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(Guitar Educational). This book with online audio explores all the main components necessary for crafting well-balanced rhythmic and melodic phrases. It also explains how these phrases are put together to form cohesive solos. Many styles are covered rock, blues, jazz, fusion, country, Latin, funk and more and all of the concepts are backed up with musical examples. The 50 ideas are divided into five main sections: The Basics covers fundamental but all too often forgotten techniques, such as slurs and vibrato, that can breathe new life into your phrases; Melodic Concepts explores various aspects of melodic phrasing, such as motifs, chromaticism and sequences; Harmonic Embellishments discusses the melodic potential of harmonic intervals (dyads), chords and chord partials; Rhythmic Concepts explores various aspects of rhythmic phrasing, such as accents, free-time phrasing and metric modulation, and how it pertains to melodic soloing; Solo Structure all of the topics discussed in the book come together to help form the big picture. The companion audio contains 89 demos for listening, and most tracks feature full-band backing. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. Also available for keyboard, tenor saxophone and trumpet.
We all have the same 12 notes.... It's how and when we play them that sets the masters apart from the amateurs. We all know it's important to learn the licks and vocabulary of the musicians who we wish to emulate, but in order to develop a unique voice we must learn how to phrase our lines in a personal way. Melodic Phrasing teaches you hundreds of ways to treat even simple lines to make the music your own.
About the Book Melodic Sculpturing is intended to provide a comprehensive, developmental approach to vocal instruction for the teacher and for a serious singer. The contents are based on the author's professional experience as a singer and teacher of singing and on the writings of many great teachers of the past and present. The book addresses the physiology of the voice, psychology of voice production, relevant acoustics, and corrections for vocal faults. It also deals with diction, breath management, and vibrato prognosis. Suggestions for using technology as an objective visual tool in voice instruction are included in an entire chapter on the topic. A major and unique portion of the book presents a subject regularly omitted from textbooks on vocal production - interpretation and style. The author presents 34 "principles" of melodic practices that may enhance composers' and poets' intentions, while providing greater interest and involvement for the listener. It is like an encyclopedia for teaching students and for learning to sing well. This inspiring and encouraging volume is filled with documentation from vocal masters of two centuries and many apropos quotations that bolster the interest for the reader. Nearly 100 vocal examples (VEs) are identified and coded in the chapters. They are available at www.MelodicSculpturing.com for downloading. Two accompanying 1-semester workbooks geared for voice classes, the private studio, and a singer's personal use are published separately.
This book is the collection of papers that came out of an interdisciplinary symposium held in the spring of 1991 in the Republic of San Marino. The conference "Effects of War on Society" was planned as the first in a series aimed ultimately at placing in perspective the sociocultural variables that make outbreaks of war probable, and delineating for researchers and policy makers alike some important steps that can be taken to control these variables. This is Volume 1 of a series entitled "Studies on the Nature of War", which the University of Rochester Press has been publishing from Volume 2 (War and Ethnicity: Global Connections and Local Violence (1997)). after much demand, we are now distributing this book on behalf of the conference organizers, The Center for Interdisciplinary Research on Social Stress, in San Marino.
Easily Master Melodic Phrasing in Your Guitar Solos 'He's just feeling it' is no longer an acceptable explanation of musical ability. This book breaks down melodic feel and phrasing into learnable skills. The most detailed, structured method to develop your own unique voice on the guitar Whether as part of the Complete Guide to Playing Blues Guitar Series, or as a stand-alone work, Melodic Phrasing takes you on a journey through every aspect of musical phrasing. We all have the same 12 notes.... It's how and when we play them that sets the masters apart from the amateurs. We all know it's important to learn the licks and vocabulary of the musicians who we wish to emulate, but in order to develop a unique voice we must learn how to phrase our lines in a personal way. Melodic Phrasing teaches you hundreds of ways to treat even simple lines to make the music your own. Learn to control rhythm and phrasing, and open your mind to infinite new musical possibilities. Melodic Phrasing challenges our perception of what blues soloing is. No longer will you be 'chasing licks' around the fretboard; struggling because you couldn't quite execute or remember the line you were reaching for. In this book you will learn how to develop and control fundamental rhythmic fragments to create and drive your solo forward. By focusing on rhythm and phrasing, and by learning to combine and develop these rhythmic building blocks, the melodies will take care of themselves. This is a natural, organic approach to developing your guitar soloing where you learn to truly improvise and break away from the prison of 'lick playing' or just 'exploring' the minor pentatonic scale. The Complete Guide to Playing Blues Guitar: Melodic Phrasing Contains: Over 160 examples with free audio to download Standard Notation and Tab The most in-depth lessons on rhythm and phrasing available Check out the reviews below: "If you are looking to go deeper than surface level with the blues and start gaining some understanding of what goes on within the melodic inter-weavings this is for you! I love Joseph Alexander's books... he is a great resource for anyone interested in the guitar." "Among the things I like most about these books is that they're laid out not like lessons, but more like practice routines. The emphasis is on getting the ideas into your fingers and ears, not just your head. A very refreshing approach. I look forward to the next one." "The Call & Response practice in this and his other books have helped my playing tremendously" Melodic Phrasing will change the way you approach the guitar. After working through this book you will never 'run out of licks' again; you will be able to create interesting, emotive, musical phrases whenever you want, and keep the audience coming back for more. Scroll Up to Buy It Now
Want to turn that haunting tune in your head into an awesome sound in your ear? You can! Music Composition For Dummies demystifies the process of composing music and writing songs. It guides you through every step of writing your own music, from choosing the right rhythm and tempo to creating melodies and chord progressions and working with instruments and voices. In this fun and practical guide, you’ll learn how to match keys and chords to the mood you want to convey, work a form without limiting your creativity, and hammer out a musical idea, even when your mind is drawing a blank. You’ll find out how to create popular songs, classically structured pieces, and even film, TV, and video game soundtracks. And, you’ll learn what you need to know about music composition software, including Finale, Sebelius, Pro Tools, and more. Discover how to: Preserve and organize your musical ideas Work with established chord progressions or create your own Develop great rhythms Select the right instruments Find melodies in your head, your instrument, and the world around you Use major and minor scales Work with modes and moods Build melodic motifs and phrases Use the circle of fifths to harmonize Write for multiple voices Make a demo recording Filled with creative exercises to build your composing skills, Music Composition for Dummies is the resource you need to get that melody out of your head and into the world.
The twentieth century has spawned a great interest in Indonesian music, and now books, articles, and manuscripts can be found that expound exclusively about karawitan (the combined vocal and instrumental music of the gamelan). Scholar Judith Becker has culled several key sources on karawitan into three volumes and has translated them for the benefit of the Western student of the gamelan tradition. The texts in her collection were written over a forty-five-year time period (ca 1930–1975) and include articles by Martopangrawit, Sumarsam, Sastrapustaka, Gitosaprodjo, Sindoesawarno, Poerbapangrawit, Probohardjono, Warsadiningrat, Purbodiningrat, Poerbatjaraka, and Paku Buwana X. The final volume also contains a glossary of technical terms, an appendix of the Javanese cipher notations (titilaras kepatihan), a biographical listing, and an index to the musical pieces (Gendhing).
In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music. A preference rule system evaluates many possible interpretations and chooses the one that best satisfies the rules. After an introductory chapter, Temperley presents preference rule systems for generating six basic kinds of musical structure: meter, phrase structure, contrapuntal structure, harmony, and key, as well as pitch spelling (the labeling of pitch events with spellings such as A flat or G sharp). He suggests that preference rule systems not only show how musical structures are inferred, but also shed light on other aspects of music. He substantiates this claim with discussions of musical ambiguity, retrospective revision, expectation, and music outside the Western canon (rock and traditional African music). He proposes a framework for the description of musical styles based on preference rule systems and explores the relevance of preference rule systems to higher-level aspects of music, such as musical schemata, narrative and drama, and musical tension.