Hey Hey What Can I Do

•Centrum Dystrybucji Nut•				System sklepów muzycznych

Foreword
To the left - handed, fretless and many - stringed
Basic principles of technique
Economy of motion
Tone quality and consistency
Natural movement
Strength
Chops & the Chops "Reservoir"
Factors related to technique
The study of technique
For Beginners
For intermediate players
For advanced players
Practicing Technique
Tools
Precticing Technique
Divide and conquer
Using this book
Right - hand technique
Thumb position
The opposable thumb
Finger technique
Direction of finger movement
Finger distance from the strings
Finger pressure
Alternating fingers
Raking
String Skipping
Pinky and ring fingers
Right wrist and forearm
Left - hand technique
Thumb position
Spacing of fingers
Finger / string contact
Left - hand muting
Finger position
Fretting position
Finger pressure
Ascending on One String
Transitions between hand positions
Barring
Hammer - ons and pull - offs
String bending and vibrato
Playing harmonics
Left Arm position
Quasi - chromatic exercise
Muting summary

Capturing Style
Dressing Up a Note
Passionate Technique
The Bucking Bronco Syndrome
Erasing the Glass Ceiling
Yikes! What Should I Play?
Five Approaches to Improvisation
Hybrid Scales
Rhythm Violin
Modal Settings
The Cycle
Double Stops
The Chords
The Basics
Old Time Shuffles Along
Bluegrass Frenzy
Country Drawl
Celtic Reelies
Drivin' to Cape Breton
Fiddle It French
Dancin' Scandi
Bluesy Blues
Swinging Fancy
BeBoppin'
Lively Latin
Rockin' and Rollin'
Klezmanian Skies
Tango Caprice
Gypsy Lane
Flaming lamenco
Playing Healthy
Muscle Overuse
The Death Grip
The Stressed Wrist
Muscle Balance
Rest and Healing
Practice Time
Group Sessions
References
Index

Introduction
CD Track List
Rules of the (Fret)Board
Chapter 1 Harmony Review and Introduction to Voice Leading
Harmony review
Voice Leading in Action: Simple Chord Familes on the Guitar Neck
Voice Leading Chord Tones and Tensions
Other Smooth Moves: Parallel Movement
Drop-2 Voicings
Chapter 2 Major II/V/I Progressions
II/V/I Practice Guide
Practicing II/V/I Progressions
How to Work with Comping Rhythms
Comping Rhythms
II-7/V7/IMaj7 Progressions
Chapter 3 Minor II/V/I Progressions
I-7(b5)/V7(b9)/I-7 Progresions
Chapter 4 Practice Tunes and Rhythms
(None of the Things You Were)
(None of the Things You Were) Variation Using Rhythm No. 1
(Spring Arrives)
(Spring Arrives) Variation Using Rhythm No. 2
(Dear Old Stockmarket)
(Dear Old Stockmarket) Variation Using Rhythm No. 4
(I Smell Catastrophe)
(I Smell Catastrophe) Variation Using Rhythm No. 3
(Turn On Your Headlight)
(Turn On Your Headlight) Variation Using Rhythm No. 5
(If I Knew How to Cook)
(If I Knew How to Cook) Variation Using Rhythm No. 3
(I Should Have Thought About Me) Using Rhythm No. 12
(Rambos Chin) Using Rhythm No. 11
(On Great Love) Using Rhythm No. 9
(Remember Me) Using Rhythm No. 10
Rhythm Changes
Rhythm Changes (Mixed Comping Rhythms)
Blues in F - Try Your Own Comping Thythms
Blues in F Using Rhythm No. 2
Chapter 5 Extra Credit: Advanced Progressions and Turnarounds
The Functions of #IV-7(b5): What It Is and How to Use It
Madal Interchange: What It Is and How to Use It
Interpolative II-7: What It Is and How to Use It
Chromatic Approach: What It Is and How to Use It
Diatonic Turnarounds: What It Is and How to Use It
Dominant Approach: What It Is and How to Use It
Sub V7 Dominant Substitutions
Using Dominant Approach With Blues Changes
Dominant Approach Applied to Dominant 7 and Substitute Dominant 7 Turnarounds
Dominant Approach: Dominant to Dominant 7
Dominant Cycle of Fifths: Mixolydian to Mixolydian
Dominant Cycle of Fifths: Mixed to Mixed Dominants
Dominant Chords: What They Are and How to Use Them
For Further Listening
Glossary
Appendix Modes and Chord Scales
Chord Scale Quick Finder
Scale Syllabus for Improvisation
Modes in Seventh Chords for Guitar
About the Author

1. Start me up: getting into the game
1. What is music publishing, anyway?
The creation
What's in it for us
Exploitation
Administration
Collection
Protecion
Asquisition
Pennies from heaven
2. It all starts with the song: evaluating your catalog
Do You own the songs?
Are these songs any good?
Can you find the songs?
3. The "F" word: Focus
Three things that focus will do
What to do if you won't or can't focus
4. Start me up: The Basics of business
The Name Game
Doing Business As...
And the Winner Is...
5. Do You know where you're going to?: The business plan
Goals
Strategy: Can't get there from here
What to do if your plan doesn't work
Listen to your phone
Hit'em where they ain't
If you got partners, put the plan on paper
Set a deadline
6. Step into my office: setting up shop
The Choices
The Setup
7. The inside scoop: setting up shop, part 2
Trade Magazines or Journals
Directories
Tip Sheets
8. It's All About the Paper: Setting up systems
Copyright Administration
Music Archives
The Song Submittal Form
Warning: Safety First!
9. Show me the money!: Financial Acoounting
How to play the game
The big playback
10. We are family: putting together your team
The Lawyer
The Accountant
The Performing Roghts Organization
Interns
2. Exploitation: the real work of publishing
11. Someone's knocking at the door: Welcome to the Land of Opportunity
Make stuff happen
Records
Artist or band demos
Radio
Television
Movies
Advertising
Live Performance
Stores, Restaurants, Clubs
This Is how we do it: Understanding the Musical Marketplace
Pop
Urban
Country
Rock
My name is: the creative director
Getting the Music Right
The Song quality checklist
We'd be so good together: The art of Collaboration
Finding collaborators
Matchmaker, matchmaker
The rules of collaboration
Do You hear what I hear?: Getting the Music Right (Means Getting the Demo Right)
The Three Philosophies of demos
Know Yourself
Studio / Recording Equipment
Musicians and Vocalists
Arangements and rearrangements
Costs
Songs for scale: understanding the Ancient art of song plugging
The Facts of Life as a Creative Director
Who's Looking"
Who's the Song right for?
Who's Listening?
And Here Comes the Pitch: Making the scales call
1: The Approach
2: The Pitch
3: The Follow - through
Smooth Operator: Song plugging master class
Relationship selling
The rules of office etiquette
The rules of the game: getting the music out
The song Plugger's glossary
Keep Rising to the Top: Moving the Writer Up
Everybody make some noise!
Planning the Attack: Timing is everything
Part 3: Taking care of business
License to fill (your coffers, that is): Fun with administration and licensing
Knowing what you have
Knowing what you're giving away
Ooh, you're my best friend: the collection crew
Harry Fox - Hungry like the wolf...
ASCAP / BMI / SESAC - They said it on the Air, on the Radio...
Foreign subpublishers - my money lies over the Ocean, My Money Lies Over the sea
Can't touch this: Protecting your copyrights
Understanding the Threat
Split Disputes: Smiling faces sometimes
Split Adjustments: got to give it up
Unauthorized use: that dirty little secret
Copyright infringement: You turned the tables on me
Copyright infringement: There goes my baby
Registering your claim for copyright
You're the one that I want: the final frontier (The art of Asquisition)
The sure thing: the single - song deal
The not - so - sure thing: the writer deal
Where the devil lives: the details
Conclusion: the end of the road
About the author

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

Hey Hey What Can I Do

Dostępne opracowania:

Hey Hey What Can I Do znajdziesz w 98 publikacjach wymienionych poniżej: