I love to read this book with children. They love books that are sung to them (this uses the tune of "On top of Old Smoky"). The kids love to anticipate what is coming next, whether it is the first time reading it, or the 100th! I like to add things to each page (like eating the meatballs, or really giving a good fake sneeze on the appropriate pages) and the kids really get into that, too! This was a song and book I recalled from my own childhood, and the one and only book I HAD to get my son when he was born. I have since given it to other children, and it has become a favorite of theirs, too. It's a great book, and a great song they can learn and sing for fun, even when they are not looking at the book itself. It's just plain F-U-N!

I love this book because it teaches my little girl of 3 years the basics of words in english (she spoke spanish), it has a very easy way for little children to understand the letters and words, and also helps them to read. I really recommend it

I never owned the piano songbook. But when I was a child I owned a copy of the LP, with Tom singing and playing the songs from the book. The record was something my whole family has treasured. We've played it for cousins and for people who were having babies. I wish some recording studio would bring it back on tape and CD along with the Activity and Game Songs series.

This book is great for teachers who want to share fun songs with their young classes. Songs are what children love!

This is the last in a series of four volumes created between 1959 and 1965 by jazz pianist and instructor John Mehegan. The complete set is of the utmost historical importance for anyone with a serious interest in jazz piano. Before Mehegan, no other author had succeeded in unlocking the mysteries of jazz piano and then communicating them to a mass audience in a clear and cogent manner.

Volume 4's "contemporary" styles include such jazz giants as Oscar Peterson, Horace Silver and Bill Evans. In Mehegan's view, these three were the primary architects of modern jazz piano.

At the very beginning of the book is a note-for-note transcription of Bill Evans' classic "Peri's Scope." Serious jazz piano students will want to memorize or "cop" this performance in its entirety, since it encompasses so many of Evans' stylistic innovations within one comparatively short space.

The "meat and potatoes" foundation of this volume is the series of chord-like clusters Mehegan refers to as "A" and "B" voicings. One set of voicings derives from Chopin, the other from Ravel. For accompaniment or "comping," these are played in the right hand with single bass notes or "root seven" intervals played in the left. For soloing, they are played in the left hand.

This volume goes on to describe melodies voiced in "block" chords as developed by pianist George Shearing, and then outlines a solo piano architecture based on the A and B voicings [arguably prescient, anticipating the solo piano renaissance that occurred during the '80s].

The book's primary flaw -- one which persists throughout the serie -- is its unfortunate allegiance to the concept of "figured bass" used within traditional music theory instruction. Indeed, there is a conspicuous overall effort throughout the series to "suck up" to academia, but this is a forgivable byproduct of an age when traditional academia persisted in viewing jazz as something too vulgar and intellectually impovershed to merit acceptance within hallowed academic environs. -- Cortland Kirkeby