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Kamis, 24 November 2016

Free PDF , by Nicholas Romanov

Free PDF , by Nicholas Romanov

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, by Nicholas Romanov

, by Nicholas Romanov


, by Nicholas Romanov


Free PDF , by Nicholas Romanov

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, by Nicholas Romanov

Product details

File Size: 29039 KB

Print Length: 240 pages

Publisher: Penguin Books (September 30, 2014)

Publication Date: September 30, 2014

Sold by: Penguin Group (USA) LLC

Language: English

ASIN: B00K0U6OC8

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Amazon Best Sellers Rank:

#99,282 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

A must read book for runners! This is the first book that actually teaches you how to run with proper technique. This is also the first book I have ever read that has actual drills to build proper run mechanics. The author breaks down the run into three distinct phases: "Pose, Fall, Pull" and teaches you drills that allow you to learn these phases. I have been an avid Triathlete and distance runner since 2006. I have taken several running classes. My coaches taught me to "forefoot" strike and not to "heel" strike. They told me my cadence should be 180 steps per minute. They told me to ensure my arms did not cross and that they traveled from "hip to nip". However, none of my run coaches over the last 8 years of instruction could ever show me drills to build these techniques. In my Masters swim class, all they do is drill and swim. When I golfed, we built a solid swing by developing a solid base, one piece take-away, ensured we had a proper grip, proper alignment at the top of the swing and solid weight transfer at the bottom of the swing. We had drills to build these fundamentals. Until I read this book, none of literature actually focused on run technique. The Pose running drills: Springiness position, Body weight perception, Timber, Wall fall, base jump, change of support, pony and foot tap all teach you how to get into proper "pose", "fall" and "pull" when you are running. I have now incorporated these drills into my training. Tip: Go to "Youtube" videos: search for "drill posetv" to get visual lessons on how to perform the drills. Best wishes and happy running!

As I am writing this review, I am finishing my third week of the program (starting lesson 8/10 before getting into longer workouts). After reading most reviews I can see why some people love it, and some people hate it. I am very technical and analytical, I always try to find the most efficient way to perform a task, including with exercise. That is why I bought this book, and I can say I am not disappointed. If anything I wish I bought this years ago....Short background (I'll get to the point fast, I promise!). I grew up swimming, played competitive water polo through college, and took up running 3 years ago. I found myself constantly injuring myself, despite some significant accomplishments for a non-runner (43:16 10K is my best PR). After getting sick of injuring myself I thought about how much time I spent growing up doing swimming drills. We did nothing but drills and stroke work for years, that made me an efficient/injury-free swimmer, and I wanted to take that approach to running. I tried a running coach, but he had the old school mentality of 'just run,' not to mention one session was three times more than this book...."The Running Revolution" explains that with the right technique and approach to running, anyone can have a long running career. Not just a few years until your knees give out. That's what I wanted, and that is what this book will help you do (assuming you have the mind-body awareness to be your own critic). First by re-build your running form from the ground up. It starts off with simple workouts, but is building your foundation. The first workout is all about your foot, and you reinforce these principles before each workout. I had already taken steps to move away from heel-striking, so this seemed obvious, but I maintained a positive attitude towards it. I had made the decision to follow the program all the way through, and wasn't going to be deterred because I thought a few drills were common sense. As you progress the workouts stack on top of each other and become more complex.What the book tries to do is get you to think and feel every aspect of your run. From your foot strike, to your leaning (falling) angle, to your recovery (pull), etc.... I find some technique drills awkward, but they serve a purpose. I can tell you the first time I did a number of swimming drills felt awkward too. But today, almost 4 weeks in, I can say that everything is starting to fit into place. When I am running correctly, it feels right, like the first time I held good form on a new lift... something just clicks now. I know I am not faster, in fact I am sure I cannot go out and maintain my old pace with the new form i am learning, but that when I get back to running track workouts and racing I will continue to improve without the high rate of injury.I have two tangible improvement's at this point I would like to share:(1) I have noticed that I really feel the effort my calves and hamstrings put into each workout. As the book describes, previously I was actively striking the ground which put a lot of stress on my shins, quads, and feet (where I had a lot of my injuries over the last few years). But now I feel like I am properly using the correct muscles when I run. It reminds me of the first time I performed weight workouts with slow-controlled reps, I felt sore, and couldn't do near the weight as I did with improper form, but knew it was a good thing. It has not been easy to make the transition, but it feels right.(2) I have a Garmin Felix 2, which tracks my cadence, ground contact time, and vertical oscillation (how much you are moving up and down during your run). Previously my vertical movement was terrible, something like 12-14 CM. After my last jog, I averaged a 8 CM vertical oscillation, which is not perfect, but the difference from 12 to 8 is significant, and shows that I am running much more efficiently that I was previously.I am sure there are dozens of books that will give you a similar insight into running. Each will have a structured path to efficient running. I can't say this is the best book on the market, but am happy with my purchase and would recommend it to anyone I know.

Never thought I would see the evolution of running unfold before my eyes. In the 1970's we were taught to always run heel to toe. That was wrong. I can't even begin to Imagine the injuries caused by this strategy. Well then was then. Now we have a much, much better way to train. This is the wave of things to come. This book will be a must read, in the future. I'm sure of it. If you run for any reason, you need this book. It will blow your mind. Great read.

I have started and stopped running regimens multiple times over the last few years - many of my friends are avid runners and enjoy weekend challenges and I wanted to be part of it. But I hadn't gotten into a good groove and I was plagued with injuries. I received this book in exchange for my honest opinion and had high hopes of it being able to help me over come these obstacles.I found the author's style easy to read and very simple to follow - with a series of drills and ways to prepare yourself, I have got back on the running trail and over the last 10 days have really seen an improvement in my running and despite my history, I have not yet had an injury (knock on wood!). I am excited to continue to implement the tips and tools I have (and continue to!) learned from this book and will be looking for his other book about the Pose method as I found the shortened version in this book to me very helpful to a long-term running struggler like myself.

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Jumat, 18 November 2016

Free Download Ear Training for the Body: A Dancer's Guide to Music, by Katherine Teck

Free Download Ear Training for the Body: A Dancer's Guide to Music, by Katherine Teck

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Ear Training for the Body: A Dancer's Guide to Music, by Katherine Teck

Ear Training for the Body: A Dancer's Guide to Music, by Katherine Teck


Ear Training for the Body: A Dancer's Guide to Music, by Katherine Teck


Free Download Ear Training for the Body: A Dancer's Guide to Music, by Katherine Teck

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Ear Training for the Body: A Dancer's Guide to Music, by Katherine Teck

About the Author

Katherine Teck is the author of Movement to Music: Musicians in the Dance Studio and Music for the Dance: Reflections on a Collaborative Art.

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Product details

Paperback: 304 pages

Publisher: Princeton Book Company (September 1, 1994)

Language: English

ISBN-10: 0871271923

ISBN-13: 978-0871271921

Product Dimensions:

6 x 0.8 x 9 inches

Shipping Weight: 1 pounds (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#335,521 in Books (See Top 100 in Books)

Just as described

Good quality. Come about the time they estimated it would come.

This book, written for the aspiring professional dancer and choreographer, can also be read profitably by anyone interested in dance. The goal of the book is to get dancers to improve their listening skills and gain a broader understanding of musical concepts and notation. Most importantly, it encourages the dancer to explore new ideas connecting movement with sound. The author recognizes however that dance need not always been done to music, citing the great Doris Humphrey's "Water Study" as an example. The book is very insightful and has much to say about the relation between dance and music. In attempting to define "musicality" the author emphasizes the enumerable different ways that music and movement can be related. Movement need not be done "with the music", it may be contrary to the music, and act "against" it. She details how choreographers view music and its use in dance and in dance class. Assignments are given at the end of each chapter to illustrate and extend the main points. Body percussion is introduced as a tool to understand musical percussion patterns as actually done via instruments. The author emphasizes that dancers can improvise on the spot just like most drummers do. The difference between dancer's counts and musician's counts are discussed, and dancers must learn to do both, according to the author. She draws on the knowledge and experience of some of the eminent choreographerrs on notions of musicality, counting, and how the dancer should relate to music. Choreographers are encouraged to collaborate with musicians and the author details the methods of collaboration. Interestingly, one of these is for the choreographer to put together the movement and videotape it, letting the composer have complete freedom to choose the music. The collaboration between Martha Graham, Louis Horst, and Erick Hawkins is discussed in detail as an example of a very successful collaboration. The chapter entitled "Sounds and Silences" emphasizes the importance of silent breaks in music. Balanchine's use of Stravinsky is quoted as an example of the unique use of silence in dance. A very brief discussion of the physics of sound is given. Good technical overviews of music dynamics and timing are given in the book, and the author is very aware of the physical effects of sound that must be dealt with in giving a performance in a large auditorium. The terminology of music dynamics is defined in detail, as well as the notion of attack and decay, with the latter being described in physics terms. A very good overview is given of string articulations and dynamic accents. The use of the metronome to keep time is discussed and the author details time signatures, bar lines, and measures. By far the most important discussion of this part is the one on syncopation, for this can be exploited very imaginatively by the dancer. Rhythmic patterns are discussed using graphical methods, and the notion of polyrhythm, where more than one rhythmic pattern is occurring at the same time, is discussed. A lengthy list is given of the more popular social dance rhythms. The notion of pitch is also related to the physics of sound along with consonance and dissonance. The different types of scales, namely diatonic, pentatonic, and whole-tone, are discussed briefly with short musical scores given as examples. Harmony is defined as a "vertical dimension" in music, i.e. the use of simultaneous basic scale pitches. The circle of fifths is discussed also in a section on tonality. Such technical considerations in music are geared primarily to the choreographer reader, particularly the discussions on timbre and score reading. The author also is careful to discuss non-Western musical constructions, all in relation to dance forms. One good example of this is the discussion on the Raga and Tala classical Indian procedures. There is also a brief discussion of more "exotic" phrasing structures such as 7/8 and 18/8 meters. In addition, the author gives a thorough treatment of sectional forms in dance, the AABB, ABA, AABBCCAB, etc. A list of "10 commandments" for communicating with musicians in class and rehearsal is given.

I am using this book as a text in my Rhythmic Analysis class for dance majors at ULL. It has an accessible approach to learning about music, does not get too bogged down with music theory, and addresses issues particular to dancers. An excellent book, full of stimulating ideas to use in class.

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