Most Popular Books by Robert Anthony

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Delve into what it was like to live during the eighteenth century by reading the first-hand accounts of everyday people, including city dwellers and farmers, businessmen and bankers, artisans and merchants, artists and their patrons, politicians and their constituents. Original texts make the American, French, and Industrial revolutions vividly contemporary. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ National Library of Wales N031613 London: printed for the author, and sold by J. Wilkie; and H. Parker, in Cornhill, 1771. [32],308p.; 8°

Key signatures of: C, G, F, D, Bb, A, Eb, and E Major. There are twenty-five studies in each of the eight key signatures used in this book. All exercises are in 4/4 time, using simple rhythms. The book is arranged by key signature, and since each key begins at the same extremely easy level and progresses through its 25 exercises, you may work on any key signature in any order. When you have outgrown the 200 studies included in this book, I recommend moving on to my book: 1000 Music Reading Studies for Clarinet, available here on Amazon, or through the link at Robert Anthony Publishing. Instructional videos will be posted on the author's site as they are produced.

The approach of this book emphasizes C Position, which is clearly defined in the pages preceding the first pieces of music. While that, in and of itself, is not that uncommon, the difference with this book is that it includes two versions of most of the pieces: The first version has the letter names embedded into the note heads, and includes every finger number for every note except for repeated notes. The bold-black numbers are the initial finger numbers in the piece - or what you might expect to see in much piano music - or any change of position on the keyboard, while the grayscale numbers are the fingerings within the position established by the bold-black numbers. The second version does not have the letter names embedded into the note head, and has only the bold-black initial fingerings and position changes. The goal of the student is to use the first versions as needed, and shift entirely to the second versions as soon as they are able. Since ability levels vary so greatly, that switch is likely to happen differently for each individual. Next, the book is divided into logical sections, first isolating the right hand, then the left, and then a brief section on Middle C Position before continuing onto coordinating both hands in C Position. Lastly, the appendix introduces exercises, scales, basic theory including the Circle of Fifths, rhythm, treble and bass clef, and a glossary of common musical terminology. Finally, this book is designed to accommodate a variety of learning styles. There are a preview and instructions in pdf form that can be downloaded from Robert Anthony Publishing, as well as a video link for the corresponding audio.

Both Book One and Book Two are contained within this book: Book One is a progressive set of exercises that thoroughly covers Simple and Compound Meters. Starting with basic rhythms in 4/4 time, the book immediately trains the student to play and count rhythms in 2/4, 3/4, and 5/4. The latter half does the same for compound meters such as 6/8, 9/8, 12/8, and 15/8. Book Two is a progressive set of exercises that thoroughly covers Complex Meters. Picking up where Book One left off, Book Two trains the musician to be able to read and play in Complex Meters such as 7/8, 9/8, 11/8, 7/16, 9/16, and 11/16.

Robert Kriegs aim in Treasure in the Field is to help readers understand better the nature of the salvation that God offers to humanity and become more conscious of it in their lives. That is, he intends not only to impart information and ideas found in Scripture, church teaching, and theology but also to illumine our own experiences.

The 'Large Print' editions contain the same music as the 'Standard Print' versions: 300 Progressive Sight Reading Exercises. For printing and electronic delivery purposes, the large print editions needed to be released in two parts - each containing 150 of the exercises. Part 1 is comprised of exercises 1-150, and Part 2 is comprised of exercises 151-300. This most recent update includes a new cover design so that the 'Large Print' and 'Standard Print' versions are no longer confused for one another. While this book is intended to train sight-reading and aural skills, it may be used by beginners or those new to reading music to acquire basic reading skills. It starts at a very easy level and gradually introduces a new note, rhythm, or concept, and throughly reinforces them throughout the rest of the book. Preview and instructions will be posted on the Robert Anthony Publishing website.

First and foremost: THIS IS NOT A METHOD BOOK. It is precisely what it says it is: 300 Progressive Sight Reading Exercises! Volume One is comprised of 300 progressive eight-bar exercises that cover the keys of C Major, F Major, G Major, A Minor, D Minor and E Minor. Time signatures include 4/4 (Common Time), 3/4, 2/4, 6/8, and 2/2 (Cut Time). The remaining key signatures, additional time signatures, tempo markings and dynamics markings will be covered in future volumes. All of the exercises are eight measures long. If one has done any study of formal analysis, they will find that eight measures is a typical 'period' of music and usually contains two, four-bar phrases (also typical in length). For example, many sonatinas, jazz standards, and pop songs use "32 Bar Form" (A A B A), "Binary Form" (A B), and "Ternary Form" (A B A), with each section often being eight bars. Thus, eight measures (one period of music) makes the perfect length for sight-reading studies in my opinion. How to use this book: Start where the exercises begin and work across the book - from exercise 1, 5, 9, 13 and so on until you get to a point where the music challenges you and then mark your ending point. The next practice, play exercises 2, 6, 10, 14, and so on... The next: 3, 7, 11, 15 and so on, and finally 4, 8, 12, 16, and so on. If you want to work at your "break point" (the point in the book where you can no longer play musically), work DOWN the page instead of across the pages. Note: This book is also available in a LARGE PRINT version that for printing purposes had to be divided into two books. If you have poor vision or want this book to be easy to SEE on an electronic device, you might prefer the Large Print Version. "These books differ from conventional 'methods' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student." - Bela Bartok, Mikrokosmos. I whole-heartedly agree with Bartok's sentiment and if music teachers would ask their students what they like least (or hate the most) about typical lessons, it is the method books that win this contest EVERY TIME. I have completely eliminated method books from my own teaching practice and have much happier and more productive students than ever. While this book is intended to train sight-reading skills, it may also be used by beginners or those new to reading to acquire basic reading skills, but it assumes one either has a teacher or can at least find C on their instrument. It starts at a very basic level (only three notes) and adds a new note, rhythm, or concept every four exercises and thoroughly reinforces them throughout the rest of the book. Next, the music's composition is a slave to its function: The purpose of the books is to train reading skill, and the exercises keep challenging the range that has been established by previous exercises as well as less-than-convenient intervalic skips. They are composed from a 'music-first' perspective, as opposed to an 'instrument-first' perspective, and are purposely composed to be difficult to memorize. For example, the first exercises begin on C because they are in the key of C, and then go on to sometimes start and end on different scale degrees of the same key. Those familiar with the Fundamental Modes will likely recognize what they are hearing, but those unfamiliar with these modes will likely be hearing something that sounds a bit different, or odd, until their ears acclimate to these sounds. I see many students go through this process with altered dominants and augmented triads as well. Additionally, a 20th-century composition technique (Bartok, Stravinsky) - Serial Composition - has also been used on several of the pieces, so if your ears are unfamiliar with this type of music, you might at first be uncomfortable with what you are hearing.

THIS IS THE LARGE PRINT VERSION OF THIS BOOK: It was designed to be easy to SEE on a Kindle or for the vision impaired. The print is VERY LARGE on purpose. For the Large Print Version, the 300 exercises are broken down into two books. Part One contains exercises 1-150 and Part Two contains exercises 151-300. THIS IS NOT A METHOD BOOK. It is precisely what it says it is: 300 Progressive Sight Reading Exercises! Volume One is comprised of 300 progressive eight-bar exercises that cover the keys of C Major, F Major, G Major, A Minor, D Minor and E Minor. Time signatures include 4/4 (Common Time), 3/4, 2/4, 6/8, and 2/2 (Cut Time). The remaining key signatures, additional time signatures, tempo markings and dynamics markings will be covered in future volumes. All of the exercises are eight measures long. Many sonatinas, jazz standards, and pop songs use "32 Bar Form" (A A B A), "Binary Form" (A B), and "Ternary Form" (A B A), with each section often being eight bars. Thus, eight measures (one 'period' of music) makes the perfect length for sight-reading studies in my opinion. How to use this book: Start where the exercises begin and work across the book - from exercise 1, 5, 9, 13 and so on until you get to a point where the music challenges you and then mark your ending point. The next practice, play exercises 2, 6, 10, 14, and so on... The next: 3, 7, 11, 15 and so on, and finally 4, 8, 12, 16, and so on. If you want to work at your "break point" (the point in the book where you can no longer play musically), work DOWN the page instead of across the pages. "These books differ from conventional 'methods' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student." - Bela Bartok, Mikrokosmos. I whole-heartedly agree with Bartok's sentiment and if music teachers would ask their students what they like least (or hate the most) about typical lessons, it is the method books that win this contest EVERY TIME. I have completely eliminated method books from my own teaching practice and have much happier and more productive students than ever. While this book is intended to train sight-reading skills, it may also be used by beginners or those new to reading to acquire basic reading skills, but it assumes one either has a teacher or can at least find C on their instrument. It starts at a very basic level (only three notes) and adds a new note, rhythm, or concept every four exercises and thoroughly reinforces them throughout the rest of the book. Next, the music's composition is a slave to its function: The purpose of the books is to train reading skill, and the exercises keep challenging the range that has been established by previous exercises as well as less-than-convenient intervalic skips. They are composed from a 'music-first' perspective, as opposed to an 'instrument-first' perspective, and are purposely composed to be difficult to memorize. For example, the first exercises begin on C because they are in the key of C, and then go on to sometimes start and end on different scale degrees of the same key. Those familiar with the Fundamental Modes will likely recognize what they are hearing, but those unfamiliar with these modes will likely be hearing something that sounds a bit different, or odd, until their ears acclimate to these sounds. I see many students go through this process with altered dominants and augmented triads as well. Additionally, a 20th-century composition technique (Bartok, Stravinsky) - Serial Composition - has also been used on several of the pieces, so if your ears are unfamiliar with this type of music, you might at first be uncomfortable with what you are hearing.

The 'Large Print' editions contain the same music as the 'Standard Print' versions: 300 Progressive Sight Reading Exercises. For printing and electronic delivery purposes, the large print editions needed to be released in two parts - each containing 150 of the exercises. Part 1 is comprised of exercises 1-150, and Part 2 is comprised of exercises 151-300. This most recent update includes a new cover design so that the 'Large Print' and 'Standard Print' versions are no longer confused for one another. While this book is intended to train sight-reading and aural skills, it may be used by beginners or those new to reading music to acquire basic reading skills. It starts at a very easy level and gradually introduces a new note, rhythm, or concept, and throughly reinforces them throughout the rest of the book. Preview and instructions will be posted on the Robert Anthony Publishing website.

"Enter the mystical Land of Majid, where the Garden of Muqurrabanholds the entrancing secrets of the royals…"The evil and exiled Akumar has risen from the depths of the earth with an army of children at his side. His singular goal? To steal all of the Books of Power that govern their world. Lord Hakeem, ruler of Majid, tasks his son Atir and his group of gifted friendsto protect the Books, one by one, they start slipping away into the hands of Akumar.Who will triumph in the battle of good versus evil?Can young Atir bring peace to the Garden of Muqurraban once more?

When Phil is strangely drawn to an old watch in a Beijing curio shop, he little realises that his whole life is about to change. With the help of the watch he travels back in time to take part in momentous episodes in the history of the 20th Century. Interwoven with his time travels adventures are the events shaping his life in the present day, back in his ancestral home in Scotland and in his lively bachelor existence in London. Phil is sometimes in command of the magical watch, and sometimes the watch dictates where he must go, especially when he is needed to save the life of a shot-down pilot whose identity rocks Phil to his core when he realises just who it is he has saved. Phil is a beguiling and very likeable mixture of the classic innocent abroad, accomplished seducer, and brave warrior. He throws himself whole-heartedly into the action, whether it is getting the girl, or escaping from the enemy, and he takes the reader with him every step of the way. 'Time Piece' is an exciting, fast paced page-turner, which takes the reader on a rollercoaster ride from Inverness to Woodstock, from Alaska to Vietnam, with many other ports of call in between. And from 'peace and love' in a muddy field in up-state New York, to the hell that is war, the reader is given an amazing close-up view of the action.

Robert Anthony has penned the best Shaggy Dog Story since Lawrence Sterne's Tristram Shandy which was published between 1759 and 1767. The world has been waiting with bated breath for such a long, long time. Now, in 2013, the wait is over. Buy this book and read it. It's a 'hoot'!

A meta-analysis of the existing contingent valuation literature on homeowners' willingness to pay for wildfire risk mitigation was conducted. Results indicate that the absolute level of risk reduction and whether a proposed program is public or private have significant systematic impact on WTP estimates. There is evidence that time elapsed since the last major destructive fire in the area, and the provision of specific baseline risk information in the survey instrument, both can increase estimates; further research into these affects seems warranted. Findings point to ways in which further CV surveys in this field may be standardized and improved.

This thesis examines the use of random sampling as a basis for taking extrapolated deductions in the payment of Navy maintenance service contracts. Motivated by increasing inspection requirements, NAVFAC has authorized limited use of this quality assurance tool. The experience of two activities which implemented extrapolated deductions in their family housing maintenance contracts is the focus of this study. Methods employed are evaluated along with an analysis of payment history, contractor performance and inspection requirements. The statistical basis used in the field tests along with an alternate proposal is analyzed. Various issues are identified which should be addressed before general guidance is promulgated. Major recommendations deal with sample adjustment, computer support, inspection methods and the need for oversight. (Theses).