You've just learned four new chords. How will you use them? Do they relate to each other in any way? How will you remember them? These are questions and problems that most beginning players encounter. This book addresses these problems by teaching chord progressions. (No man is an island, and neither is a chord.) Each chord is shown within the context of several different progressions, and most importantly, the theory behind these relationships and constructions is carefully and clearly explained. In addition, only the chords most often used by professional musicians are presented. You can also download MP3 files of the chord progressions found in this book for free. Links for these files are provided in the menu on the left. This book provides a solid basis of music theory for the serious student and is the required text at both New York University and Princeton University. 
 EXCERPT 1 
 The first thing a student must tackle is learning how to read music. A detailed description of the development of music notation is beyond the scope of this book and some inconsistencies (which will appear in italics) have stayed in musical notation, in the course of that development. For the beginner these inconsistencies can be very confusing but inconsistent as it may be, music notation does have a standard for expressing itself visually and by understanding this system a whole new world of music is open to you. 
 In this system a series of lines and spaces are employed to create a visual representation of sound. Each line and space corresponds to a pitch. Each pitch is given a name A, B, C, D, E, F, or G. A clef sign is also used to designate what names each line and space will receive. The reason for the many types of clefs will be explained momentarily. First let us look at the treble clef. The treble clef places the note sequence in the order listed below. This complete system of lines and spaces with a clef sign is called a staff. 
 As can be seen in the examples each line and space corresponds to a different tone. If you want to have pitches higher or lower than the 5 lines and four spaces you can extend the staff by using ledger lines. Ledger lines give you the ability to represent higher and lower pitches by extending the staff, these extended pitches are called ledger line notes. 
 If we extend this idea we run into trouble as can be seen from the example below. When excessive ledger lines are used, reading music becomes very difficult. To alleviate this problem other clefs are employed to make reading these notes that are out of the treble clef's range easier. The note in the previous example would be found in the bass or F clef on the 2nd space. 
 The following example shows where the notes fall in the bass clef. We will only use the treble clef in this book but a basic understanding of the bass clef is important. 
 EXCERPT 2 
 Below is a list of the chord tones and tensions for a dominant chord. Once again there is no limit to how many tensions can be in a chord but because the guitar has only 6 strings we are limited to 6 notes. Many times certain chord tones are dropped out so more tension can be placed in the chord. It is very common to drop out the 1 and 5 of the chord in order to add more tensions. As you learn each chord, notice which notes are present in each chord. 
 The chord tones and tensions for C7 are as follows: [graphic insert] All the tensions that we learn for each chord can be used as a substitute for the basic chord type. Dominant chords have many possibilities for adding and combining tensions. For instance if we have a C7 chord we could substitute C7#11 or C7#9b13 etc. Theoretically any combination is possible. Usually tensions are not combined that are a half step apart. For example, you usually don't have a dominant chord which contains b9 and natural 9.......

Chord Workbook for Guitar Volume One : Guitar chords and chord progressions for the guitar

Arts & Photography

Bruce Arnold

Music

muse eek publishing

This book is unique in that it has all the possible chord voicings on the top four strings of the guitar. These are the voicings that are used in funk, rock, R&amp;B, and jazz. A chord progression section is also included and allows the student to use the common progressions of a blues and minor blues. The information presented in Volume Two builds on the theoretical material presented in Volume One, but also introduces highly advanced reharmonization concepts. Intermediate students will find the progressions challenging, while the reharmonization section will be a most rewarding exercise for the advanced student.

Chord Workbook for Guitar: Chords and Chord Progressions, Vol. 2

Music Theory Workbook for Guitar is an excellent learning tool for both the beginner who has no knowledge of music theory, and the advanced student looking to improve their knowledge of the guitar fretboard. An easy to understand music theory section is included to help a beginner understand the basic theory of interval and chord construction. This book takes a student from the most simple construction of basic intervals to the most advanced chord structure while at all times applying this to the guitar fretboard. All answers are included in the book so a students can check their work.

Music Theory Workbook for Guitar Volume One

Music Theory Workbook for Guitar: Scale Construction and Application, Vol. 2

This book provides real hands-on application for 22 different scale types. A theory section written in concise and easy to understand language prepares the student for all exercises. Worksheets are given that quiz a student about scale construction using staff notation and guitar tablature. Audio files are also available on the muse-eek website to facilitate practice and improvisation with all the scales presented.

Rhythms Volume One is a breakthrough in music instruction, using the internet as a teaching tool! This book is for any instrumentalist seeking to develop their understanding of rhythms. This volume concentrates on eighth note rhythms and is a thesaurus of rhythmic patterns. All examples use one pitch, allowing the student to focus completely on time and rhythm.

Rhythms Volume One : Music Sight Reading Exercises

Bruce E. Arnold

Rhythms Volume Two is a breakthrough in music instruction, using the internet as a teaching tool! This book is for any instrumentalist seeking to develop their understanding of rhythms. This volume concentrates on sixteenth note rhythms and is a thesaurus of rhythmic patterns. All examples use one pitch, allowing the student to focus completely on time and rhythm.

Rhythms Volume Two : Music Sight Reading Exercises

In order to be prepared to read through any piece of music, the serious musician must be able to recognize, read and play rhythms fluidly. Unlike other books of this kind, the exercises given contain complex syncopations which approximate the experience of reading through a sophisticated jazz composition or a contemporary classical piece. This 100 page book will prepare the serious musician for a life of sight-reading rhythmically complex charts. This book applies both eighth and sixteenth note rhythms to odd meter combinations. All examples use one pitch, allowing the student to focus completely on time and rhythm on the instrument of their choice. All exercises can be downloaded from the internet to facilitate correct practice, and aid internalization. This book is a required text at New York Universities and Princeton University Music department.  EXCERPT 1  This books purpose it to help a student learn how to read and feel odd time signatures. There are some definite right and wrong ways to approach this goal. If you are a beginner at trying to read odd meters you will first need to subdivide a measure using the common denominator pulse unit. In Example One you can see that even though the time signature changes from 4/4 to 5/8 the common denominator is the eighth note pulse. Therefore when you are moving back and forth between a four and an eight meter you will need to feel an eighth note pulse. I recommend at first saying the pulse out loud to make sure you understand. When you count out loud you should use a 1 and, 2 and ..etc. to count a four metered measure and count up in numbers when you are in an eighth note meter. i.e. 3/8 would be 1,2,3. You can see in Example One that as you change from a four meter i.e. 4/4 to an 8th meter i.e. 5/8 you keep an eighth note pulse going in your head but change the names you are calling the basic pulse depending on the meter of the measure.  Example 2 shows how you might subdivide a measure where the eighth-note is the common denominator but the measures contain mostly sixteenth notes.  You can see in example 2 that feeling the pulse as sixteenths can make it easier to execute certain rhythms. You will find that reading examples 1-5 could be felt with an eighth note pulse while example 6-10 could be felt with a sixteenth note pulse.  Composers subdivide measures to help the performer see how they hear the internal accents of that measure. You will notice in Example One that 5/8 measure is felt in a group of two and a group of 3 eighth notes while the 3/8 measure in Example Two is felt as three separate and equal beats notwithstanding the natural accent the 1st beat of the measure would receive. When reading the examples found in this book, use these groupings to help you quickly see how a measure is felt and divided.  This method presented here of feeling a basic common denominator pulse will greatly help you in initially playing the examples. Of course you ultimate goal is to feel the pulse of the entire measure which is the original reason to have an odd meter. This is particularly true at fast tempos where it is much more natural and musical to feel the pulse of the measure as your primary beat. In order to do this you must develop a natural internal feel for the underlying common denominator pulse which comes with beginning to trust your internal clock and letting the basic pulse move to the background in your mind . This should eventually be taken further, to where you have an aural image of the rhythm before you play it with no conscious internal subdividing. This last level comes with practicing the examples contained in this book along with playing music in odd time signatures until it's a natural process. As you get more comfortable you should start to feel the time rather than count the time.....

Odd Meters Vol.1

Essential Scales: Twenty Two Indispensable Contemporary Modes

Ever wonder what those chromatic notes are that jazz, rock and fusion guitar players use when they are not playing scales and arpeggios? Want to get that jazz sound where you can play a melody without chords and hear the chord progression go by just based on the melody? Look no further. The 24 chapters of this book cover all aspects of using this more advanced way of playing called approach notes. It gives you a way to organize your practice of these approach notes but it doesn't stop there. Ã‚ It gives you all the fingerings for 13 different arpeggios in 4 positions on the guitar.  If includes all the upper four string chord voicings so you can bring your funk, R + B, and jazz chord playing to another level.  It also demystifies Passing diminished scales and gives you a detailed list of how chords and scales interact.  A Chord Reharmonization is also included to show you how you can change chord progressions to make them more interesting and dynamic. A must own for any guitarist that wants to understand the advanced knowledge that most progressive rock, fusion and jazz players posses.  The following Chords are covered:  Major7  Minor7  Dominant7  Minor7b5  Diminished7  Dominant7sus4  MinorMajor7  Major7#5  Major7#11  Dominant7#5  Dominant7#11  Major6  Minor6  Major79  Minor9  Dominant9  Dominant9sus4  Minor7b5add9  Diminished7add9  MinorMajor79  Major7#59  Major76  Minor11  Dominant9   The following Arpeggios are covered:  Major7  Minor7  Dominant7  Minor7b5  Dominant7sus4 MinorMajor7  Major7#5  Dominant7#5   The following applications of Approach Notes are covered:  Chromatic figures  Diatonic figures  Chord Tones on Beats 1 and 3  Chord Tones on a 2 5 1 Progression  Chord Tones on Every Beat  Tensions  Superimpositions  Reharmonization  Major Scale  Bebop Scales  Chord Tones Off the Beat  Modal Sequencing  Delayed Resolution  Approaching Approach Notes  Compound Approaches  Intervallic Approaches  Intervallic Structure 027 by Chord  Intervallic Structure 027 by Key  Intervallic Structure 013 by Chord  Intervallic Structure 013 by Key   There is a companion volume New York Guitar Method Ensemble Book Two which applies the information learned in this book along with other sight reading exercises. Equipped with the musical foundation of these two books, the guitarist will gain a deep understanding and mastery of contemporary music.

New York Guitar Method Volume 2

If you have already purchased New York Guitar Method Ensemble Volume One you know that these books are seriously going to get your guitar playing to a master level.  Volume Two continues these successfully proven exercises with more advanced odd meter rhythm exercises, chromatic fretboard knowledge etudes, upper four string guitar chord progressions and exercises.  Each of the 24 chapters also demonstrates through etudes how to use of approach notes. Have you always wondered what all those chromatic notes are that you hear when guitarists aren't playing scales and arpeggios? Wonder no more. These etudes will show you 24 different ways to apply these approach note figures so you can understand what advanced rock and jazz players are doing. These time tested exercises are highly targeted and with a short 1/2 hour commitment each day you can truly transform your guitar playing.  The following Rhythm studies are also covered:  Eighth Note  Sixteenth Note  Odd Meters   The following Classical Etudes are covered: Excerpts from Bach's Two Part Invention  Excerpts from Bach's Three Part Invention  Plus more excerpts from Bach and Mozart   Other exercises include reading on one string to develop fretboard knowledge and recognition of notes on a staff. Arrangements for four guitars using the jazz standard Rhythm Changes are provided for ensemble practice as well as written solos and Bebop duets. Many of these exercises allow students to play and accompany each other in an ensemble situation.

New York Guitar Method Ensemble Book 2

See the best price to sell, buy or rent books by the muse eek publishing publisher. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by muse eek publishing