Don't Play That Song

•Centrum Dystrybucji Nut•				System sklepów muzycznych

CD Tracks
Foreword
Preface
Basics
Chapter I. Playing Rock ("Sweet")
Lesson 1. Technique/Theory
Lesson 2. Learning the Groove
Lesson 3. Improvisation
Lesson 4. Reading
Daily Practice Routine
Chapter II. Playing Blues ("Do It Now")
Lesson 5. Technique/Theory
Lesson 6. Learning the Groove
Lesson 7. Improvisation
Lesson 8. Reading
Daily Practice Routine
Chapter III. Playing Blues Swing ("I Just Wanna Be With You")
Lesson 9. Technique/Theory
Lesson 10. Learning the Groove
Lesson 11. Improvisation
Lesson 12. Reading
Daily Practice Routine
Chapter IV. Playing Funk ("Leave Me Alone")
Lesson 13. Technique/Theory
Lesson 14. Learning the Groove
Lesson 15. Improvisation
Lesson 16. Reading
Daily Practice Routine
Chapter V. Playing Light Funk ("Affordable")
Lesson 17. Technique/Theory
Lesson 18. Learning the Groove
Lesson 19. Improvisation
Lesson 20. Reading
Daily Practice Routine
Chapter VI. Playing Hard Rock ("Don't Look Down")
Lesson 21. Technique/Theory
Lesson 22. Learning the Groove
Lesson 23. Improvisation
Lesson 24. Reading
Daily Practice Routine
Chapter VII. Playing Bossa Nova ("Take Your Time")
Lesson 25. Technique/Theory
Lesson 26. Learning the Groove
Lesson 27. Improvisation
Lesson 28. Reading
Daily Practice Routine
Chapter VIII. Playing Stop Time ("Stop It")
Lesson 29. Technique/Theory
Lesson 30. Learning the Groove
Lesson 31. Improvisation
Lesson 32. Reading
Daily Practice Routine
Final Remarks

Cd Tracks
Foreword
Preface
Basics
Chapter I. Playing Rock ("Sweet")
Lesson 1. Technique/Theory
Lesson 2. Learning the Groove
Lesson 3. Improvisation
Lesson 4. Reading
Daily Practice Routine
Chapter II. Playing Blues ("Do It Now")
Lesson 5. Technique/Theory
Lesson 6. Learning the Groove
Lesson 7. Improvisation
Lesson 8. Reading
Daily Practice Routine
Chapter III. Playing Blues Swing ("I Just Wanna Be With You")
Lesson 9. Technique/Theory
Lesson 10. Learning the Groove
Lesson 11. Improvisation
Lesson 12. Reading
Daily Practice Routine
Chapter IV. Playing Funk ("Leave Me Alone")
Lesson 13. Technique/Theory
Lesson 14. Learning the Groove
Lesson 15. Improvisation
Lesson 16. Reading
Daily Practice Routine
Chapter V. Playing Light Funk ("Affordable")
Lesson 17. Technique/Theory
Lesson 18. Learning the Groove
Lesson 19. Improvisation
Lesson 20. Reading
Daily Practice Routine
Chapter VI. Playing Hard Rock ("Don't Look Down")
Lesson 21. Technique/Theory
Lesson 22. Learning the Groove
Lesson 23. Improvisation
Lesson 24. Reading
Daily Practice Routine
Chapter VII. Playing Bossa Nova ("Take Your Time")
Lesson 25. Technique/Theory
Lesson 26. Learning the Groove
Lesson 27. Improvisation
Lesson 28. Reading
Daily Practice Routine
Chapter VIII. Playing Stop Time ("Stop It")
Lesson 29. Technique/Theory
Lesson 30. Learning the Groove
Lesson 31. Improvisation
Lesson 32. Reading
Daily Practice Routine
Final Remarks

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

1 - The demo - breaking through: history, attitude and your demo
What is demo?
The demo: A multi - purpose tool
1. What is Label? ... and what the hell does A&R stand for anyway?
What is A&R?
What is a Record Label? Major vs. Indies
Record Label Architecture
Independent Promotion: More Indies
Summary
Workshop
2. Three case studies in breaking through: Nirvana, Def Jam, and Bob Dylan
The Essential Quality in an Artist
The problem
How Artists really get signed: A signing drama
The solution
Case 1: Nirvana - How Nirvana got their record deal
Case 2: Def Jam Recordings - The importance of the visionary at the label
Case 3: Bob Dylan - How Dylan got his record deal
Summary
Workshop
3. Demo track selection and sequencing: Start with the songs
How A&R people listen to demos
The Importance of Song Sequence: put your best song forward
How many songs, and why
Workshop
4. Recording Your Demo: getting it down
The recording studio
A schedule for making the most of your studio experience
Costs associated with studios
Home recording
Pro Tools
Home recording tips
Copryhights and demos
Workshop
5. Packaging and presenting your demo: All dressed up and everywhere to go
Elements of a Successful demo package
What's Inside the envelope
Summary
Workshop
2. The Team: Agents, Managers, and Lawyers
6. Performances and booking agents: The live life
How performing impacts all facets of your career
Maximizing the gig
Gigs outside your home town
Booking agents: how they work and when you need them
Building a following
Summary
Workshop
7. Management: Finding it and making it work for you
The three "Must - Have's" of Management
The Importance of Money: How management gets paid
Managers and publishing
Finding the right manager
Labels and Artist managers
Summary
Workshop
8. Lawyers: Protecting and Serving
The role of lawyers
When to get a lawyer
Finding the right lawyer
How lawyers differ from managers
Summary
Workshop
3. Additional Players - Giant steps: independent publicity and promotion, publishing, distribution, and labels
9. Publicity and Promotion: getting the word out
How publicists work
Maximizing your publicity experience
Publicity costs
Radio Promotion
When usigned artist should consider Indie promo
How promotion can help you get a deal
The cost of Indie promo
How to get and keep radio play
When to Hire an Indie Promoter
Summary
Workshop
10. Publishing: Rights and wrongs
Mechanicals
Why Publishers want you to get a record deal
The "Controlled Composition" clause
The importance of the Mechanical
Administration Deals
Co - Publishing Deals
Syncs and Placements: your Music in Movies and TV
When to get a Publishing deal
Publishing Pitfalls
Performance rights organizations (ASCAP, BMI, SESAC)
Summary
Workshop
Distribution: Moving Product
How Distribution Works
Co - op
Distribution follows marketing
Starting Your Own Label
P&D Deals: Distributors as Marketers and Manufacturers
Why Distributors Avoid Unsigned Artists
When to Consider Distirbution
One - Stops and Rackjobbers
Summary
Workshop
12. Contracts: getting the best deal
The Royalty deal
How Royalties are calculated
Profit Sharing / Joint - Venture Deals
Term ("Licensing") Deals
Demo Deals
Important Contract Points
Summary
Workshop
13. You've got a deal! or did you know that "Utopia" Means "No Place?"
What happens when you get signed
Issues surrounding scheduling your release
Atwork
Working with Your A&R Person
Key People at the Labels
Keeping the Label Focused on You
Summary
Workshop
Appendix A: Sample contract
Appendix B: Suggested reading
Appendix C: "From the Field" Bios
Index

Introduction
About the Author
Acknowledgements
Chapter 1 - Battery - Gear Selection, Mechanics, Timekeeping, and Practice Approach
Chapter 2 - Jump in the Fire - a Review of Notation and Other basics
"2x4", "Blackened", "Don't Tread on Me", "Disponsable Heroes", "The Thorn Within", "Holier Than Thou", "Poor Twisted Me"
Chapter 3 - Ride the Lightning - Cymbal and Floor Tom Ride Patterns
"No Remorse", "Seek and Destroy", "Jump in the Fire", "Ronnie", "Slither", "Enter Sandman", "Cure", "Trapped Under Ice", "Harvester of Sorrow"
Chapter 4 - Wherever the Snare May Roam - Half-Time Feels, Straight - Time Feels, and Shadowed backbeats
"No Remorse", "King Nothing"
Chapter 5 - Slither - Shuffle Grooves
"For Whom the Bell Tolls", "2x4", "The Four Horseman" and "Eye of the Beholder"
Chapter 6 - Getting Off on the Right Foot - Single Bass Drum 16th Note Paris and Triplets
"Creeping Death", "Ride the Lightning", "Phantom Lord", (Anesthesia) - Pulling Teeth", "Jump in the Fire", "The Four Horseman", "Hit the Lights", and "Blackened"
Chapter 7 - The Thunder Down Under - Further Adventures in Double Bass Drum Technique
"Fade to Black", "Leper Messiah", "Trapped Under Ice", "Master of Puppets" and "Cure"
Chapter 8 - The Triple Double - Triplets with Two bass Drums
"Eye of the Beholder", "No Remorse", "Leper Messiah", and "Dyers Eve"
Chapter 9 - 2 x 2 - Four Note Hand / Foot Combination Drills and 16th Notes on One and Two bass Drums
"The Shortest Straw", "Ride the Lightning", "Disposable Heroes", "The God That Failed", and "Blackened"
Chapter 10 - All Within My Feet - Total Command of Double Bass Drums
"Leper Messiah", "Damage, Inc.", "Cure", "Blackened" and "Dyers Eve"
Chapter 11 - The Fill That Should Not Be - Flam and Double Bass Licks and Hands - Only Fills
"The God That Failed", "Battery", "Phantom Lord", and "Of Wolf and Man"
Chapter 12 - The House Lars Built - Growing and Maturing as a Drummer and a Musician
"Welcome Home (Sanitarium)", "Creeping Death", "King Nothing", "The Thorn Within", "Ronnie", "Better Than You", and "Where the Wild Things Are"
Chapter 13 - Welcome Home (Sanitarium) - Further Study

Preface
Introduction
Chapter 1
Starting from scratch
The chord sequence
Chapter 2
How to use example patterns/ How do I go about creating my own hot licks
A word about style
Everything times twelve
Chapter 3
Warm up your ears
Our example patterns
Cute
Introducing the II V I
Walkin' shoes
Introducing sequential harmony
All the things you are
Introducing the cycle of fifths
Satin doll
Introducing the triton substitution
Lullaby of birdland
Introducing the turnaround
Introducing the blues scale
It don't mean a thing (if it aint got that swing)
Introducing inner chromatic lines
Introducing the major 7th

Don't Play That Song

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