Make Me Know It

•Centrum Dystrybucji Nut•				System sklepów muzycznych

Introduction
About the Authors
Drum Kit Equipment
Accessories
Music Vocabulary
Time, Tempo, or Pulse
Energy, Intensity, and Volume
More Tips
Rhythms
Rhythms Demonstrations
Sightreading
Sightreading Exercises
Conducting Patterns
Personal Obligations
Playing the Show
Mc Play-On
Line of Dancer
Danny Boy
The Comedian
The Comedian's Imitations
The Dance Team
The Magician
The Tap Dancer
Country and Western
The Jazz Ballet
The Fanfare
Conclusion

Preface
How to Rad Chord Diagrams
An Introduction To The Capo
How I learned to stop worrying and love the capo
A Brief history of the capo
A survey of capo models
The elastic capo (Bill Russell model)
The Jim Dunlop 'Lever Action' Capo
The Jim Dunlop C-Clamp Capo
The Shubb 'Original' Capo
The Shubb 'Deluxe' Capo
The Jim Dunlop Picker's Pal Capo
The Kyser Quick-Change Capo
The Glider Capo
The Shubb Partial Capo
The Third Hand Capo
How to use your Capo
Fitting your capo - dos and don'ts
Potential drawbacks of the capo
Capo basics
Transposing Songs for singers
The Capo as A 'Barre - Reducer'
Guitar - Friendly Keys
Tone and feel
Know where the notes are
Working with two guitars
Capo tricks for arrangers
Capos and doubleneck guitars
Capos and altered tunings
Capo detection - use your ears!
Advanced capo - spotting
Special cases
Advanced techniques
The partial capo
Further exploration
The third hand capo
Combining capos - the final frontier
Appendix
Famous songs that use capos

Introduction
How to read chord grids
How toread the fretboard diagrams
Notes on the fretboard - Tips on how to learn them
The Major Scale - Understanding intervals
Two Moveable Major Chords - Barred E and A chords, root notes, rock progressions
Variations of the two moveable major chords - A shortcut to learning chords
The I-IV-V Chord family - Using moveable chords to play power chords, boogie licks, rock riffs
The F-D-A Roadmap - Using three major chord fragments to follow a chord through its inversions
Chord fragments / chord families - using the three chord fragments to play licks and arpeggios
Three moveable blues boxes - Moveable patterns for rock soloing up the neck, substituting scales
"Chuck Berry - Style" Double - Note Licks - A bluesy variation for Chuck Berry - style soloing
Major "Sliding" Pentatonic Scales - Two sliding scales and how to use them for rock soloing
A moveable double - note lick - Played on the first and third strings: using it in riffs, solos and backup
Movable major scales - One for each chord fragment; playing melodies
Using the practice tracks

Introduction
General Tools
The parts - General maintenance
Mouthpiece
Slide movement
Slide button
Slide buffers
Spring
Spring post
Body
Reed plates
Reeds
Rivets
Windsaving valves (flaps)
Cover plates
Cover posts
Change and Improve
Mouthpiece
Slide movement
Spring
Body
Reed plates
Reeds
Tuning and adjusting reeds
Rivets
Windsaving valves (flaps)
Cover plates
Finishing off

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

Part 1. Overview
1. Setting the Context
Need for a Definition
Related Concepts
Personality
Learning Styles
Effective teaching
Conclusion
Discussion questions
2. Establishing a definition
The nature of music teaching style
Principle of tradicity
Several behaviors but one style
Stable and pervasive
Underlying focus
Many ways to be effective
Principle - based teaching
A clear and distinct definition
A new vantage point
A three - level model
Conclusion
Discussion questions
Part 2. Dimensions of music teaching style
3. Assertive teaching
Assertive vs. Aggressive
Cycle of teaching
Clear directions
Monitor student behavior
Specific feedback
Anticipating problems
Recognize cycles of misbehavior
Classroom rules
Consequences
Alerting
Conclusion
Discussion questions
4. Nonverbal motivation
Visual appearance
Proximity
Pacing
Conclusion
Discussion questions
5. Time efficiency
Concepts of time
Quickness
Quantity
Active learning
Conclusion
Discussion questions
6. Positive learning environment
Contingent approval
Transactional teaching
Time to think
Clarification
Encouragement
Elaboration
Awareness of student realities
Interpersonal relations
Conclusions
Discussion questions
7. Group dynamics
Self - responsibility
Student-to-student interactions
Leadership
Social loafing
Individualized listening and reading
Conclusion
Discussion questions
8. Music concept learning
Comprehensive musicianship
Concept of music
Questioning
Accountability
Questions as assessment
Handling incorrect answers
Types of questions
Critical thinking
Conclusion
Discussion questions
9. Artistic music performance
Multimodal learning
Asural Imagery
Psychomotor learning
Sound-to-performance cycle
Metaphor
Modeling and movement
Emotion and enthusiasm
Conclusion
Discussion questions
10. Student independence
Students as innovators
Creativity
Affective learning
Transformational teaching
Deepest levels of questioning
Discussion and dialogue
Student input in decision - making
Acceptance
Conclusion
Discussion questions
Part 3. Revealing your style
11. Types and trends of style
Prototypes
Comprehensive musicianship focus
Performance priorities
Intellectual focus
Group interaction priorities
Behavior management priorities
Styles that lack priority
Developmental teaching
Self - reflective stage
Broadening stage
Interdependent transition
Deepenning stages I and II
Development through insight
Conclusion
Discussion questions
12. Sorting out priorities
Trade offs
The Tyranny of time
Too much or too little control
Broader activity or deeper reflection
Principle of tradicity
Teacher - agenda interactions
Student - focused interactions
Subject matter interactions
You cannot touch learning
Conclusion
Discussion questions
Part 4. Choosing a new direction
13. Know yourself
Psychological controls
Internal - external
Time perceptions
Detail - holistic perspectives
To judge or not to judge
Absolute - relative
Background experience
We teach as we were taught
We teach what we know
Where we teach affects how we teach
Identity shapes our interactions
Conclusion
Discussion questions
14. Know your students
Developmental learning
External to internal
Dependent to independent
Student motivetion
Conclusion
Discussion questions
15. Know your subject matter
Music performance skills
Music knowledge
Creative experiences
Planning for balance in subject matter
Conclusion
Discussion questions
16. Learn what learning looks like
Define learning outcomes
Monitor learning
Conclusion
Discussion questions
17. Choose your focus
You get what you pay for
Focus away from the teacher
Focus on music
Refine your vision
18. Establish a set of principles
Make success the focus
Focus on all students' success
Get out of the way as the focus
Maintain a successful pace
Be independently succesfful
Teach deeply as well as broadly
Teach comprehensively
Final conclusion
About the author
Music teaching style inventory
Learning style glossary
References
General bibliography

Make Me Know It

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