#Bastien piano basic

[picturebookshelf]

Bastien Piano Basics: Technic (Level 3)

James and Jane Smisor Bastien

(1985)

[bastienpianobasics]

Bastien Piano Basics

Free piano lessons , Free sheet music,  WWW.bastienpianobasics.com

 Hi if you're like me, I love music . Some of you are professionals others just like to play. Well on that note I did some research on learning to play piano easily and quickly . For young beginners James Bastien has always been recommended by professional music teachers for years. Some of his most popular books for beginners include Bastien piano basics level 1 Bastien piano basics level 2 Bastien piano basics level 3 Bastien piano basics level 4 Bastien piano basics SCALES, CHORDS & ARPEGGIOS. Just to name a few. If your older or want to learn to play quickly i thought it would be great if i could help by providing a couple of places that not only can get you playing in no time best part is it's a lot of fun i have one place alone that has taught over 90,000 people help to start from beginning and be playing in just days. If you play any instrument one thing everyone needs is sheet music . Well now not to worry because i have you covered there also. But here is the best part i thought i would surprise you by saving the best for last. You will even get to learn to play one of my favorites Bastien piano basics Boogie Rock and Country level 1 made for beginners how fun that is. Here’s The best part its all free lessons sheet music and more. So if you want to rock out, play at a party or maybe even just for fun . Everything you need is here for you  hope you like it .

  click the link .http://www.bastienpianobasics.com                                                               This is also really amazing you can play any instrument but the sheet music place will give you some free sheet music its a good selection. But if you want an amazing deal . For less the $50.00 they will let you down load all the sheet music you want for a whole year that's crazy. They have an awesome collection. If you find this helpful let me know i will be happy to get you more free things for you. Thanks Dave Warman.

[cheapmusicbooks]

Piano Publications For Old Beginners

The following 5 top ideal choices of piano books will aid you pick which of these books matched your musical character most. First is Alfred's Basic Adult All-in-One Piano Program Level 1, Publication & CD, this is especially produced for adult newbies.

The book as well as CD has everything you need to assist you on your method to playing the piano. By the end certainly you will certainly be able to recognize the standard of piano having fun songs concept, along with strategy in playing the most prominent compositions. Secondly is Bastien's starting Piano for Adults, this publication is set out for very easy understanding. It includes on sight reading, concept and technique, and also several popular melodies for you to play.

The 3rd on the listing is Faber's Adult Piano Adventures Degree 1. This book will lead you to acknowledge the names of the piano keys in order for you to play stunning music items. Its basic method of discussing the lesson will surely make a lot of progression, even if you're just studying by yourself.

The next one is Hal Leonard's Easy Adult Piano Beginner's Training course; this is a detailed guidebook, beginning the lessons from the extremely basic part of piano study. This publication will also show you exactly how to play all time faves such as "The Artist" and also "Mozart Motif".

Click on this link to get about more information: Master your theory

Finally, is Play Piano Now! (An Easy Starting Method for Busy Adults), this was produced especially for active adults in mind without jeopardizing the quality of the lessons. The lessons below are made very understandable and also at the end of the course you will certainly be able to play the best pieces of popular pianist.

There are a lot of approaches to create your piano skills, locating the best tool is the best solution. Picking the ideal songs will keep you playing delightful and also enjoyable, that is the most effective concern on the list that there is, by far to push you to end up being a truly best of the best musician. Grownups that have this dream discover how to play the piano will have their chance with the help of ideal piano books.

[stopforamoment]

“Landslide” (4 of 10)

Book: The Royal Romance (After Book Three)

Pairing: Bastien Lykel x OFC Rinda Parks

Word Count: 1,673

Rating: M for References to School Shootings, Panic Attacks, and Language

Triggers: References to School Shootings, Violent Deaths, ALICE Training and School Lockdown Drills, Panic Attacks

Author’s Note: Thank you to all the amazing artists whose work got me through a *really* long semester and TRR break. This is my little thank you to all of you. This series is partly to deal with my terror of what could happen to my family because of our careers and the never-ending school violence in the United States. Chapters are named after songs I was listening to at the time because I’m real original like that. This one is “Landslide,” sung by Stevie Nicks. 

*Obligatory disclaimer that Pixelberry Studios owns the TRR characters and my pocketbook with those darn diamond scenes. OFC with all her quirks is all mine. My apologies if Tumblr or I do something stupid when I try to post this.

Summary: Everyone deals with the aftermath of Rinda’s panic attack and her ugly crying. Bastien takes off some clothes, but it’s just a blue ball for the readers. Sorry! Bastien finally gets to read Rinda’s file.

*The “Keep Reading” link should be here!

After Rinda’s outburst and the violence of the video, the teachers stared awkwardly, unsure of how to help. Bastien turned from Rinda and barked at Mr. Kakos to dismiss everyone. Kakos stayed frozen and eventually everyone silently filed out of the gym, leaving Rinda sobbing on the ground while Laura and Bastien still held her. Eventually Rinda’s sobs were replaced by hiccups, and Bastien whispered that he would get her some water and a towel. He returned and handed Rinda the water, but she mumbled that she needed to wipe her face first. She kept her face down while she wiped her nose with the towel. “I’m sorry” she gasped between loud, racking hiccups. Bastien unscrewed the cap and handed Rinda the water bottle again. She took a few sips between hiccups and they slowed down. Then she took a larger drink and took a few deep breaths.

“Thank you . . . I’m so sorry . . . I’m an ugly crier and I’ve got booger bubbles coming out of my nose. Seriously, I’m so gross right now.”

Laura took the towel from Rinda’s hands, folded it over to a clean side, and slowly began to wipe her face. “It’s not so bad,” she lied.

Rinda gave a shaky laugh and gave her friend a hug. She looked up at Bastien, about to thank him, when she gasped in shock. “Mr. Lykel . . . I’m so sorry! Your suit . . . please. I’ll get it dry cleaned. We can find something else for you to wear . . .”

“Mrs. Parks, it’s fine. I have another set of clothes in my office. If you’ll excuse me, I’ll leave you two alone while I change.” He gave Rinda’s shoulder a gentle squeeze and turned away.

“Oh God, Laura! I snarfed all over him. Did you see how soaked his suit was? The poor guy is a walking hazmat from my snot.”

Laura laughed. She shared Rinda’s need to use humor to lighten difficult situations. “Well, I did have fantasies about getting his shirt off. You were quite the wingman today.”

. . . . .

Bastien walked back to his temporary office and locked the door. One by one he took off the layers of his clothes, a methodic ritual that normally helped him transition from his professional to personal life. First, he removed his suitcoat. Normally he would put it on a hanger, even if it needed to be dry cleaned. Today, however, he folded it neatly and placed it in a plastic bag. Next he removed his side arm and placed it on the desk, within reach until he was changed and would wear it again. Slowly, meticulously, he removed his vest, then unclasped his tie pin and set that on the desk. He loosened his tie, completely unknotting it and pulling on one side of the fabric as it slid through his shirt collar. Bastien moved on to his shirt, slowly unworking each button as he thought about the day’s events.

When he was finished he threw everything else into the plastic bag that he would simply hand to his dry cleaner. Rinda really did mess up his clothes, but that was the furthest thing from his mind.

Once Bastien was changed and his sidearm reholstered, he sat down and opened Rinda’s file. Fuck. He still couldn’t believe he missed this information on her husband or that he didn’t properly put away the thumb drive and file when Kakos entered the room. He also wondered why Kakos somehow thought the training video was on the thumb drive, separate from all of the other training materials. Unless he saw the note and purposely did it? Bastien knew he was petty, but could he be that cruel?

It was a perfect storm of mismanagement, and Bastien knew it was entirely his own fault for not handling things himself. He felt himself slipping, ever since the terrorists were apprehended and he wasn’t running on adrenaline and urgency anymore. Now that he actually had time to stop for a moment and think about his situation, to be honest about his injury . . . No. Bastien pushed that thought back. Again.

Normally Bastien was all business as he read a person’s file. Normally, he read the file before he met the person. But after spending the past few days with Rinda and holding her this afternoon while she cried, Bastien knew he couldn’t be impartial. The basics—Rinda grew up in Wisconsin, in the United States, and went to college in a city called Milwaukee. She had an undergraduate degree in secondary education, English, and history. She taught high school before going on to grad school, and the certification to teach elementary-aged children came later in life. She was 42 and had almost 20 years of teaching experience at the elementary, high school, and university levels. Only one year of high school teaching, though. Bastien grinned. He could imagine why a teacher wouldn’t last long teaching high school students, but he wondered why she chose to teach elementary school children later in life.

He moved from her professional information to start reading her personal data.

Then Bastien caught his breath and set the file down. He leaned his head into his hands and took deep breaths, trying to steady himself.

Rinda and Jameson had a ten-year-old son named Henry. Henry would have been eight or nine when his father died, even younger than Drake was when his father Jackson died.

. . . . .

Bastien leaned back in his chair, memories of Jackson’s death pounding over him. Jackson Walker was Bastien’s mentor, and since Bastien didn’t have any family nearby when he joined the Royal Guard, Jackson often invited him to dinner with his family.

Bastien became close with the family, often babysitting the two children—Drake and Savannah—when their parents had to work late or needed a date night. When Jackson died Bastien did his best to be there for Drake and Savannah, but it was a difficult situation for everyone involved.

Suddenly Bastien stood up and grabbed his suitcoat. He need to get the fuck out of there and find somewhere to get a drink. He locked the office door and walked down the hallway but stopped when he heard someone playing the piano in the music room. 

. . . . .

Rinda was sitting alone, softy singing.

Well, I've been afraid of changin'

'Cause I've built my life around you

But time makes you bolder

Even children get older

And I'm getting older, too . . .

Bastien stood outside the door listening. Rinda’s voice was raw with emotion and the lyrics shook him.

After she finished Rinda sat quietly for a moment, her back still to Bastien. He was about to turn away when Rinda quietly said “Did you get a chance to change, Mr. Lykel?”

Bastien stood still as Rinda turned around with a shy smile. “My secret Spidey sense. And I have eyes in the back of my head, too. It’s a teacher thing.”

Bastien walked into the room before pausing uncertainly. Rinda sensed his discomfort. “Did you need to speak to me about anything with the training? I’ve pulled myself together, so I’m okay to go through things right now, if you’d like. Or tomorrow when it’s convenient. I know you’ve got a lot to do.”

“It can wait until tomorrow. I just heard the music and wanted to see who was still here. I thought you’d be with Ms. Halkais, so I was surprised to see you here by yourself.”

Rinda nodded. “Laura did offer to let me stay with her. She’s amazing. I just needed some time by myself and I promised to message her if I changed my mind.”

Bastien nodded. “Are you going to be okay? I don’t want to leave you like this.”

Rinda gave a deep sigh. “Are we talking about my reaction to the video, or the fact that life with Mr. Kakos will be unbearable once you leave?” Bastien looked down at Rinda, staring intently into her eyes.

When Bastien didn’t respond Rinda broke eye contact, shrugging her shoulders before continuing. “Actually, part of the reason I was here by myself was because I was thinking about whether I’d stay or not.” Bastien sat down in a chair next to her, Rinda still seated on the piano bench.  “Don’t get me wrong, I plan on fulfilling my duties until a replacement is found. But after my reaction this afternoon it’s pretty obvious I’m a weak link, and Kakos and I don’t work very well together.” Bastien nodded his head in affirmation. “This school safety initiative is huge, Mr. Lykel. It’s bigger than the bullshit between me and Kakos, and I will gladly step down if that’s what’s necessary. It’s better if I resign now, before things really get underway with school. Besides, I’m not even close to finishing unpacking, and my son isn’t scheduled to arrive until next week so it’s not like I’d be uprooting him again so quickly. I can still help from the U.S. if necessary, if anyone even wants my input anymore. But yeah. That’s what I’ve been thinking.”

“Mrs. Parks . . .” Bastien stopped for a moment before continuing, the words suddenly spilling out of his mouth before he even had a chance to think about what he was going to say. “It’s been a hell of a day and I was going to get a drink. Want to join me?”

Rinda gave a weak grin. “That would be amazing, but only if you’ll let me buy. I really do owe you one because of your suit. By the way, just how disgusting were your clothes? You can be honest.”

Bastien’s face revealed no emotion as he stood up, ignoring her question.

“Ouch. That’s pretty bad, Mr. Lykel.”

[atthevogue]

“Tony de Peltrie” (1985)

The basics: Wikipedia

Opened: A landmark piece of computer animation, the Canadian short was part of the 19th Annual Tournee of Animation anthology that showed at the Vogue Theater in March and April of 1986.

Also on the bill: At least one Saturday in April, it was programmed in the 9:00 slot after Chris Marker’s Akira Kurosawa documentary A.K. and Woody Allen’s Sleeper, and before a midnight showing of Night of the Living Dead, which sounds to me like a very good eight-hour day at the movies. Otherwise, you could have had a less perfect day seeing it play after Haskell Wexler’s forgotten Nicaragua war movie Latino and the equally forgotten Gene Hackman/Ann-Margaret romantic drama Twice in a Lifetime.

What did the paper say? ★★★1/2 from the Courier-Journal film critic Dudley Saunders. Saunders described the Tournee as “a specialized event that shows signs of moving into the movie mainstream,” correctly presaging the renaissance in feature-length animation in the 1990s generally and Pixar specifically, whose Luxo, Jr. short was released that same year. Of Tony, Saunders singles it out as “one of the most technologically advanced,” and that it featured “some delightful music from Marie Bastien.” He then throws his hands up: "Computers were used in this Canadian entry. Don’t ask how.” Saunders was long-time film critic for the C-J’s afternoon counterpart, the Louisville Times, throughout the 1960s, ‘70s and ‘80s. In the late 1980s, he would co-found Louisville’s free alternative weekly, the Louisville Eccentric Observer.

What was I doing? I was six and hypothetically could have seen an unrated animation festival, though I'd have been a little bit too young to have fully appreciated it. Although, who knows, I’m sure I was watching four hours of cartoons a day at the time, so maybe my taste was really catholic.

How do I see it in 2018? It’s on YouTube.

A four-hour-a-day diet of cartoons was probably on the lower end for most of my peers. I grew up during what I believe is commonly known as the Garbage Age of Animation, which you can trace roughly from The Aristocrats in 1970 to The Little Mermaid (or The Simpsons) in 1989. The quantity of animation was high, and the quality was low. Those twenty years were a wasteland for Disney, and even though I have fond memories of a lot of those movies, like The Black Cauldron, they’re a pretty bleak bunch compared to what was sitting in those legendary Disney vaults, waiting patiently to be released on home video.

Other than low-quality Disney releases, the 1980s were highlighted mostly by the post-’70s crap was being churned out of the Hanna-Barbera laboratories. Either that, or nutrition-free Saturday morning toy commercials like The Smurfs and G.I. Joe. Of course there’s also Don Bluth, whose work is kind of brilliant, but whose odd feature-length movies seem very out-of-step with the times. Don Bluth movies seem now like baroque Disney alternatives for weird, dispossessed kids who didn’t yet realize they were weird and dispossessed. (Something like The Secret of NIMH is like Jodorowsky compared to, say, 101 Dalmatians.) Most of the bright spots of those years were produced under the patronage of the saint of 1980s suburbia, Steven Spielberg. An American Tale or Tiny Toon Adventures aren’t regarded today as auteurist masterpieces of animation (or are they?), but they were really smart and imaginative if you were nine years old. Still, the idea that cartoons might be sophisticated enough to be enjoyed by non-stoned adults was probably very alien concept in 1985.

In the midst of all of this, though, scattered throughout the world were a bunch of programmers and animators working out the next regime. Within ten years of Tony de Peltrie, Pixar’s Toy Story would be the first feature-length CGI animated movie, and within another ten years, traditional hand-drawn animation, at least for blockbuster commercial purposes, would be effectively dead. That went for both kids and their parents. Animation, like comic books, would take on a new sophistication and levels of respectability in the coming decades.

I love it when you read an old newspaper review with the benefit of hindsight, and find that the critic has gotten it right in predicting how things may play out in years to come. That’s why I was excited to read in Saunders’ review of the Tournee that he suspected animation as an artform was showing “signs of moving into the movie mainstream.” His sense of confusion (or wonder, or some combination) at the computer-generated aspects is charming in retrospect, too.

Tony de Peltrie is a landmark in computer-generated animation, but its lineage doesn’t really travel through the Pixar line at all (even though John Lassetter himself served on the award panel for the film festival where it was first shown, and predicted it’d be regarded as a landmark piece of animation). The children of the 1970s and ‘80s grew up to revere the golden era of Pixar movies as adults, and the general consensus is that not only are they great technical accomplishments, but works of great emotional resonance.

As much of an outlier as it makes me: I just don’t know. I haven’t really thought so. I think most Pixar movies are really, really sappy in the most obvious way possible. The oldest ones look to me as creaky as all those rotoscoped Ralph Bakshi cartoons of the ‘70s. Which is fine, technology is one thing -- most silent movies look pretty creaky, too -- but the underlying of armature of refined Disney sap that supports the whole structure strains to the point of collapse after a time or two.

Film critic Emily Yoshida said it best on Twitter: she noted, when Incredibles 2 came out, she’d recently re-watched the first Incredibles and was shocked at how crude it looked. "The technoligization of animation will not do individual works favors over time,” she wrote. “The wet hair effect in INCREDIBLES, which I remember everyone being so excited about, felt like holding a first generation iPod. Which is how these movies have trained people to watch them on a visual level...as technology.” There’s something here that I think Yoshida is alluding to about Pixar movies that is very Silicon Valley-ish in the way they’re consumed, almost as status symbols, or as luxury products. This is true nearly across all sectors of the tech industry now, but it’s particularly evident with animation.

One of my favorite movie events of the year is when the Landmark theaters here in Minneapolis play the Oscar-nominated animated shorts at the beginning of the year. Every year, it’s the same: you’ll get a collection of fascinating experiments from all over the world, some digitally rendered, some hand-drawn. They don’t always work, and some of them are really bad, but there’s always such a breadth of styles, emotions and narratives that I’m always engaged and delighted. They remind you that, in animation, you can do anything you want. You can go anywhere, try everything, show anything a person can imagine. Seeing the animated shorts every year, more than anything else, gets me so excited about what movies can be.

And then, in the middle of the program, there’s invariably some big gooey, sentimental mush from Pixar. Not all of them are bad, and some are quite nicely done, but for the most part, it’s cute anthropomorphized animals or objects or kids placed in cute, emotionally manipulative situations. I usually go refill my Diet Coke or take a bathroom break during the Pixar sequence.

Yeah, yeah, I know. What kind of monster hates Pixar? 

I don’t hate Pixar, and I like most of the pre-Cars 2 features just fine. The best parts of Toy Story and Up and Wall-E are as good as people say they are. But when you take the reputation that Pixar has had for innovation and developing exciting new filmmaking technology in the past 25 years, and compare it to the reality, there’s an enormous gap. And it drives me nuts, because if this is supposed to be the best American animation has to offer in terms of innovation and emotional engagement, it's not very inspiring. Especially placed alongside the sorts of animated shorts that come out of independent studios elsewhere in the U.S., or Japan, or France, or Canada. 

Which brings us to Tony de Peltrie, created in Montreal by four French-Canadian animators, and supported in part by the National Film Board of Canada, who would continue to nurture and support animation projects in Canada through the twenty-first century. A huge part of the enjoyment -- and for me, there was an enormous amount of enjoyment in watching Tony de Peltrie -- is seeing this entirely new way of telling stories and conveying images appear in front of you for the first time. Maybe it’s because I have clear memories of a world without contemporary CGI, but I still find this enormous sense of wonder in what’s happening as Tony is onscreen. I still remember very clearly seeing the early landmarks of computer-aided graphics, and being almost overwhelmed with a sense of awe -- Tron, Star Trek IV, Jurassic Park. Tony feels a bit like that, even after so many superior technical accomplishments that followed.

Tony de Peltrie doesn’t have much of a plot. A washed-up French-Canadian entertainer recounts his past glories as he sits at the piano and plays, and then slowly dissolves over a few minutes into an amorphous, impressionistic void. (Part of the joke, I think, is using such cutting-edge technology to tell the story of a white leather shoe-clad artist whose work has become very unfashionable by the 1980s.) It’s really just a monologue. The content could be conveyed using a live actor, or traditional hand-drawn animation.  

But Tony looks so odd, just sitting on the edge of the Uncanny Valley, dangling those white leather shoes into the void. Part of the appeal is that, while Tony’s monologue is so human and delivered in such an off-the-cuff way, you’re appreciating the challenge of having the technology match the humanity. Tony’s chin and eyes and fingers are exaggerated, like a caricature, but there’s such a sense of warmth underneath the chilliness of the computer-rendered surfaces. Though it’s wistful and charming, you wouldn’t necessarily call it a landmark in storytelling -- again, it’s just a monologue, and not an unfamiliar one -- but it is a technological landmark in showing that the computer animation could be used to humane ends. It’d be just as easy to make Tony fly through space or kill robots or whatever else. But instead, you get an old, well-worn story that slowly eases out of the ordinary into the surreal, and happens so gradually you lose yourself in a sort of trance.

As Yoshida wrote, technoligization of animation doesn’t do individual works favors over time. To that end, something like Tony can’t be de-coupled from its impressive but outdated graphics. These landmarks tend to be more admired than watched -- to the extent that it’s remembered at all, it’s as a piece of technology, and not as a piece of craft or storytelling.

Still, Tony is the ancestor of every badly rendered straight-to-Netflix animated talking-animals feature cluttering up your queue, but he’s also the ancestor of any experiment that tries to apply computer-generated imagery to ways of storytelling. In that sense, he has as much in common with Emily in World of Tomorrow as he does with Boss Baby, a common ancestor to any computer-generated human-like figure with a story. When Tony dissolves into silver fragments at the end of the short, it’s as if those pieces flew out into the world, through the copper wires that connect the world’s animation studios and personal computers, and are now present everywhere. He’s like a ghost that haunts the present. I feel that watching it now, and I imagine audiences sitting at the Vogue in 1986 might have felt a stirring of something similar.

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“I believe that everything happens for a reason. People change so that you can learn to let go, things go wrong so that you appreciate them when they're right, you believe lies so you eventually learn to trust no one but yourself, and sometimes good things fall apart so better things can fall together.”

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[bastienpianobasics]

Bastien piano basics about level one

Piano level 1 is the primary lesson publication in the Bastien Piano Fundamentals training course, and also starts with very easy items in the C setting. level 1 items are scheduled straight forward 5-finger pattern having fun in the tricks of C, F, as well as Bastien Piano Fundamentals: Piano level 1 technique makes use of very carefully rated, rational knowing series ensures consistent, regular development. Initial songs by the Bastien’s consists of a boosting blend of pop, people, classic, as well as modern designs. Full-color images throughout amuse and also enhance music ideas in the process. level 1 might be made use of with students that have actually finished any type of Guide Level approach. It starts with very easy items in the C setting and also offers C, F, and also G 5-finger settings. Each web page is very carefully associated page-by-page with Concept, Efficiency, as well as Technique. In conclusion, piano basics level ones goal is to introduce students to the spectacular world of playing the piano with a complete easy to learn method.

The American piano pedagogue and also artist, James (Jim) W. Bastien, was birthed to a music dad, Clarence, that played the violin, as well as to a mommy, Dorothy, that was an author as well as a senior high school Latin as well as journalism teacher. After residing in Seattle and also Florida, the family members relocated to Rose city, Oregon, where James started his piano research studies with Frances Mulkey North. Consequently, he researched with the late Ariel Rubstein, the late Louis Artau, and also the late György Sándor. He got his undergraduate as well as masters levels from Southern Methodist College.

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Author : James Bastien Publisher : Kjos Music ISBN : 0849752663 Publication Date : 1985-- Language : eng Pages :

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Author : James Bastien Publisher : Kjos Music ISBN : 0849752663 Publication Date : 1985-- Language : eng Pages :

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ISBN-10 : 0849752663

ISBN-13 : 9780849752667

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�Edici�n en espa�ol y rimada del cl�sico para primeros lectores de Dr. Seuss! «De all� hasta ac�, de ac� hasta all�, hay cosas divertidas en cualquier lugar...�. As� da comienzo esta historia, un canto a la imaginaci�n. Comenzando con cinco peces y continuando con «castillos en el aire� --como el abrelatas Zata, el boxeador Goxilla, el gui�ador Yoko, que bebe tinta rosada como loco--, las graciosas rimas y los coloridos personajes de Un pez dos peces pez rojo pez azul dan un divertido enfoque a la lectura, logrando que los ni�os se r�an de la ma�ana a la noche: «El d�a ha terminado. �Cu�nto lo hemos disfrutado! Ma�ana otro d�a ser�.Creada por Dr. Seuss, la serie de libros para primeros lectores (Beginner Books) anima a los ni�os a leer ellos solos con palabras sencillas y divertidos dibujos que dan sentido a la lectura.Las ediciones rimadas, en espa�ol, de los cl�sicos de Dr. Seuss, publicadas por Random House, brindan la maravillosa oportunidad de disfrutar de sus historias a m�s de treinta y ocho millones de personas hispanohablantes en Estados Unidos. Los lectores podr�n divertirse con las ediciones en espa�ol de The Cat in the Hat (El Gato Ensombrerado); Green Eggs and Ham (Huevos verdes con jam�n); One Fish Two Fish Red Fish Blue Fish (Un pez, dos peces, pez rojo, pez azul); The Lorax (El L�rax); Oh, the Places You'll Go! (�Oh, cu�n lejos llegar�s!); How the Grinch Stole Christmas! (�C�mo el Grinch rob� la Navidad!); The Cat in the Hat Comes Back (El Gato Ensombrerado ha regresado); I Can Read With My Eyes Shut! (�Yo puedo leer con los ojos cerrados!); Horton Hears a Who! (�Horton escucha a Quién!); And to Think That I Saw It on Mulberry Street (Y pensar que lo vi por la calle Porvenir); The 500 Hats of Bartholomew Cubbins (Los 500 sombreros de Bartolom� Cubbins); There's A Wocket in my Pocket! (�Hay un Molillo en mi Bolsillo!); Mr. Brown Can Moo! Can You? (�El Sr. Brown hace Muuu! �Podr�as hacerlo t�?); Ten Apples on Top! (�Diez manzanas en la cabeza!); What Pet Should I Get? (�Cómo podré decidir qué mascota elegir?); y Yertle the Turtle and Other Stories (Yoruga la Tortuga y otros cuentos). Adem�s, se publicar�n nuevas ediciones en espa�ol �todos los a�os!A rhymed Spanish edition of Dr. Seuss's classic Beginner Book about imagination!From there to here, from here to there, funny things are everywhere . . . So begins Dr. Seuss's beloved story about of the powers of the imagination. Beginning with just five fish and continuing into flights of fancy--from the can-opening Zans to the boxing Gox to the winking Yink who drinks pink ink--the silly rhymes and colorful cast of characters in One Fish Two Fish Red Fish Blue Fish create an entertaining approach to reading that will have children giggling from morning to night: Today is gone. Today was fun. Tomorrow is another one.Originally created by Dr. Seuss, Beginner Books encourage children to read all by themselves, with simple words and illustrations that give clues to their meaning.Random House's rhymed, Spanish-language editions of classic Dr. Seuss books make the joyful experience of reading Dr. Seuss books available for the more than 38 million people in the United States who speak Spanish. Readers can enjoy The Cat in the Hat (El Gato Ensombrerado); Green Eggs and Ham (Huevos verdes con jam�n); One Fish Two Fish Red Fish Blue Fish (Un pez, dos peces, pez rojo, pez azul); The Lorax (El L�rax); Oh, the Places You'll Go! (�Oh, cu�n lejos llegar�s!); How the Grinch Stole Christmas! (�C�mo el Grinch rob� la Navidad!); The Cat in the Hat Comes Back (El Gato Ensombrerado ha regresado); I Can Read With My Eyes Shut! (�Yo puedo leer con los ojos cerrados!); Horton Hears a Who! (�Horton escucha a Quién!); And to Think That I Saw It on Mulberry Street (Y pensar que lo vi por la calle Porvenir); The 500 Hats of Bartholomew Cubbins (Los 500 sombreros de Bartolom� Cubbins); There's A Wocket in my Pocket! (�Hay un Molillo en mi Bolsillo!); Mr. Brown Can Moo! Can You? (�El Sr. Brown hace Muuu! �Podr�as hacerlo t�?); Ten Apples on Top! (�Diez manzanas en la cabeza!); What Pet Should I Get? (�Cómo podré decidir qué mascota elegir?); and Yertle the Turtle and Other Stories (Yoruga la Tortuga y otros cuentos). Expect new translations to be made available every year!

[bastienpianobasics]

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Hi I'm Dave i did some research and found some things i hope you like.  one is learn to play the piano or keyboards free.  I really liked it because it wasn't only fun.  But i couldn't believe how fast you could learn. I found a really good piano method that is hard to find but its also really good for beginners of all levels and ages. Bastien piano basics levels 1-4 and more. This collection i put together for you is also free.If you want to get a good varity of all types of sheet music. You can go here and get a great selection free. But if you want access to there whole collection is available they do charge. But i find to get sheet music to anything you want its a crazy deal under $50.00 for a year for all instruments. So you can go free or paid its fine with me im just trying to help. Please let me know if there are other types of thing you would like. I will try to help by putting a good collection for you if i can. As a musician im not looking to sell you anything. But it would be really good if you can give it a like and share this with others my goal is to help as many people as i can to be able to play and not have to worry about having to speed money if they cant afford lessons or maybe pay a really small cost. Wish you the best Please like share. Also if you have any suggestions that would help you and the group. please let me know thanks Dave.

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