Harmony & theory : [a comprehensive source for all by Keith Wyatt; Carl Schroeder

By Keith Wyatt; Carl Schroeder

Creation -- pt. I. instruments : notes, rhythms, and scales -- 1. Pitch -- 2. significant scales and sharp keys -- three. Flat keys and accidentals -- four. periods -- five. Triads -- 6. notice values -- 7. Time signatures and ties -- eight. Minor scales -- nine. Pentatonic scales -- pt. II. buildings : chords and chord progressions -- 10. Harmonizing the main scale -- eleven. Harmonizing the minor scale -- 12. Diatonic 7th chords -- thirteen. Key facilities -- 14. Blues -- 15. Chord inversion -- sixteen. prolonged chords -- 17. different chord varieties -- pt. III. diversifications : concord and melody within the actual international -- 18. Modes -- 19. diversifications in minor concord -- 20. adaptations in minor melody -- 21. Modal interchange -- 22. Secondary dominants -- 23. Altered chords -- 24. Altered scales -- 25. reduced 7th chords -- 26. Symmetrical scales -- 27. Diatonic chord substitution -- 28. Flat 5 substitution -- 29. Modulation -- Afterword -- Appendix I. Chord symbols -- Appendix II. options to workouts

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When it came to method book work and solos, he was highly motivated and usually prepared, but he resisted any creative exercise I tried to engage him in. I like to improvise duets with the students at the end of each lesson. Sometimes this involves rules, but most of the time it's an "anything goes" adventure. Whenever we tried this, Frank protested and then did whatever he could to make the improvisation sound ugly and dissonant. It was obvious to me that the lack of structure made him uncomfortable, but beyond that, it seemed that he was amusing himself at my expense.

You have favorite books, solos and millions of individual etudes and Ingenuity 29 duets that pepper lessons at consistent intervals to teach specific things. If Jimmy has trouble with syncopation, you probably pull out your favorite syncopation etude. The book where you find it may be used only for this one page. There is probably a particular way you like to hear memorized scales: Some teachers like to hear the top note repeated. Some don't. Some teachers like to hear the scale go down to the leading tone.

At home she plays the same familiar songs over and over and over again, excitedly telling the stories that go along with the music, but paying little attention to details of rhythm or dynamics. When the teacher tries to get her to pay attention to these things, Susie becomes frustrated and asks to playa different song. The teacher has tried to use short, unfamiliar etudes to help Susie focus on rhythm, but she complains that these are boring because she doesn't like playing songs unless she "knows" them already.

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