Mel Bay publications over the years. Some of them are excellent. Some of them are best used to fill recycle bins. Sad to say, were it not for the inestimable value of the material itself, these books would be heading immediatley to the recycler. If you have ever photocopied a color print using a cheap black/white copier, you'll have an idea of what the photos and textual 'pullouts' look like. Some of them are so bad as to be nearly unreadable. And the type size is maybe 6-point or so. It's like reading the 1950 version of the Colliers Encyclopedia, condensed version. And then there's the notation examples. These are small, but legible in volume one. In volume two and three, for the most part they look like handwritten examples that were photo-engraved. The staff size is okay, but the note heads and accidentals are miniscule to the point of being useless for reading with the instrument in hand. It's as though Mel Bay took the amount of effort that George and his daughter put into creating these books, and used the opposite amount of effort to prepare them for release to the public. What should have been elegant and easily readable is sloppy and difficult to use. What should have been an inviting open gateway to artistic virtuosity has been presented as a ramshackle door to frustration. Mel Bay Publishing should be ashamed to put their name on this. 1 star, for printing it. At least its available.
Recommendation: Get the George Van Eps Guitar Method instead. Less cost, better formatting (it's still pretty dense, but readable), and with enough of the same material covered to give you years of work to master it. Or get the complete Berklee Method for the Guitar, which has much better formatting and is in itself a way to get to a professional level of playing.

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Minggu, 01 April 2012

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Celtic Knotwork Borders in Repeating Sections: A Collection of Decorative Border Designs for Artists & Artisans, by Bradley W. Schenck

Celtic Knotwork Borders in Repeating Sections is a collection of original Celtic knotwork border designs presented in a way that's meant to allow artists the freedom to create knotwork borders in virtually any size, and practically any shape, that they want.

The book uses a modular system in which a border design is reduced to either two or five straight sections, plus a variety of arc sections with different numbers of repeats around a full circle.

These sections are meant to be rotated as needed to form square, rectangular, or circular borders for use in your work.

Not only are there straight and corner sections for each pattern, but every one of them also includes circle sections in several numbers of repeats around a full circle.

Half of the designs also feature "inner border" variations. These are designed to branch inward from the main borders with T sections, and the inner borders can cross in the middle of the border with the provided crosspieces.

The book's approach is based on the author's experience of more than 25 years. It's intended to teach you to think about repeating patterns in a way that'll improve your own work - the idea is that the mechanical task of laying out a border should be streamlined, leaving you free to concentrate on the much more creative work of painting, carving, or dyeing it.

The text includes ideas on how to scale the patterns - they're printed here in many sizes, but it's inevitable that you'll want more - and that, and other information, is given for both digital and traditional artists.

You can use these designs in any way you like for your own work. You're completely free to sell that work, or reproductions of that work. You just aren't allowed to make a clip art collection out of them, or otherwise reproduce the pattern sections alone in a form that others can use.

  • Sales Rank: #1481751 in Books
  • Published on: 2012-05-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x .24" w x 8.50" l, .58 pounds
  • Binding: Paperback
  • 104 pages

From the Author
This second edition of the book has only slight changes from the first edition. �The biggest difference is the binding; the first edition was spiral-bound, and this is a trade paperback edition.

About the Author
BRADLEY W. SCHENCK is the owner and operator of the web site RETROPOLIS, which showcases his unique retro-futurist artwork. He has been a digital artist, art director, and video game developer.

Most helpful customer reviews

1 of 1 people found the following review helpful.
George Bain for the 21st Century
By saundby
I started doing knotwork from George Bain's excellent book over 35 years ago. Brad Schenck's book builds that up and extends it immeasurably. It introduces all sorts of ways to add additional flair and flavor to the knotwork, as well as hints that make complex layouts easier to craft.

If you're doing Celtic style art, or just want to add some Celtic flair to your Pre-Raphaelite or Art Nouveau style work, you need this book.

Even if you're just a dabbler, like me. :)

0 of 0 people found the following review helpful.
Good book that focuses on composition
By Malcolm Schosha
Schenck has written a good book that deals with designing knotwork panels. The subject of the book is composition. Anyone looking for a book on how to draw the knotwork units that make up the more complex panels will not find how to do that here. The author supplies the units of design and shows how they can be combined into square, rectangular and circular panels.

I have been studying and drawing knotwork for many years and still found many things in Schenck's book that are insightful and thought provoking. For me that makes a good book on this subject.

0 of 0 people found the following review helpful.
Great!
By Benjamin
So glad someone made this - it's just right for what I wanted. A great mix of info, theory, but also lots of great patterns to just use. Highly recommended.

See all 6 customer reviews...

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