The most comprehensive guitar chord resource ever! Beginning with helpful notes on how to use the book, how to choose the best voicings and how to construct chords, this extensive, 272-page source for all playing styles and levels features five easy-to-play voicings of 44 chord qualities for each of the twelve musical keys - 2,640 chords in all! For each, there is a clearly illustrated chord frame, as well as an actual photo of the chord being played! Includes info on basic fingering principles, open chords and barre chords, partial chords and broken-set forms, and more. Great for all guitarists!

Making Music Make Money will educate songwriters and aspiring music business entrepreneurs in the basics of becoming an effective independent music publisher. Eric Beall, creative director for Zomba Music Publishing, covers everything you need to know to get published, including: the role of a music publisher; copyright - how to get one, use one, and make money from one; building a business plan; identifying which songs to sell and to whom; and much more.

If you want to come over like a crazy stadium rocker this is the book for you! You won't learn much about music theory or fancy chords, but you will learn how to..

• Play a Fender Statocaster with your teeth
• Execute a half-twist 40-degree inverse machine gun hold
• Find out which guitar gives you the most realistic 'motorbike' sound
• Avoid taking the skin off your knuckles while performing triple anti-clockwise windmills

Teaching Music with Passion is a one-of-a-kind, collective masterpiece of thoughts, ideas and suggestions about the noble profession of music education. Both inspirational and instructional, it will surely change the way you teach (and think) about music. Filled with personal experiences, anecdotes and wonderful quotations, this book is an easy-to-read, essential treasure! One of the most 'real' writings I have read during my 35 years in music education. - Mel Clayton, President, MENC: The National Association for Music Education

An essential manual for getting the best sounds from electric guitars, amplifiers, effect pedals and digital processors! This book/CD pack features easy-to-follow instructions, with more than 75 photos, to teach the basics of guitar tones and effects. The accompanying CD provides audio examples. Readers will learn: anatomy of the electric guitar; controlling the electric guitar; getting a good clean tone; overdrive, distortion and fuzz; using equalizers; compressors and limiters; noise reduction; modulation effects; reverb and delay; special effects; multi-effect processors; getting a good tone through your PC; famous effected guitarists; and much more!

This handy reference tool helps you get the best sounds from your guitar by explaining the effects chain, individual sounds and setups, settings of the stars, and other tricks and tips.

As the author write:"This little volume is a hybrid". It is an elementary instruction book in composing music. But it is also a performance book that can be used by a group of players interested in contemporary music. And it is invitably a reflection of Ross Lee Finney reflection of ideas and convictions about composing music formed from years of teaching experiance. This volume is the first of three. It avoids as much as possible problems of melody and harmony. There are ten pieced included in this book to illustrate not only compositional problems but also to supply music that group can perform to develope technique.

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Learnig to understand and use the time-line in music Defining in the musical Time-Line Three basic ways of orginizing and notating on the Time-Line First composing exersice - composing for a group of simple percussion instruments The structure of the Time-Line Orginizing the Time-Line by using sounds, musicak punctuation and dynamics Second composition exercise - composing a piece organized by dynamics and sounds for 3 simple percussion instruments Musical example for Performance - Fig. 1 Study for three percussionists Using a simple musical form - The Canon Notation on the Time-Line Indicating exact pitch for a voice by employing a one-line staff Musical Example for Performance - Fig. 2 The Fat Man for 3 Voices and Bass Drum Using the five-line staff and modern clefs to indicate exact pitches Third composing exercise - composing a piece for voices, piano and 2 triangles Learning some modern national techniques Fourth composing exercise - composing piece for three voices and three simple instruments with notation indicating exact pitches in the voice parts (using Clefs), some modern national devices and improvisation Composing for instruments that play exact pitches Percussion instruments taht play exact pitches Writing idiomatic music for the piano, a percussion instrument Musical Example for Performance - Fig. 3 Prelude (Contrasts) for Piano Fith composing exercise - Fig. 4 - composing a piece for bell, piano and tambourine Pitch-range chart for band and orchestra instruments The musical idea What is a musical idea? How the composer uses dynamics, articulation, tempo and instrumentation to develop and achive his ideas Musical Example for Performance - Fig. 5 Shapes for Chamber Ensamble The importance of rhythm How interesting rhythm can revitalize meter by adding variety to the time-line and contribute to a composition's organization by repetition Pieces for further study and performance Figure 6 Movement for Percussion and Piano Figure 7 Suspended movement for Chamber Ensamble Figure 8 Images for 2 Percussionists and Piano Figure 9 Conflict for 4 Percussionists Figure 10 Whistles for 2 or 4 Percussionists

The AudioPro Home Recording Course was created to familiarise musicians with the fundamentals of studio recording using explanations and examples that are easy to understand.
The text is complemented by hundreds of illustrations and two CDs containing information and audio examples.
Volume two covers: impedance and wiring (high impedance vs. low impedance, terminology, balanced vs. unbalanced); bass guitar (electric/synth, recording, mic techniques, EQ); harmonics/overtones/partials; vocals (recording, mic techniques, effects, EQ); acoustic piano and rhodes (recording, mic techniques, signal processing, sampled sounds, EQ); recording synthesisers (recording, combining textures, EQ, brass); the total recording session (instruments, preparing the recorder, media selection, time code); panning and stereo imaging; mixdown to master product (mixdown machine, tape choice, theories and concepts, setup procedure; building the mix; preparing master for duplication).

Spis treści:
Introduction Chapter 1 - Impedance and Wiring Basic Terminology Compatibility Between Hi Z and Lo Z Balanced vs. Unbalanced Basic Terminology Unbalanced Guitar Cables Balanced Cables Conclusion Chapter 2 - Bass Guitar Electric Bass Condition of the Bass Direct Box / Direct In (DI) The Bass Level Instrument Differences Musical Style Recording Levels for Bass Mic Techniques Compressing the Bass Equalization Panning Reverb Synth Bass Plugging the Synth Bass In Miking the Synth Bass Performance of the Synth Bass Part Bass Range and EQ Compressing the Synth Bass Recording Level for the Synth Bass Panning Synth Bass Effect and the Synth Bass Acoustic Bass Close - Miking the String Bass Conclusion Chapter 3 - Harmonics / Overtones / Partials The Difference Between Harmonics, Overtones and Partials Conclusion Chapter 4 - Vocals Mic Techniques Placement Distance Small Room vs. Large Room Moving - Coil / Ribbon Condenser Effects Stylistic Considerations Wind Screen Repairing a Problem Plosive Electronic Plovive Repair The Proximity Effect Bass Roll-off The Pad Different Sounds of Different Pickup Patterns Positioning the Microphone Compressor / Limiter / Gate / Expander Dynamic Range Compression Sibilance The De-esser Equalization Recording Environment Physical Aids Intonation Headphones Punch In / Punch Out Perseverance Panning Common Vocal Effects Delay Slapback The Electronic Double The Electronic Triple Regeneration Reverb Predelay Exciter Chorus / Flanger / Phase Shifter Backing Vocals Conclusion Chapter 5 - Acoustic Piano and Rhodes Grand Piano The Basics Mic Choice and Technique Stereo or Mono Instrument Maintenance Setting the Mood Processing Pano Sounds No Two Pianos Sound Identical Recording Levels Equalizer the Piano Compressing the Piano Exciting the Piano Reverberation Miking the Vertical Piano Sampled Piano Sounds Rhodes - type Sounds Rhodes Effects Equalizing the Rhodes Conclusion Chapter 6 - Recording Synthesizers Recording Synths: Strings, Pads, Bell-like Sounds, Brass and Effects Live in vs. Mic in Through DI Line In DI Can Color the Sound Adversely String and Pads Layering Equalizing Pads Dynamic Processing the Synth Reverb Combining Textures Exciter Chorus, Flanger, Phase Shifter Panning Delay Bell - like Sounds Equalizing the Bell - like Sounds Panning Bell - like Sounds Compression Reverb Chorus / Flanger / Phase Shifter Brass Mic Technique Levels Brass Samples Brass Equalization Panning Reverb Exciter Chorus / Flanger / Phase Shifter Delay Special Effects Conclusion Chapter 7 - Panning and Stereo Imaging Speaker Position and Choice Mic Techniques The Head Assignment 3:1 Principle Panning Reverberation Space in a Space Combining Wet and Dry Delay Panning Chorus/ Flanger / Phase Shifter Monitors and Your Stereo Image Conclusion Chapter 8 - The Total Recording Session Planning Tracks Envision the Final Products Instrument Tuning Strings Getting the Recorder Ready Cleaning and Demagnetizing Demagnetizing the Analog Tape Machine Cleaning the Analog Recorder Tones on the Analog Recorder Tones on the Digital Recorder Media Selection Magnetic Tape / Video Tape Recordable CDs / Hard Drives Tape Storage Is a Critical Condiseration Time Code Striping SMPTE Getting the Sequencer to Follow SMPTE Tightening the Arrangement Contents of Arrangement Reference Lead Vocal Backing Vocals Bounce to Track One Electric Guitar to Track Four Punch-Ins Acoustic Guitar to Track Five Final Vocal to Track Three Lead Guitar to Track Six Conclusion Chapter 9 - Mixdown to Master to Product Mixdown Machine Basic Proceudre for Alignment (Mixdown and Multitrack) Playback Alignment Record EQ Reference Tones Reference Tone Starting the Mix / Zeroing the Board Tape Choice Outboard Gear to Have on Hand Tape Speed Automation Multiple Sets of Monitors Comparison to Other Projects The Spherical Approach to Panning and Positioning in the Mix EQ: The Cumulative Effect Mixing Theories and Building Concepts Mix Approach The Arrangement Characteristics of a Good Mix Strong and Solid, But Controlled, Lows Mids Distributed Evenly Among Various Instruments Strong, Smooth Highs That Are Easy to Listen To Balance Depth Width Momentum Consistency Sounds Good in Stereo and Mono Approaches to Mixing That I've Found Ineffective Signs of an Amateur Musical Recording Basic Setup Procedure Once You Select and Prepare the Multitrack and Mixdown Machines Arranging During Mixdown Multiple Mixes Mix Versions Building the Mix Kick Drum / Bass Guitar Pan the Cymbals for a Natural Sound Live Toms Drum Machine Toms Drum Set Overhands (Live) Bass Lead Vocal Compression Expander Vocal EQ Exciter Simple Delay Add Backing Vocals Comping Keyboards and Rhythm Guitars Filling in the Holes With the Guitar or Keys Lead Parts Solos Mix Levels Fades Preparing the Mixed Master for Duplication Editing Mastering Different Mixes Conclusion GLossary Index

The AudioPro Home Recording Course was created to familiarise musicians with the fundamentals of studio recording using explanations and examples that are easy to understand.
The text is complemented by hundreds of illustrations and two CDs containing information and audio examples.
Volume three covers: MIDI (basic training, quantising, mixing with MIDI, notation software, controllers, setting up your system); MIDI sequencing (constructing MIDI drum parts, creating bass, guitar and keyboard parts, combining MIDI and live recording); digital effects (hardware vs. software plugins, details of using each type of effect); digital recording (analogue vs. digital, recording and playback formats, digital audio file formats, storage and backup, MDMs and computer-based hard disk systems, choosing the right software, common terms demystified, random access editing); synchronising (MIDI to audio sync, MIDI to MIDI sync, analogue to analogue sync).

Spis treści:
1. The Third Millennium Moving Ahead History Preparation for What's to Come The Internet My Turning Point 2. Midi Theory Intro to MIDI MIDI Basic Training The Language MIDI IN, OUT, and THRU MIDI Cables Daisy Chain Channels MIDI Interface MIDI Parameters What Do MIDI Parameters Affect? Controllers Channel Modes Omni Mode Multi Mode Mono Mode Polyphony versus Multitimbrality MIDI Time Code System Messages System Exclusive (Sys Ex) Data Dump The Handshake Data Backup Quantizing The Basics Strength Sensitivity How Tight Is Tight Enough? Randomize Real - Time Step Record Shifting Tracks Velocites, Durations, and Tempos Notation Software Uses Lyrics Chord Symbols Mixing with MIDI Parameters Comining MIDI Mix Tools General MIDI Specifications Standard MIDI File Cross - Platform Compatibility Keyboard and Mix Controllers Keyboard Controllers Mix Controllers MIDI System Design - What Should I Have? Synths Sequencers Interfaces Mixers Digital Audio Cards Tactile Control Surfaces for Computer-Based Digital Workstations 3. MIDI Sequencing Building the Band Constructing MIDI Drum Parts Fundamentals The Groove Groove Quantize Drum Set Patterns Accents Fills Believability Construction Percussion Patterns Frosting Many Instruments Simple Parts That Work Together Forming the bass line Patterns The Groove Reality / Believability Feel Guitar Parts Believability The Groove Patterns Grand and Electric Piano Parts The Groove Patterns Grand Pianos vs. Rhodes Pianos Believability Feel The Frosting Strings and Pads Bass Sound Effects Combining MIDI and Live Recording Drum Loops 4. Digital Recording Analog Recording Analog vs. Digital Physical Properties of Sound Amlitude Frequency Velocity Wavelength Envelope Harmonic Content Phase Digital Theory What's So Good about Digital Recording? Bits / Bytes / Words Advantage of Binary Code / PCM Samples Quantization / Bits Aliasing RAM Buffer Sample Rates Dither / Quantization Error Noise Shaping Converters Oversampling Dynamic Range Format Conversion Errors Data Protection Error Detection Error Correction Redundancy Concealment Muting Digital Recording, Transmission, and Playback Formats AES/EBU S/P DIF SDIF-1 SDIF-2 SMDI MADI DASH Digital Audio File Formats Sound Designer and Sound Designer II AIFF-Apple's Audio Interchange File Format WAV-Windows Audio File Format Quick Time RealAudio SND Resource Storage Mediums Backing Up CD-Compact Disc HD-CD CD-R and CD-RW-Recordable and Rewriteable Compact Disc DAT MiniDisc Hard Disc DVD Divx 5. Digital Multitracks Comparison of MDMs to Computer-Based Recording Systems Formats Other MDMs Dedicated Digital Recording Systems Samplers Computer-Based Hard Disk Recording Systems History Differences between Hard Disk and Tape-based Recording? Linear versus Nonlinear Destructive versus Nondestructive Editing Number of Tracks and Takes Thing to Look For in the Software You Choose Soundcards Terms Common to Hard Disk Recording Serial Bus / Data Transfer SDS SCSI Fast and Wide SCSI-2 and 3 IDE/ATA Firewire Network and Online Data Transfer Rates Apple Talk Ethernet Modem Cable ISDN (Integrated Services Digital Network) T-1 T-3 Disk Management Partitioning Formatting Compression Repairing / Defragmenting Protection: Practice Safe Computing Keep Current 6. Digital Effects Real-time versus Non-Real-time Digital Effects Hardware versus Software versus Plug-ins Digitally Controlled Amplifier Digital Signal Processor Pitch Change Formants Time Compression and Expansion Spectral Effects Multiband Compressor / Limiter Peak Limiter Expanders and Gates Delay Effects Reverb Effects Equalizers Delay Chorus / Flanger Invert Phase Reverse Special Effects Variable Speeds Fliter Vinyl Simulation Vocode Lo-Fi 7. Random Access Editing The Basics Nondestructive Editing Descructive Editing Regions Playlist / Edit Decision List RAM Buffer Gain Change / Normalizing Cut, Copy and Paste Undo, Redo, Save, Revert to Saved Save As... Save a Copy As Waveform / Pencil Editing Smoothing Preview Mode Fades Crossfades Linear Fade Curve Fade S-Curve Overlap Fade Equal Gain Equal Power Pre-roll / Post-roll Online / Offline Editing withing the Software - Based Multitrack Domain Soundfiles Waveform View Punch-in Auto Record Channels, Tracks, and Takes Comping Tuning Finding the Groove Quantizing Audio Moving Audio Segments Spot Mode Slip Mode Grid Mode Shuffle Mode Multitrack Backing Vocals Breaths Entrances Releases Intonation Detuning Readjusting Formants Fills Fills, and Licks Broadcast Audio Voice-Over / Editing Speech Application Voice-Over Timing Ambience Problematic Edits Crossfade Ambience Music Bed Add Ambience Reconstruct the Scene Live with it Breaths Time Compression / Exapnsion ADR / Foley ADR Foley Getting the Program Ready for the Air Normalize Compress Music 8. Synchronizing Synchronizing Basics Why Bother? MIDI to Audio Sync Timing Discrepancies MIDI to MIDI Sync Accuracy Logjam Processor Speed Analog to Analog LTC on Each Machine Verifying Sync Offsets Regenerating Time Code Free Wheeling Jam Sync Digital to Digital Sync Components of Digital Sync Time Base - Word Clock Word Clock Rate Pull-Up / Pull-Down Address Code Transport Control MIDI Machine Control (MMC) Variations in Accuracy Sample - Accurate Sync Frame - Accurate Sync with Phase Look Frame - Accurata Sync with No Phase Lock / Continuous Sync Frame - Accurate Trigger Sync Various Sync Formats Internal MTC SMPTE (LTC) 30fps, 29.97fps, 29.97df, 25, 24fps Video Sync VITC Word 1x Word 256x S/P DIF and AES/EBU SDIF-2 and MADI Proprietary Sync Systems ADAT and DA-88 Sync 9. Digital Mixing How Are Digital and Analog Mixers Different? The Analog Mixer The Digital Mixer Hardware versus Software Automation The Basics Automation Types Dynamic Automation Auto Read Absolute Mode / Auto Write / Replace Auto Touch / Auto Latch Trim Levels Bypass / Auto Off / Rehearse Mutes Pan Function of Fader Motors in the Digital Domain Mix Editior Functions Snapshot Automation Operational Procedures Saving Undo Building Automation Software Plug-ins Mix Procedure Using Automation Inserts Write Mutes Drums Documenting the Mix Bass Lead Vocal Guitars and Synths Backing Vocals Intonation Expression / Dynamics Blend Accuracy The Rhythm Section Locate Points Copy Moves and Settings EQ Dynamic and Special Effects Format Hard Disk DAT 10. Master Preparation Editing the Mixed Master The AM Version The Album Version The Dance Mix Creative Restructuring Mastering What Is mastering? To Master or Not to master Monitoring Procedures Assembling the Album The CD Mastering Environment Write Modes Red Book Yellow Book Green Book Orange Book, Part I and II White Book Blue Book / CD-Extra Subcodes PQ Subcodes IRSC Code Emphasis SCMS Track Number Indexes Noise Shaping Equalizing Real-time Analyzer (RTA) Levels Normalize Real vs. Apparent Levels How Hot Is Hot Enough? Limiting / How to Sound Loud Image Files Mastering to Error Correcting Recorders 11. The Best of Botj Worlds Acoustic Considerations Chips or Tubes Combining Tubes and Chips Digital Modeling Preamps Old Effects versus New Mixers Cambling Considerations Some Cable Theory Do Cables Really Sound Different? Choose Your Weapons Carefully

Music Teaching Style is an exciting, balanced approach to student performance, music learning and personal change. Written in an informal, engaging style, the text is highlighted by anecdotes, quotations, challenges for self-reflection, and techniques used by the author and top professionals in the field. The result - a fulfilling, productive and successful music teaching experience.

A Guide To Tune Analysis and Chord//Scale Choices For Improvisation More than just another chord/scale publication, this book addresses how melody function and context play a major role in determining the best possible scale to be used in a given situation. Excellent summaries are also provided in this revolutionary, concise publication. A must for any jazz educator.

This book is the product of Mark Harrison's experience teaching hundreds of students at the world-famous Grove School of Music in Los Angeles. Suitable for instrumentalists, vocalists, composers and songwriters, this Level 3 course covers the chord tones, extensions and scale sources for all major, minor, dominant and diminished chords, and then applies the contemporary shape concept to create voicings, polychords, and to harmonize melodies.

The Music Theory series is designed from the ground-up to explain the terminology and musical structures needed for modern applications. Level One is an introductory course which covers music notation, key signatures, basic scales, intervals, modes, diatonic relationships and 3-and 4-part chords. Level Two is an intermediate-level course covering larger chord forms, 'definitive' chords in major and minor keys, substitutions, analysis of key centers in tunes, 'upper structure' chords, voiceleading, and pentatonic and blues scale applications. Both levels include reference appendices, a complete glossary of terms, and hundreds of written theory exercises with answers.

The Music Theory series is designed from the ground-up to explain the terminology and musical structures needed for modern applications. Level One is an introductory course which covers music notation, key signatures, basic scales, intervals, modes, diatonic relationships and 3-and 4-part chords. Level Two is an intermediate-level course covering larger chord forms, 'definitive' chords in major and minor keys, substitutions, analysis of key centers in tunes, 'upper structure' chords, voiceleading, and pentatonic and blues scale applications, a complete glossary of terms, and hundreds of written theory exercises with answers.

For unsigned musicians, it is vital to long-term success to sign a contract with a record label. However, preparing your music, targeting a label, and getting your demo into the hands of someone who will listen is challenging, if you don't know where to start. Getting Signed!, by record industry veteran George Howard, guides you through the maze of today's music industry, and will help you move your demo to the top of the stack. Even if you are not yet ready for a record deal, it will help you assemble a team that will make sure your music gets heard by as many people as possible. The next time an aspiring recording artist comes to us for advice, we'll advise them to read this book first. George Howard really knows what he's talking about. - Chris Franz and Tina Weymouth, members of Talking Heads and Tom Tom Club

This handy guide provides everything you need to know to go pro, including information about personal managers, music attorneys, business managers and booking agents, record companies, A&R, publishing, songwriting, demo tapes and press kits, self-promotion, and much more. A must for all musicians!

Instrumentacja: Book

This unique guide helps all musicians: open up new avenues of expression through a pain-free, healthy, fluid approach to music-making; overcome performance anxiety, general tension, and muscular injury; and increase learning skills and facilitate more effective motor coordination.

Jazz Theory Resources is a jazz theory text in two volumes. Volume I (00030458, $39.95) includes: review of basic theory, rhythm in jazz performance, basic tonal materials, triadic generalization, diatonic harmonic progressions and harmonic analysis, substitutions and turnarounds, common melodic outlines, and an overview of voicings. Volume II (00030459, $29.95) includes: modes and modal frameworks, quartal harmony, other scales and colors, extended tertian structures and triadic superimposition, pentatonic applications, coloring outside the lines and beyond, analysis, and expanding harmonic vocabulary. Appendices on chord/scale relationships, elaborations of static harmony, endings, composing tips and theory applications are also included.

This book is comprised of reprints of the Guitar Questions columns that ran in Guitar magazine for over a decade. Written by luthier Barry Lipman, it offers clear, precise and simple explanations on how to make minor repairs and adjustments to your instrument. The column was aimed at players who were neither guitar builders nor repairmen. Sample questions addressed include: What are the advantages of big frets? • What is the best way to care for the fretboard? • What is meant by intonation and what is involved in adjusting it? • What does a truss rod do and how does it work? • How tight should the bridge pins be on a steel-string acoustic? Find the answers to these and many more relevant inquiries in Guitar Questions. 6 inch. x 9 inch.

For many years, musicians in Nashville have used a system of numbers, rather than standard musical notation, in playing and singing and at recording sessions. Neil Matthews, Jr., one of the original members of Elvis Presley's back-up vocal quartet The Jordanaires, invented the system and also wrote this book, which teaches the whole system and also includes quotes, stories and photos of country and pop stars.

Learn the essentials of music notation, from fundamental pitch and rhythm placement to intricate meter and voicing alignments. This book also covers the correct way to subdivide rhythms and notate complex articulations and dynamics. An excellent resource for both written and computer notation software!

A step-by-step guide through the theory and practice of using a portable studio. Features introductions to the why?, what? and how? of studio recording and production. Also advises on how to produce professional results on a home studio budget.

Spis treści:
Preface Introduction: Applying Pro Techniques to Recording with the Portable Studio Section One: Why you're doing what you're doing: The foundation of recording Section Two: What you're going to do it with: the tools of recording and how they work Section Three: How You're going to do it: techniques Section Four: Doing It The recipe section: How to do things you though you couldn't do with a portable studio

This book has a very specific purpose: to help songwriters find better rhymes and use them more effectively. Rhyme is one of the most crucial areas of lyrics writing, and this guide will provide all of the technical information necessary to develop your skills completely. The exercises and worksheets help experienced writers take a fresh look at their techniques, and prevent novices from developing bad habits. Use this book to start writing better than ever before!

Aspiring musicians often enter the music business with unreal expectations, and are inevitably disappointed. Reality Check is the first book that gives a completely honest look at what success is in today's recording industry and the smart steps a musician can take to get there. Even the most creative people can manage time effectively and make the fullest use of their most important resource: their talents. Reality Check is for everyone who wants to chart a rewarding path through the often confusing jungle of the music industry. March 2003 Josquin des Pres began his career in France in the mid-'70s when he obtained his first record deal with United Artists Records. He has since worked on hundreds of projects with some of the biggest names in the music industry. Des Pres has also authored 14 bestselling bass instruction books and two guitar instruction books. Mark Landsman is a musician, songwriter and entertainment attorney. He was formerly director of West Coast operations for a large New York City-based record label. Both authors live in southern California.

Spis treści:
Preface Introduction Section 1: Verses and Choruses Section 2: Chords and Sequences Section 3: Studio and Stage Section 4: Guitar Techniques Section 5: Lyrics Section 6: Extras Discography Songwriting Theory Song Index Acknowledgements

This hands-on guide is essential for any musician who wants to build a fan base and increase profits through the Internet. Peter Spellman, Director of the Career Development Center at Berklee College of Music, guides the self-managed musician through successful strategies to promote music online, reach new audiences, and maximize income. Readers will learn how to: create a professional website; share music downloads; sell and license music online; broadcast on Internet radio; webcast live concerts; create streaming audio; get an online record deal; and much more. Includes an invaluable listing of more than 300 music-related websites!

Spis treści:
The whole neck mapped out Scale numbering system Half steps and whole steps Modal madness Real rock & blues soloing Satch's drone tones The nashville system Transposing Two-five-ones One-six-two-five Learning by ear When in doubt, play I-IV Relative major and minor The blues ain't all sad The C-A-G-E-D theory The ABCs and 123s of chords Arpeggio road maps Four fingers, please Warm-ups made easy Alternate picking Getta tuna Soundhole solution Electric vs. acoustic, pt.1 Electric vs. acoustic, pt.2 Heavier strings, better tone Tube amps, big sounds Amp modelers Small amps, big sounds Amp up, guitar down Gig bags vs. shells Cable Quality Gain and sustain Hear the rig Distortion vs. overdrive Clean and compressed Your heroes all cheat Pedal positioning Tape 'em down Pedal boards Carry that weight Keep your strap pn Loop it or lose it Don't turn up, tilt up Heavy picks Pracice for perfection Guitar TV Video teachers Network news Other instruments Analyze your originals Singing and playing Simplify for songwriting Keep it fun Tournarounds for everyone Easy funk guitar This is not the blues Alternate voicings Damp it Get a metronome Inject some intervals Open-string soloing Harmonics Alternate tunings Exotic scales Live experience is golden Climatic conditions Fingertips and nails Change one string at a time Coricidan bottle blues Get tooled up Tube replacement schedule Insure your investment Hazardous materials Flying with your guitar Even in a flight case... Shipping your guitar or amp Proof of ownership Winding new strings A properly strung 12-string Sharpen your pencils Grinds, not groans SRV broken-string solution Cleaning the body & neck Cleaning the fretboard Truss rod adjustments And... action Seting intonation Locking tuners Avoiding broken strings on a floating bridge Changing strings on a floating bridge Keep it level More floating bridge tips Miking Amps in the studio Recording acoustic guitars Save your studio ears Home recording necessities Effects and band size Cut through on solos Speaker placement at a gig Eliminate hum Stop microphone shock

Spis treści:
Introduction From dusk till down Playing right with the orchestra Doubling from a position of strength Accidents will happen The time consideration Acoustic tricks Acoustic tricks, part 2 It's all relative Suddenly soundtracked Supervibe Power chords only The big three They ride again Time on the dime Creative phrasing when sight - reading Variety On the road Rig meltdown Scheduling Demo love Live in London When things go wrong Working with producers Radio IDs Let Everything Ring The Carlos Guy Making Magic Gear Maintenance The Gunpowder incident Good company Soul on Soul Dealing with Rejection Accept no weaknesses The chord solo Turning a Phrase If it's a gig, take it The show must go on Trunkloads of Sound Sight - reading for Sessions The Warm - up Exposure Bending Exercise Coda

Instrumentacja: Book