Who are They

•Centrum Dystrybucji Nut•				System sklepów muzycznych

Wstęp
Preface
Vorwort
Teksty i przekłady / Texts and translations
Komentarz rewizyjny
Editorial Notes

Please read this first!
Why I wrote this book
Why we need to bend
For beginners who can't wait
My Notation System
Degrees of bending
The blues scale
About blues licks and riffs (The "I'm a man" lick...The "Spoonful" Lick)
Exploring your mouth (Tongue exercises, Articulation, Closed nose)
The pre-bending effect (Bob Dylan Style, John Lennon Style)
Getting single notes
The major scale
General instructions (listening to the slowest tongue, the Whee-Oh, The Whistling Analogy)
Different Harps: Which to use?
The Bends (draw, Troubleshoooting, If you can't seem to get it)
Advanced techniques
Blow Bending
Bending the Chromatic
The Scales
Other harp books

Introduction
Notation symbols
Chapter 1: Tool, A Perfect Circle
Adam Jones of the Tool
Billy Howerdel of a Perfect Circle
Chapter 2: Rage Against The Machine, Audioslave, P.O.D.
Tom Morello of Rage Against The Machine and Audioslave
Marcos Curiel and Jason Truby of P.O.D.
Chapter 3: Godflesh, Carcass
Justin Broadrick of Godflesh
Bill Steer of Carcass
Chapter 4: Nine Inch Nails/Trent Reznor
Chapter 5: Helmet/Page Hamilton
Chapter 6: Korn, Limp Bizkit
Head and Munky of Korn
Wes Borland of Limp Bizkit
Chapter 7: Linkin Park/Brad Delson and Mike Shinoda
On the CD
Acknowledgements
Photo credits
About the authors

Editor's note
Note
Luigi Zenobi:
Lettera a N. N.
List do N. N.
Athanasius Kircher:
Musurgia Universalis. Ex Libro VII
Musurgia Universalis. From the VIIth book
Index of names

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

Authors page
Introduction
Music Terms and Fundamentals
The Major Scale
Chart of all Major Scales
Natural Minor Scale
Major Pentatonic
Minor Pentatonic
Blues Scales
Modes:
Ionian Mode
Dorian Mode
Phygrian Mode
Lydian Mode
Mixolydian Mode
Aeolian Mode
Locrian Mode
Harmonic Minor Scale
Melodic Minor
Diminished Scales
Whole Tone Scales
Exotic Scales:
Ehglimatic, Hirajoshi (Japan)
Kumor (Japan), Oriental, Pelog
Kokin Joshi (Japan), P'yongio, Iwato (Japan)
Chinese, Japanese, Egyptian
Scrabin, Hungarion Gypsy, Hungarian Major
Romanian, Persian, Hindustan
Neopolitan Minor, Neopolitan Major, Overtone
Prometheus, Ritusen, Arabian

Back Panel
Basic Signal Flow - Audio
Basic Signal Flow - MIDI
How to Play: Accordion
How to Play: Brass
How to Play: Woodwinds
How to Play: Voices
Music Theory
No Pedal??! What Do I Do?
Pads
Piano Sounds
Sounds
Strings
Synth...Alone
Synth...Plus One
Synth...Plus Ten (Fingers, that is!)
The III (String) Commandments
The Front of the Keyboard
The Inside of the Keyboard
The Synth Oechestra
The Volume Pedal/Slider
What They Don't Tell You in the Manuals
Glossary

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

Introduction
About the Author
Acknowledgements
Chapter 1 - A Refresher Course on the basics
Chapter 2 - Right - Hand Technique Review
"Whiplash", "Enter Sandman", "Fuel" and "Orion"
Chapter 3 - Left Hand Technique Review
"Seek and Destroy", "No Remorse", "The Four Horseman" and "For Whom the Bell Tolls"
Chapter 4 - Scale Studies - Part 1
"The Gold That Failed" and "Slither"
Chapter 5 - The bass Player's Toolbox - Part 1
"Metal Militia", "King Nothing" and "Orion"
Chapter 6 - The Bass Player's Toolbox - Part 2
"Wherever I May Roam", "Metal Militia", "Seek and Destroy", "Where the Wild Things Are", "No Remorse" and "...And Justice for All"
Chapter 7 - Further Adventurse in Rhythm
"The Four Horseman", "One", "Ride the Lightning" and "The Unforgiven II"
Chapter 8 - Scale Studies - Part 2
"Phantom Lord", "Seek and Destroy", "Master of Puppets", "Wherever I May Roam", "Damage, Inc." and "Through the Never"
Chapter 9 - Arpeggios
"(Anesthesia) - Pulling Teeth" and "My Friend of Misery"
Chapter 10 - Further Adventures in Rhythm
"Welcome Home (Sanitarium)", "The Unforgiven", "Tje Shortest Straw" and "Battery"
Chapter 11 - The Bass Player's Toolbox - Part 3
"Master of Puppets", "For Whom the Bell Tolls", "No Remorse", "Fuel", "To Live Is to Die", "Welcome Home (Sanitarium)", "Where the Wild Things Are", "Until It Sleeps" and "Bleeding Me"
Chapter 12 - Studies in Grooving and Effective Group Playing
"The unforgiven II", "One", "The Unforgiven", "Ride the Ligtning", "Battery", "Through the Never" and "Harvester of Sorrow"
Chapter 13 - Soloing
"For Whom the Bell Tolls", "Orion" and "(Anesthesia) - Pulling Teeth"
Epilogue

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