Bücher von Richard Moran

6 Strings is the unique new system of chord diagrams from Moran Education. All chords are displayed in a horizontal grid, rather than the vertical one employed in most guitar books. This system is proven to optimize your learning, allowing chord patterns to be learnt and digested much faster.With over 500 chords, in a pocket-sized A5 format, this book is small enough to be carried in your guitar case, yet big enough to be the only guitar chord book you'll ever need.

6 Strings is the unique new system of chord diagrams from Moran Education. All chords are displayed in a horizontal grid, rather than the vertical one employed in most guitar books. This system is proven to optimize your learning, allowing chord patterns to be learnt and digested much faster.This special edition of our most popular title caters for those who play left-handed guitars.With over 500 chords, in a pocket-sized A5 format, this book is small enough to be carried in your guitar case, yet big enough to be the only guitar chord book you'll ever need.

The Big Keyboard and Piano Chord Book presents over 500 Keyboard and Piano chords in our unique easy to read format.With large clear and concise diagrams, we show you all the keyboard chords you'll ever need to know.If you've just started playing, you'll appreciate our Introductory Pages, which explain how to get the most out of the book, and give advice on common chord substitutions.The more advanced player will appreciate our no-nonsense, easy to read and navigate format.This book is the perfect addition to any gigging keyboard player's library.

Making music is all about patterns. 24 Keys is designed to help you learn the unique fingering pattern that makes up each key quickly and easily through learning scales and arpeggios, and through practice exercises. It provides a unique visual guide to learning the position of the fingers in each key, so that you can make each second of practice count. We never sacrifice traditional notation. Each Scale and Arpeggio page in the book includes the traditional notation for each scale and arpeggio on the left, with our unique 'Grid' complementing it on the right. The correct fingering to use is shown in both traditional notation, and on 'The Grid'. Bowing is indicated as usual in traditional notation. Our specially written Exercises concentrate on cementing intonation, and are a fun way to solidify Scales and Arpeggios. Some of our Exercises are traditional 'Solo' exercises, some are written as duets for student and teacher, or student and student.

From Simon & Schuster, Knowing Right From Wrong is Richard Moran's look at the insanity defense of Daniel McNaughtan.In this examination of the precedent-setting case, Moran looks through an enlightened humanitarian lens of judgments passed on mentally ill defendants by judges and juries as a result of political climate and considerations.

Since Socrates, and through Descartes to the present day, the problems of self-knowledge have been central to philosophy's understanding of itself. Today the idea of ''first-person authority''--the claim of a distinctive relation each person has toward his or her own mental life--has been challenged from a number of directions, to the point where many doubt the person bears any distinctive relation to his or her own mental life, let alone a privileged one. In Authority and Estrangement, Richard Moran argues for a reconception of the first-person and its claims. Indeed, he writes, a more thorough repudiation of the idea of privileged inner observation leads to a deeper appreciation of the systematic differences between self-knowledge and the knowledge of others, differences that are both irreducible and constitutive of the very concept and life of the person. Masterfully blending philosophy of mind and moral psychology, Moran develops a view of self-knowledge that concentrates on the self as agent rather than spectator. He argues that while each person does speak for his own thought and feeling with a distinctive authority, that very authority is tied just as much to the disprivileging of the first-person, to its specific possibilities of alienation. Drawing on certain themes from Wittgenstein, Sartre, and others, the book explores the extent to which what we say about ourselves is a matter of discovery or of creation, the difficulties and limitations in being ''objective'' toward ourselves, and the conflicting demands of realism about oneself and responsibility for oneself. What emerges is a strikingly original and psychologically nuanced exploration of the contrasting ideals of relations to oneself and relations to others.